‘SMASH’: Robyn Hurder (center) & cast. Photo: Matthew Murphy.

SMASH
Book by Bob Martin & Rick Elice
Based on the NBC TV series by Theresa Rebeck
Music by Marc Shaiman
Lyrics by Scott Wittman & Marc Shaiman
Choreography by Joshua Bergasse
Directed by Susan Stroman
Imperial Theatre
249 West 45^th Street
https://smashbroadway.com/

By Scott Harrah

The NBC TV series “Smash” aired for two seasons in 2012 and 2013. Now, the Tony Award-winning team of book writers Bob Martin and Rick Elice, composer Marc Shaiman, lyricist Scott Wittman and director Susan Stroman have adapted the TV series into a splashy, fun, flawed yet sublime Broadway musical, Smash.

The show focuses on the story of a make-believe Marilyn Monroe musical called Bombshell: The Marilyn Monroe Story and the colorful characters all working behind the scenes to get the production off the ground. The fictional Marilyn is established star Ivy Lynn (Robyn Hurder), a gorgeous blonde who looks the part and is so into her character that she hires a “Method”-style acting coach, Susan Proctor (Kristine Nielsen), to help her become Marilyn.

Backstage intrigue

The narrative centers on backstage intrigue at a Broadway musical, with everyone doing anything to shine in the show, with more than one actress coveting the lead role of Marilyn. Ivy hires Susan after the husband-and-wife duo Jerry (John Behlmann) and Tracy (Krysta Rodriguez) give the actress a book by the Method coach. Meanwhile, understudy Karen (Caroline Bowman) is talented indeed but considered too inexperienced to play Marilyn. Ivy and Karen become instant rivals, adding tension.

Bombshell is helmed by veteran director Nigel (Brooks Ashmanskas), with the help of associate director Chloe (Bella Coppola). Chloe is a plus-sized woman who has also memorized all of Ivy’s lines. Everyone involved in the musical must answer to the producer Anita (Jacqueline B. Arnold), a no-nonsense woman who makes sure the show adheres to the guidelines and theme her investors expect.

Insider humor

The story includes all the issues involved with mounting a Broadway musical, from managing talent and budgets to “creative differences” and coping with egos. This is all a nice recipe for a “show-within-a-show.” Does everything work? Not always, but anyone interested in theater will find plenty of insider humor to savor. Joshua Bergasse’s energetic choreography and Scott Wittman and Marc Shaiman’s songs keep everything moving along at a fun, vibrant pace. Fans of the TV series might recognize some of the numbers from the NBC show, including “The 20^th Century Fox Mambo” and “Let Me Be Your Star.”

Shows-within-a-show are nothing new in theater. Shakespeare used this technique in Hamlet (when actors performed for the court), Agatha Christie used it in The Mousetrap (still playing on the West End in London) and so did the recent British comedy The Play That Goes Wrong and the 1982 farce Noises Off.  The French call the concept mise en abyme, or “placed into abyss,” and in English it’s often called “metadrama.”

A hit for director Susan Stroman?

It has been a while since renowned Tony Award-winning director Susan Stroman scored a bona fide hit, but she might just have one here with Smash. Although far from being a perfect musical, the show has so much going for it, including an accomplished cast, many of whom have been working on Broadway for decades.

Fine cast

Robyn Hurder is delightfully imperious as the self-centered Ivy who makes everyone’s life hell in the production with her diva-like behavior. Caroline Bowman is equally top notch as Ivy’s rival and understudy, Karen. Ms. Bowman is exquisite, particularly in her show-stopping number “They Just Keep Moving the Line.”

Longtime Broadway vet Brooks Ashmanskas is always outstanding in any show. However, as the middle-aged, self-deprecating gay director Nigel, Mr. Ashmanskas gives one of his finest performances yet. He has never been funnier, from his quick-witted delivery of dialogue to his dynamic stage presence. He never fails to mine the material for laughs.

