BAWDY-LICIOUS! Something Rotten Brings Down the House.
Cockpit In Court opens its summer season with the ribald musical, Something Rotten, by Karey Kirkpatrick and John O’Farrell with music and lyrics by Karey and Wayne Kirkpatrick, in the F. Scott Black Theater. The show runs Fridays, Saturdays, and Sundays till June 25th and from the response of the audience at the Sunday matinee I attended, I would suggest purchasing your tickets in advance.
A natural pairing of musicals and Shakespeare, Something Rotten is a love letter to musical theater utilizing Shakespearean devices and loosely set in the Renaissance period. The “Bottom Brothers”, Nick and Nigel are frustrated Bards (writers) in competition with the rapscallion Shakespeare. Unbeknownst to Nigel, Nick visits a Soothsayer (Nostradamus) with the intention of stealing Shakespeare’s ‘yet to be written’ most famous play which, from his vision of the future, Nostradamus mostly gets right in his translation to Nick. Nostradamus’ vision then combines Shakespeare’s future yet unwritten hit with the popularity of musical theater and Nick is ‘inspired’ to create an Elizabethan musical. Throw in the Puritans, some star-crossed lovers, a play-within-a-play, an authorship debate and a LOT of naughty humor and we have enough subplots to fill five Shakespearean acts. Sound like a lot? It is. But to paraphrase THE Bard, “Audience members, Patrons, Theater Artists, lend me your eyes, I come not to bury this production, but to praise it.”
John Desmone’s direction is efficient and clean. The comedy in this show is over the top and Desmone lets it go to the point of ‘too much’ with only letting it tip over once or twice. But he lets the comedy do the work. Lighting Designer Thomas Gardner proffers a delicate and soft visual scape bringing out all the musical theater actor friendly pinks available. They worked seamlessly in concert with Co-Set Designers Jason Randolph and Sammy Jungwirth’s minimalistic yet specific set design; a proscenium set with back wall projections provided by Music Theater International and bordered by pastel window frames with set pieces brought on and off. The subtleties of lighting the windows for both location and commentary were creatively integrated with the projections. The costumes felt Elizabethan musical theater fun and were coordinated by Eva Grove. Musically directed and conducted by Nathan Scavilla, the sound was tight and the voices and instruments well-rehearsed and smoothly blended. The score is light and delightful, the lyrics clever and outright funny. Choreographer Becky Titelman utilizes the best of the casts abilities, creating clean, fun, creative pieces that challenge the dancers and make it fun to watch while catering to the impressive talent of the performers.
This is an ensemble show. And this ensemble does not disappoint. The multiple characters, vocal challenges, and choreography (there are THREE tap numbers, THREE) are competently handled and effortless in their presentation. Lots of hoofin’, not a lot of huffin’. I would love to see their FitBits; the endurance alone is impressive. And one of the things I enjoy about an old school musical is the giant voice of the ensemble and wow, this cast? Sit up front if you want to have your hair blown back. J Purnell Hardgrove (Minstrel/Robin/Ensemble), Chuck Hamrick (Lord Clapham), Chris Barsam (Shylock), and Dance Captain Laura May are standouts.
Deliciously portrayed by Al Tony Conte, Shakespeare is every bit as deserving as the multiply sung entrance/exit/announcement/‘because he can’, “Shakespeare” the ensemble belts out every time he hits the stage. Adam Biemiller’s Puritan Brother Jeremiah hits hard. Every joke he erects spews double entendre of sexual innuendo with vigor.
As Nostradamus, Tom Wyatt brings down the house. The number “A Musical”, a powerhouse ensemble performance lead by Wyatt and featuring multiple musical theater homages brought the audience to its feet. Wyatt’s comedic, music and dance abilities are delightfully nuanced. Front to back, he delivers in this role.
As the brothers, Nick (Jake Stuart) and Nigel (Mikey Floyd) Bottom have a believable brotherly chemistry. Wife of Nick, Bea Bottom (Elizabeth Marion) has moxie with her comedy and a belt voice that shakes the back wall of the theater; she’s a pip. Holder of Nigel’s heart and Puritan Daughter Portia (Maggie Dennis) has plenty of aplomb and her passion makes us root for her and Nigel. My only note is that Portia and Nigel need to relax into their earnestness. Their voices pair beautifully and we have no doubts of their love. Jake Stuart’s Bottom (yes, there are a buttload of bottom jokes) is a multi-layered, powerhouse of a role and he is formidable and up to the task. Mikey Floyd brings the cute side-kickery of a spunky little brother.
I saw Something Rotten on Broadway the week before it closed in 2015. I remember immensely enjoying it, and although “Shakespeare” found it accessible and just funny – really, really funny. This cast brings out every delight the script has to offer and the audience let them know how much they appreciated it. A rousing standing O for the Sunday Matinee on opening weekend. Well deserved. 5 stars. “To Thine Own Self Be True” – don’t miss it.
Running Time: Approximately 2 hours and 15 minutes with one intermission
Something Rotten plays through June 25th 2023 at Cockpit in Court in the F. Scott Black Theatre of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them online.
