Shocker — Broadway musical based on old flop TV show is terrible

“Let’s Be Bad” is a song from Broadway musical “Smash.”

It is also the motto of production.

The total absence of taste begins before you even the theater, with the title stamped on the tent.

The last time I checked, the NBC television series that inspired the Rancid Show that opened Thursday night at the Imperial was canceled after two seasons because the critics and the public abandoned it correctly.

Calling the Culty program would be generous. “Smash” is accredited by some with the popularization of the term “hate observation.”

Now, twelve years later, much of the creative team of the drama behind the stage has doubled its failure and has produced something much, much worse.

It is difficult to judge whose decisions are more wrong: those of the extravagant and extravagant creators of “Bombshell”, the fictitious musical comedy that we see implosing, or the very real minds (Robert Greenblatt, Steven Spevenberberberberberberber

For the few who saw him in NBC, and for the same they remember any detail, only two characters return, and with completely different and more silly stories: Ivy Lynn (Robyn Hurder) and Karen (Caroline Bowman).

Ivy, played on Megan Hilty’s television, is an established Broadway star that is a turn in Marilyn’s role in a bubbling comedy about the star “Aye like it hot” called “Bombshell”. Do you know, the celebrity that endured abusive relations and died tragically or anloverning at 36 years? See above: Total absence of flavor.

Karen, Katharine McPhee in the tube, is a well -labeled and well -related substitute. She is also married to the actor playing Joe Dimaggio (Casey Garvin), but that is barely mentioned.

From there, every new idea in Bob Martin’s book should have been wrinkled and thrown on his shoulder.

IVY hires a cool acting coach named Susan (Kristine Nielsen), who dresses as “Young Frankenstein”, and feeds her pills to completely put it in the character. Learningly, Ivy begins to believe that Marilyn is really and becomes a drugged terror.

From stress, Jerry (John Behlmann), one of the co-writers of husband and wife of the musical, develops alcoholism. Three bottles fall from their jacket. Hilarious!

The pompous Nigel director (Brooks Ashmanskas, who gives the same performance and repetition performance that he always has) begins to be spooky on a choir boy and in the end, the program decides that it is very sweet.

Then, the second act goes from doubtful to meaning. An accumulation of increasingly ridiculous complications and simulated deviations makes the audience silently questions the old inspiring creed “the program must continue.”

Like Stroman’s address, threshing as always, and yes, the score.

The songs of the “Hairspray” Duo Marc Shaiman and Scott Wittman of the television series, except for the exciting “Let Me Be Your Star”, all sound like “Boogie Woogie Bugle Boy” when it is presented consecutively instead of a season of duration. And are mostly sung in a stripped trial room.

Music is repetitive and not exciting, like the choreography of Joshua Bergasse, which is Neith, fun or fun.

In the same undecided way, “Smash” is in the fence as to whether “Bombshell” is a good or bad musical. That should have been the action item n. ° 1.

For example, in the brilliant farce behind the “noise” stage, the game game, “Nothing on” is terrible. That is part of the joke. The same with “Springtime for Hitler” in “The producers”.

“Bombshell”, however, appears as, I don’t know, mediocre? It is implicit that the duo Jerry and his wife Tracy (Krysta Rodríguez) are failed factories that felt the melodies of their old forgotten shows, such as “the accidental rabbi.”

But the only reason “Smash” is on Broadway at this time is because the songs of Shaiman and Wittman of the series still have fans.

Why, then, are the fictitious composers as unreliable hacks in which no one seems to believe? It makes no sense. Nothing does it.

“Let me be your star” could be the productions of another motto. Each lower character competes aggressively for our attention: a severe producer (Jacqueline B. Arnold), an assistant of Gen Z (Nicholas Matos) and an associated choreographer overlooked (Bella Coppola), among others.

The root public for a person for about two minutes, and then frowns again.

And nothing speaks more about the remains than the fact that the villains are a acting teacher and Tiktok.

All night, no one, including Hurder and Bowman, stands out. They are not allowed. And the musical is not really a tight piece. The messy material forces the cast to mix in a banal, talented stain although they are.

“Smash” begins with Marilyn’s lyrics: “Divide a girl.”

By Curtain Call, it sounds more like “Fade out on a show.”