Supporting cast members shine

Nearly all of the supporting-cast performances are noteworthy as well. Krysta Rodriguez and John Behlmann are both hilarious as the often-arguing, married book and songwriting duo Tracy and Jerry. Two-time Tony nominee Kristine Nielsen is almost unrecognizable as the black-clad Method coach Susan Proctor. Ms. Nielsen’s Susan is a camp delight. She plays the character (or should I say caricature?) as a pretentious theatrical sorceress, charging big bucks to coach Ivy in the acting “method” used by Konstantin Stanislavsky and Lee Strasberg.

Bella Coppola gives one of the musical’s most magnificent performances as Chloe. Watching her transform herself from a frumpy associate director to a solid replacement for the glamorous Marilyn role is one of the show’s highlights.

This may not be the stage adaptation some fans of the old TV series were expecting, but as a musical comedy loaded with wit and nonstop silliness, Smash is simply splendid.

Published April 12, 2025
Reviewed at press preview performance on April 8, 2025

‘SMASH’: (left to right) Megan Kane, Brooks Ashmanskas, Robyn Hurder, Kristine Nielsen, Krysta Rodriguez & John Behlmann. Photo: Matthew Murphy.

‘SMASH’: (left to right) John Behlmann, Krysta Rodriguez, Jacqueline B. Arnold, Brooks Ashmanskas, Robyn Hurder, Caroline Bowman, Bella Coppola, and Nicholas Matos. Photo: Matthew Murphy.

‘SMASH’: Robyn Hurder & Brooks Ashmanskas. Photo: Paul Kolnik.

‘SMASH’: Bella Coppola. Photo: Matthew Murphy.

‘SMASH’: Krysta Rodriguez & John Behlmann. Photo: Matthew Murphy.

‘SMASH’: Caroline Bowman & cast. Photo: Matthew Murphy.

‘SMASH’: Robyn Hurder & cast. Photo: Matthew Murphy.

The post ‘Smash’: Show-within-a-show is sublime appeared first on StageZine.

‘ONCE UPON A MATTRESS’: Sutton Foster. Photo: Joan Marcus.

ONCE UPON A MATTRESS
Book by Jay Thompson, Marshall Barer & Dean Fuller
Music by Mary Rodgers
Lyrics by Marshall Barer
Adapted by Amy Sherman-Palladino
Directed by Lear deBessonet
Hudson Theatre
141 W 44th Street
https://onceuponamattressnyc.com/

By Scott Harrah

Once Upon a Mattress recently transferred from a hit City Center Encores! production earlier this year to Broadway. It is the perfect vehicle for two of Broadway’s most delightful musical comedy talents: Michael Urie and Sutton Foster. With a crisp new adaptation by Amy Sherman-Palladino of “Marvelous Mrs. Maisel” fame, this latest revival of the Mary Rodgers/Marshall Barer classic is one of the summer’s hottest shows.

Once Upon a Mattress is the story of a fictional medieval kingdom. The musical focuses on Princess Winnifred the Woebegone (Sutton Foster), an awkward, gawky woman from a mystical swamp kingdom who is chosen to be the bride of Prince Dauntless the Drab (Michael Urie). Queen Aggravain (Ana Gasteyer), Prince Dauntless’ mother, is determined to ensure her son remains unmarried and devises impossible tests for Princess Winnifred to pass. The queen has been sabotaging all potential matches to maintain control of the kingdom. Her husband King Sextimus the Silent (David Patrick Kelly) is powerless because he was made mute by a curse cast by a witch. Princess Winnifred—or “Fred” as she prefers to be called—is not the first princess to be tested to see if she is a worthy bride. Queen Aggravain has already rejected several princesses that her son wanted to marry. She devises what she thinks will be a foolproof test, with the help of the Wizard (Brooks Ashmankas): Winnifred must sleep on a huge stack of mattresses with a tiny pea underneath one and if she is truly “royalty,” she will be hyper-sensitive and not sleep and, thus, pass the test. Otherwise, if she actually sleeps, the “test” will show she’s merely a commoner and, therefore, cannot marry the prince.

