Smash "Pilot" Review

NBC wants Smash to be a smash so bad that a deal with the devil wouldn't surprise me to make it a smash hit. The promos for Smash have relied on star power and nostalgia. Katharine McPhee's the attractive runner-up of Idol's fifth season. Steven Spielberg's an executive producer. Academy Award winner Anjelica Huston is among the stars. Debra Messing, a star of one NBC's golden years shows, returns to TV with a best friend who is a homosexual.

The setting is Broadway, in the center of Manhattan, the best place in the world. The premise follows an ensemble putting together a production of a Marilyn Monroe musical. People used to compare the series to Glee, when first announced, but changed their opinions when they watched the actual episode. Still, fans of Glee, or musicals should enjoy the series. I'm not a fan of Glee or musicals though.

Smash's "Pilot" is busy. Theresa Rebeck needed to accomplish quite a bit in 46-48 minutes. Characters are introduced along with their specific arcs. Katharine McPhee's Karen is an aspiring actress, with a supportive boyfriend, a job waitressing, and two parents who don't entirely support her. Time after time, she's passed over at auditions. Debra Messing's Julia Houston is part of a successful Broadway writing team who swore she'd take a full year off following the run of her celebrated play, because her and her husband want to adopt a child. Christian Borle's Tom Levitt, Julia's partner in Broadway productions. Megan Hilty portrays Ivy Lynn, a working Broadway actress itching for the opportunity to star in her own production, and she's beloved by Houston and Levitt. Anjelica Huston's Eileen Rand, a wealthy producer in the midst of an ugly divorce with her wealthy husband and the divorce killed her production of My Fair Lady, so she sets out looking for a new production.

The character beats are quick, simple and effective. The audience doesn't need much to initially invest in a premise or its characters, but that's why archetypes exist. Television's a wonderful medium because archetypes, with good enough writing, become fully developed characters as time goes by.

The most difficult aspect of the series will be its Broadway production. The characters are fine. The arcs are neatly sketched. Aaron Sorkin's Studio 60 fell apart because the characters weren't as brilliant as Sorkin insisted they were in the script.

Smash will largely feature original music. The songs need to be good. The production needs to be as big and renowned as an actual Broadway play. The show tells us how successful and brilliant Julia and Tom are, so we'll see how brilliant the two playwrights are as the series progresses.

The first number in the series is spectacular. The song's about Marilyn's affinity for baseball players, complete with a number of double entendres. The number has the glitz, glamour and flamboyance of any worthwhile Broadway production. The music is LOUD, the costumes are LOUD, and the choreography is spectacular; it feels like we're watching something special, which is what the creative teams feels, and so that inspires confidence that the real creative team can meet and surpass the enormous expectations of the audience.

Katharine McPhee and Megan Hilty are terrific as the soon-to-be competitors for the Marilyn Monroe role. Hilty's a legitimate Broadway actress, and hell, I'd be inclined to give Ivy the Marilyn Monroe role, because she has the look; however, the look is exactly what the play's celebrated and renowned director does NOT want. Karen's innocence is what he wants from the role. The director's interpretation of Marilyn the Person differentiates from the rest of the creative team, and the women auditioning, who think of Marilyn as the sex icon. I'd be interested in watching a series that attempts to explore the complexities of Marilyn Monroe. Upon watching her final movie, I wanted to hug her, so I identify with the director's perception of Monroe. But, of course, the role requires sexiness. Karen needs to discover her inner sexual allure if she truly wants the role, thus her arc will be one of self-discovery: as an actress and as a person, but all of the best arcs are about that.

Of course, I dislike the rest of the arcs established in the "Pilot," but as I'm posting this before the premiere, I won't explain why as not to spoil the millions of readers who will, in fact, read what I think about Smash. I won't write about Smash on a weekly basis. I doubt I watch another episode, but there were good moments in "Pilot."

Also, Joss Whedon wrote the greatest reaction for Wash in "Our Mrs. Reynolds" after Saffron tells him the story of Earth That Was. Saffron's completely seductive and her imagery's rather explicit. Wash says, "Whoa. Good myth." Indeed, the conclusion of Katharine McPhee's seductive rendition of "Happy Birthday, Mr. President," I, too, thought, "Whoa. Good song."

Smash premieres TONIGHT on NBC at 10PM.