By Jason and Alisha Hagey
“Absolutely Delightful,” is perhaps the most accurate way to describe Pioneer Theatre Company’s Something Rotten. Desperate to write a hit play, the brothers Nick and Nigel Bottom can’t seem to produce a winning idea. To make matters worse, it is the Renaissance and the theatrical rock star at the time is none other than The Bard himself: William Shakespeare. Overshadowed by the monolithic reputation of Shakespeare, the brothers are struggling thespians. Trying to determine the perfect plot, looking for the next innovation in theatre, Nick enlists a local soothsayer. His fortune teller indeed accesses visions of the future of theatre, one that involves singing, dancing, and acting. This leads the Bottom Brothers to set out writing the world’s first musical. Something Rotten is a love letter to musicals and an uproarious riot of musical easter eggs that bears repeat viewings to capture all that the show has to offer.
Karey Kirkpatrick (Book/Music and Lyrics), Wayne Kirkpatrick (Music and Lyrics), and John O’Farrell (Book) crafted a play that is a parody, a homage, and altogether original. Their quips, nods to both Shakespeare and musical theatre, and use of language are intelligent and hilarious. Rarely does a play capture so many levels at once. The book, music, and lyrics set the play in 1595 amid England’s Renaissance all while celebrating what could be considered the American Renaissance of musical theatre. With intimations spanning dozens of plays, we get snippets and allusions of musicals from The Music Man to Jesus Christ Superstar to Rent. And, just to make the work more dynamic, there is an obvious appreciation for Shakespeare’s poetry and plays. Their work is a musical lover’s dream and a pleasure to experience even if you don’t know all the references.
Brilliantly tackling this wild ride, Karen Azenberg (Director/Choreographer) creates a frenetic, well-devised, thoroughly fun show. There isn’t a moment, a beat, a stanza that is off or missing. Azenberg is an expert at delivering stage pictures, developing characters, and designing a full theatrical experience. The balance between a large ensemble filling the stage without their actions upstaging the main actors is difficult to produce. Azenberg makes this look easy.
Matt Farcher (Nick) and Daniel Plimpton (Nigel) are a duo of exceptional skill and talent. Farcher has a commanding presence and fantastic comic timing. What sets Farcher apart is the range and diversity of his performance. As the story whirls through different decades of musical styling, Farcher personifies each. When called upon to tap, he taps. When called upon to belt, he belts. A standout moment is when Farcher needs to perform like the schmaltzy singer in the film Singin’ in the Rain who croons “Beautiful Girls.” Suddenly, Farcher channels the spirits of Al Jolson and Eddie Cantor, exuding the male vocalists of the 1920s and 1930s. He does this without missing a beat, calling attention to the moment, or cluttering up the narrative. Plimpton is Farcher’s equal, playing the younger brother. He recites the most Shakespearian lines and does so with effortless finesse. When talking about loving the poetry of the age, Plimpton exudes what comes across as genuine enthusiasm and appreciation for the text. As for singing, Plimpton has some of the most dramatic note changes, his vocal range is incredible, and he masterfully approaches his songs.
Galyana Castillo (Bea) plays a modern woman of the 90’s (the 1590’s that is). She is this beautiful and strong force (and we haven’t even mentioned her incredible voice). Castillo is infectious and steals the stage with her effervescence at each moment. Her comic timing is genius, her smile is bright, and her sincerity is touching. She is also the wisest of the characters and Castillo captures this wisdom in the most wonderful package.
Matthew Hydzik (Shakespeare) performs with as much swagger as his codpiece is big. Hydzik is a superstar. His attitude, his delivery, and his singing glitter whenever he steps on stage. Without his character and the breadth of ego, the Bottom Brothers would have no foe, but Hydzik makes a formidable Shakespeare in all his glory, one that provides a perfect counterpoint to the brothers.
Though her stature is small, Lexi Rabadi’s (Portia) irresistible personality is gigantic. Rabadi is the whole package: talented, pretty, innocent, funny, believable, and lovable. Her casting opposite Plimpton is perfect. Their chemistry is lovely to watch, and their relationship can’t help but be rooted for.
Three actors stole my heart: Robert Anthony Jones (Nostradamus), Kevin B. McGlynn (Brother Jeremiah), and Howard Kaye (Shylock). Often the crowd giggles as they enter scenes. Jones, McGlynn, and Kaye are so committed to their craft and to the bits. This commitment takes comedy to a whole new level. They surpass the already witty text. There is this small moment where McGlynn points to Plimpton as in an “I see you” move where he then subtly motions that he will gouge out his eyes (the second nod to Oedipus Rex). I died. I will now go out of my way to see everything these men are in.
The ensemble is a pure pleasure. They live in each moment, make everyone else shine, and just appear to be having a marvelous time doing so. TJ Newton opens each act with aplomb (and a great nod to Pippin). The combined effort of this talented cast absolutely makes this show.
George Maxwell (Scenic Design) creates a picturebook take on the old stage flat, but with dimension, perspective, and shape. Everything moves and glides across the stage. He gives us the nod to Elizabethan England but is always overt to say, “remember, this is a kooky comedy.” Patrick Holt (Costume Design) is a wonderful spectacle. Holt reminds us of the time period but doesn’t feel the need to be a purist. His creations shine and move, almost taking on a life of their own. Samantha M. Wooten (Hair & Makeup) has some truly spectacular wigs. They complement Maxwell and Holt’s creations, all while being unique to each character. Michael Gilliam (Lighting Design) composes moments and moods without drawing attention to itself. Gilliam does what is essential. He enhances the story but doesn’t make you say, ‘oh, wow, look at that lighting’ except for one moment when Nostradamus talks about dancing, and we see overhead lights that highlight dancers in silhouette. This is what it needs to be and all at the right time and place. This is true of all the designers. Everything fits together and is perfect, all without attempting to overshadow the other. It is harmony itself.
There are unsung heroes of the theater that it would be criminal not to mention. As you enter, we, the audience, are treated to live piano which only heightens the excitement of the evening. Everyone welcomes you with a smile and a sincere thrill that they are a part of this ensemble (from the ticket scanners to the people selling you water bottles). Then as you prepare to enter the theatre itself, the program greeters are always happy to chat and smile as they announce, “Welcome to London!” It is the little things that make an exciting night out even more special. We share, not just with the other audience members, this joy of love and art.
Something Rotten is exactly what I needed. It is fun, loud, referential in the best way possible, just bawdy enough without being tawdry, and sincere with its simple theme of carrying those we love and loving them through all; the good, the bad, and the ugly. Every note and every beat are a love letter to what has been and what is yet to come. Isn’t that worth celebrating? So please go, tap your feet (and try not to sing along out loud) to this joyous production.
Pioneer Theatre Company presents Something Rotten by Karey and Wayne Kirkpatrick
Simmons Pioneer Memorial Theatre, 300 S 1400 E, Salt Lake City, UT, 84112
February 25 – March 12, Monday – Thursday 7:00 PM, Friday 7:30 PM, Saturday 2:00 PM and
7:30 PM
Tickets : $48-72
Contact: 801-581-6961
https://www.facebook.com/pioneertheatre/
https://pioneertheatre.org/
LANGUAGE: There is some common vulgarity, and while it will be offensive to some, it is used for comedic effect.
FOR WHICH AUDIENCES? Audiences who enjoy bawdy, but harmless, humor should enjoy this. Children aged 10 and younger should attend at a parent’s discretion.
RATING: The type of humor would indicate that if this were a movie, it would be “PG-13.”
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