The musical is mostly famous for launching the career of comedienne Carol Burnett when she originated the role of Princess Winnifred when Once Upon a Mattress opened on Broadway in 1959. Based on the Hans Christian Andersen fairy tale The Princess and the Pea, the saga is a lighthearted spoof of the storybook genre. It was last revived in 1996 with Sara Jessica Parker in the lead role, and a 2005 TV version starred Tracey Ullman. So, the show has always been a vehicle for its leading lady, and this iteration is perfect for Broadway and TV veteran Sutton Foster. Ms. Foster shows off talents many never knew she had, such as her natural gift for physical comedy. With her many pratfalls and slapstick moves—from eating grapes to lifting weights—she has much more to do onstage than in her role as Marian the Librarian in the 2022 revival of The Music Man, in which she was often overshadowed by mega star Hugh Jackman. When she belts out the show’s signature song “Shy,” one can see why Once Upon a Mattress was such an important career starter for Carol Burnett, but Ms. Foster manages to give her own unique interpretation of Princess Winnifred. The musical is Ms. Foster’s from the moment she arrives, wet and dirty from the moat, jumps into the castle and into the prince’s life.

Michael Urie, as Prince Dauntless, is outstanding as always. Is there chemistry between Mr. Urie and Ms. Foster? Not really, but it doesn’t matter, because this is a goofy musical that never takes itself seriously. In his tights, crown and cape, Mr. Urie is a lovable nerdy prince.

Other standouts include Nikki Renée Daniels as Lady Larken, the girlfriend of Sir Harry (Will Chase). Ms. Daniels has a beautiful coloratura voice and she and Mr. Chase are in rapturous harmony on such duets as “In a Little While” and “Yesterday I Loved You.” “Saturday Night Live” alum Ana Gasteyer plays a caustically mean Queen Aggravain.

Daniel Breaker as the Jester, and Brooks Ashmankas as the Wizard, fare less well in supporting roles in which they ham it up with goofy antics, but Once Upon a Mattress is supposed to be an absurdist musical comedy so there’s nothing wrong with screwball high jinks.

David Zinn’s sets are fairly spartan, featuring the orchestra right on stage above the action. Director Lear deBessonet gets consistently good performances from the cast, and one thing is certain: This revival of Once Upon a Mattress features one of Sutton Foster’s best comic performances to date.

Edited by Scott Harrah
Published August 17, 2024
Reviewed at August 15, 2024 press performance

‘ONCE UPON A MATTRESS’: Michael Urie, Sutton Foster & cast. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: David Patrick Kelly, Michael Urie & Ana Gasteyer. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: The cast. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: Daniel Breaker & Brooks Ashmankas. Photo: Joan Marcus.

‘ONCE UPON A MATTRESS’: Sutton Foster, Michael Urie & cast. Photo: Joan Marcus.

The post ‘Once Upon a Mattress’ revival a delight appeared first on StageZine.

‘THE PROM’: The cast. Photo: Deen van Meer

THE PROM
Book by Bob Martin & Chad Beguelin
Music by Matthew Sklar
Lyrics by Chad Beguelin
Directed & choreographed by Casey Nicholaw
Longacre Theatre
220 West 48th Street
(212-239-6200), www.theprommusical.com

By David NouNou

To say that The Prom is the best musical of the season may not sound like much of a compliment, considering some of the dreck that has opened since June. However, this musical would stand tall in any season with stiffer competition.

This is the perfect antidote for these harsh times we live in. A musical that is joyous for the holidays and delirious for the winter doldrums ahead. A musical with a heart, a message that is not preachy, a hysterical book, a memorable score, direction and choreography that are expertly paced and placed and the expertise of three of the best Grade A hams on Broadway: Brooks Ashmanskas, Beth Leavel and Christopher Sieber make this the perfect gift for Christmas, Valentine’s day and every holiday thereafter.

Four Broadway veteran narcissists (is that really possible?); two of whom who have just closed on opening night in the musical Eleanor, a romp with Eleanor and Franklin Roosevelt replete with hip-hop. They closed due to a drubbing they received from the New York Times (as if that is possible)? That was possible in the 1950s and 1960s but unfortunately not today.

Dee Dee Allen who portrays Eleanor (Beth Leavel) and Barry Glickman playing Franklin (Brooks Ashmanskas) are devastated by the reviews they received and are commiserated by their good friend Angie (Angie Schworer), a woman who has been in the chorus of Chicago for the last 20 years. They meet up that night with a fellow thespian that is a Julliard graduate but now works for cater waiter, and once was a TV star in the 1990s in a show called “Talk to the Hand.”

