Slow Burn Theatre Company continues its fabulous 15th Anniversary Season with a somewhat lesser-known but absolutely hilarious musical that, once experienced, makes any lover of the genre a fan for life. Get ye quick and join the “in” crowd at Broward Center’s Amaturo Theater to gasp with laughter and amazement at all the theatrical references and musical history madness that is SOMETHING ROTTEN! playing only through April 13.
This musical can be seen as a “lovesong” tribute to every great play, playwright, and musical through the ages. Or maybe it’s a “roast” of every struggling-to-open new show. However you view it, the ten-Tony-nominated musical’s almost two-year run (from 2015-2017) – which the New York Post called “Broadway’s big, fat hit” – features an original, parody-laden story of a small theater troupe’s struggles to survive in late Elizabethan-era London. Resulting in a musical comedy masterpiece that ignites the stage with impressive vocals, great choreography, and picturesque set design.
The brainchild of brothers Karey and Wayne Kirkpatrick, Something Rotten! quickly shot to Broadway stardom when John O’Farrell joined the team as Book Writer with Karey Kirkpatrick. Music and Lyrics are by Wayne and Karey Kirkpatrick, with arrangements by Glen Kelly and orchestrations by Larry Hochman.
Slow Burn Theatre Co. once again lives up to its reputation as a musical theater leader, celebrated for its bold productions and fearless creativity. For Something Rotten! the company recruited many extremely talented local alumni, starting with artistic director Patrick Fitzwater, who again serves as director, and executive director Matthew W. Korinko who plays the role of Shylock. They are joined by Jerel T. Brown (Minstrel), Michael Dean Morgan (Brother Jeremiah), Kristi Rose Mills (Portia), Ralph Meitzler (Shakespeare – a real coup as he’d been the role’s understudy in Broadway’s first national tour!), Michael Materdomini (Lord Clapham/Master of the Justice), Leah Sessa (Bea), and Ryan Crout (Nostradamus, music director). And, of course, all of the masterly ensemble.
The Bottom Brothers are portrayed by highly qualified and talented out-of-towners: Woodrow Jackson Helms (Nick Bottom) and Tyler Manemeit (Nigel Bottom).
When you see the show, you’ll realize why I saw fit to also credit their outstanding production team at the top. Kudos to choreographer Nicolette Quintero, music director Ryan Crout, scenic designer S. Benjamin Farrar, costume designer Gregg Barnes, costume coordinator Rick Pena, lighting designer Eric Norbury, sound designer Dan Donato, wig and prop designer Patrick Fitzwater, technical director Timothy S. Dickey and dance captain Madeline Dunn.
As the curtain rises, we are instantly transported to 1595 London where a small troupe practices in front of The Swan theatre which displays a sign advertising Romeo and Juliet. A flamboyantly dressed minstrel (Jerel T. Brown) introduces the company’s opening number, “Welcome to the Renaissance.” We soon meet our underdog heroes, Nick and Nigel Bottom, who are also “bards” and really hate Shakespeare’s takeover of the term as “The Bard.” They feel Shakespeare’s universal popularity and reputation make it nary impossible for other creative and hard-working playwrights like themselves to earn a living at their craft.
While rehearsing their latest play, Richard II, they suddenly lose the backing of their sole patron – prissy, overdressed Lord Clapham (Michael Materdomini) – when he learns Shakespeare is also doing Richard II. The brothers are stunned. Hadn’t he already done Richard III? Who goes backwards? But he has, and now Clapham threatens to withdraw all support unless they come up with a new play by the next morning.
Shylock, played with perfectly accented Ashkenazi Jewish idioms by Matthew Korinko, is a theater lover and money lenderer (as the only occupation open to Jews) who’d love to help, but is repeatedly rejected because Jews are not allowed to be producers. And yes, this character’s name and occupation come straight out of Shakespeare’s The Merchant of Venice. As do the names of Nick’s wife, Bea, and Nigel’s love interest, Portia. In fact, just about every character’s name in this play will also be used in “future” (based on the timeline) Shakespeare plays, save for Nigel and Shakespeare himself. Giving fictional credence to this story’s premise that Shakespeare stole his best ideas and legendary lines from the poetic writings and sonnets of unsuspecting, hero-worshipers – like Nigel Bottom. In Act II, when Shakespeare suffers writer’s block and decides to infiltrate Nick’s troupe for ideas, he disguises himself as Toby Belch, a bearded actor from York, who also happens to be the name of a character in Twelfth Night.
