Smash

New season, more promise. Good start. But seriously? Fewer plot-lines would be even better.

In total, the changes have led to a show that is much better, and is on much more solid footing, than it once was.

A partially successful reboot, with less music, more story.

The inevitable and believable intersection of "old" and "new" musical theater adds real life and renewed potential to Smash.

Like the Marilyn Monroe musical it's trying to mount, the drama treads familiar ground in a quirky, high-stepping way that you can't resist watching.

If what you want from Smash is what the pilot promised--a consistent, network-TV equivalent of mainstream Broadway--season 2 takes the first steps toward being that. The story feels better focused and, with help now from new cast member Jennifer Hudson, the show’s musical moments can deliver the passion and concentrated dream-power the scripts haven’t.

Smash introduces its winsome ingénue Karen (Katharine McPhee) to a headstrong young songwriter with hip Rent ambitions (rising star Jeremy Jordan, who headlined two real Broadway musicals last year). This subplot, like much of Smash, is cheesy and corny, but works when the impassioned singing starts. Which, for a musical drama about musicals, is what matters most.

Judging by three episodes sent for review, the[se] course corrections work.

Maybe this will all become coherent. But then maybe it shouldn't. Sometimes messy is better.

Until, and unless, all the elements fall into place, it's more smush than smash. [18 Feb 2013, p.41]