All four are in desperate need for image rehabilitation, so what do they do? They go on Twitter to look up worthy charitable causes to improve their public image. Along with their PR man, Sheldon Saperstein (Josh Lamon), they find their worthy cause. She happens to be a teenage lesbian, Emma (Caitlin Kinnunen) who can’t take a date to her high school prom due to the bigotry and homophobia of the town and its proclaimed leader of morality, Mrs. Greene (Courtenay Collins). Thus the prom is being cancelled.

So what do these Broadway angels of mercy decide to do? They go on a bus touring company of Godspell, thus bringing religion and pizzazz to the Midwestern town of Edgewater, Indiana in defense of uplifting their image and a town in desperate need of a makeover.

The plot may seem familiar but it does have some twists and the approach is different and refreshing. The book by Mr. Martin and Mr. Beguelin is grounded and hysterical. They bring the right amount of message, frivolity and a grand time. The score is relatable and Casey Nicholaw has done the same brilliant job he always does with his direction and choreography. As in Something Rotten, he has touched on his Broadway roots and no one does it better than him.

As for Beth Leavel, Brooks Ashmanskas, Christopher Sieber and Angie Schworer, they are at the top of their game. They all have show-stopping numbers, which are another dividend and a source of delight for the audience. You just can’t help but root for these lovable self-promoters (in this case they are the good people) and have these angels earn their wings.

Edited by Scott Harrah
Published December 12, 2018
Reviewed at December 11, 2018 performance.

‘THE PROM’: (left to right) Josh Lamon, Beth Leavel, Brooks Ashmanskas & Angie Schworer. Photo: Deen van Meer

‘THE PROM’: Isabelle McCalla & Caitlin Kinnunen. Photo: Deen van Meer

‘THE PROM’: Christopher Sieber & cast. Photo: Deen van Meer

‘THE PROM’: Beth Leavel & Michael Potts. Photo: Deen van Meer

‘THE PROM’: Angie Schworer & Caitlin Kinnunen. Photo: Deen van Meer

‘THE PROM’: Isabelle McCalle & Courtenay Collins. Photo: Deen van Meer

‘THE PROM’: The cast. Photo: Deen van Meer

‘THE PROM’: (left to right) Christopher Sieber, Angie Schworer, Beth Leavel & Brooks Ashmanskas. Photo: Deen van Meer

The post ‘The Prom’ is best musical of season appeared first on StageZine.

‘SUNDAY IN THE PARK WITH GEORGE’: The cast. Photo: Matthew Murphy

SUNDAY IN THE PARK WITH GEORGE
Music and lyrics by Stephen Sondheim
Book by James LaPine
Directed by Sarna LaPine
Hudson Theatre
141 West 44th Street
(855-801-5876), www.TheHudsonBroadway.com

By David NouNou

With practically every musical, one either loves it, hates it or is indifferent to it. With a Sondheim musical, one either passionately loves it–or at worst, it’s not one’s cup of tea. You cannot toss a Sondheim musical aside by being indifferent to it. Putting it together is not easy, in Seurat’s words, for it has to have balance, color, light, tension and symmetry. Whether one likes the piece or not, one has to admire and respect the effort, the art and the intelligence that goes into each of Sondheim’s musicals.

When Sunday in the Park with George was originally presented in 1984, one felt a sense of detachment to it and one can still have that feeling today. Act I and Act II seemed to be two different musicals, with the common thread being artist George Seurat. Seurat used science behind color that led him to develop Pointillism. Like Seurat, Sondheim was also creating his new style by using Pointillism as a source to his music. With time and maturity and this current production, Act II really complements Act I. Whereas Act I introduces us to Seurat (Jake Gyllenhaal) and his muse/lover/model Dot (Annaleigh Ashford) in the creation of his masterpiece “A Sunday Afternoon On the Island of La Grand Jatte,” Act II is set in a gallery in 1983 and delves into Dot’s daughter Marie (also Ms. Ashford), and her grandson George (also Mr. Gyllenhaal). The 1983 George invents the “Chromolume,” a set of magnificent lighting designs using colored light bulbs that float over the audience’s head to create a three dimensional design of the original painting with music and light. It’s an extraordinary special effect that makes the moment memorable.

