During its two-season run on NBC (2012-13), I used to hate-watch Smash, the weekly series chronicling the making of a Broadway musical on screen legend Marilyn Monroe. While the musical numbers by Marc Shaiman and Scott Witman were often witty and tuneful, the melodramatic storyline was ridiculous and inaccurate in its depiction of the inner workings of show business. I always thought there was a kernel of a possibility of an exciting real Broadway show amidst the soapy excesses. Well, more than a decade later, the stage version of Smash has lived up to its name and banished all remnants of the TV show’s silly scripts.

Book-writers Bob Martin and Rick Elice have washed away the sudsy, convoluted plots from the series and incorporated many of the sleek and fun musical numbers into a tighter, funnier libretto celebrating the joys and angst of putting on a musical. The only element that remains the same is the troubled backstage brouhaha while the Monroe musical undergoes rehearsals, previews, and opening night. Many of the character names are the same, but now their characteristics are totally different. Gone are the intricate on-again, off-again romances and the focus is much tighter, all staged with economy and efficiency by Susan Stroman. Choreographer Joshua Bergasse, who also staged the dances for TV, delivers peppy, exciting ensemble work.

The main engine of the plot is now the conflict between star Ivy Lynn (a magnificent Robyn Hurder who switches admirably between devilish diva and delightful star) and the rest of the company when she commits the cardinal actor’s sin—reading a book. The tome in question is a history of Marilyn’s work with the Actors’ Studio which inspires Ivy to hire the author Susan Proctor (hilariously severe Kristine Nielsen) as an acting coach. The fanatical Susan encourages Ivy to “become” Marilyn 24/7 and replicate her impossible, pill-popping behavior off-stage. Ivy’s transformation from collaborative professional to temperamental monster is beautifully and effectively relayed in “The 20th Century Fox Mambo,” brilliantly staged by Stroman and Bergasse, interweaving Monroe’s objectification by the studio with Ivy’s descent into madness. This triggers chaos and provides an opportunity for understudy Karen (dynamic Caroline Bowman) to grab the spotlight. But wait, there’s more. Associate director Chloe (surprisingly super Bella Coppola) is also in the mix to take over the Marilyn role.

There’s also warfare between the husband-and-wife authors of the show (sharp John Behlmann and Krysta Rodriguez, the only holdover from the TV show, but winning in an entirely different role), veteran director-choreographer Nigel (a brilliantly exasperated and funny Brooks Ashmanskas), the force-of-nature producer Anita (strong and elegant Jacqueline B. Arnold), and her annoyingly naive, but ultimately life-saving, tech-savvy assistant Scott (adorable Nicholas Matos).

This sounds as goofy as the TV show, but Martin, Elice, Shaiman, Wittman, Stroman and Bergasse manage to make it work, demonstrating the powers of collaboration their onstage counterparts lack.

Beowulf Boritt’s clever sets, Alejo Vietti’s gorgeous costumes, and Ken Billington’s veraatile lighting create a vibrant candy-box version of Broadway.

You don’t have to be a theater nerd to enjoy Smash, but it does help. This is probably the only show with references to Mandy Patinkin in The Knife, Julie Andrews on TikTok, and just about every movie Monroe ever made. But if you don’t get these allusions, it’s okay. There are plenty of laughs, songs and dance to enthrall the casual musical fan. Smash is a smashing celebration of the joy of theater.

Opened April 10 for an open run. Imperial Theater, 249 W. 45th St., NYC. Running time: two hours and 30 mins. including intermission. telecharge.com.