Review: SOMETHING ROTTEN! at Bad Hersfeld Festival

Just egg-celent! Between Broadway, the Renaissance and Open-Air Magic – Something Rotten! Triumphs at the Bad Hersfeld Festival.

The Landestheater Linz had already delighted audiences with the German-language premiere of the Broadway hit Something Rotten!, once again reaffirming its exceptional standing within the German-speaking musical theatre landscape. Now, the acclaimed production by the very same creative team has found its way to one of Germany‘s most spectacular open-air venues: the monumental ruins of the former monastery at the Bad Hersfeld Festival. The unique setting lends this riotous musical comedy an entirely new dimension and proves that the Linz production loses none of its charm beneath the open sky.

Two struggling playwright brothers attempt to outshine William Shakespeare by staging the world's very first musical, inspired by a series of utterly absurd visions of the future. Before long, Hamlet has become Omelett, while an eccentric troupe of actors eventually finds itself sailing to America, where musical theatre is supposedly born. The result is a story bursting with affectionate parodies of countless Broadway shows, outrageous situational comedy, delightfully dirty innuendo and an endless stream of lovingly exaggerated theatrical clichés.

Most recently seen in its original English version at Frankfurt's English Theatre, Wayne and Karey Kirkpatrick and John O'Farrell's musical now returns in Roman Hinze and Niklas Wagner's outstanding German adaptation, a translation that captures the spirit of the original British humour with remarkable confidence. Wordplay, intertextual references, risqué double entendres and perfectly judged puns have all been transferred into German with extraordinary skill. At the same time, more obscure references have been replaced by nods to beloved German-language musical classics such as Elisabeth and Tanz der Vampire, turning the second act in particular into a glorious firework display of insider jokes for devoted musical theatre fans.

Director Matthias Davids once again demonstrates his exceptional instinct for pace and comedic timing. While his production already proved remarkably successful in Linz, it feels even sharper in Bad Hersfeld. Punchlines land with greater precision, recurring jokes become even more effective, and throughout the evening the cast appears to have been given ample freedom to enrich their characters with individual theatrical touches. As a result, the performances never feel mechanically reproduced but remain vibrant, spontaneous and full of life. Hardly a scene passes without some delightful visual gag, absurd reaction or clever background joke unfolding somewhere on stage. In keeping with the Bad Hersfeld Festival's requirement that the performance be presented without an interval, the show has been carefully condensed to a running time of two hours and ten minutes. Davids' edits feel entirely organic; even seasoned Something Rotten! enthusiasts are unlikely to miss anything of importance. On the contrary, the production gains considerable momentum, developing an infectious energy from which there is simply no escape.

Andrew D. Edwards naturally had to rethink his set design for the monumental dimensions of the Stiftsruine. Whereas the Linz production relied heavily on movable half-timbered façades, the scenery initially appears more static here. That impression, however, quickly disappears. Hinged set pieces, rolling platforms, benches, banners, painted backdrops and a wealth of lovingly crafted props effortlessly create an ever-changing succession of locations, from London's streets and back alleys to The Globe Theatre and interiors such as the delightfully named "Shakes-Beer" tavern. Even the wonderfully absurd cow, whose milk can only be obtained by vigorously pumping its tail, once again proves a reliable source of laughter. By concentrating on a comparatively small number of versatile scenic elements, Edwards makes excellent use of the immense width of the historic venue while avoiding any sense of visual overcrowding.

Yet the set truly comes into its own only after nightfall. Michael Grundner's lighting design makes magnificent use of the extraordinary architecture of the Stiftsruine, repeatedly incorporating the vast depth of the open nave into the staging. Carefully composed colours, dramatic shafts of light and striking backlighting visually expand the playing space far beyond the stage itself, lending many scenes a remarkable sense of scale. Particularly during the second act, the audience is treated to images that would scarcely be possible inside a conventional theatre, giving the production an unmistakable open-air identity. Christoph Wohlleben conducts the orchestra with infectious momentum, bringing the Broadway-inspired score vividly to life, while Jörg Grünsfelder's sound design provides several unexpected touches along the way.