What is truly remarkable in this production is Jake Gyllenhaal. Having just seen him in Nocturnal Animals, as well as Southpaw, Prisoners, and Nightcrawler, one wouldn’t expect to see this intense young actor in a musical. Who knew he could sing? He brings a charisma to both Georges that eliminates a lot of the detachment one feels in Sunday. He actually draws you into the drama of what is happening on the Island of La Grand Jatte. Equally adept is Annaleigh Ashford, who brings a delightful innocence and smarts to her characters Dot and Marie. Mr. Gyllenhaal and Ms. Ashford have a most congenial chemistry together.

Unlike the current revival of Sunset Boulevard, in which the bare stage was a disastrous mistake, the bare stage here works in favor of the show and concentrates heavily on the creation and the recreation of Seurat’s painting, and this makes the viewer concentrate more on the performers, their performance and their voices.

Director Sarna LaPine has cleverly filled the stage with a great supporting cast, including Robert Sean Leonard, Penny Fuller, Ruthie Ann Miles, Brooks Ashmanskas, Jenni Barber, Phillip Boykin and Erin Davie, and weaves Act II to Act I together seamlessly. However, the detachment of the piece, even with the best of efforts and intentions can never be eliminated. For a lot of people, Sunday in the Park with George can fall in the category of not my cup of tea.

Edited by Scott Harrah
Published March 2, 2017
Reviewed at performance on March 1, 2017

‘SUNDAY IN THE PARK WITH GEORGE’: Jake Gyllenhaal & Penny Fuller. Photo: Matthew Murphy

‘SUNDAY IN THE PARK WITH GEORGE’: Jake Gyllenhaal. Photo: Matthew Murphy

‘SUNDAY IN THE PARK WITH GEORGE’: Annaleigh Ashford. Photo: Matthew Murphy

‘SUNDAY IN THE PARK WITH GEORGE’: Annaleigh Ashford & Jake Gyllenhaal. Photo: Matthew Murphy

‘SUNDAY IN THE PARK WITH GEORGE’: Annaleigh Ashford & Jake Gyllenhaal. Photo: Matthew Murphy

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‘SHUFFLE ALONG’: Brandon Victor Dixon & Audra McDonald. Photo: Julieta Cervantes

SHUFFLE ALONG
OR THE MAKING OF THE MUSICAL SENSATION OF 1921 AND ALL THAT FOLLOWED
Book by George C. Wolfe
Original Book by F. E. Miller & Aubrey Lyles
Music & lyrics by Noble Sissle & Eubie Blake
Choreography by Savion Glover
Directed by George C. Wolfe
Music Box Theatre
239 West 45th Street
(212-239-6200), www.shufflealongbroadway.com

By David NouNou

The syncopated rhythm of Shuffle Along at the Music Box Theatre will blow you away in this musical within a musical. Act I is about putting together the first all-black musical: cast, producer, director, writers and musicians on Broadway in 1921. Act II is the aftermath and what became of the creators and the people that were involved in this almost forgotten sensation of the era. Both parts are valid and essential. Act I is entertainment of dizzying heights. Act II plods with the usual heavy-handed dialogue that only George C. Wolfe can churn out. What a blissful, deliriously enjoyable and heavenly evening could have been achieved had the director George C. Wolfe toned down the lugubriously preachy writings of writer George C. Wolfe

However, the evening’s real hero is Savion Glover. His choreography is currently unparalleled on Broadway. His syncopated formation of his dancers is perfection to the utmost degree. We sit there dazzled with every number. In large part due to Mr. Glover’s vision, this heavy-handed musical soars into the stratosphere.

It is an understatement to say that putting this magnificent cast together is a major achievement. Audra McDonald (as Lottie Gee, leading lady of the show) is now an American institution. Adjectives are mere words to what her talent offers. Brian Stokes Mitchell as F. E. Miller, part of the duo who conceived the show, reuniting for the first time with Ms. McDonald since 1998’s Ragtime, is a pleasure to watch and hear, but there is not enough of a character that focuses strictly on Mr. Mitchell’s formidable voice and talent. Billy Porter as Aubrey Lyles, the other part of the duo who conceived the show, gives his character the proper comedic and acidic touches but doesn’t come close in gravitas to his Lola from Kinky Boots.

