Krysta Rodriguez Is Smash’s TV Holdover

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An initial advertisement for the Broadway run of Smash boasted, “If you were a fan of the TV show, this is exactly what you’ve been waiting for. And if you weren’t, we’ve made everything new.” While the stage production does draw on the music and basic concept from the beloved NBC series about the creation of the Marilyn Monroe musical Bombshell, it’s a whole different kind of production. The plot, characters, and even the genre have been significantly altered, which allows it to break free from the constraints of diehard fans’ expectations.

In this Broadway adaptation of the show “Smash”, Krysta Rodriguez is the sole carryover from the original series. She joined the cast during the second season in 2013, following her roles in Broadway productions like “Spring Awakening” and “The Addams Family”. On the series, she played Ana Vargas, Karen’s roommate and fellow “Hit List” co-star. The show was under intense scrutiny, making for a challenging experience. As Rodriguez puts it, “People were analyzing, criticizing, sometimes even bullying the show, and we had to be in the thick of it.” It wasn’t until after the show ended that she truly appreciated its devoted fanbase, which has endured ever since — even justifying a Broadway adaptation 12 years later. In this new version of “Smash”, Rodriguez transitions from “Hit List” to the “Bombshell” team. Notably, “Hit List” — a grittier counterpart to the more glamorous “Bombshell” — is absent in the stage show. Instead, Rodriguez portrays Tracy, one of “Bombshell’s” songwriters. This role is a new interpretation compared to the one Debra Messing played on the series, without the storylines of the botched adoption or affair with an actor, but there is one consistent detail: “I had to have a scarf!

How can this series effectively communicate its essence to dedicated “Smash” enthusiasts and those unfamiliar Broadway viewers who haven’t watched a single episode yet? How can we make it accessible for both groups?

Before we prepared for its debut, I almost felt that the show might be more well-received by those unacquainted with it. This is a new musical by Rick Elice and Bob Martin, directed by Susan Stroman, featuring music by Marc Shaiman and Scott Wittman. If it were billed under any other title, you’d be eager to attend. However, due to the show’s pre-existing name, Bombshell, everyone expects a certain TV series, which makes presenting Bombshell a risky move. Instead, it’s essential to offer something that piques their interest rather than attempting to meet expectations we might have for them. I believe the idea of presenting an expansive spin-off was brilliant. To explain it simply to fans of the original show, I call it a kind of Smash fan fiction. It features familiar characters in a somewhat similar world, but with a unique and different storyline.

Among a small group of individuals, including all the principal actors, you’re the one who has contributed to both the television series and stage productions of Smash. Does this dual experience offer you a special perspective or understanding of the world within Smash?

I’m quite familiar with the self-referential nature of the situation. Susan Stroman expressed her dislike for the term “meta” towards the end of rehearsals, saying, “I’ve never heard the word ‘meta’ before this, and I don’t ever want to hear the word ‘meta’ again.” During a period when things were becoming chaotic, as they often do – not quite as intense as our production – I noticed some new writers and thought, “Ah, you’re learning now that Smash is always self-referential.

Were you surprised when they first reached out to you about doing this production? 

As a fledgling film enthusiast who’s just found myself in the limelight, I can’t help but feel awestruck about how I got here. You see, I was once a greenhorn on the silver screen during the series era, so I’m incredibly thankful for the recognition I’ve received that has transformed me into the performer I am today. Debra Messing, much like an esteemed comedy sage, guided my comedic growth through the sacred scriptures of sitcoms, such as Will & Grace. To have had her as a mentor and then to step into the shoes she crafted for this iconic role—it’s nothing short of a dream come true.

At the initial rehearsal, Steven Spielberg made an appearance. We responded with a friendly “Hello!” It was quite exciting to have his endorsement. When Stroman came aboard, I was thrilled at the prospect of collaborating with her. Standing at five feet four inches tall, it’s not often I get to participate in Susan Stroman’s musical productions due to her preference for tall dancers. However, if I could be part of her creative process and engage in humor, antics, and slapstick, then I would be a content artist.

How do you look back at your experience making the TV show? 