Adam Nees' costumes, too, have lost none of their appeal. With meticulous attention to detail, they lovingly caricature the Elizabethan era without abandoning its recognisable historical silhouettes. Exaggerated shapes, grotesquely widened hips, oversized codpieces, tightly fitted hose, extravagant hats and an exuberant colour palette combine to create a Renaissance world that is both lavish and knowingly tongue-in-cheek. Every character enjoys a distinctive visual identity, while even the smallest supporting roles are defined through carefully chosen accessories. The costumes never function as mere decoration but are repeatedly woven into the production's humour, becoming an integral part of countless visual gags throughout the evening.

Once again, Kim Duddy's choreography ranks among the production's greatest strengths. Compared to the Linz staging, her dance sequences feel even more exuberant and playful. Constantly shifting formations dissolve and reform within seconds; tap routines recall the great Broadway revues of the 1940s and '50s, while impeccably synchronised production numbers are repeatedly interrupted by deliberately exaggerated movements and inspired comic ideas. No two musical numbers resemble one another. At one moment the ensemble assembles into wildly animated Renaissance paintings; the next, apparently chaotic movement resolves into perfectly balanced stage pictures. The spectacular showstopper "Ein Musical" once again explodes into a choreographic tour de force, overflowing with hilarious references to musical theatre history, dazzling tap sequences and visual jokes almost too numerous to absorb in a single viewing, only to be surpassed moments later by the deliriously absurd "Mach ein Omelette", in which the increasingly deranged play-within-a-play reaches its comedic climax.

These choreographic set pieces are brought vividly to life thanks to an exceptionally committed company. The infectious energy of every performer radiates effortlessly into the audience, and what proves particularly striking is just how many ensemble members possess genuine soloist qualities. Even the smallest supporting characters emerge with clearly defined personalities and remain memorable long after they have left the stage. Whether portraying shady Londoners, exuberant actors, a delightfully flamboyant Queen Elizabeth or the absurdly dancing eggs and frying pans of the musical vision, almost every performer enjoys a moment in the spotlight, embracing it with obvious delight. Consequently, even the largest ensemble numbers never feel anonymous but remain packed with lovingly crafted details from front to back.

A considerable share of the evening's success thus belongs to the superb supporting cast. Surrounding Shakespeare and the Bottom brothers, Luuk Hartog, Nicolò Soller, Jelle Wijgergangs, Sjoerd Knol and Fabian Grimmeisen form a wonderfully versatile troupe of players. Whether appearing as Bard Boys, servants or spies, and frequently peppering their performances with affectionate nods to Shakespeare's own works, they inject even the briefest moments with wit and theatrical flair. Matthew Levick, Calum Melville and Davide Venier complement this spirited male ensemble with the same infectious enthusiasm for constant role changes. The women prove no less versatile: Hanna Kastner, Natascha C. Hill, Janina Steinbach and Veronika Hörmann effortlessly alternate between fortune tellers, personified plague viruses, Bea's drinking companions, hysterical Shakespeare fangirls and the delightfully dramatic egg-shaped "Dreamgirl", ensuring there is always another visual gag or charming detail waiting to be discovered somewhere on stage.

As a vocal ensemble, the company shines in the production numbers "Die Pest", "Wir in der Renaissance" and "Omelett", demonstrating impressive musical cohesion and tremendous vocal power. The evening's only slight disappointment lies in the sound balance, which occasionally buries portions of the ensemble lyrics beneath the orchestra, causing some of the show's wonderfully witty writing to lose a little of its impact.

Klaus Brantzen gives the aspiring patron Shylock an irresistibly quirky charm. His entire demeanour and his constantly repeated catchphrase, "I love it, I love it!", knowingly evoke the classic Broadway producers he ultimately becomes by the end of the story. Ulrich Talle draws plenty of laughs in his dual role as Lord Clapham and the Judge. Rather than relying on broad caricature, he builds his humour through delightfully eccentric mannerisms—most memorably the tiny hat hidden beneath his enormous feathered headpiece, which he dramatically tears from his head whenever indignation gets the better of him.

As Nancy Nostradamus—the wildly inaccurate soothsayer whose prophecy inadvertently sets the entire plot in motion—Gayle Tufts once again proves that her decades of experience as a comedian translate effortlessly to the musical stage. Vocally and choreographically assured, she uses her unmistakable American accent as an additional comic device, delivering dry one-liners and perfectly timed wordplay with effortless confidence.

