‘TITANIQUE’: Marla Mindelle. Photo: Evan Zimmerman.

TITANIQUE
Book by Marla Mindelle, Constantine Rousouli & Tye Blue
Music supervision, orchestrations & arrangements by Nicholas James Connell
Choreography by Ellenor Scott
Directed by Tye Blue
Through September 20, 2026
St. James Theatre
246 West 44^th Street
https://titaniquebroadway.com/

By Scott Harrah

C’est si bon! All aboard for the Broadway transfer of the Off-Broadway splash-hit musical sensation Titanique. Like the equally outrageous Oh, Mary!, it arrives with a devoted fan base and is poised to win over a new crowd on the Broadway stage.

Marla Mindelle returns as French-Canadian pop superstar Céline Dion. She serves as emcee, narrator, and guide through this satirical retelling of both the Titanic tragedy and the mega-hit, Oscar-winning 1997 film. For its Broadway run, the show is splashier and glitzier. It now features major stars, including Jim Parsons as Ruth DeWitt Bukater and R&B legend Deborah Cox as Molly Brown.

Story & parody

Titanique is a double spoof of both the James Cameron film and Céline Dion. Ms. Dion, of course, never appeared in the movie, but she famously sang the theme “My Heart Will Go On.” However, in her version, she is on the ship. She also plays a major role in the love story of Jack (Constantine Rousouli) and Rose (Melissa Barrera).

All the major plot elements of the 1997 film are here. These include Jack and Rose, as well as her wealthy fiancé Cal (John Riddle). Familiar figures also appear, including Rose’s overbearing mother, the “unsinkable” Molly Brown, and the ship’s crew. Each character is reimagined with exaggerated flair. As a result, Titanique gleefully satirizes the original story into a campy, music-filled spectacle driven by Ms. Dion’s offbeat narration.

The show is a complete parody. It mixes the serious emotional stakes of the 1997 film with zany comedy and hammy theatrics. In turn, the wacky narrative transforms Titanique into an atypical jukebox musical. Céline Dion’s hit songs are cleverly repurposed to fit the absurd retelling.

As the iceberg approaches, Titanique becomes both a loving homage and a nonstop send-up. The show also pokes fun at some of the film’s more unexpected elements. For example, Frankie Grande doubles as both Victor Garber and Luigi, leaning fully into the absurdity. Meanwhile, Layton Williams steals scenes in a dual turn as a seaman and the Iceberg, reimagined as a Tina Turner–inspired drag persona.

On deck: The cast

Marla Mindelle is brilliant, commanding the stage as global pop superstar and Québécois icon Céline Dion with great comic timing and powerhouse vocals. Her over-the-top portrayal borders on caricature, but never feels mean-spirited. Instead, she anchors the show’s chaos with confidence. She guides the audience through the many outrageous twists while never missing a punchline.

Constantine Rousouli brings all the requisite charm to Jack. He highlights the character’s earnestness while embracing the show’s irreverent tone. Melissa Barrera’s Rose stands out, particularly for her vocals. When she teams up with Deborah Cox for the duet “Tell Him,” the two achieve rapturous harmony with matching vibratos. The number becomes even stronger when Ms. Mindelle joins in.

Deborah Cox makes a striking departure from her past glamorous Broadway roles. Here, she plays Molly Brown in the spirit of Kathy Bates, as a boisterous and outspoken woman who cuts through first-class pretensions. Known for both her R&B club hits and Broadway roles in Aida, Jekyll & Hyde, and The Wiz, she delivers a rousing rendition of “All By Myself.”

John Riddle plays Cal as a preening, entitled cad. He heightens the character’s arrogance for comic effect without losing the menace.

Jim Parsons chews up the scenery with comic aplomb as Rose’s overbearing mother, Ruth. Frankie Grande is delightfully absurd in his dual roles as Victor Garber and Luigi.

One of the show’s highlights is Layton Williams as the Iceberg. He delivers a high-energy, show-stopping rendition of “River Deep, Mountain High” that brings down the house.

High camp, lowbrow laughs

At times, the humor is unapologetically raunchy. For instance, a duet between Rose and Molly Brown devolves into a barrage of visual innuendos involving a very suggestive plastic eggplant. This moment reflects the show’s naughty, sometimes lowbrow approach. Along with its LGBTQ-inflected jokes, it pushes the material into PG territory. Even so, Titanique remains suitable for families with older children. At the performance this reviewer attended, several families were in the audience, and the jokes landed with consistent laughter. This sensibility will feel familiar to audiences accustomed to contemporary pop culture and television.

