名声大噪第一季

'Smash' finale recap: Let Megan Hilty be your starMay 15, 2012 | 11:36 amJust before the last episode of the first season of “Smash” aired, show runner Theresa Rebeck announced that she would not be returning for Season 2. Instead, Josh Safran, a "Gossip Girl” producer, is coming in to, in the words of Tom (nee Christian Borle), “reboot” the entire show.Though this type of personnel change isn’t unheard of, it is rare for a major show to lose its captain this way, and one can only guess that Rebeck, a creature of the theater, decided that some of the magic that she was hoping to translate onto the screen was irretrievably lost and that she was better equipped to work on a smaller scale with the strong stuff, rather than the diluted version writ large. Or perhaps she just realized that the show, as it stands now, is massively flawed and that the energy it would take to right the ship wasn’t something she was willing to waste on Katharine McPhee’s mealy-mouthed line readings anymore. Or perhaps she was asked to gracefully exit to make room for a helmer who understands how to take the show’s potential and deliver something worthy.Because this show does have potential! When I watched the pilot back in January (doesn’t it feel like years ago?), I knew that this was a show that would live or die on the score. Marc Shaiman and Scott Wittman came out of the gate blazing, with numbers like “Let Me Be Your Star” and “The National Pasttime” that have held up throughout a season of listening to them -- at least as well as any Broadway soundtrack holds up. And with the exception of a miscalculated Ryan Tedder number and that bizarre turn to Bollywood, the show’s best element has always been its original music.Take the closing number from Monday night, “Don’t Forget Me,” a final energetic ballad that led into a “Let Me Be Your Star” reprise. Even though I was furious that it was McPhee singing it and not Megan Hilty -- but more on that in a bit -- the song moved me, and I thought it was a fitting way to end a musical about the life of Marilyn Monroe. She pleads for the audience to remember her good qualities, how hard she strived, and not how hard she suffered. She wants to be a legend. A tall order, but as Marilyn is the textbook definition of legend in our culture, it doesn’t feel stretched, and even the fade-in of a large projection of her face comes at just the right moment. It’s sappy and overstated, sure, but so is much of the best work on Broadway, and I know I would have applauded like mad for that finale had I been in the audience.So what we’re left with at the end of the first season -- and they haven’t even made it to Broadway yet, oy -- is that the show within a show works on some basic level. The thing that doesn’t work is the outer shell, the NBC show, and I think Rebeck saw the writing on the wall about that. But because NBC is pressing toward Broadway with this thing, they will have to figure out a way to make it better. And I think we all know that means not just handing over the reins to Karen.Here’s the thing: I see what they’re doing here. Karen is the more moldable, malleable, Norma-Jeanable option for the role; she is the pre-Marilyn Marilyn, prone to fits of shyness and doubt and occasional reveries of intense talent. But she’s also boring and stiff, and those are two things that Norma Jean never was.I understand why Derek is seeing her strange ghost wander around the halls like a specter from his own personal version of “Scrooge.” His vision of Marilyn is that of an innocent, a child, a ball of beautiful clay that men shape. And while it's problematic that the director of “Bombshell” has a misogynistic skew on the whole story, it does fit right into Derek’s persona. He likes his women to be little girls, delicate flowers, requiring his attention. It’s worth noting that when he was the sweetest to Ivy, she was at her lowest point, abusing drugs and getting kicked off stages. He wants to be the big daddy in the room, and Karen is a canvas on which he can paint that fantasy, down to her backstage melt-down. He has to coax the performance out of her as if she’s a baby bird, rubbing her curves and telling her that she’s a star, that he loves her. There were many men that treated Marilyn this way, and it possibly killed her. Which is to say, Derek has chosen Karen for now, so that he can treat her and mold her however he likes. I’m just not sure that it won’t kill her in Season 2. Just wait until she sleeps with him and he loses interest (and he will).It wouldn’t be such a problem that Derek went with Karen as the big choice if the show didn’t have such a captivating starlet in Hilty. McPhee did a serviceable job