Smash

by Bob Martin, Rick Elice, Marc Shaiman, and Scott Wittman

The Imperial Theater

Directed by Susan Stroman,  Choreographed  by Josh Bergasse

Costumes by Alejo Vietti, Lighting by Ken Billington, Sound byBrian Ronan, Projections by S. Katy Tucker

2025

Katy Webber, Robyn Hurder, Casey Garvin, & company. photo: Susan Stroman

Krysta Rodriguez, Nicholas Matos, Bella Coppola, John Behlmann, Brooks Ashmanskas, Jacqueline B. Arnold, Kristine Nielsen, Megan Kane, Robyn Hurder, & company.

Robyn Hurder & Brooks Ashmanskas.

Robyn Hurder, Krysta Rodriguez, & John Behlmann.

Megan Kane, Deanna Cudjoe, Sarah Bowden, Nicholas Matos, Jacqueline Arnold, Krysta Rodriguez, John Behlmann, Brooks Ashmanskas, Merritt Janes, Jake Trammel, & J Savage.

Robyn Hurder.

Nicholas Matos,  Bella Coppola,  Krysta Rodriguez, Brooks Ashmanskas, John Behlmann, Megan Kane, Jacqueline B. Arnold, CaseyGarvin, & Caroline Bowman.

.Krysta Rodriguez, Brooks Ashmanskas, Nicholas Matos, & Jacqueline B. Arnold. photo: Paul Kolnik.

Robyn Hurder & company. photo: Paul Kolnik.

Robyn Hurder & company. photo: Paul Kolnik.

Megan Kane, Daniel Gaymon, Wendi Bergamini, John Behlmann, McGee Maddox, Deanna Cudjoe, Jake Trammel,  Bella Coppola, Caroline Bowman, & company.

Krysta Rodrieguez, John Behlmann, & Sarah Bowden.

J Savage, Casey Garvin, Jake Trammel, Robyn Hurder, Daniel Gaymon, McGee Maddox, & David Paul Kidder.

Robyn Hurder,  Brooks Ashmanskas, Jacqueline B. Arnold, Nicholas Matos, & Kristine Nielsen.

Robyn Hurder

“Beowulf Boritt and S. Katy Tucker’s sleek stage design blends practical sets with large-scale projections, allowing the action to move seamlessly between Bombshell’s big production numbers and the rehearsal studio.” ~ Kristen Baldwin, Entertainment Weekly

“Staging by Stroman, making a return to “Producers” form. It’s Nigel who says to the cast of “Bombshell,” “Pace is very important.” Her speed keeps the plot aloft and, yes, covers some occasional thinness, in the manner of a comedy comb-over. Beowulf Boritt’s unfussy set design shifts locations just as quickly, from rehearsal studio, where the ensemble performs Bergasse’s athletic dances, to piano bar, where exhausted yet still ferociously catty production meetings collapse in alcohol-fueled acrimony.”  ~Jesse Green, The New York Times

“Scenic designer Beowulf Boritt does his usual stellar work.” ~Greg Evans, Deadline

“They clearly spent a ton of money on Beowulf Boritt’s fully realized sets (he uses video screens only when dramatically necessary, bless him).” ~Jackson McHenry , Vulture

“Beowulf Boritt’s set offers an uncanny mirror of the theater world, with the creative team conspiring at a piano bar that looks a lot like Sardi’s, walls adorned with caricatures of

legends like Bernadette Peters and Audra McDonald.” ~Meg Masseron, Theatermania

“To see them each work their best on Beowulf Boritt’s multiple realistic sets, easy on projections – a contemporary miracle, though those present, by S Katy Tucker, are nicely rendered – is a treat.” ~Juan A. Ramirez, Theaterly

“Smash’s design elements live up to its fictional counterpart’s $20 million capitalization, with so many details you wish you had a set of opera glasses to inspect Beowulf Boritt’s scenic design further. “ ~Matthew Wexler, 1 Minute Critic

“Indeed, the whole physical production is impressive, and looks like it cost a fortune — from Beowulf Boritt’s multi-locale set design to Ken Billington’s lighting to Alejo Vietti’s glitter-forward costumes.” ~Thom Geier, Culture Sauce

“Against fully stocked sets by Beowulf Boritt.” ~Adrian Horton, The Guardian