Sailing off in style

Titanique is not only a clever, intelligent parody but also an unabashedly joyful, crowd-pleasing spectacle. It sails along on humor, heart, and vocal fireworks. The show knows exactly what it is and leans into the absurdity with confidence. As a result, it delivers big laughs, powerhouse vocals, and a thoroughly entertaining night at the theater. Director Tye Blue, who co-authored the book with Marla Mindelle and Constantine Rousouli, steers the production with a sure hand. He keeps the laughs coming while embracing the show’s shameless sense of excess.

Like its namesake, Titanique proves unsinkable. If audiences have anything to say about it, this voyage should extend well beyond its initial 16-week run.

Published April 12, 2026
Reviewed at press preview on April 11, 2026.

Editor’s Note: Titanique runs at the St. James Theatre in New York through September 20, 2026, and the Olivier Award-winning production plays London’s West End through August 30, 2026 (London tickets).

The French-language Canadian production, starring Véronique Claveau, plays Montreal (Studio-Cabaret de l’Espace St-Denis) June 6 to August 23, followed by Gatineau (Théâtre du Casino) September 1 to 5 and Quebec City (Salle Albert-Rousseau) September 10 to 14, 2026. Tickets and details (Canada).

‘TITANIQUE’: Marla Mindelle (center) & cast. Photo: Evan Zimmerman.

‘TITANIQUE”: The cast. Photo: Evan Zimmerman.

‘TITANIQUE’: Marla Mindelle (center) & cast. Photo: Evan Zimmerman.

TITANIQUE’: Melissa Barrera, Constantine Rousouli & cast. Photo: Evan Zimmerman.

‘TITANIQUE’: Constantine Rousouli & Melissa Barrera. Photo: Evan Zimmerman.

‘TITANIQUE’: Melissa Barrera & John Riddle. Photo: Evan Zimmerman.

‘TITANIQUE’: Jim Parsons & Melissa Barrera. Photo: Evan Zimmerman.

‘TITANIQUE’: Deborah Cox. Photo: Evan Zimmerman.

‘TITANIQUE’: Jim Parsons, Frankie Grande & Deborah Cox. Photo: Evan Zimmerman.

‘TITANIQUE’: Layton Williams. Photo: Evan Zimmerman.

‘TITANIQUE’: Frankie Grande. Photo: Evan Zimmerman.

TITANIQUE: Deborah Cox & Melissa Barrera & (right) Marla Mindelle. Photo: Evan Zimmerman.

‘TITANIQUE’: Marla Mindelle & cast & (right) John Riddle & Melissa Barrera. Photo: Evan Zimmerman.

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‘SUNSET BLVD.: Nicole Scherzinger. Photo: Marc Brenner.

SUNSET BLVD.
Music by Andrew Lloyd Webber
Book and lyrics by Don Black and Christopher Hampton
Based on the Billy Wilder movie Sunset Boulevard

Directed by Jamie Lloyd
St. James Theatre

246 W. 44^th Street
https://sunsetblvdbroadway.com/

By Scott Harrah

Andrew Lloyd Webber’s Sunset Boulevard is a blend of illusion and reality. In previous productions, it featured a lavish, opulent set and costumes. Director Jamie Lloyd has totally reimagined and reworked the musical into a Sunset Blvd. (complete with an abbreviated title) for a new generation.

This production features projections instead of sets, all-black costumes and haze that may remind one of the smog on a Los Angeles freeway. It received seven Olivier Awards in London, including one for Best Musical.

A revolutionary reboot

In this revolutionary reboot of the classic musical, one must suspend reality and work on the illusion. The illusion is former Pussycat Dolls pop singer Nicole Scherzinger giving a younger, darker interpretation of the neurotic narcissist Norma Desmond. Understandably, Norma Desmond’s age has been changed from 50 to 40 since Ms. Scherzinger is in her 40s. One forgets about past revivals of the show because Ms. Scherzinger’s stage presence is so imposing, and her voice so soaring and ethereal that it’s almost operatic. She has the audience spellbound from the first moment she enters the stage.  The original version was a brilliant adaptation of Billy Wilder’s magnificent screen version of the same name. It was directed by Trevor Nunn and the set by John Napier was truly one of the greatest and most memorable sets of all time. They anchored the show and gave it splendor and meaning.

