Yum yum Phillip Spaeth is on the show isn't he? I thought he was the one (Dennis) who Borle's character couldn't remember. He's yummy.
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)
I can't decide if I hate Ellis because he is badly written or badly acted by Jaime Cepero...probably both. Either way, he could go away and I would not be sad. There are other ways they could work in an Eve Harrington type subplot. Unfortunately, he will have to be endured since the season is close to wrapping.
“And, basically, what’s interesting about Debra Messing’s character is that she, basically, has two husbands that she has to juggle: her work husband and her husband at home. It does take a toll.”
So it's WILL & GRACE?
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
the Brit dir/choreo (who could THAT be?) refers to one baseball player as "Manuel" who is actually played by Manuel Santos of the WSS revival (alongside Curtis H). Actual SMASH choreo Bergasse, if i'm not mistaken, is the one who did the GAP television ad that used WSS choreography and often has recreated such for the aged Alan Johnson (tours and on the road). Though without checking i think the B'way WSS revival was possibly Joey McNeeley (i know he has had his own version of the classic choreography out on the road here and possibly Europe, and/or US regionals). The "forgotten by the composer" chorus boy is identified in another SMASH thread on the Off Topic board, but i forget who the ID was. Or if it was accurate.
Will: They don't give out awards for helping people be gay... unless you count the Tonys.
"I guarantee that we'll have tough
times. I guarantee that at some point
one or both of us will want to get out.
But I also guarantee that if I don't
ask you to be mine, I'll regret it for
the rest of my life..."
can't find that thread mention now (it may have been within the linked "recap" column)....but some IMDBing suggests the Forgotten Name Chorus Boy might be Wesley Taylor of ADDAMS FAMILY and TALES OF THE CITY...but i could be wrong. It wasn't someone i recognized by sight or was familiar with via his credits...and also dunno if he was in the baseball number or "just" Ivy's Bway show.
Will: They don't give out awards for helping people be gay... unless you count the Tonys.
"I guarantee that we'll have tough
times. I guarantee that at some point
one or both of us will want to get out.
But I also guarantee that if I don't
ask you to be mine, I'll regret it for
the rest of my life..."
^The one could moment in a horrible cliche-ridden second episode. From the standing up the boyfriend at his big work dinner to Ivy's catty comment to Karen about her scarf to the adoption delays and a housespouse (at least this time its a househusband but it's still a cliche) wanting to go back to work.... this is really going downhill fast. Paradoxically, Marilyn: The Musical actually seems more interesting this week than it did last week, but Smash is turning in to a real bore. And now I think the director is about to hit on Ivy.... who would have seen that one coming.... ? oh, they're in bed! great!
Phillip Spaeth is the forgotten name chorus boy. Yum yum.
I do love the music though. Very well written. Not that sold on the show as a whole, but it keeps me watching.
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)
Snooze-fest of a Second episode. First 30 minutes are dreary, just waiting for something to happen. How much more can we take of doe-eyed McPhee standing in a spot singing with no emotion? Finally, at the 45 minute mark we get the "Musical Production Number" of the episode. A cliched, jazz dance class inspired foxtrot, with dancer Spencer Liff stealing the spotlight right from under the star ! Rule one, never put a fantastic dancer with charisma to spare, next to a not so great star in the making.
I can't imagine middle America staying with this series at all. The drama is just not that interesting or intriguing.