on that last number, but I kept thinking that Ivy would have brought something else to the song entirely. Karen’s “Don’t Forget Me” felt like a pleading, a wish. I bet Ivy’s would have felt like a command. The show is so miscast, in that Hilty is clearly a Broadway performer with the chops for that kind of theater, and McPhee is more of a pop star who somehow keeps beating out the Broadway performer -- it doesn’t make logical sense. We are all supposed to suspend our logic and go with the idea that Karen’s the raw talent who is secretly a genius, but I don’t know why they keep pushing that narrative when clearly it isn’t true.Hilty is the real genius in the Marilyn role -- even Anjelica Huston knows that, even if she couldn’t sway Derek -- and if I were here, I would be contemplating the fistful of pills as well. The show wants us to care about Karen and to despise Ivy, who sleeps with other people’s boyfriends and tries to sabotage everything. But the best person in real life is not always the best person for the job, especially when it comes to show business. I hope that next season they let Ivy redeem herself and take her place. Bernadette Peters needs something else to do besides look devastated.Borle told the L.A. Times that next season will focus more on the nuts and bolts aspects of putting on a Broadway show, and less on the soapy drama, to which I say (like Sam) hallelujah! My favorite little bits of this episode were Julia and Tom trying to hammer out orchestrations and the stage manager trying to keep everyone happy during a crash run-through. I’d gladly take more of the technical behind-the-scenes sausage, which the pilot was so good at portraying with auditions rather than plot lines involving Dev or Michael Swift. I can’t even get up the energy to worry about the fate of Karen and Dev. She’s a star now, so I’m assuming that relationship is going to fizzle under her spotlight. As for Michael Swift, he may have impregnated Jules, but that doesn’t make him less creepy or predatory. All he has done is thwart their Chinese baby plans.The only side character who remains compelling at the end is Ellis, who threatens to enact revenge on “Bombshell” while wearing a red devil suit. His little speech to Eileen about doing what needed to be done (a.k.a. nearly murdering a movie star) and how near-murderers never get coffee for anyone was preposterous, and he deserved to be fired. But part of me thinks that in 15 years, Ellis is going to be one of Broadway’s most successful producers. He is not afraid to get his hands dirty with peanut shavings or possibly blood, and showbiz tends to reward insane ruthlessness. I hope the second season explores this dark patch instead of just making him the villain. Ambition does have its place on Broadway, and I’m interested to see where Ellis lands once he learns to harness his.And that’s all she wrote, folks. See you next year, when we hit the Broadway stage. Will Karen even do a hip thrust that doesn’t make her look like a fembot? Will Ivy channel Marilyn even more than she already does with an overdose? Will Nick Jonas give back the Degas? Will Ellis burn down a theater while he stands there cackling? Will Anjelica Huston ever sing again? And how long can Julia hide her belly beneath her flowy Eileen Fisher garb? All will be revealed soon. Until then, don’t forget Marilyn, or she will haunt you.The Songs!“Mr and Mrs Smith” 2 out of 5 Jazz Hands. Karen has about as much chemistry with Michael Swift as Julia has with her own husband. Not a great start to her star turn.“Howl” 3 out of 5 Jazz Hands. I really love this song and the jingoistic USO choreography, but I don’t love Karen in it. Ivy standing backstage imagining her own rendition (P.S. “Smash,” please stop with all the flashbacks in Season 2 -- it’s like shaking your own hand) doesn’t help Karen any, as she was so clearly better, effortless and charming at it. Karen gets through the number, but I am not seeing this extra spark that Derek tells Ivy about. She looks mechanical and scared.“Don’t Forget Me” 4.5 out of 5 Jazz Hands. And then she brings it home, and it’s magical. This is one of Tom and Julia’s best songs yet. Maybe they should always cram in a new ending on the day of the show to keep things fresh. I wasn’t feeling Karen’s tragic sexuality in her suicide scene, but her begging not to be forgotten in this number made me forget how much better Ivy would have been and just focus on McPhee in the role. Because we are stuck with Karen as Marilyn going into Season 2 -- at least for a little while -- any number that makes her more likable is a good thing.http://latimesblogs.latimes.com/showtracker/2012/05/smash-finale-recap.html

