A "Smash"ing Rant.

I was ecstatic when I first heard about SMASH.  A TV show about Broadway that would actually be running on prime time TV?  Using REAL Broadway actors? Yes please!

Of course, I knew, this would be Broadway via Hollywood.  I knew it wouldn't be 100% accurate, but, hey...some things I can overlook. I mean, seriously, "Let's cast and start rehearsing for a show we only have a couple of songs for and only a very vague idea about the book."  This would NEVER happen. Other bloggers have already discussed this, and while it is annoying, in context of what this is, I can suspend my disbelief a bit.  Realistically, this is a show aimed at a primarily non-Broadway audience and we need to keep those who aren't "inside" interested.  Hopefully, the outcome is that it will interest someone who wasn't interested in it before to go see a show.

As an actress, however, I am really offended by the way Smash has perpetuated the "casting couch" myth.  Yes. MYTH.  I am not saying it never happens, but it really is pretty rare.  I have been auditioning for twenty years now (that's a freaky realization) and the only person who put out the "sleep with me if you want this" option was a record producer.  I was 18, desperate for my "break," and still had enough sense to turn him down.  And I didn't get the record deal.

What Smash presents us with is two actresses vying for the same role - a seasoned chorus girl ready to move into lead roles, and a wide-eyed new to the city girl from the Midwest.  Of these two girls, it's OBVIOUS - even to the most non-musical theatre person - that the chorus girl is the right choice to play Marylin Monroe.  Come on - she looks like Monroe without even trying and has the chops to back it up.  Midwest girl is talented, but looks kind of ridiculous trying to be Marylin Monroe and, frankly, just isn't quite "there" yet.

In the pilot episode, Mr Big Shot director invites naive Midwest girl to his apartment....at 10 o'clock at night...for a private audition.  I don't care HOW new you are to this, this SCREAMS red flag.  Midwest girl has a brief panic attack in director's bathroom, comes out in a man's dress shirt and, apparently, nothing else...does a Marilyn-esque "Happy Birthday," tells him "It's not going to happen," and leaves.  Good Midwest girl keeps her virtue.  And doesn't get the part.

Cut to episode two.  Now, I haven't actually seen it yet.  My DVR is being temperamental and didn't  record it, however, I immediately started looking online for what happened.  What happened is Miss Seasoned Chorus Girl DID sleep with Mr. Smarmy Director....and subsequently got the part.  Let's ignore the fact that she DESERVED the part in every way that matters.  The implication will always be that she got it because she schtupped the director.  THIS IS NOT OK.

I am disturbed that the creator of the series and writer of this episode - A WOMAN - felt  she had to go this way.  I don't understand why she felt this was the kind of drama/tension she needed/wanted to create.  I am offended as an actress.  What message is this sending to the girls with dreams of being in musical theatre? Yes, this is a crappy business and people get and lose parts for all kinds of ridiculous, non-talent related reasons.  Did we REALLY have to go the "sleeping with the director" route?

I really hope future episodes of Smash will downplay that this happened.  I really hope this does not become a large plot point - that Chorus Girl does not CONTINUE to sleep with Mr Smarmy Director and that Mr Smarmy Director does not use this as something to threaten Miss Seasoned Chorus Girl with losing the role.

Broadway and "The Dawg"

Last week, Betty Buckley called out American Idol and judge Randy Jackson on Twitter for the constant use of the term "Broadway" as a way of dismissing singers they don't care for .  I was thrilled someone so respected in the industry was finally speaking out against this and saying everything I have been saying since season one of American Idol.  Ms. Buckley's comments were taken seriously by Idol producer Nigel Lythgoe, who said he would "speak to Randy."

Apparently, Randy was spoken to, because he has responded.  Unfortunately, Mr. Jackson's response only reinforces his ignorance on the matter, and continues to anger me.  Mr. Jackson points out that this has been going on for all 11 seasons of American Idol.  Really?  So that makes it OK?  People have also been upset about it for 11 seasons.   Simon Cowell's constant use of "Broadway," "Musical Theatre," and "Cabaret" as an insult turned me off of Idol in the first season.  Betty Buckley is just the first well known person in the industry to be so vocal in speaking out about it.  Randy also played the "free speech" card.  Free speech has to do with your ability to speak out against the GOVERNMENT without fear of being prosecuted for it.  It does not cover making ignorant statements about performance.  Randy further went on to demonstrate he is still ignorant of both "Broadway singers" and how vibrato works.

Randy claims that  "A lot of people who sing broadway, do not have control of their vibrato, which does not easily lend itself to singing other styles of music."  Please clarify this statement, Mr Jackson.  Are you referring to people who come on AI and audition with Broadway?  Are you speaking of people who sing Broadway music for fun, who have little or no training, and no professional credits?  If this is the case, you may be right.  These people don't have the background and training to know how to control their vibrato.  In this case, it's fine and shouldn't even be taken into consideration or mentioned.  


IF, however, Mr Jackson, you are referring to trained professionals who have spent years studying voice, perfecting their craft, and who have worked or currently work on Broadway, you are completely WRONG.  There may be a few EXCEPTIONS to this RULE, but, by and large, someone with the background I have laid out here has FULL control of their vibrato and can utilize it in the manner most appropriate for whatever it is they are singing.

As an example: several years ago, I lost out on a role I worked VERY hard for.  Part of why I lost it was because I listened to my voice teacher and a very respected audition coach about how I should sing in my audition.  Almost every actress I have ever heard sing the role uses what, in my opinion, is too much vibrato.  Both of these people, however, told me to "straight tone" in my audition. While in my head I was screaming "YOU ARE SO WRONG!" I took their advice, adjusted what I was doing - adjusted how I used my vibrato - and sang that way in my audition.  The feedback from the casting director? "Personally, I prefer to hear more vibrato." 

Vibrato is ALWAYS present in the human voice to some degree.  How much, or how little vibrato is used (in a trained singer) is a CHOICE, and different people listening have their own preferences to what is "good."  Further, what is "good" changes depending on what is being sung.


I would also like know what Broadway shows Mr Jackson has seen where a singer has had "no control of their vibrato"?  I find it difficult to believe that someone with "no control" would be cast in a major production.  I have certainly heard plenty of singers in theatrical productions who I feel have too much vibrato, but never anyone who I felt had NO control of their vibrato - no control of their vibrato would mean no control of their breath support.


Is American Idol looking for "Broadway" singers?  No, they are looking for pop singers, and someone who comes in and does not have a "pop sound" does not fit the format of AI. Not having a pop sound is not just an issue of vibrato, either. They need to be told they aren't right for AI, not told they are "Broadway" - they may not be!  This use of "Broadway," "Musical Theatre," and "Cabaret" as an INSULT needs to STOP.