However, Mr. Lloyd’s version still has lots of meaning but a different type of splendor and no lavish sets. The plot centers on the same premise as the 1950 classic film Sunset Boulevard: Norma, a faded 1920s screen star of yesteryear who hasn’t worked in years, falling for a younger, broke screenwriter, Joe Gillis (Tom Francis). All the main characters from the Billy Wilder movie are here, from ambitious fellow screenwriter Betty Schaefer (Grace Hodgett Young) to the mysterious Max Von Mayerling (David Thaxton), Norma’s loyal and creepy servant.

A stylized Sunset Blvd.

This production lacks the grandeur of the original; it instead aims instead for a stylized approach. Here, we have people running around with handheld cameras—and that is not exactly original as this technique has been used on Broadway in recent years by other European directors. However, in a revival of musical adaptation of a classic Hollywood film, it somehow works here.  A screen is suspended above the stage, used as a backdrop on which to project close-ups of Norma and Joe. Credits are seen scrolling both at the beginning and end of the show, like one is watching an old black and white film noir on late-night TV. Video designs and cinematography by Nathan Amzi and Joe Ransom, lighting design by Jack Knowles and sound design by Adam Fisher all help to create this ambience.

Mr. Francis, as Joe, sings the titular song “Sunset Boulevard” on camera, off stage, as we see a projection of him walking through the Broadway theatre district outside. He finally enters the stage of the St. James. Norma stands there eerily, waiting for him.

Purists may quibble that, without the garish costumes and ornate sets of previous productions, this Sunset Blvd. has none of the glamour necessary to evoke the time period and truth of Andrew Lloyd Webber’s score and the original book and lyrics by Don Black and Christopher Hampton. However, everything about Jamie Lloyd’s twist on both the visual exposition and narrative of the musical is fresh and innovative, and that is truly rare in normally gimmicky “modern” revivals of classic Broadway. Fortunately, most of the cast are exceptionally good.

Outstanding cast

Nicole Scherzinger’s Norma is snarkier and more quick-witted than the vulnerable Norma Desmond many are accustomed to, and she has brilliant timing when reciting such iconic lines as “I am big. It’s the pictures that got small,” and “We didn’t need dialogue. We had faces!” When Ms. Scherzinger belts out any of the show’s songs, her vibrato is stratospheric. Her vocals are magical and truly unforgettable.

Equally important, Mr. Francis as Joe also has a powerful voice, as does David Thaxton as Max Von Mayerling. Both actors give first-rate performances. In addition, Grace Hodgett Young is also superb as Betty Schaefer, the upbeat screenwriter with romantic designs on Joe.

In conclusion, Jamie Lloyd’s avant-garde spin on Sunset Blvd. is so provocative, outrageous and stripped bare of everything that many will either hate it or love it. At the performance this reviewer attended, the audience was definitely loving the show, judging from the thunderous applause after each song. One thing is certain: This unconventional Sunset Blvd. is a must-see phenomenon.

Published October 28, 2024
Reviewed at October 24, 2024 press performance

SUNSET BLVD.’: Tom Francis & Nicole Scherzinger. Photo: Marc Brenner.

‘SUNSET BLVD.’: Nicole Scherzinger & Hannah Yun Chamberlain. Photo: Marc Brenner.

‘SUNSET BLVD.’: Nicole Scherzinger. Photo: Marc Brenner.

‘SUNSET BLVD.’: Tom Francis (center) & cast. Photo: Marc Brenner.

‘SUNSET BLVD.’: Grace Hodgett Young. Photo: Marc Brenner.

‘SUNSET BLVD.’: The cast. Photo: Marc Brenner.

‘SUNSET BLVD.’: (projected onto the screen left to right): Nicole Scherzinger, Hannah Yun Chamberlain & Tom Francis (seated). Photo: Marc Brenner.

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‘CAMELOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

MONTY PYTHON’S SPAMALOT
Music by John Du Prez and Eric Idle
Book & lyrics by Eric Idle
Direction & choreography by Josh Rhodes
St. James Theatre
246 West 44th Street
(212-239-6200), SpamalotTheMusical.com/

By David NouNou

You might think that a musical that opened in 2005 and closed in 2009 might be too early to have a revival. In most cases, I would agree with you. However, in the case of Spamalot,  it couldn’t have come fast enough. In these troubled times where laughter comes so sporadically, it is good to be able to laugh out loud and unabashedly.

