explosive finale to the first episode.
"By season's end, we're going to have at least 15 songs," Meron says, "and if we really like how the 'Marilyn' musical is turning out, we might actually put it on Broadway. Why not?"
Zadan (whose many credits with Meron include the musical films "Hairspray" and "Chicago" and the Lifetime series "Drop Dead Diva") is talking with a reporter at "Smash" production headquarters in a converted factory in Brooklyn's Greenpoint neighbourhood. He is in the rehearsal studio, which is both a set for the show and the actual rehearsal space where "Smash" dance numbers are created by the series' choreographer, Josh Bergasse. (As often happens with "Smash," reality and make believe are intertwined.)
executive producers. "We also have adoption, divorce, infidelity and disapproving parents from the Midwest in our story lines. We've put in as many human, universal qualities as we can: It's a story about wish fulfilment."
On "Smash," she finally has a taste of that professional world: "I got to sing a song my character wrote, and it was thrilling and terrifying, especially considering the company I'm keeping with this cast. But when he jumped to NBC as its chairman last January, he wasn't about to leave "Smash" behind.
"There was something about her how much she wanted to love and be loved," says Debra Messing, who plays the lyricist, getting all dreamy eyed as she imagines the project's possibilities.
As a youngster, Messing, best known for the long running comedy "Will Grace," had her own dreams of being a Broadway musical star. She remembers seeing "Annie" when she was 8 "and wanting to jump on stage and be in 'It's the Hard Knock Life' with all the other girls." Then she sang in high school musicals.
Greenblatt unveiled the finished product at a gala premiere party last week at New York's Metropolitan Museum of Art. There, in a refreshingly unguarded moment, he told the gathered what "Smash" means to him and the rest of the team: "You work hard on every single show, but your heart isn't always in Nike Pullover Windbreaker it. Well, with 'Smash,' everyone's heart is in it."
What "Smash" won't be, he quickly adds, is a sort of "Glee" for adults, as some viewers may have assumed.
"I hate the theatre, I really do," says Julia's schoolteacher husband (Brian d'Arcy James) when he learns she has broken her promise to take some time off for the family, and instead has plunged into the Marilyn project.
"Sometimes you have a series that you wish to be on cable, because you want the edge," he says. "But this is a universal appeal show, and really works better on a network than on cable."
"Their day job happens to be putting together a show, but their lives aren't really about that," says Craig Zadan, who, with partner Neil Meron, is among the many "Smash" Nike Jacket With Hood For Women
Meanwhile, this new NBC musical drama puts a bright, sexy sheen on one of filmdom's most timeless tropes: Hey, kids, let's put on a show! Which "Smash" does, introducing as many as three songs per episode embedded in the TV drama's narrative. EST, "Smash" tracks the genesis of a Broadway musical from multiple perspectives, including those of composer and lyricist, producer and director choreographer, and the two rival actresses competing for its title role: Marilyn Monroe.
"We don't think that it's anything like 'Glee,"' Meron declares. "But we thank God for 'Glee,' because it got viewers used to watching people sing on TV dramas."
And yet they can't resist giving Marilyn another chance.
'Smash' blends drama with original songs
Greenblatt's arrival with "Smash" at NBC pleased Zadan.
"The goal would be to have a Broadway show created every season, and have our characters involved with creating each of them," he says.
Of course, it's Greenblatt's best shot at redeeming his first year at NBC, which remains in the ratings cellar after a slate of lacklustre fall premieres. There's no mystery why NBC is hyping "Smash" like mad.
Rest assured, no one solves a crime or diagnoses a disease. Even so, Meron suggests that "Smash" could still be called a procedural.
In the large "Smash" ensemble, Messing plays perhaps the series' central character in Julia, who is torn between her happy domestic life with a loving husband and son, and the addictive, all consuming demands of the musical.
Presumably, this attempt would go better than the first shot, "Marilyn: An American Fable," which opened in 1983 and ran for 17 performances. "A huge flop!" composer Tom Levitt (Christian Borle) and Nike Hoodie Model
Her early vision of Marilyn is soon turned into a number called "Let Me Be Your Star" ("To do what she can/ For the love of one man/ And for millions who love from afar"), with both would be Marilyns performing it in an Nike Tracksuit Online
his collaborator Julia Houston (Messing) say in unison.
One big difference: While "Glee" does covers of popular songs, "Smash" will introduce and compile original songs (splendidly conceived by Marc Shaiman and Scott Wittman of "Hairspray") for the "Marilyn the Musical" show within a show. Then, possibly, that pretend musical might be mounted for real.
NEW YORK As TV series go, "Smash" does a smashing job of abstaining from the usual: no courtrooms, no operating rooms, no interrogation rooms.
But "Smash" is no more single minded about charting a Broadway show's long journey from raw concept to opening night than "The West Wing" was about obsessing over how a bill wends its way from Congress to the president's desk.
"This," says Zadan, "is a Cinderella story." But just who will be crowned, launched from unknown status to Broadway royalty, remains in flux the first season, as the characters Ivy (played by Megan Hilty) and Karen (played by Katharine McPhee) go head to head for the Marilyn role, their prospects alternately rising and falling. Week after week, viewers will surely be rooting for their favourite, as if this were a scripted version of "American Idol" (on which McPhee, of course, was runner up in 2006).
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