很多人说Smash比Glee强？

可笑，强在哪里了？

就因为唱的是百老汇？

根本是画虎不成反类犬。

两部剧都在追，遇到同一首歌的演绎，自然就拿来比较比较。

第一集结尾女主就唱了一首beautiful，正好和Glee里面的胖妞唱过的同一首。

Katherine McPhee在唱功技巧上，似乎要远远胜于胖妞，可是，她感动不了人，她唱歌没有灵魂，唱不到人的心里。

两个视频对比了很久，最后居然觉得，那个胖胖的黑妹比美艳的KM更加的beautiful。

第六集的Shake it Out，先听的KM的，还是觉得非常的华丽，可是根本比不上原唱。

然后听了Glee版本几个小妮子的，却被感动了，也许是剧情，也许是演绎，她们的歌声里有真，KM没有。

但是歌曲的真谛在于能感动人？

不是吗？

Smash里的另一个明星IVY，老实说，不喜欢她的长相，不喜欢她戏里的为人，但是她唱歌是有一份真诚,Katherine McPhee没有，她有无穷的天赋和技巧，但是她没有灵魂，华丽一过，只留满目苍夷。

History is Made At Night历史夜晚酝酿Song by Smash Cast译：大梦斋主人(可以直接按中文词来唱哦)女：Put down the playbook 剧本放一放cuz the things I want to show you cant be written down我把不能上映的戏给你讲一讲Let my lips do the teaching用双唇带你起航男：Turn of the camera把镜头关上kick your shoes off for this scene you should be sitting down这场戏你要把所有束缚都松绑yes sitting close enough for reaching哦，近一些靠着我肩膀女：Turn down the lamp灯光太亮for the last page has been turned剧本到此该合上男：when the dawns breaking through直到日出东方女：we can stop and review我们停下回想合：all the lessons you have learned黑暗是我们的课堂Cuz history is made at night历史在夜晚酝酿so close the books turn off the light抛下书本关掉电灯and listen去飞翔let my heart be the teacher心合一就是方向no one here to disapprove没谁可以乱吵嚷as we review the lessons you've been missing不曾学的知识今晚都补上let the moon be our only light现在我们只有月光cuz history is made at night因为历史夜晚酝酿男：I see the questions我看到疑惑burning in your eyes or is it just reflections在你眼底闪烁或只是在反射of the stars high above you一天璀璨的星火女：I'm just a student我有些困惑and i hope you wont be shy please make corrections你千万不要害羞告诉我怎么做yeah on the sweetest way to love you要如何爱你才是挥霍男：Come whisper close轻声诉说tell me just when to say when要把时间告诉我女：Then we'll sleep through the day最好白天睡过男：Then whenever you say月亮升太阳落合：Thats when school begins again我们开始新的一课Cuz history is made at night历史在夜晚酝酿so close the books turn off the light抛下书本关掉电灯and listen去飞翔let my heart be the teacher心合一就是方向no one here to disapprove没谁可以乱吵嚷as we review the lessons you've been missing不曾学的知识今晚都补上let the moon be our only light现在我们只有月光cuz history is made at night因为历史夜晚酝酿女：Come hereOh, oh, yeah, someday they'll write lots of books about our fame and gloryCome here有一天，人们会拼命书写我们今天的荣光男：but if all their reports are just movies and sports但是电影和棒球根本不能描写我合：They'll be missing the whole story们相恋的模样Cuz history is made at night历史在夜晚酝酿so close the books turn off the light抛下书本关掉电灯and listen去飞翔let my heart be the teacher心合一就是方向no one here to disapprove没谁可以乱吵嚷as we review the lessons you've been missing不曾学的知识今晚都补上let the moon be our only light现在我们只有月光cuz history is made at night因为历史夜晚酝酿yes our history was made at night...........我们的历史今夜酝酿