To most readers, you may have seen the original Spamalot; not to worry as there has been so much schtick and one-liners added in so many scenes, you forget and ask yourself was this in the original version? That is part of the fun of watching Spamalot amidst all the mayhem and wondering, “Was this in or not? I don’t remember it.”

King Arthur (James Monroe Iglehart) is traveling with his steadfast servant Patsy (Christopher Fitzgerald) across the European countries in 923 A.D. to round out knights to form his Round Table in Camelot. Along the way he encounters Sir Robin (Michael Urie); he will be needed for his specialty, singing and dancing. They then encounter the brutish but handsome Sir Lancelot (Taran Killam) for his fighting ability. They are met by Dennis Galahad (Nik Walker) but he is not convinced that Arthur is really a king. So, Arthur summons The Lady of the Lake (Leslie Rodriguez Kritzer) to vouch for his authenticity and with the help of her “Laker Girls” turns Dennis into Sir Galahad, joined later with Sir Bedevere (Jimmy Smagula). These merry band of men have been assigned the task by God himself to find the Holy Grail.

And so, the fun begins. You’ll witness every sort of chicanery and slapstick sight gags that the mind can conceive. In addition, with the exception of King Arthur and The Lady of the Lake, everyone on the St. James Theatre stage plays multiple roles and part of the fun is guessing who is playing whom at any particular moment.

The most hysterical scene and number comes in the second act where in order to move to the next part of the quest for the Holy Grail, Sir Robin has to create a show for Broadway. In order to do that he needs Jews for the show, because every show has to have Jews in them for it to succeed. In the song “You Won’t Succeed on Broadway,” he demonstrates by having a chorus of men doing a takeoff on Fiddler on the Roof by having the chorus do the incredible bottle dance and a huge Star of David descends onto the stage. A showstopper if ever there was one. More craziness ensues but it must be seen to be fully appreciated.

What’s really impressive is the energy the cast imbues into the show. From start to finish, the zaniness never stops. The performances are all first rate: Michael Urie as Sir Robin has never been better; it’s great seeing him stretching his talent to higher standards. Taran Killam in multiple roles is terrific as Sir Lancelot, a taunting Frenchman, a Knight of Ni. Charles Fitzgerald is masterful as always as King Arthur’s Patsy. Ethan Slater is a treasure in no less than nine different roles.

Of course, there is also the sublime Leslie Rodriguez Kritzer as Lady of the Lake. She’s great in the first act and nearly steals the second in “Diva’s Lament” this comes because she has been left out of two thirds of the second act.

The only misfire of the evening is the incomparable James Monroe Iglehart. He seems to be stifled by the entire King Arthur persona and can’t cut loose as when he was the Grand Genie in Aladdin. A minor miscalculation.

Scenic and production designer Paul Tate DePOO III has created colorful and whimsical sets. Josh Rhodes’ direction/choreography is not as concise as Mike Nichols’ direction and Christopher Nicholaw’s choreography. Mr. Rhodes has given the cast free rein to ad-lib.

Spamalot comes at a perfect time, just before the holidays. Get tickets soon and make the holidays even more festive and enjoyable. You’ll be beaming for the rest of the night.

Edited by Scott Harrah
Published November 22, 2023
Reviewed at November 21, 2023 press performance.

‘SPAMALOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: Nik Walker & Leslie Rodriguez Kritzer. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’ (Left to right): Michael Urie, Nik Walker, James Monroe Iglehart, Christopher Fitzgerald, Jimmy Smagula & Taran Killam. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: Leslie Rodriguez Kritzer. Photo: Matthew Murphy & Evan Zimmerman.

Christopher Fitzgerald & James Monroe Iglehart. Photo: Matthew Murphy & Evan Zimmerman.

‘SPAMALOT’: (Left to right) Michael Fatica, Taran Killam, Drew Reddington & Ethan Slater. Photo: Matthew Murphy & Evan Zimmerman.

The post ‘Spamalot’ revival a tonic for troubled times appeared first on StageZine.

