Something Rotten
I’m smiling as I write this, indeed my smiles keep getting bigger and, oh, my, I just chuckled which, whoops, has now become full out laughter. I’m filled with joy the morning after seeing the CenterStage TheatreWorks production of Something Rotten, which is the most fully realized production of a musical that I’ve seen in some time. It bowls you over with its enthusiasm and size. In the opening musical number, the stage is suddenly filled, and I mean filled, with dozens of singers and dancers and it’s amazing and infectious and led my friend sitting next to me to breathlessly exclaim, “This is a big show”. Oh, and it is most assuredly and delightfully a big giant confection of amazing comedy, singing, and dancing, and even quite touching dramatic moments. And the show didn’t just give me a fleeting sugar high, it left me in remarkably high spirits that carried over to the morning, and most probably beyond, as I pen more a mushy love sonnet than a mere review. Yes, I am once more available for dancing in the streets and shouting from the housetops!
As the lights first go up, there’s fog and the sound of ominous drums as a single Minstrel, Ellie Nunemaker, charmingly sings the rousing the show opener "Welcome to the Renaissance" with the assistance of the Company, who as aforementioned burst onto the stage. Having mentioned the stage, I need pause in my recap of the on-stage action to mention the remarkable achievements of some key people not on the stage, but behind the scenes. Firstly, Director Charlotte Taylor has created an amazing Theatre in an unlikely space– an empty retail store in the Fairview Town Center mall, just down from Dillard’s, in only a little over 3 months’ time. For while in the metaphorical sense Shakespeare is right that “All the world’s a stage” it takes creative forces like Taylor and CenterStage’s board and contributors, and fellow production collaborators, to create a literal real-world stage, and they are all to be applauded. Indeed, before the curtain, Taylor brought Caleb Ross, the Technical Director, Set Designer, and Set Builder, up on the stage to commend him for his excellent work in making the space into a theater. The sound and lighting design, and operation of same are excellent, providing the perfect environment for the excellent cast under Music Director Marquis McBride’s direction to sing with the consistent vocal articulation that enhances the clarity, meaning, and emotional impact of the lyrics. Being seen and heard are the first two challenges for any performer and here these are well met by the folks on stage with a big boost from the folks off. What a pleasure it is for the audience to easily hear every lyric and line, especially in a show this witty and clever! But back to the on-stage action where the opening number teases us with a meager fleeting glimpse of a truly rockstar-like Shakespeare, played with presence and panache by Ian Taylor, and worshiped as the uber celebrity of his day by these Elizabethans.
Once properly welcomed to the Renaissance by Nunemaker and Company, we meet our hero brothers, Nick and Nigel Bottom, who are poignantly at the bottom of the heap topped by the rockstar-like Shakespeare when it comes to the poets, players, and playwrights of the day. Scott Rice gives strong voice to the elder brother Nick’s frustrations in the song “God, I Hate Shakespeare”, frustrations sweetly opposed in the song by his younger bro Nigel, played by Thomas Schnaible, while aided by the brothers’ five-member theatrical troupe. Snug is played with charming gusto under a shock of red hair by the impish Alison Marshall, who my old ears believe was singing a beautiful tenor line in the musical numbers. Reid Vosburg’s Robin appears giddily wearing a dress he might wear during a performance by the troupe, as he plays women’s roles, since in the 1590’s only men could be actors. Matt McGregor‘s Peter Quince is truly a much put-upon member of the troupe as he’s often and amusingly called into service by Rice’s Nick as a rock/footstool. Mason Buehner as Tom Snout and Mizuki Nelson as Francis Flute round out the troupe adding additional energy and comic prowess. Together, the five members of the Troupe add great singing and dancing, brilliantly backing up the Bottoms.
The chemistry and conflict between Rice and Schnaible are compelling, as Schnaible’s Nigel, a gentle sweet soul, seeks to create art for art’s sake while Rice’s Nick, though caring for and encouraging his younger bro, instead seeks to create art for the fame and fortune a successful artist can command. Unfortunately, the Bottoms may have just hit rock bottom as they learn that Shakespeare has just announced his new play is about the very historical figure their next production was to be about. When their sole patron Lady Clapham, a wonderfully wound-up Debbie Deverich, learns the news she stomps off in high dudgeon after pulling the financial plug on our erstwhile theatricals. The funny Deverich doubles as many other characters, as does most of the company, but especially keep your eyes open for her as a character named Sad Little Egg. Meanwhile, fleshing out the troubles facing Nick is Quinton Coulonge’s eagerly stage-struck Shylock, who desires not a pound of flesh but the chance to be a producer, in exchange for forgiving Nick’s debt.