The two best male parts are that of Eubie Blake, the pianist and composer and also Lottie’s lover, played enigmatically and charmingly by the wonderful Brandon Victor Dixon; and Noble Sissle, Eubie’s fellow composer, staunchly and admirably played by Joshua Henry.

Essentially the story revolves around the four gentlemen who were separate duos: F.E. Miller and Aubrey Lyles and Noble Sissle and Eubie Blake pooling their talents together and bringing the first black musical to Broadway. It shows all the pitfalls and travails they endured to bring this musical to life. However, the success, fame and money that Shuffle Along acquired also brought them their demise because, all having the best intentions to re-team, ultimately brought them their separation and alienation from each other.

The ingredients for the perfect musical are all here; unfortunately, the book gets in the way. The dancers and their precision steps are incomparable. Also one cannot overlook the lighting by Jules Fisher and Peggy Eisenhauer; they evoke every emotion imaginable and have partnered for many years on lots of shows, and may this brilliant partnership endure forever. Also, the arrangements and orchestrations by Daryl Waters are sensational.

Given all the talent and brilliance that emanates from the show, you can’t go wrong, I do suggest you see the show before mid-July due to Ms. McDonald taking a maternity leave, and no one would ever want to miss an Audra McDonald performance.

Edited by Scott Harrah
Published May 11, 2016

‘SHUFFLE ALONG’: Joshua Henry, Brandon Victor Dixon, Billy Porter, Brian Stoke Mitchell & Richard Riaz Yoder. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Brandon Victor Dixon & Audra McDonald. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: The cast. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: The cast. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: The cast. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Brandon Victor Dixon & Audra McDonald. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Brian Stokes Mitchell & cast. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Billy Porter. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Brian Stokes Mitchell, Billy Porter, Joshua Henry & Brandon Victor Dixon. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Brian Stokes Mitchell. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Brandon Victor Dixon & Joshua Henry. Photo: Julieta Cervantes

‘SHUFFLE ALONG’: Adrienne Warren & Audra McDonald. Photo: Julieta Cervantes

The post ‘Shuffle Along’ sensational despite flaws appeared first on StageZine.

BEST MUSICAL SINCE ‘BOOK OF MORMON’: Michael James Scott (center) & cast of ‘Something Rotten!’ Photo: Joan Marcus

SOMETHING ROTTEN!
Conceived by Karey Kirkpatrick and Wayne Kirkpatrick
Book by Karey Kirkpatrick & John O’Farrell
Music & lyrics by Wayne Kirkpatrick & Karey Kirkpatrick
Direction & choreography by Casey Nicholaw
St. James Theatre
246 West 44th Street
(212-239-6200), www.RottenBroadway.com

By David NouNou

As a critic, I have been waiting since March 30, 2011 to write the words “The best original new musical since The Book of Mormon.”

In the past 10 days, we have been bombarded by lugubrious, serious, dour, epically boring and not fun musicals that have left audiences begging for a riotous show that is funny, intelligent, clever, witty, splashy, and simply a joy to sit through, and this is what you will get with Something Rotten!. This is due to the hysterical book by Karey Kirkpatrick and John O’Farrell and a sublimely hummable score by Wayne Kirkpatrick and Karey Kirkpatrick. From the opening song “Welcome to the Renaissance,” to the likes of “God, I Hate Shakespeare,” “A Musical”, “Will Power,” “Hard to Be the Bard,” to “To Thine Own Self,” the melodies are still ringing in my head. I will concede the book is not irreverent as The Book of Mormon, but then what is? However, it pokes clever jabs at Shakespeare, his works, and almost every milestone musical of the 20th Century.