‘FROZEN’: (left to right) Patti Murin, Caissie Levy & Jacob Smith. Photo: Deen van Meer

FROZEN
Book by Jennifer Lee
Music & lyrics by Kristen Anderson-Lopez & Robert Lopez
Directed by Michael Grandage
Choreography by Rob Ashford
St. James Theatre
246 West 44th Street
(212-239-6200), FrozenTheMusical.com

By David NouNou

Based on Hans Christian Anderson’s The Snow Queen, Disney turned Frozen into the glorious 2013 Oscar-winning animated feature film, containing the beloved Oscar-winning song “Let It Go” sung by Idina Menzel (or, as John Travolta mangled her name at the 2014 Oscars, “Adele Dazime”). The film turned out to be the most profitable and beloved Disney animated feature in many years. So one wonders how could Disney, with all its resources and talent, take something that was so vibrant and full of color and life and turn it into such a drab stage musical?

The easiest thing would have been to take the film and with Disney’s expertise in special effects transpose it, frame by frame, to the Broadway stage. Although that may not have been too original, it would have been a marvelous feat. The story revolves around the two princesses of Arendelle: the older Elsa (Caissie Levy) who possesses magic and has the power to turn everything to ice; and the playful younger one, Anna (Patti Murin) who is at risk of being unintentionally harmed by her older sister. As children, while playing a game one night, Elsa accidentally injures Anna (Anna passes out). She is rescued by her parents who summon the Grand Pabbie (Timothy Hughes) to heal Anna thus altering her mind about what had occurred. The sisters are separated and locked up in different parts of the castle in order to prevent more harm coming to Anna.

With the demise of their parents, Elsa at 21 becomes crowned as Queen of Arendelle. The sisters reunite but no good comes of it. Anna meets Hans (John Riddle) at the coronation ball and immediately falls in love with him. She wants to marry him and asks Elsa for her approval and is denied and accidentally unleashes her powers in front of the court. Elsa flees into the Northern mountains to isolate herself from the world by building a palace of ice. Arendelle is doomed to eternal winter. Anna goes in search of Elsa, gets lost and along the way meets Kristoff (Jelani Alladin) and his reindeer Sven. They encounter the snowman Olaf (Greg Hildreth). Through their bond of friendship and love they pull their resources to find Elsa and to help Anna reconcile with her sister and discover the true meaning of love that thaws out the ice in the heart and the eternal winter.

As with any good fairy tale, the story has to be compelling, hence the huge popularity of the film. The story here is basically the same, but where did it veer off into the doldrums? The two obvious factors are the pedestrian book by Jennifer Lee, who directed and wrote the movie, and secondly the ever-so heavy, leaden direction by Michael Grandage.

In film you can write with broader strokes, so even if a line is not funny or just plain generic, there are visual treats that can mask this flaw. Stage writing has to be succinct and can’t feature sophomoric writing; it becomes cloying. However, the bigger problem here is the direction by Michael Grandage. He is a great British director who has directed such dramas as Art, for which he won a Tony, Frost/Nixon, and The Cripple of Inishmaan. So, it is with great astonishment why Mr. Grandage, best known for dramas, would be chosen as director of a family-oriented, fun Disney musical. What should have been a bright, buoyant musical entertainment just plods and plods through dark, drab and somber moments. The proceedings aren’t helped any by Rob Ashford’s listless and unimaginative choreography. Where is the brilliant and imaginative director/choreographer Casey Nicholaw when you need him? He turned Disney’s Aladdin into one of the most joyous and colorful shows in recent memory.

Ms. Levy and Ms. Murin are in fine voice as Elsa and Anna and do their best with the material they are given. I do hold a soft spot in my heart for Sven, the reindeer and Olaf, the snowman; they conveyed more humanity and reality than the real actors.

This is the one case where Disney could have learned a thing or two from Nickelodeon’s SpongeBob Squarepants, the musical currently on Broadway, directed by Tina Landau and choreographed by Christopher Gattelli. Now there is an original, colorful, buoyant and fun musical to be enjoyed by the whole family.

Edited by Scott Harrah
Published March 22, 2018
Reviewed at March 21, 2018 press preview performance.

