REVIEW: Something Rotten! Proves There’s Nothing as Amazing as a Musical...
Dustin Jodway (left) and Matthew Moore (right) excel as Nick Bottom and Nostradamus
Photography by: Kreations Photography
Where can you find Bottoms, frying pan yielding bards, musical theatre references that would make the Schmigadoon! writers hang their heads in shame and a tap-dancing battle of wits?
Look no further than Hamilton Theatre Inc, as the company debuts the first production of Something Rotten! for the greater Hamilton/Toronto area. A nerve-wracking venture to say the least and in less capable hands of the production team and cast’s overwhelming enthusiasm for the material, it could have been a scrambled mess. Thankfully, this is not the case and the production, on the whole, is egg-cellent.
Something Rotten! is the story of two brothers, Nick and Nigel Bottom, both alike in dignity, in the Renaissance, where we lay our scene. Together, they try to create a new play which will allow them fame, fortune and perhaps more than cabbage soup to feast upon. With his life crumbling around him and frustrated with the fame of one William Shakespeare, Nick uses what is left of his savings to visit a soothsayer, Nostradamus, who reveals that the future of popular theatre is something called “a musical.” The Bottom brothers attempt to use the visions of the future to outshine Shakespeare, while simultaneously finding love, chasing their dreams and discovering that the most important thing you can do is be true to yourself.
The book and lyrics are nothing spectacular (on paper) and the story is simple; one we are familiar with. The lyrics are funny and often clever without being too offensive. However, despite the simplicities, the efforts needed to make everything translate successfully are no small feat and that is where this company excels.
Director Monica Cairney is no stranger to The Bard. Her past work in productions across Hamilton has demonstrated a deep understanding and respect for the work of Shakespeare. This is why her directing choices, from casting to staging, pay such a delightful homage to the period as well as the ridiculous amount of musical theatre in-jokes and innuendos throughout. Cairney’s vision is straightforward which allows her cast to be in on the jokes and grants many of them the freedom to play with the material, adding in a few modern jabs at both new musicals and Hamilton Theatre Inc. itself (“$7 for a thimble full of wine?!” Brilliant). Audiences do not have to be fully versed in every musical theatre production out there to understand the humour and intention, though you could tell who in the audience really understood the references by their boisterous and hearty laughter. I was also impressed by Cairney not falling into the common HTI trap of not enough stage for so many cast members. Her staging (which I am certain was aided by choreographer Meredith Busteed) granted very few issues which allowed the audience to really identify the hard-working ensemble members rather than letting anyone fade into the background.
It is refreshing to see so much new talent grace the stage as well. There is a well-balanced mix of veteran performers and newcomers who all demonstrate great chemistry not only as the characters they play, but as a cohesive company. Unless this is your first HTI show, you will undoubtedly recognize the talents of Dustin Jodway (as the show stopping lead Nick Bottom), Matthew Moore (as Nostradamus - who I predicted would be the masterful choice to play this role), Jenn Helsdon (an impressive multi-tasker not only playing the show-opening lead Minstrel and other ensemble roles but also Costuming the entire show), Katlyn Alcock (an endearing and sassy Bea Bottom), Paddy Skinner (showing off his knack for the ridiculous as Shylock) and Devin France (another top notch casting as aspiring playwright and love-struck Nigel Bottom). These performers give it their all and then some from the aforementioned tap-dancing, to beautiful harmonies and solo moments and the ability to land the majority of the musical theatre in-jokes.
Joining them are newer faces, all who exceeded my expectations in their roles. Mike Lloy as the sleazy, egotistical yet damn charming Shakespeare, Keri Bishop as Portia who absolutely astounded me with her vocal prowess and hilarious chemistry with France and a wonderfully energetic trio of ensemble (Harry Chapman Darlington, Graham Clarke and Oakley Mossop) who prove there are no small parts when it comes to musical theatre.
Musically, Something Rotten! proves to test everyone vocally. The lyrics, quite often, are rapid fire especially in numbers such as “God, I Hate Shakespeare,” “A Musical,” “It’s Hard to be the Bard” and the jaw-dropping effort needed to perform “Make an Omelette” (which had Saturday night’s audience applauding far longer than the cast anticipated…well deserved!) With such demands on the cast, there were bound to be lyrical flubs, some difficulty hearing lyrics or dialogue over the band, some minor timing issues to keep up with the band and a sense that this sold-out opening weekend put added pressure on all the performers coming off of an intensive tech week. Every single company member deserves praise for their efforts, especially when covering up any missteps with humour and grace.
Ending HTI’s 64th season with this production as a Hamilton area debut was a risky but advantageous decision. This production of Something Rotten! excels with its chemistry between cast members, beautiful period piece costuming, enthusiastic choreography moments and the entire company who truly understood how to pay homage to musical theatre. Nostradamus was right: there’s nothing as amazing as a musical. Don’t miss this one.
Photography by: Kreations Photography
