The road to and success on Broadway of the musical is not easy. And winning the coveted Tony as Best Musical is even more difficult, that which is the ultimate goal. Such trials and tribulations are shown for a handful of shows, their creative teams and their performers. There is competition amongst the performers for roles, competition amongst the shows not only for box office but also limited investor dollars and that final Tony prize, and competition amongst those ultimately hired in the cast and crew for what they want to see happen in the show, both for the good of the show and their own personal benefit. And sometimes, personal life gets in the way of these professional goals. These problems not only happen for those new or working their ways up the ranks, such as performers Karen Cartwright and Ivy Lynn, and the writing team of Jimmy Collins and Kyle Bishop, but also seasoned veterans, such as the writing team of Tom Levitt and Julia Houston, womanizing director Derek Wills, ... Written by
Follow your dream. Watch your back.
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Did You Know?
The "Riedel" whom Julia calls a "Napoleonic little Nazi" and other characters complain about as well is a real person--Michael Riedel, the influential and feared theater columnist for The New York Post, who is well-known for his acerbic-to-scathing reporting on some shows. His writing has occasionally led to conflicts with the theater world off the page as well; one infamous example was when his negative opinion of the 2004 revival of "Fiddler on the Roof" led to the director of that production, David Leveaux, punching Riedel in front of a crowd at the theater district restaurant Angus McIndoe. The real Riedel signed a legal release before the first episode of "Smash" aired allowing the show to call him a "Napoleonic little Nazi." See more