从海报的女主角感和人物的设定——karen从小地方来到大都市什么的 参加同学会婴儿洗礼什么的唱red neck woman，就是要体现出这个女主的纯洁质朴。

那当然就要体现这种质朴纯真，方式很简单——让她被邪恶的二号女主角坑，反复被其他人践踏几遍。

奇怪的事情就在这里，我一点都不同情她的所谓的痛苦——因为让我们现实点，那真的不算什么。

ivy的设定就更是奇葩，你要捧女主你干吗前面一直铺垫二号女主的美艳不可方物和奋斗啊，还加强心理戏，体现ivy的脆弱和没有安全感，还一直让ivy出来表现唱功，甚至还找来大咖演她吹毛求疵的妈，任何人，任何人如果不同情不为这姑娘感动那简直是不可能的。

女主角简直气场太弱了，以至于好几次我一看她出来都楞一下，哎呀，怎么把她忘了，干什么去了这女的又。

一点不让人想念的一人，一集不出来都没人注意。

还要就是我觉得导演什么的也发现这女的不行，你看ivy和各种高手对唱过多少遍，karen就不行，一方面是角色设定，另一方面，可能真的能力也不行。

哪有这么捧人的啊 还搞出一个不会唱的大明星，简直像是一个大大的比喻啊 大家看啊 这就是karen的现实版啊——虽然她没有那么大牌女主是一个没有和导演上床却让非常像是潜规则上位的人太令人崩溃的剧情设定了 只听歌不看剧

很喜欢的一集，生活在父母的阴影下的孩子要怎么健康成长的确是个大问题，IVY真心表现不错～～～那个MICHAEL可以滚了～～～

好吧，KAREN你在编剧之手的强推下，勉强算是赢了吧，但这样的表演真的毫无说服力啊～～～SMASH绝对绝对算不上是这个档期最出色的新片，但它绝对是我本季最喜欢的新片。

随着一部歌舞片的沉浮刻画了各个不同人的千姿百态，里面的歌更是好听到爆啊！！！！

这集是开播以来我唯一有些失望的一集。

那个MICHAEL前两集还在和妻子孩子其乐融融，到这集又和老情人勾搭上了？

转变也太快了吧～～不过还是很喜欢IVY，梅根·希尔提把这么个外表坚强，内心脆弱的角色表现得很不错。

看着她，真的有在看当年玛丽莲梦露的经历的感觉～

从女猪被赶到配角，凯瑟琳·麦菲还真冤枉。

总体上，本剧依然是一个癞蛤蟆吃到天鹅肉的故事，所以编剧一方面要表现KAREN乡村女孩的纯洁特质，另一方面又要营造出她的成功是顺理成章的，这实在是太难了。

更何况凯瑟琳的外形和玛丽莲根本完全不搭调啊！

搞到最后，根本就没给她留下什么发挥空间。

要说黛博拉·梅辛果然了得，无论从海报还是从开头的故事来看，她都是实打实的配角，但最后NBC竟然报了她女主角的提名～～尽管说有《威尔和格蕾丝》的光环在，但她的表演还是值得肯定的，把一个内心有些挣扎，也有些软弱的作词者演得很好。

从E15看，难道她怀上迈克尔的孩子了？？？

终于有这么个剧出现了，看得多年潜水的我也忍不住出来冒个泡每条叙事线都挺对我胃口的Julia仍依稀带着grace的影子和Tom也太有爱了(话说他真是直的？

),和Michael的火花四溅，一向有点老大叔范儿的好老公得知真相后也爆发得巨man哪。。。

还是很希望这个有爱的家庭持续下去。。