In honor of the cast reunion tonight, we ranked all 22 songs from Smash's 'Bombshell'
, Marilyn Monroe gets many opportunities to perform lighthearted, jazzy numbers as she finds herself in the company of specific kinds of men. By the time we get to “Dig Deep,” it’s a process we’ve become all-too familiar with, and this number about the blonde bombshell embracing her inner actor just doesn’t quite cut it.
The alleged affair between Marilyn Monroe and President John F. Kennedy has long been subject to the celebrity rumor mill.take on the tryst is markedly creepy, with JFK relentlessly seducing her with a Sinatra-esque slow jazz tune — and it makes for an uncomfortable number to both watch and listen to.Bombshell, simply showing a group of young actresses willing to “do whatever it takes” to make it into Hollywood. Especially in the #MeToo era, this number doesn’t age particularly well, even if the singing and music still do worm their way into your head.As touching as this final mother-daughter duet is, “Hang the Moon” feels like an afterthought — a song tacked on toward the end of this show to tie a bow around the fraught relationship between Marilyn and her mother. Bernadette Peters and Megan Hilty sound great, but the number itself is a bit of fat that probably needs to be trimmed.While this lovely duet between Will Chase and Megan Hilty is utterly charming, its schmaltzy score and not-quite-a-ballad tempo don’t seem to fit into the rest ofsoundtrack. Still, “Mr. & Mrs. Smith” serves as an adorable love song, allowing for both stars to show off their more tender sides.Bombshell’s first act, as Marilyn moves on from her divorce from Joe DiMaggio. Unfortunately, thanks to some earlier, more show-stopping numbers, it falls just short of satisfying the audience’s need for a big finish.There’s something very appealing about listening to Christian Borle deliver this hilarious patter as Tinseltown legend Daryll Zanuck, shooting down his yes men at every given opportunity. While we would have loved to hear more singing from Borle in this show, “Don’t Say Yes” certainly gives him, and the audience, plenty to love.Will Chase puts so much emotion into his performance as Joe DiMaggio, all of which comes bursting out in the breakup song to end all breakup songs. Chase’s frenetic vocals manage to briefly turn you against our protagonist in the best way possible., “Public Relations” contains some of the show’s best songwriting courtesy of Marc Shaiman and Scott Wittman. With clever euphemisms and more than one twisted turn of phrase, along with an extremely catchy big band score, this tune about Monroe’s complex relationship with the press stands out.Bernadette Peters is an icon, and her appearance on “At Your Feet” makes you see why — even in a song about a mother abandoning her child Grauman’s Chinese Theatre, she still manages to charm you with her stunning performance.“Never Give All the Heart” is one of the best uses of McPhee’s delicate vocals throughout the entirety ofas a fragile Norma Jeane Mortenson displays her intellect, before making her transformation into Marilyn Monroe. McPhee’s rendition of the song is filled with complex emotion, and is certainly one of her best performances in all ofWhile"I Never Met a Wolf Who Didn't Love to Howl" doesn’t quite live up to some of the other dance numbers in the show, it certainly still has plenty to offer — Hilty exudes pure sex appeal as her Marilyn entrances some lucky soldiers., Marilyn gets quite a few opportunities to bring the house down with big-budget performance numbers. But “Second Hand White Baby Grand” sees Megan Hilty’s Marilyn delivering her best ballad. There’s no doubt that by the end of this number, you’ll be wiping some misty tears away.Three words: Leslie Odom, Jr. Before his star-making turn as the original Aaron Burr in, the Broadway actor made for an exemplary Nat King Cole in this big band jazz number. Sure, it may not be essential to the story of7."The National Pastime"at its most fun — the lyrics may not break new ground in terms of character development, but the use of baseball as a euphemism makes it endlessly enjoyable, as does Hilty’s best Monroe impression on the show’s soundtrack.Who doesn’t love a good doo-wop number? “History Is Made At Night” manages to offer a tender look at the relationship between Marillyn Monroe and Joe DiMaggio, while also embracing the bouncy, flirtatious nature of5."Don't Forget Me", then “Don’t Forget Me” is the perfect way to close it. McPhee’s breathy, subtle vocals underscore the raw emotion of a song where Marilyn sings from beyond the grave. As the song grows, so does McPhee’s performance, as she lets out one final belt to close out an excellent number.Not only is the concept behind “The 20th Century Fox Mambo” cleverly executed, but in the first season of, it gave fans of Katharine McPhee’s Karen Cartwright something to rally behind. The singer not only breaks through with her pitch-perfect vocals, but shows off some of her best dance skills as Norma Jean Mortenson makes her final transformation into Marilyn Monroe — quite literally before our eyes.Bombshell doesn’t rely on a big dance number, a massive ensemble or anything else but the smooth, sultry voice of Megan Hilty. The lyrics see Marilyn contending with the cruel double standards of society, as Hilty belts out some truly stratospheric notes to make sure her point is heard.has more than its fair share of show-stopping numbers, but no other song does it quite as spectacularly as “Let’s Be Bad.” Megan Hilty’s voice shines on this 1920s-themed romp, as she shows Monroe slowly spiraling downward during the filming of. Combine that with a score that won’t stop ratcheting up and some awe-inspiring, Emmy-winning choreography, and you get a song that leaves you breathless.There is perhaps no greater tradition in musical theatre than the “I Want” song — you meet your protagonist for the first time and they, in turn, profess their deepest desire, setting the stage for the rest of the show. “Let Me Be Your Star” may well go down in history as one of the most perfect examples of what an “I Want” song should be able to accomplish. The song’s lyrics and drive naturally posture Marilyn Monroe against the world, and more importantly, Ivy against Karen as they audition for the role of Marilyn. With it’s earnest lyrics and incredible vocals from Megan Hilty and Katharine McPhee, it’s no wonder why “Let Me Be Your Star” has gone on to become the flagship song of
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