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Title: Smash (2012–2013)
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For a Broadway musical, the road to success is not easy. And winning the coveted Tony as Best Musical, which is the ultimate goal, is even more difficult. 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, and producer ... Written by Huggo
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NBC takes it head-on in its ongoing battle with the cable channels with Smash, an edgy take on the inner workings of Broadway. With production values you would expect more from AMC or Starz, Smash is sure to light up broadcast television like nothing has in years.
The plot is simple in premise: thanks to the observations of an eager intern, a couple of Broadway producers decide to work on a musical featuring the life of Marilyn Monroe -- despite the fact that the last attempt on that subject matter failed abysmally. But, as spectacular as the potential subject matter might be, it is the inter-relationships between the characters involved in that production that inevitably make the show 'work' -- just as it is in a great musical.
There is the blonde 'born to play' Marilyn, and the brunette who just does it oh-so-much-better. There is the conflict between a producer and a director who just cannot stand each other. There are the money problems faced by an executive producer cutting it just a wee bit fine. There's the difficulty producers face running a production 16 hours a day and maintaining any semblance of a home life.
Not only is there entertainment value in the acts that make up the musical themselves, but the eye-opening realism of the personal dynamics involved in mounting a musical on Broadway ensure that this program will not run out of steam any time soon.
Frankly, I'm just surprised this show didn't happen any sooner. Congratulations, NBC -- you've got a great one in 'Smash'.