I remember last winter, when I was still nannying on the Upper East Side, the woman whose children I watched came home one day from picking the kids up at school, and was all a-twitter because Debra Messing had recently decided to send her child (who, if pointless-but-permanent pop culture memory serves, is named “Roman?” — I’ll check at the end of this post.) to the same school as my three charges. She remarked that Messing seemed warm, not paranoid, as so many stars are, and very very thin. Obviously.
I told her that Ms. Messing was back in Manhattan because her pilot, “Smash,” had been picked up, and that I was excited because it’s written by an accomplished playwright, and would provide more jobs for NY actors (“I Wish!” — Are you listening, theatre Gods? Telsey Casting?… NBC?… Anybody???).
When I saw “Peter & the Starcatchers” at New York Theatre Workshop the day before it closed last summer, I was completely blown away by the show. I am thrilled that it is making the leap from Off-Broadway to Broadway soon, as it is – in many ways – emblematic of what I think theatre should strive to be: Laugh Out Loud Funny, Smart, Moving at the Speed of Thought, Magical, and IMAGINATIVE (an element I find shamefully lacking in most of what we categorize today as “entertainment.”) I had two dear friends in the cast, Greg Hildreth – whom I worked with at BU (Lucky Me!), and Brandon Dirden – who’s worked with my husband and has a heart of gold every bit as incandescent as his stage presence*FOOTNOTE*, and was so proud of their contributions to a great ensemble piece, but there was a character that stood out: Black ‘Stache, Dave Barry’s hilarious take on Captain Hook. Black ‘Stache was played by Christian Borle, who is soon to be recognized everywhere for playing Debra Messing’s writing partner, “Tom.” When I found out he would be in “Smash,” I was thrilled.
As the casting was finalized for the show, and the buzz got going, I was really happy to hear that so many musical theatre actors were actually being used for a show about a new musical… As opposed to the treachery that is casting Anne Hathaway as anything FANTINE! But that’s the way of the world. Right?
I’ve just finished watching “Smash” on Netflix, though it is also streaming on NBC.com, as well as Hulu. This is a new marketing strategy which I find genius in an age where shows get cancelled, good (“Lonestar”) or bad (“Work It”), after only one or two episodes. It costs so much money to shoot these shows, and the reasons for keeping them on the air can seem so trivial (content aside), that I find it inspiring that NBC believes in their show so much that they’re taking such measures to create a following before it actually airs. Smart cookies… At long last.
But, guys, here’s the thing. I don’t know if I can watch “Smash.” Before you get all up in my shit arguing, let me say that my reasons are emotional, rather than critical. All in all, I think “Smash” is a strong pilot, especially for network television. I was happy to see Angelica Huston, rocking her drag queen wig, and some Patty Hewes attitude. I loved Megan Hilty’s overly eager-beaver strut into the audition room, and her amazing voice. Katharine McPhee didn’t make me want to stab myself in the face more than once, and her voice is as phenomenal as her face is on film. (I’d almost forgotten. 2007 was a looong time ago.)
My problem lies in the truthfulness of the show. Weird, right? I think it just hits a little to close to home. I’m pretty sure from the previews that Megan Hilty isn’t going to get to be Marilyn, which makes me so f*cking mad I can’t tell you, and I know that the director will eventually ride roughshod over the writers, because he already hates Tom and has no respect for whatever D. Messing’s character is called, and thinks he’s the shit a la Darren Nichols. — If you don’t get that reference I URGE you to watch “Slings & Arrows.”
… Why are you still here?
I’m not kidding! NOW! It’s the best show about theatre, Shakespeare, and trying to have heart in the consumer-driven world, ever. It’s also where Rachel McAdams got her start, and is so so good I just left this post and spent ten minutes watching trailers and scenes online. Gah!
Anyway, I may not be able to stomach a show that so closely mirrors the world I live in once a week, but I think you should. It’s not very often that a female playwright gets a show on primetime. Theresa Rebeck has been at this for a long time, and knows these people she’s created. She’s worked with these producers, has no doubt wished she could advance the career of an actor that became a friend, and has probably had her work completely screwed with by those that hold the purse strings. I’m sure there have been a lot of rewrites, and many drafts of “Smashed.” The television series that America will watch this winter, and the characters who are fighting to do something that makes no sense to so many, is pretty accurate. I hope it educates as it entertains, and that I can stomach some more, because I want to see what my colleagues bring to the small screen.
It can be really hard to keep faith in this industry. Let me rephrase: It can be really hard to keep faith in why you started out in this industry, and what you hope to accomplish. It can be heart-breaking to watch roles that you create handed over to those with a flashier name and (in your mind) less talent. No matter what you do, as a woman, it is terrifying to have a baby because you think your entire self prior to that blessed being’s birthday will be erased. But sometimes, when the voice is strong and pure on its own, not tampered by auto-tune; when a group of people are brave and foolish enough to get caught up in the moment and try to share a story through their eyes; when you throw in a baseball number and a “Five! Six! Seven! Eight!” – it can really feel like magic.
* Coincidentally, Brandon’s wife, Crystal Dickinson, is currently kicking MASSIVE amounts of ass – again – in “Clybourne Park” at the Mark Taper Forum in Los Angeles. The play will transfer to the Walter Kerr Theatre on the Great White Way April 12, and if you’re in LA, I suggest you see it while you can. This play is one of the best I’ve ever seen, claiming last year’s Pullitzer for Drama, addressing race in a way that will punch you in the gut while you’re doubled over in laughter, and should not be missed!!!!**
** I’m not just saying this because my devastatingly talented husband is in it… Or am I?