Savannah DeCrow’s Bea Bottom has a great vocal belt along with husband Nick’s back as she pleads in “Right Hand Man” for hubby to accept her help as she struggles against the mores of the day regarding the roles available for women. Rice and DeCrow are a convincing couple and their love, hopes and fears for each other are moving, as is their love and concern for Schnaible’s Nigel. DeCrow’s Bea is an All-Renaissance girl next door type whose sauciness and can-do qualities have won the heart of Rice’s Nick and will win yours as well.
Yet Rice’s Nick eschews the help of his missus and bro and seeks out Rachel Sullivan’s wonderfully wacky seer Nostradamus who, unlike the witches in Macbeth, and unfortunately for Nick, is not exactly up to the challenge of looking into the seeds of time and saying which grain will grow. Sullivan, Rice, and the Ensemble shine in “A Musical”, an infectiously joyous song and dance homage to musicals that evolves into a tap-dancing extravaganza replete with show-stopping kick line. “Yowzer!” or, more properly, as it is a Renaissance exclamation featured in Shakespeare’s Romeo and Juliet, “Zounds!”. Choreographer Sarah Kat-Hendricks and Assistant Choreographer Savannah Rhodes, who also was tasked as dance captain, have stunningly choreographed the show, keeping faith with the original Broadway choreography while adding their own invention, and delivering dances and dancers who amaze throughout the show. All this excellent dancing, along with the likewise excellent acting and singing from all, takes place on Ross’ very clever set that features a raised, rolling, sometimes spinning platform that is often moved center stage when not anchoring the very back of the set. And all these acting, singing, and dancing dynamos are expertly costumed by Assistant Director and Costumer Alison Kingwell, who has curated or created over 150 costumes that fit the characters both literally and figuratively, adding deliciously to the Renaissance vibe.
Meanwhile, back at the Renaissance, young Shnaible’s Nigel meets love in the comely form of Mary Lantz’s Portia, whose sweet soprano put me in mind of a young Kristen Chenoweth, as she is joined in the duet “I Love the Way” by Schnaible’s pure tenor. It is hilariously fun to watch Schnaible and Lantz as their characters fall in love right before our eyes, barely able to restrain their ecstasy as they sing of their shared love of poetry (Fortunately, after the show, I was able to read a bit of James Joyce’s Ulysses and cool off, that’s how hot they got!).
It's at this point that Taylor’s Shakespeare truly enters the action appearing clad in a white blouse worthy of a poet and a black leather vest and breaches (credit Kingwell). It’s not an easy thing to play a character who is sung and talked about for most of Act One before he eventually appears on stage to own it and own it Taylor does. Taylor’s Shakespeare struts with the fluid panther-like grace of a rock heartthrob a la Areosmith’s Steven Tyler as he revels in the accolades of the masses and puts the “I am” in iambic pentameter. “Will Power” is a clever song with lines referencing many Shakespeare works (see how many you can recognize) showing us the adulation of Shakespeare that so fully eclipses Rice’s Nick and makes him green with envy, a turn of phrase credited to Shakespeare, invented for his Othello. I laud Taylor for being able to walk out cold and, aided by the excellent cast, deliver a showstopper, as well as set the stage for the amazing Act One finale “Bottom’s Gonna Be on Top”. Rice is not only a fine actor but a true song and dance man, as he ably shows in the Act One finale, which is ultimately a tap dance duel between Rice’s Nick and Taylor’s Shakespeare. I was surprised, nay even scared a bit, to learn, after the show, that Rice had never tapped before this production. Other actors of note include Simon Heimersson who humorously struggles to put the purity in Puritanical as Brother Jeremiah, and Brian Sullivan whose Master of Justice is commandingly funny.
There’ll be no more plot points or any spoilers from me. Rest assured that Act Two is not a letdown but a further triumph featuring many wonderful musical numbers, including another winner from Ian Taylor called “Hard to Be the Bard”, wherein we learn something of the burden greatness can be. One hopes that none of the great performers and production team associated with this production feel any burden with their greatness, but great they are! My thanks to all, especially Charlotte Taylor, a true creative force of nature who brought all this into being (including her son, Ian Taylor, our Shakespeare, many years ago, proving yet again that proper prior preparation prevents poor performances). Smiles. Big, big, happy smiles.
Special Note: Something Rotten has two casts of principals, both wonderful and worthy of being seen, with the cast referenced in this review called the “Scrambled” cast, with the other referred to as the “Hard-Boiled” cast.
Running Time: Approximately two and a half hours with one 15-minute intermission.
Accessible seating: Available
Hearing Devices Available: Not Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Audience Rating: PG-13 for adult situations and language.
Production Sound Level: Comfortable
Noises and Visuals to Know About: None
See you at the theater!
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