Something Rotten! at the Stratford Festival is a delightful and absurd musical that takes a loving send-up of Shakespeare, peppered with references to other musicals and a dash of egg puns. The show, written by Karey Kirkpatrick, Wayne Kirkpatrick, and John O'Farrell, is a testament to the creative genius of its directors and performers, particularly the choreographer Donna Feore, who pushes the limits of live theatre with her dynamic dance breaks. The 2024 production, which I recently reviewed for Intermission Magazine, received critical acclaim and is now in its second year at the Stratford Festival. It's a testament to the show's enduring appeal and the festival's ability to showcase it.
The story follows the Bottom brothers, Nick and Nigel, who are struggling to keep their theatre troupe afloat during the height of the Renaissance. Nick, played by Mark Uhre, is particularly envious of William Shakespeare's success, as his plays are so good that they overshadow the Bottom brothers' own efforts. When Nick learns he's expecting a child, he hires a soothsayer, Thomas Nostradamus, to predict Shakespeare's greatest play. Nostradamus, played by Dan Chameroy, misreads the future, leading to a series of absurd events. The show's inciting incident is a high-energy tap number, 'A Musical', which sets the tone for the rest of the production.
One of the most entertaining aspects of Something Rotten! is its portrayal of Shakespeare himself. Jeff Lillico brings a campy and ego-driven version of the Bard to life, singing a British Invasion-inspired tune, 'Hard to Be the Bard'. Lillico's Shakespeare is a talented yet detestable pest, which adds to the show's humor and charm. The supporting cast, including Henry Firmston as Nigel and Starr Domingue as Bea, also deliver strong performances, with Firmston providing some of the show's only pathos and Domingue's portrayal of Portia enchanting audiences with her sunny smile and pop-informed score.
Feore's choreography is a highlight of the show, with dance numbers that are both spectacular and delightful. The second act features a particularly memorable number about eggs, which is a testament to Feore's ability to push the boundaries of live theatre. The show's ability to transition seamlessly between sincerity and hilarity is a strength, with an earnest song about following one's heart, 'To Thine Own Self Be True', giving way to the Bottom Brothers' egg-travaganza. Despite some quibbles, Something Rotten! remains irrefutable, with its dance numbers, supporting cast, and overall absurdity making it a must-see for theatre enthusiasts.
