SMASH: Episodes 3-4

3: Enter, Mr. DiMaggio

I liked that Ivy showed insecurity & vulnerability; her type of second-guessing is the perfect articulation of the doubt that can cause one’s downfall. Her character does a good job of largely hiding her insecurities by utilizing her strengths, but her hidden demons are seeping to the surface. I like Ivy’s character & want to know more about her person in ways unrelated to this musical. Maybe her character has no real backstory because we are supposed to see her as someone whose life wholly dedicated to pursuing her dream. But even the hardcore dream-pursuers have a history & family, and I want to know about Ivy’s. It is inconsistent considering that we have met Karen’s parents, understand her background in respect to her current standing, & have a well-rounded impression of her romantic relationship.

I’m not too interested in the past affair between Julia (Debra Messing, half of the writing team) & Michael (the actor favored to play Joe DiMaggio). However, I LOVE that Will Chase is playing Michael Swift, the established Broadway veteran, because he actually is an established Broadway veteran. He made his Broadway debut in 1998 as Roger’s understudy in Rent; when Rent closed in 2008, he starred as the last Roger in a performance that was recorded for theatrical release (Rent: Filmed Live on Broadway). He also appeared in Miss Saigon, opposite original star Lea Salonga as Kim (an amazing production I was lucky enough to see…for the record, Mr. Chase is just as pretty in real-life). Other Broadway credits include The Full Monty, Lennon, Aida, High Fidelity, & Billy Elliot. In 2009, he received a Helen Hayes Nomination for Outstanding Lead Actor for his performance as Valentin in Kiss of the Spider Woman at Arlington, VA’s Signature Theatre (otherwise known as MY FAVORITE REGIONAL THEATRE.) I don’t love his storyline so far, but I am glad Will Chase is part of this cast.

4: The Cost of ART

This episode showed Karen growing up as a person & performer. Out of insecurity & potential self-preservation, Ivy managed to get Karen kicked out of an ensemble number. The unavoidable catty factor of competing females is one that needs to be constantly re-acknowledged throughout this season because it is such a real part of those theatre times of rehearsals, breaks, the dressing room, & backstage. It never goes away & I hope this dynamic is adequately explored & infiltrated in the storyline. After being removed from the number, Karen got mad & lashed out at fellow ensemble-member Jessica (played by Savannah Wise, who played Evelyn Nesbit in the 2009 Broadway Revival of RAGTIME), which was actually an inadvertent request for help. Her lash-out was authentically received & the ensemble members who had been adamantly on Ivy’s side couldn’t help but help someone struggling that all-too-familiar, new-kid mentality. I liked that Karen was so receptive to help; it shows a humble, authentic commitment to her art.

Conversely, while Karen is finding her way on Broadway, Ivy begins to understands what it means to be a starlet. The director invites her to a birthday party for a young Hollywood hit (Joe Jonas) who had been discovered as a child for a Broadway musical. This script incorporation was really smart because so many of our current Hollywood All-Stars found their start on Broadway….remember that time Natalie Portman & Britney Spears served as joint-understudies for Broadway Alum Laura Bell Bundy (original Elle Woods in Legally Blonde the Musical)? Probably not, because it was in 1993 & the production was the little-known Ruthless. Many of our Hollywood Royalty have found their first steps towards success on Broadway (like Sarah Jessica Parker), which indicates the insider authenticity of this story-line. Ivy had to deal with seeing Derek (the director with whom she is having an affair) flirting with an other woman for funding, performing at the drop of a hat (which is why it was smart that they cast a seasoned professional instead of the new girl from Iowa), & charming potential investors. She got to see the work that comes with carrying a show as opposed to shining in the ensemble. She got to see that getting what you want DOES NOT COME WITHOUT A COST.