The Bottom Brothers, Nick (Brian d’Arcy James) and Nigel (John Cariani), haven’t been able to write a hit because they have been in the shadow of the Bard, William Shakespeare (Christian Borle). Nick, in dire straits and as a last resort, goes to a soothsayer, Nostradamus (Brad Oscar), and begs him to foresee what the next big thing is to write about. Nostradamus looks into the future and advises him to write “A Musical”; that’s what people will want to see in the future. Needless to say, this number is a showstopper to end all showstoppers, magnificently done by Mr. Oscar and the ensemble, and every song after that is one showstopper after another. If excess is a sin, then no one can do it better than Casey Nicholaw, from his deft and dazzling direction to his astounding dance routines. He lavishes us with these joyous excesses.

The performances are superior in every way: Brian d’Arcy James, as the down-on-his-luck older brother Nick Bottom in search of a new idea for a play, is a robust leading man who has full command of the stage and does a razor-sharp routine in “Bottom’s Gonna Be on Top” that brings the house down as well as the Act I curtain. John Cariani, as the younger brother Nigel, is the timid one with the brains that has to write the words for Nick’s plays and is in a less glorified role. Mr. Cariani acts and sings with solid conviction.

Now, to the show-stopping hams of the show: Christian Borle, as the preening and overly confident Shakespeare, gives another one of those Borlian scene-stealing, sinfully delicious performances as in the songs “Will Power,” a jazzed-up, hip, swinging rock star Will and his posse, and “Hard To Be the Bard” is full of double entendres. The trump card of the night is Brad Oscar’s performance as Nostradamus, the soothsayer. His predicting “A Musical” as the next big thing was a true crowd-pleaser. The rest of the comedic group were Brooks Ashmanskas, as a confused Puritan, with a lovely daughter Portia (Kate Reinders), the young lady who loves Nigel Bottom. There’s also Gerry Vichi, as Shylock the Jew, who wants to be a producer (and you know which Shakespeare play these two characters will end up in); Peter Bartlett as Lord Clapham who plays a benefactor of the arts; and Heidi Blickenstaff as Nick’s wife. All are giving wonderfully zany ensemble performances. The dancing ensemble are all first-rate, synchronized perfectionists.

The designers have outdone themselves—from the beautiful Elizabethan sets by Scott Pask, to the over-the-top costumes by Gregg Barnes and the mood-provoking lighting by Jeff Coitier—all set and anchor the scenes perfectly. You don’t have to be a Shakespearian pro to get all the goings on; you just have to be able to laugh at the misplaced famous Shakespearean quotes and recognize the brilliant placement of moments from iconic musicals to fully appreciate the magnificent job Casey Nicholaw has done. Forget about the doom and gloom of the pretentious musicals that have just opened. Instead, go to Something Rotten! and see “Something Wonderful.”

THE FUTURE IS ‘A MUSICAL’: Brad Oscar & Brian d’Arcy James in ‘Something Rotten!’ Photo: Joan Marcus

WILL POWER: Christian Borle as Shakespeare & the cast of ‘Something Rotten!’ Photo: Joan Marcus

SPOOFING THE BROADWAY MUSICAL: Brian d’Arcy James & Brad Oscar (center, left to right) & cast of ‘Something Rotten!’ Photo: Joan Marcus

ANOTHER SHOWSTOPPER: The cast of ‘Something Rotten!’ Photo: Joan Marcus

THE BARD: Christian Borle in ‘Something Rotten!’ Photo: Joan Marcus

THE BOTTOM BROTHERS: John Cariani & Brian d’Arcy James in ‘Something Rotten!’ Photo: Joan Marcus

NICK BOTTOM & HIS TRUE LOVE, PORTIA: John Cariani & Kate Reinders in ‘Something Rotten!’ Photo: Joan Marcus

BROTHER JEREMIAH & PORTIA: Brooks Ashmankas & Kate Reinders in ‘Something Rotten!’ Photo: Joan Marcus

AT NICK & BEA’S HOUSE: (left to right) John Cariani, Brian d’Arcy James & Heidi Blickenstaff in ‘Something Rotten!’ Photo: Joan Marcus

BOTTOM’S ON TOP: Brian d’Arcy James in ‘Something Rotten!’ Photo: Joan Marcus

Edited by Scott Harrah
Published May 1, 2015
Reviewed at press performance on April 30, 2015

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