As a dedicated cinephile, I can tell you that being part of it back then wasn’t an easy ride at all. We managed to strike a chord when numerous factors were aligning. The emergence of DVRs made rating calculations tricky, the rise of Twitter and live-tweeting, the trend of recaps – everything was fresh and uncharted territory. I still recall the premiere where someone tweeted something harsh about me, tagging me in it, leaving me puzzled and bewildered, thinking “Why would they do that?” It was all so perplexing. So, when we decided to wrap things up, people were left questioning, “Wait, what happened to my favorite show?” To which we responded with a shrug, “Well, didn’t you hate it?

It wasn’t until after the show (when I was performing First Date), that I went to the stage door and somebody told me, “We adored Smash!”, and I responded with surprise, “You did?”. This was the first time anyone had expressed such sentiment towards it. Although we were amidst the wave of negative feedback about it at the time, since that day, someone has always mentioned how much they enjoyed Smash.

I’ve heard that Kerry Butler was part of a workshop. Is it accurate that she had to take on both roles in the end?

Wow, absolutely incredible! Kerry Butler truly shines – she deserves to be our president. Due to Robyn Hurder’s COVID situation, Kerry stepped in at the last minute. To make things more challenging, the actress playing Karen was also absent, leaving Kerry to perform two roles without any prior rehearsal. In a remarkable display of talent, Kerry flawlessly switched between Ivy and Karen as if it were a one-woman show on the spot. I couldn’t help but think, “This is the show! Everything needs to change!” The idea that emerged was that Ivy might actually be insane, making it a solo performance. In a surprising twist, we would later discover that we were inside an asylum the entire time, with Susan the acting coach portraying the nurse, and Bellevue serving as our backdrop. I found myself swept up in this brilliant, unconventional moment. However, we ultimately decided to go in a different direction…

They can do that for the revival.

Rick Elice might have observed that while the TV series was dramatic, experiencing real-life hiccups during a performance can be surprisingly humorous. It’s nonsensical and absurd, just like Kerry Butler talking to herself during rehearsals – it wouldn’t work in a dramatic setting. Instead, if we present it comedically, it mirrors more accurately the process of putting together a show.

In the show, Julia’s scarves were a distinctive feature. Now, as you perform, you’re continuing this tradition. So, I’m curious to know, how did they decide for Tracy to wear scarves too?

As a movie critic, I’ll share my personal insights about the captivating use of scarves in the production. Initially, we didn’t delve much into the series lore, but the scarves garnered notoriety nonetheless. During our initial costume workshop, we opted for a single outfit, and I personally introduced a scarf to add a touch of charm.

During Broadway fittings, we pondered over the idea of incorporating multiple scarves as an efficient solution, and they proved invaluable. They served to conceal outfits beneath, were ideal for dramatic reveals, lent an air of sophistication, and simply fit seamlessly into our design vision. Even my formal attire at the climax features a stylish scarf. We’re reclaiming the negative connotations associated with the series through our clever utilization of this humble accessory.

Were you thrilled about the opportunity to play “Second Hand White Baby Grand” on stage, given its fresh and unique presentation?

Instead of focusing on grand statistics, what I adore is being the gentle introductory ballad of the performance. It seems as though this segment offers us an opportunity to develop our characters, while also giving the audience a chance to relax and fully immerse themselves in something soothing, rather than being bombarded with a lot of information, character introductions, and large figures. Therefore, I feel incredibly fortunate to be responsible for crafting this moment and leading the audience.

Apart from running your interior design business, you’ve previously designed dressing rooms for your “Smash” colleagues Jeremy Jordan and Megan Hilty. Could you share the source of your creativity when designing the space at the Imperial?

Drawing inspiration directly from Tracy, I strive to infuse as much personality as possible into my characters, though at times this proves tricky due to our styles sharing similarities yet remaining distinctly unique. My muse for Tracy echoes the iconic duo of Nancy Meyers and Meg Ryan, a time when payphones were still a fixture on the Upper West Side. I’ve aimed to create her study-cum-writing space with an abundance of soft hues and curved lines to reflect this nostalgic charm.

Can we expect to see you when Hit List inevitably comes to Broadway? 

I’ll arrive first at the venue. Around a decade back, we put on a small show at 54 Below. Since I believe we can’t perform “Hit List” anymore, it would be exciting to come up with an alternative performance instead.

A show about the making of Hit List?

Exactly. Hopefully everyone survives this time.

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2025-04-30 00:55