We finally got to the much talked-about and obsessed-over workshop on Smash last night. Did you find this episode worth all the buildup? I think I’m still sitting on the fence (or the bleachers, as it were).
I’m glad that we’ve gotten that first big step out of the way, and count me happy that it didn’t go swimmingly. With all the distractions and drama, not to mention the fact that this was the first real complete go, it would have been laughable if the performance had been perfect. And as a former theater geek, there were things here that rang true: as much as I still dislike Ivy, Sam had a point when he said not to speak ill of her before a performance. If I were her, I’d be a total wreck. And as much as I still dislike Tom, this was the first time where I felt like he was a real friend to Ivy, and not just a biased cheerleader.
But there are still problems with this show. I don’t at all share An’s opinion that these most recent episodes have been better; I believe the opposite, that it’s gone into one heck of a decline. (I can see why she didn’t ask my opinion!) There were things here that made me cringe at how obvious or melodramatic they were. How convenient that Michael’s wife and kid only show up now, when they can be used for dramatic tension. And did anyone else laugh when Julia brought up his family as a reason to end their affair? It felt so odd that she was concerned about them all of a sudden.
Julia siding with Tom to fire Michael and give her an easy “out” from the affair was selfish and ludicrous, and I hope it comes back to bite her in the behind. At least Julia seems to know that it was selfish and ludicrous. If her fling with Michael is really over (and I’m not sure it is), maybe we’ll see her become the strong, awesome woman Debra Messing can play.
Then there’s Ivy and her mother. OK, Bernadette Peters is great. I’m not denying that. But another case of a lead with parent issues? TV goes to that well so often. And to me, it felt almost like the show was trying to provide a justification for Ivy’s behavior, as if to say “It’s okay she’s a diva, because look how she’s been treated by her diva mom!” While I’m sympathetic in a way, I definitely don’t think it gives Ivy a free pass.
And speaking of obvious, the attempt at giving Anjelica Huston another subplot could not have been moreso.
But when all else fails, the one thing Smash gives me is Derek Wills. Derek, who still happens to be the sanest, sharpest person in the room, and who comes back with legitimately great lines like “That’s the least offensive thing I’ve said in days.” I started liking him because he’s played by Jack Davenport, but I stay with him because he’s the one person I feel like I still want to watch. Even though his subplot with Ivy is far from original, at least the guy is keeping his dignity.
Which brings me to a sad thought: between Smash and Hawaii Five-0, I was expecting a lot from my Monday nights post-The Voice. But so far this season, I’ve felt unfulfilled. Both shows have become the type I’m only watching for certain actors, not shows I enjoy as a whole. Is anyone else having this problem? What would you suggest to fix it?
Clacked by Brittany Frederick 
on Mar 20, 2012 @ 14:54 EST5EDT
Post the-Voice Monday nights? Lost Girl on SyFy. Highly entertaining. No singing though.
Love Lost Girl. I’m a fan of Smash, but Lost Girl is my new fave sci-fi show.
So, we’ve reached “intermission” and Julia heroically sacrifices her emotional needs for the good of the show, while Ivy comes face to face with the start of her one-way trip to hell. The man they have in common (one professionally, one personally) gets his big moment in the musical spotlight before being given the boot, leaving the production with no leading man, and the director with a massive train wreck.
Actually, if the show would stick with core characters and story, and trim all the fat (Julia’s adoption, Tom’s dating life, Ellis, Karen’s covers, etc, etc,.), I think it would work. But there are too many producers. IMDB lists 17, and the episodes prior to “The Workshop” (when you thought things were going downhill) gave a number of them a turn at writing an episode, each. Not exactly a stable production line.
BTW – Did you know that “Smash” is loosely based on a 1980 novel by film and stage director Garson Kanin? There’s a very-telling review of the book on Kirkus Book Reviews – some spoilers – which makes the book sound like Harold Robbins.
For now, I’ll stick with it because I can still see the original potential in all this.
*POST AUTHOR*
You know, I did know that and tried to get a copy of the book, but with no success. I have, however, managed to find a copy of the pilot script and am waiting for it to arrive so I can see how things translated.