Johanna Zett impresses as Bea, excelling not only in her superb rendition of the solo "Dein Gefolgsmann", but also in the wealth of comedic nuances she discovers throughout her performance. Her exaggerated interactions with the men—while disguised as one of them—are packed with delightful comic detail, yet she never neglects the emotional core of the character. Instead, she allows Bea to emerge as the musical's moral compass, embodying its plea for female self-determination within a patriarchal society.

Valerie Luksch once again delights as Portia and appears even more completely at home with the role's comic possibilities than she did in Linz. Her ecstatic delight while passionately reciting Shakespeare's sonnets and her gloriously drunken escapades inside Shakespeare's tavern produce some of the evening's funniest moments of physical comedy. At the same time, she imbues Portia with an irresistibly youthful sweetness, particularly during "Ich lieb die Worte" and "Wir seh'n das Licht", where her chemistry with Nigel proves utterly charming.

Benjamin Sommerfeld and Christopher Bolan form a wonderfully convincing pair of Bottom brothers. Sommerfeld portrays the sensitive, dreamy Nigel with warmth, quiet insecurity and an ever-growing passion for his own artistic voice, while Bolan endows Nick with a sense of self-importance, exasperation and frustration. Yet beneath Nick's swagger, Bolan subtly reveals the insecure young man who knows, deep down, that not only his rival, the Bard himself, but even his own younger brother possess the greater talent. His barely contained contempt during "Gott, ich hass Shakespeare" becomes the evening's comic highlight, while Sommerfeld provides the perfect counterweight through Nigel's poetic idealism and understated humour. Their fraternal relationship feels completely authentic throughout, generating an abundance of wonderfully effective comic situations. Sommerfeld also shares delightful chemistry with Valerie Luksch, while Bolan and Johanna Zett create an equally believable stage partnership.

Among the production's undisputed highlights is Nicolas Tenerani as Brother Jeremiah. With astonishing comic precision, he somehow manages to turn virtually every line into a punchline. His interpretation of the puritanical preacher as a thoroughly closeted queer queen is a stroke of genius. Caught somewhere between stern moral sermons, extravagantly sassy gestures and diva-like mannerisms that frequently make him resemble a drag queen in clerical robes, Tenerani creates a delicious contradiction between the character's rigid public persona and the flamboyant behaviour of which he himself remains blissfully unaware. It is precisely this absurd contrast that generates an endless stream of laughter, firmly establishing him as the evening's greatest scene stealer.

Riccardo Greco proves no less sensational as Shakespeare himself, delivering one of the production's defining performances. Vocally outstanding and blessed with impeccable comic timing, he combines understated wit, expressive physical comedy, razor-sharp delivery, laid-back streetwise swagger and deliciously overblown poetic proclamations to create an egotistical, obviously bisexual rock star who effortlessly commands every moment he appears on stage. Striking endless poses, tossing his hair à la Cher, revelling in the adoration of his fans, occasionally breaking into a twerk and luxuriating in every ounce of his own celebrity, Greco extracts every last drop of humour from Shakespeare's magnificent narcissism. His crowning achievement comes as Toby, Shakespeare's undercover alter ego, used to spy on the Bottom brothers and steal their ideas. Armed with an outrageously croaky falsetto somewhere between Stitch, Gollum and Kermit the Frog, Greco transforms every appearance in this role-within-a-role into an explosion of laughter, ultimately crowning himself the production's comic MVP.

With this transfer of the original Linz production, the Bad Hersfeld Festival demonstrates just how magnificently Something Rotten! adapts to the monumental setting of the Stiftsruine. The spectacular open-air venue lends the already exuberant musical an additional sense of scale without sacrificing any of its razor-sharp comedy. Matthias Davids, Kim Duddy and their entire creative team have succeeded not merely in preserving the wit, choreographic precision and extraordinary attention to detail of the original production, but in several respects elevating it even further beneath the open sky. The result is an irresistibly clever, gloriously ridiculous love letter to theatre itself—overflowing with Shakespeare references, Broadway in-jokes and affectionate musical theatre parody. The standing ovations that greeted the company at curtain call confirmed what had become increasingly apparent throughout the evening: beneath the open skies of Bad Hersfeld, Something Rotten! has lost none of its infectious wit or theatrical brilliance.

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