Review: SOMETHING ROTTEN at Moorestown Theater Company

“If your name is Shakespeare, you’re hotter than hot

But if you’re any other writer, then you’re not.”

The award-winning Moorestown Theater Company celebrates its 9th “Second Stage” musical and 250th show with this sublime production of the uproarious musical comedy Something Rotten directed by Mark Morgan, Founding Producing Artistic Director & Producer, who also appears briefly in the show in several spots.  As is the custom, the shows are divided between alternating Black and Gold casts and I saw the Gold cast.

I went into Something Rotten knowing nothing except that it involved Shakespeare and eggs and I couldn’t figure out where the eggs would come in.  I came away feeling that if anyone needed to treat depression or any other ailment, this outrageously entertaining, clever and hilarious show was the cure.  It sounds like a cliché, but it’s impossible not to have a smile on your face throughout – when not laughing eggs-statically. 

The title Something Rotten, of course, refers to the line “Something is rotten in the state of Denmark” spoken by Marcellus in Act 1, Scene 4 in Hamlet, but John O’Farrell and Karey Kirkpatrick who penned the book and Karey and Wayne Kirkpatrick (music and lyrics) take the story of the Bard in an entirely unique and loopy direction.  Set in 1595, the basic premise involves two brothers, Nick and Nigel Bottom, a pair of Elizabethan also-rans, who are vying to be successful playwrights as they languish in the shadow of the wildly successful William Shakespeare a.k.a. “The Bard.”  “He’s just a hack with a knack for stealing anything he can,” Nick grouses.  (“The way he feigns humility when all he does is gloat.  The way he wears that silly frilly collar ‘round his throat.”)  Nick is so broke that his wife Bea watches mobs throwing cabbages at prisoners, which she hates, so she can get something for dinner.

Meanwhile Shylock the Jew wants to fund Nick’s theatre troupe, which is illegal for Jews to do, as Lord Clapham, the troupe’s patron, threatens to stop their funds unless they have a play by morning.  Desperate, Nick consults a soothsayer who tells him the next big thing is musicals.  But does she have her visions straight?  To add to the brother Bottoms’ woes, Nigel falls for Portia, the daughter of a strict Puritan, Brother Jeremiah, which could make them the next ill-fated Romeo and Juliet.  Duplicity and something rotten is indeed afoot in the Elizabethan world, especially with that Renaissance writer, Will Shakespeare who will do anything not to relinquish his crown.

Along with its oddball and fun characters like the Grim Reapers (played here by Alex Keith and Kaitlyn Resavy) and witty Seussian rhymes and puns, Something Rotten is filled with showstopping song and dance numbers parodying and referencing Shakespeare and contemporary musicals ranging from Cats to A Chorus Line.  As someone put it, the script is packed with Easter eggs (pun intended?) for theater fans.  And peppered throughout are glimmers of Shakespeare’s divine iambic Pentameters.

A great cast is needed to bring it all to life and Moorestown Theater Company provides with its deep reservoir of talent. 

As Nick Bottom, the struggling writer in his own winter of discontent and protagonist of the show, Seth Pollock recalls Dudley Moore and is paired well with brother Nigel, modest genius, played with hapless charm by Jim Guevara.  Tracy Brobyn as Nick’s wife Bea who surreptitiously and hilariously resorts to portraying men to get work (“By 1600, women will be completely equal to men!”) has pure raw musical theater talent including great pipes and acting chops.

Andrea Drechsler, a veteran and leading lady of numerous MTC productions, makes a very earthy, funny Soothsayer (Donna, niece of Nostradamus) and has bags of charisma.  Always a delight, she even gets in some inside MTC jokes about “long intermission speeches.”  Her charisma is matched by multitalented Action News anchor and MTC veteran Rick Williams as the Bard, played hilariously as a sexy Rock God surrounded by adoring maidens and sycophants.  His swagger is priceless, as are his asides.  “It’s sexy, but it’s hard to be the Bard,” he laments.

Drechsler’s number “A Musical” is one of the high points.  Other highlights, among many, include the trio of singing chefs Kaitlyn Resavy, Alex Keith and Hannah Brodt, all of whom have beautiful voices, the hilarious dance off between Nick and Will, and the big eggs-ceptional eggs-travaganza which I’ll leave to be a surprise.

All cast members shine.  Stephanie Vajapey, a terrific singer, is utterly adorable as Portia, Nigel’s star-crossed lover, and made me laugh out loud, as did her father Brother Jeremiah (the delightful and equally adorable Sandhun Mendis who, among his many credits, has sung backup for Andrea Bocelli).  The romance between her and Nigel is goofy and endearing, reminiscent of the loveable (no pun intended) romance between librarian Marian Paroo and conman Harold Hill in The Music Man.  Mark Pinzur and Dan Drechsler are both delicious as Shylock and Lord Clapham, respectively, making the most of their moments onstage.

The show is infused with high-spirited choreography created by Jennifer Reid, a dynamo of a dancer who makes her debut as a choreographer here.  Sassy and fun tap numbers, among other dances, are ably carried out by Reid and the sure-footed Lead Tappers Stacy Brophy, Kaitlin Pasternak, Danielle Sager, and Peggy Slamp and Featured Dancers Alex Keith and Kayla Pates.  Have you ever seen an egg tap dance?  You will here.  High credit must also be given to the fabulous Elizabethan costumes by Costume Director and Designer Thom Sirkot who also plays the Minstrel in the Gold Cast; fab costumes are a hallmark of the MTC company.  And I’d be remiss not to mention the master stroke of including the tiniest Elizabethan, Kaitlyn Resavy’s winsome pooch Felix in the cast.  (What is that they say about never playing against children or animals because they’ll steal your scenes?)

Something Rotten is a laugh fest not to be missed about writers and Shakespeare and theater – and uh – eggs (did I mention eggs?) with Mel Brooks style humor, double entendres and music that can have you dancing in your seat.  It also reminds audiences – as it does Nick Bottom – that if bitten by the green monster of Envy, to thine own self be true.

New Jersey Awards - Live Stats

Best Musical - Top 3

1. THE LITTLE MERMAID (HOWELL PAL THEATRE COMPANY)

3.3% of votes

2. HAIR (Vanguard Theater Company)

2.9% of votes

3. GREASE (Plays-in-the-Park)

2.9% of votes

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