By Eric Gelb
SMASH – was a SMASH, if you can remember. SMASH, conceived by Theresa Rebeck, followed the trials and tribulations of the Broadway community. Within the four walls Rebeck constructed for the show to live within, there was HIT LIST, the Off-Broadway smash. There was HEAVEN ON EARTH, a long-running hit that represented the long-running Broadway musical that we all know. There was also LIAISONS, a straight play. But, at perhaps the top of the pyramid, is BOMBSHELL, the “Marilyn musical”. Yes, BOMBSHELL was the baby of SMASH and arguably the reason the show is still celebrated today. BOMBSHELL was the main musical that viewers watched become, well, itself each week – the Marilyn Monroe musical was a visual feast, with full-production numbers being at the viewers fingertips. However, the show ends there – as viewers, we never saw BOMBSHELL in its entirety. No script or full scenery – what is accessible is the beautiful and lush score.
Typically, spin-off projects (although I’d hardly call BOMBSHELL a spin-off, the word seems most appropriate) are less popular than their predecessor and are known because of it. In this case, many are familiar with BOMBSHELL itself and not with SMASH. – the opposite There’s a lot to be said about beautiful music about someone special, and BOMBSHELL’s score, combined with a lush orchestra and talented performers, make it an appealing listen to not only members of the theatre community but the general public – Marilyn’s appeal and the appeal of a Broadway musical are a bigger draw than NBC had anticipated, even though this buzz didn’t exist in its truest form during SMASH’s original run. Yes, SMASH only lived for two years in its home on NBC before being evicted. While DVDs and CDs continue to bring SMASH to audiences for years to come, there’s been a clamor from the people for more of one component of the show – BOMBSHELL.
BOMBSHELL, while gorgeously written (musically), has no book. There’s no complete script, and there is not a complete production in store. The links of a musical do not exist. The success of the “musical” was based on the music itself, which led to the delecatble treat of a benefit concert, featuring the music of BOMBSHELL which many say is what pushed the announcement from Universal Stage Productions that the wheels will turn on bringing SMASH to Broadway. A few things must be noted about this exciting announcement. One, this is just a mere “for buzz” announcement. There’s no full script, or a full creative team. The musical is still in early stages, so it’s left us eager audience members to just to sit tight and wait for more information. It’s also important to remember that each member involved in the NBC series and benefit concert are not confirmed, contracted or obligated to join the BOMBSHELL ship. While it’d be nice to have the same cast we’re familiar with, it’s different to sign a six month or year long contract for eight shows a week than a one-night concert and a TV show. Also, the BOMBSHELL concert boasted a 29-piece orchestra to replicate the crystally lush sound that we’re used to hearing when we hear “Let’s Be Bad” and “National Pastime” – in a realistic Broadway budget, slash that orchestra number in half. And, since we’ve never seen BOMBSHELL in its final form, let’s let BOMBSHELL represent itself as a stand alone piece, and not love it just because the music is beautiful but because of the amazing package we expect and know it will become.