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This week's episode is called "The Parents," and two of them — a mother and a father — appear in guest-star turns by performers we saw in Season One: Bernadette Peters as Ivy's ageless, Tony Award-winning mother, Leigh Conroy, and Dylan Baker as Karen's Midwestern dad, Roger, who is in New York City for some conference. Roger is supportive of Karen (Katharine McPhee) and her longtime wish to be on Broadway — and he's proud of his daughter's talent — but just doesn't understand why she chose to leave Broadway's Bombshell for Off-Broadway's Hit List. (You are not alone, Roger.) Her downtown urge might have something to do with the leather-jacketed man that Roger saw sneaking out of Karen's window one morning. Later, while watching a Hit List rehearsal, Roger sees director Derek (Jack Davenport) in a leather jacket!
Photo by Will Hart/NBC |
(By the way, Baker's real-life wife, Becky Ann Baker, who played Karen's mom in Season One of "Smash," is absent in this episode. She also plays Hannah's mom in HBO's hot series "Girls," which, like "Smash," is also shot in New York. Coincidentally this week, Dylan Baker resurfaced in the recurring role of scummy Colin Sweeney on the CBS series "The Good Wife.")
Photo by Will Hart/NBC |
Now that Ivy is finally getting her shot, after years of work, ready or not, here comes mama threatening to overshadow her. Ivy resents Tom, especially, because she thought their friendship would prevent such a hurtful casting decision. (Ivy and Leigh have longstanding, unresolved issues about ego, competition, narcissism, neglect and more.) By the end of the episode, Ivy draws the line with Tom: They are no longer friends, just colleagues.
Composer Tom, who is now also the director of Bombshell, still needs schooling on how to be a director — specifically, how to coax performances of depth out of Ivy and Leigh in their Marilyn and Gladys moments in rehearsal. Their "contentious" scenes are lukewarm, polite and robotic. Watching their flat work, stage manager Linda (Ann Harada) makes a face that indicates someone in the rehearsal room has soiled their pants. Linda is that rare stage manager who is decidedly un-Sphinx-like! (Harada is delicious Stepsister Charlotte in Broadway's current Cinderella, singing a pungent "Stepsister's Lament" by Rodgers and Hammerstein. Here are Playbill Video highlights of the musical.)
Photo by Will Hart/NBC |
So, Tom takes a fresh path and urges Leigh and Ivy to talk about their own mother-daughter relationship as a way conjuring some fire in their onstage mother-daughter scenes. As the room looks on, Ivy tells us that at theatre camp, when Ivy was a teenager and played Little Red in Into the Woods, Leigh remarked on the gifted girl who played Cinderella. "If you were born with the talent she has, that could have been you," Leigh reportedly told Ivy, "but you weren't."
Leigh defends the comment by saying it made Ivy work harder, and now she's on Broadway!
Ivy ends up telling her mother, in front of the ensemble, "At least the best part of my career is still ahead of me." This public airing — in the upside-down world of "Smash" — emotionally unlocks the women, allowing them to create something authentic in their scenes together. It also leads to another choice original song, "Hang the Moon," by Marc Shaiman and Scott Wittman, a duet for Marilyn and her hospitalized mother, Gladys. The sequence is classic "Smash": It blends the tensions/passions of the "actors" with the fantasy of what the onstage Marilyn musical might look like, with sets, costumes, choreography, lights and wigs (including a hairdo for Peters that seems swiped right from her Broadway turn in 1974's Mack and Mabel, a Jerry Herman cult classic with a dynamite score and a less-than-dynamite libretto). Broadway's Jonathan Tunick orchestrated "Hang the Moon." Shaiman wrote this on his Facebook page this week: "Our job was to write a song that equally portrayed Marilyn & her mother and Ivy and her mother. Recording Bernadette in our home studio on a song we wrote was as thrilling as you can imagine. As a teen in 1974, I saw the Opening Night of Mack & Mabel with my friend Jamie, and I swear I can still remember the power of BP's voice shaking the theatre on 'Time Heals Everything.' Anyway, tonight's song, 'Hang the Moon' is very special to us. And oh, it was orchestrated by the one and only Jonathan Tunick and for musical theatre writers, that is pure nirvana!"
PLAYBILL BIO: We're told in this episode that Leigh won a Tony Award for starring in Anything Goes, and that she was pregnant with Ivy during the run. The role of Reno Sweeney in Cole Porter's Anything Goes, in real life, earned Patti LuPone a Tony Award nomination as Best Actress in 1988 and got Sutton Foster the Best Actress Tony win in 2011. The Tonys weren't around back when Ethel Merman created the part in 1934. (The shipboard musical comedy that Peters is known for in real life is Off-Broadway's Dames at Sea, a spoof of shows like Anything Goes and Hit the Deck and films like "42nd Street" and "Follow the Fleet.")
Photo by Will Hart/NBC |
Photo by Will Hart/NBC |
CONFLICT OF INTEREST: Richard Francis (played by Jamey Sheridan), the Arts and Leisure Editor of the New York Times, admits that the only reason he signed on to write an article about Bombshell was to get to spend time with his old friend Eileen Rand, but he's aware that it's a conflict of interest — and the Times hates conflicts of interest. Eileen wants that Times story, but now that her shady, greasy boyfriend Nick is in the clink and out of the picture, maybe Eileen also wants some romance? She arranges to be seated at Richard's table at the MTW gala, where they witness Ana's high-flying act. Richard tells Jimmy and librettist Kyle (Andy Mientus) that he loved Ana's turn, and overeager Kyle blurts out that there's more of Ana throughout Hit List (only there's not!). Later, Richard decides to pass the Bombshell article to another Times writer (paging Patrick Healy?), thus avoiding any conflict of interest in the paper's coverage of the show (except the conflict that the Arts and Leisure Editor is apparently romantically interested in the producer of a Broadway show and is placing a story about her new show in the Sunday arts section!). We suspect there will be many column inches devoted to Eileen's show in the future.
PLAYING DOCTOR: Overeager MTW artistic director Scott Nichols (Jesse L. Martin) tells Jimmy and Kyle that if the Times wants more of Ana in Hit List, then they have to write more for Ana! Once again, the expectations of the Times must be met! (More and more, Nichols seems to have the demeanor of someone who runs a civic theatre rather than a serious-minded, writer's-based not-for-profit.) Later, Scott asks Julia if she might privately serve as dramaturg on Hit List, to clean up the storytelling. But don't tell Derek! Julia's about to go into tech for her Broadway show, but why not? She's trying to right her ancient wrong toward Scott (see last week), and maybe this is the way to do it — by playing show doctor to Scott's pet project. Perhaps she can clone herself.
CASTING WE WISH WE SAW: The oddest revelation of the week is that Leigh Conroy played Maria in a Broadway revival of The Sound of Music when Ivy was a fat child. Ivy wanted to be in the show, as one of the Von Trapp kids, and the casting director expressed interest in seeing her for the role of Kurt. We are not making this up.
Read The "Smash" Report columns that documented Season One here.
(Kenneth Jones is managing editor of Playbill.com. Follow him on Twitter @PlaybillKenneth.)