I agree with you that the show could lose a lot of elements (and probably some characters) and work. Sometimes big concept shows just have too much going on. I know in my scripts, if I start introducing too much or too many people, I start losing track and then people end up pushed aside, plot points forgotten, etc. That could be the case here: they’re just reaching to do too much at one time, perhaps?
The reason I think it can still work is because some parts remind me a little of “Dreamgirls” where a ruthless head guy replaces his leading lady (and lover) with an inexperienced backup.
The review at Kirkus leads me to believe that the show is actually somewhat faithful to the book, and that might be the problem. It mentions that there’s very little about the making of the stage show, in favor of lots of melodramatic side plots.
Ultimately, the show needs one good line producer who can focus the show. Or, if it’s going to be a soap, don’t market it as an A-grade musical. I can’t figure why they keep promoting the Megan Hilty-Katharine McPhee plotline (on “The Voice” no less), when that aspect’s obviously gone secondary for a while.
*POST AUTHOR*
That makes sense. I can’t fault the writers if that’s what their source material was. Maybe it was just mis-marketing.
And I’m glad the “Voice” promos aren’t weird to just me!
Well, well, I see that “Smash” is going to get a 2nd season – and that it’s going to get a new (tbd) line producer. Hope it works out!
I actually thought this episode was a little better than the last few, because they had more about the show and less soapy plotlines. Bernadette singing “Everything’s Coming Up Roses” was fantastic, and I’m not even that big a Bernadette Peters fan. But it was a phenomenal scene. I also liked seeing bits & pieces of the songs we’ve heard before put together into one performance. I disliked all the same things you did–the affair plotline, the blatant “new boyfriend for Angelica Houston” plot, etc. I did like that sort of, almost, put Ellis in his place. If they’re back to all-relationships, all the time next week, with the soap turned up to high, I may lose interest again. But overall, I liked this episode better than I expected to, and possibly better than any one since the premiere.
*POST AUTHOR*
Now that the show’s past the much ballyhooed workshop, I’m interested to see where it’ll go from here. It could be the show’s chance to turn over a new leaf.
This show is growing on me. I feel so alone.
The original songs are good … I’m actually on Michael and Julia’s side … (Hey! They seem to genuinely love each other!)
I don’t mind Angelica Huston’s character. She’s a supporting role, and that’s fine with me.
Yeah. There’s a lot going on, but in the theatre world? There’s always tons going on! Major behind the scenes drama.
Kat is bugging me less.
And! In my travels among creative folk, I routinely found it commonplace that we all had crappy childhoods. I think that’s part of the reason why people get into the profession in the first place. Maybe to finally be “heard” or paid attention to or for the feeling of adoration. (Even from strangers.) So that plot story didn’t bother me.
And it was great to see Bernadette. She killed it and looks fabulous.
*POST AUTHOR*
Even if they genuinely love each other, I can’t look past the betrayal of both their families (and from a writing standpoint, the fact that his only appears when it’s convenient).
I’m from a family in the entertainment world, and while there were a few of us with messed-up childhoods, there were just as many who were pretty normal. It’s not so much that the backstory doesn’t make sense, but that A) it’s been done a lot and B) more importantly, it seemed like an excuse for all of Ivy’s bad behavior, as if it’s OK for her to be a diva because of her mom. The show was letting Ivy (and Julia) take the easy way out this week.
Having said that, I actually liked Ivy a little more than I have over the past few episodes, because she had some calm, relatively sane moments as she had in the first few episodes. She can be a likeable character, and for the show’s sake, I hope she gets back to that.
Definitely not alone, Tara. I agree with neither of my esteemed colleagues who have written about the show this week :)
The last episode was such a train wreck that I wasn’t looking forward to watching this week’s episode. I’m glad I did. Loved it. I hated the affair storyline the last two weeks, but the ramifications of Julia’s decisions seemed authentic this week. For the first time, I felt something between Julia and Michael.
This was one of my favorite episodes since the pilot.