‘FROZEN’: Caissie Levy. Photo: Deen van Meer

‘FROZEN’: Patti Murin. Photo: Deen van Meer

‘FROZEN’: Patti Murin & Caissie Levy. Photo: Deen van Meer

‘FROZEN’: Patti Murin. Photo: Deen van Meer

‘FROZEN’: Caissie Levy. Photo: Deen van Meer

‘FROZEN’: Jelani Alladin, Patti Murin & company. Photo: Deen van Meer.

‘FROZEN’: John Riddle, Robert Creighton & cast. Photo: Deen van Meer

‘FROZEN’: Jelani Alladin. Photo: Deen van Meer

‘FROZEN’: The cast. Photo: Deen van Meer

The post Disney’s ‘Frozen’: A drab stage adaptation appeared first on StageZine.

‘PRESENT LAUGHTER’: Kevin Kline & Kate Burton. Photo: Joan Marcus

PRESENT LAUGHTER
Written by Noël Coward
Directed by Moritz Von Stuelpnagel
Through July 2, 2017
St. James Theatre
246 West 44th Street
(877-250-2929), LaughteronBroadway.com/

By David NouNou

No one does drawing-room comedy better than Noel Coward. Having seen Present Laughter now for the fourth time, I can honestly say that this production, although unevenly cast, is the definitive version and a must-see. Having seen George C. Scott, Frank Langella, Victor Garber, all brilliant actors playing the central role of Garry Essendine, I must give top honors to Kevin Kline. Being semi-biographical, Mr. Kline taps into the heart and soul of Noel Coward. He is vain, narcissistic, self-indulgent, prone to tantrums, sexually busy, and needing constant reassurance (no, I’m not talking about an elected official. I’m talking about Mr. Coward). Mr. Kline imbues him with an additional trait, expert athleticism.

Written in 1943, it is a comedy of both good and bad manners. Of course it was different times and as Mr. Coward has written in so many of his plays: (Private Lives, Hay Fever, Design For Living), being a snob and spoiled is not necessarily a bad thing. Case in point:Garry Essendine has a loving ex-wife, Liz (Kate Burton), who pampers and spoils him and still knows when to come and rescue him; a doting secretary, Monica Reed (Kristen Nielson), who attends to his daily needs; close confidants, producer Henry Lyppiatt (Peter Francers James) and director, Morris Dixon (Reg Rogers); and a swarm of admirers who lose their latch keys in order to be close to him, especially the devious Joanna Lyppiatt (Cobie Smulders), married to Henry and the innocent, hapless, and foolish Daphne Stillington (Tedra Millan). Also let’s not forget he has two devoted staff members; a butler, Fred (Matt Bittner), and a Swedish housekeeper, Miss Erikson (Ellen Harvey) who is more Teutonic than Scandinavian. In this mix is also a confused and crazed failed playwright, Roland Maule (Bhavesh Patel), who is obsessed with Garry and we really don’t know why. You could say Garry has a charmed life; he is the sun and all the planets revolve around him.

Moritz von Stuelpnagel, who directed the brilliant Hand to God, has a talent for the absurd and throws just the right touch of mischief to the proceedings. In the center of it all is Kevin Kline, who always adds a touch of class to all his performances. Here his deftness in narcissism touches on his previous roles in the musicals On the 20th Century and The Pirates of Penzance, one of the many reasons we fell in love with him in the first place. He makes vanity and conceit an art rather than a deadly sin.

Kate Burton as Liz is charming, vivacious and smart; she knows she has a handful with Garry. Kristine Nielson is such a lovable actress and has given so many wonderful performances that it is difficult to say that she is miscast as an Englishwoman. Reg Rogers, who usually plays an Englishman, is also one of the miscast victims. He is more hysterical than floundering as the cuckolded director who is in love with the vampish Joanna. Cobie Smulders, making her Broadway debut, makes a striking Joanna. Tedra Millan is adorable as the annoying, foolish young groupie, Daphne.

There are two English comedies currently running on Broadway; one of them is sheer mayhem; the other is a classy, lively revival by Noel Coward and starring Kevin Kline. Cheerio.

Edited by Scott Harrah
Published April 9, 2017
Reviewed at press performance on April 8, 2017

‘PRESENT LAUGHTER’: (left to right) Kristine Nielsen, Kate Burton & Kevin Kline. Photo: Joan Marcus

‘PRESENT LAUGHTER’: Kevin Kline. Photo: Joan Marcus

The post ‘Present Laughter’: Comedy of good & bad manners 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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