The dangers of making a TV show or movie about Broadway are nearly infinite. The type of people who really pay attention to Broadway shows and the world surrounding them are notoriously picky and will inevitably object to the tiniest inaccuracy or shortcut. However, NBC’s new show “Smash,” a behind-the-scenes drama about the making of a musical on the life of Marilyn Monroe, manages to steer clear of any such dangers with ease and grace—not unlike the dancers who populate its wonderful cast.

The cast strikes a perfect balance of Broadway-trained actors and beloved figures of the big and little screens. The actors in the show within the show are all theater figures, while the people behind the scenes—the producers, writers, and directors—all have experience in front of the camera. This includes Debra Messing as one of the writers of the musical, and Anjelica Huston as its producer. The show also stars Katherine McPhee and Megan Hilty as the two actresses competing for the lead part of Marilyn. They all do fantastic jobs conveying the drama and intensity that surrounds an endeavor as complex and wonderful as a Broadway show, and at showing the impact their work can have on their personal lives.

However, this is where clichés begin to run amok in “Smash.” Of course, the newcomer to Broadway (Katharine McPhee’s character Karen) is from Iowa and has been working as a waitress while failing audition after audition. Of course, her father is unsupportive and doesn’t believe she’s going to make it, but that’s okay because her kind boyfriend is there to support her no matter what. And of course, the actress she is competing against (Hilty’s Ivy) looks just like Marilyn and embodies so much of the actress’s legendary character. But wait! Karen just has that je-ne-sais-quoi.

At the very least, after only two episodes, they have chosen which actress is going to be playing Marilyn, instead of attempting to drag the decision out in some formulaic attempt at continuing the main conflict. That being said, the actors and writing are so good, and the production values high enough, that “Smash” maintains its entertainment value. It makes you remember that clichés exist for a reason—people like them. And even past Karen and Ivy, the personal drama for some characters is actually very different from the standard fare, like Messing’s character’s attempt to adopt a baby.

The show’s creator, Theresa Rebeck, also has experience in both film and on Broadway, which shines through in how authentic the Broadway aspects of the show feel without seeming forced or out of place on a television screen. The show even has original music, and the songs are worked in surprisingly well. There was one instance in the pilot episode during which a song came out of nowhere, but it only felt forced because it was at the end of the episode after all the other songs had been in context of auditions or rehearsals. Otherwise, the musical routines are stellar in terms of lyrics, music, and production. The show employs a neat trick of showing the actors in rehearsal singing and dancing, and then cutting the footage with what the finished product would look like on a Broadway stage.

So far, this show has been engaging and enjoyable, despite some of its more tired subplots. It has huge potential for the future, and both episodes are available on Hulu. This reviewer highly recommends you check it out if you have any love for the lights and sounds of Broadway, but can’t get your butt off the couch and into a theater.