Don’t worry if you haven’t brushed up on your Shakespeare of late (you now have the highlights), and there are a lot more popular references to major musicals that will tickle your funny bone. Like Nick’s evil uncle named after The Lion King’s “Scar” who takes over the kingdom. And we can all laugh at the frustration we feel at certain times in our lives when our best efforts fall short when compared to exorbitant rewards enjoyed by celebrities. Nick (Woodrow Jackson Helms), his younger brother Nigel (Tyler Manemeit) and the troupe’s “God I Hate Shakespeare” reflect as much, and is a hoot!
Young naive Nigel is suddenly, inappropriately, smitten with Puritan Brother Jeremiah’s (Michael Dean Morgan) poetry-obsessed daughter Portia (Kristi Rose Mills). These two are totally turned on by sharing creative writings, while Portia’s dad considers all art, especially theater, as the work of the devil. But Portia prevails. In fact all the women in this story act with audacity, conviction, and imagination.
Perhaps it’s the times and the fact that a beloved “Virgin Queen” rules during relative peace and prosperity. Or as Nick’s wife Bea (Leah Sessa) states with great confidence: “It’s 1595. We have a woman on the throne. By the year 1600 women will be equal to men.”
But she’s not even waiting five years. When her husband’s company dissolves for lack of a backer, she decides to get a job, despite hubby’s insistence that outside work is unbecoming for a woman. Bea persists, declaring her resolve to be Nick’s “Right Hand Man” in an impressive number. Meanwhile, he won’t even hire her as an actor (all female roles were then played by men) despite her proving her ability with a fake crying jag. And she’s not averse to scolding him with,”Don’t be a sexist pig.” Bea goes on to use her acting skills by dressing like a man, and taking on male roles for even the most menial labor. At least she’s bringing home the bacon. And when she disguises herself as an attorney, she literally saves Nick, Nigel, Nostradamus and Shylock’s heads.
If you’re wondering if the legendary seer Nostradamus actually makes an appearance, the answer is Yes and No. When Nick is desperate for a winning play idea to regain Lord Clapham’s backing, he takes their hard-earned savings to Soothsayer Ally for advice about a future hit. There he meets Thomas Nostradamus (the great one’s nephew) and asks him to reveal Shakespeare’s next masterpiece so he can produce it first, and so reap all the glory … and financial rewards. But seeing the future is far from an exact science. When Nostradamus (Ryan Crout) says he sees huge success for a play called “Omelette,” where there’s also a danish, we shudder because we know that this greatest Shakespeare play is named for the Danish Prince Hamlet.
But Nostradamus does predict, rightly I must add, that “the biggest thing in theater’s future will be muuu…sicals!” Stretching out the “u” sound. Defining it as “a play where the dialogue stops and the plot is conveyed through song.” And then there’s a lot of dancing that doesn’t do anything except entertain. “A Musical,” starring Nostradamus, Nick & Ensemble, is a fierce and frenzied number that both perfectly encapsulates and sends up the beloved art form. It alone is worth the price of admission . . . and may make you wish live theater came with a rewind button!
Despite the soothsayer’s enthusiasm, this radical show concept is a hard one for Nick to accept and his brother, Nigel, really wants to talk him out of mounting a musical called, “Omelette.” Emboldened by Portia’s encouragement, Nigel refuses to write for this “nonsense” show and instead follows his girlfriend’s advice to create lines that speak from the heart. Very fine lines they are, famous lines, that are destined to become world-renowned as among “Shakespeare’s” best.
The creators of Something Rotten! (by the way, the play’s title comes from a line in Hamlet describing something gone amiss, as in, “Something is rotten in the State of Denmark”). Many classical-sounding musical numbers are also introduced throughout the show. Most reflect the music, song and dance styles of universally loved greats like South Pacific, Anything Goes, On the Town, Dames at Sea, Hair, Fiddler on the Roof, A Chorus Line, Les Miserables, and more. You’ll certainly catch at least a few, and even if you don’t, the new songs and dances performed in traditional musical theater motifs are absolutely delightful.
Especially, believe it or not, the unanimous showstopper “Make an Omelette” featuring Nick and a Company of dancing eggs (very 1940s-style fun)!
I’d be remiss if I didn’t pay special tribute to Will Shakespeare, the legend, introduced here in all his sexy, chest-baring, tight-leather-clad splendor of self-regard and female admiration (maybe the most famous rock-star poet and writer ever!). Ralph Meitzler convincingly portrays the rumored selfish, narcissistic historical figure who’s not averse to stealing material from others if that’s what it takes to maintain his status as Number One English Writer. (This may or may not be true, but definitely serves to advance the play’s storyline. And is absolutely manifested in his self-glorifying “Will Power” number, starring Shakespeare and Ensemble.)
