Review: SOMETHING ROTTEN! at Candlelight Music Theatre

Aisle Say is a history junkie. In fact, he wrote an historical novel, ALEXEI and The Mad Monk RASPUTIN. Historical novelists adhere religiously to the facts. With a novel the author inserts fictional characters.

Over years, Candlelight has aggressively attempted to alter this humble reviewer’s mind, serving up characters in shows with alternate realities. To wit: Lancelot in SPAMALOT with his naked butt cheeks mooning the audience. One can never think of Lancelot in the same way again.  Or take the carnivorous wolf in INTO THE WOODS. And presently SOMETHING ROTTEN!, wherein the greatest novelist of all time, the bard of Avon, comes across as a swaggering, narcissistic pelvic gyrating Elvis.

The night I attended, the audience never stopped laughing. In my estimation this production is in the top 1 EVER at Candlelight. It is worth a 2nd or 3rd visit.

Since its Broadway debut in 2015, SOMETHING ROTTEN has delighted audiences with its sharp wit, infectious energy, and unabashed love for musical theatre. The show is a gleeful send-up of both Shakespearean drama and modern Broadway spectacle. Brimming with show-stopping numbers, outrageous comedy, and larger-than-life performances, itis a riotous celebration of creativity.

Set in the late 1500s, the plot follows the Bottom brothers, Nick (JJ Vavrik) and Nigel (Nigel Grant, Jr), struggling playwrights desperate to outshine the rising star of the London theatre scene, William Shakespeare (newcomer Kaedon Knight). When Nick turns to an eccentric soothsayer, Nostradamus (not the Nostradamus, but his less-talented nephew, Malik Muhammed), he learns that the future of theatre lies not in plays but in something revolutionary—a musical. Eureka! What follows is a madcap journey of ambition, deception, and theatrical absurdity as Nick attempts to create the world’s first musical while Shakespeare, ever the self-absorbed rock star of his time, seeks to maintain his dominance over the stage.

From the opening number, “Welcome to the Renaissance”, the audience is swept into the vibrant world of Elizabethan England. This rousing introduction, brimming with Renaissance faire and Broadway flair, sets the tone for the evening, cleverly juxtaposing historical context with modern theatrical references. The song not only establishes the setting but also playfully acknowledges the absurdities of the time.

Gorgeous costumes were created by Donyl. Clayton Stacey - wigs, hair and makeup - absolutely outdid himself, most especially on the dreadlocks of hysterically forgetful Nostradamus. Direction by Peter Reynolds and Choreography by Julianna Babb was superb.

Nick Bottom (Vavrik), frustrated by his continual failures, delivers one of the show’s most comically cathartic numbers, “God, I hate Shakespeare”. His delightful rant perfectly encapsulates his bitterness toward the Bard, lamenting Shakespeare’s widespread acclaim and his own inability to rival it. The number is a standout, blending sharp humor with an underlying desperation that makes Nick both hilarious and oddly sympathetic.

Enter Nostradamus, whose misguided visions of the future inspire the creation of this brand-new theatrical form. His bombastic prediction culminates in “A Musical” a wildly over-the-top showstopper that explodes with references to classic Broadway hits. Nostradamus is a scene-stealer, portrayed with boundless comedic energy, and the number itself is a highlight, drawing roaring laughter.

Meanwhile, Shakespeare, portrayed as a swaggering, leather-clad rock star, revels in his own celebrity with “Will Power”. This self-indulgent anthem is a hilarious parody of the kind of adoration Shakespeare commands, blending the Elizabethan with the contemporary.

Amidst the chaos of Nick’s theatrical misadventures, brother Nigel embarks on a sweet, star-crossed romance with Portia (Anne Bragg) , the daughter of a strict Puritan (Timothy Lamont Cannon). There could not be found two more charming lovers in Grant and Bragg. “I Love the Way” stands out as a rare moment of sincerity, showcasing their mutual adoration for poetry and the written word, is gentle and earnest, beautifully capturing the innocence of first love. Nigel and Portia bond over literature in a society that discourages such pursuits.

As the Bottom brothers struggle to craft their groundbreaking musical, Nick takes Nostradamus’s advice too literally, leading to the show’s most absurdly brilliant sequence: “Make An Omelette”. A deliriously nonsensical spectacle, this climactic number fuses Shakespearean drama with musical theatre tropes—all centered around, of all things, eggs. It is a spectacularly bizarre highlight, reveling in its own ridiculousness.

The featured characters were as entertaining as the leads: Minstrel (Kyle McLemore), Lord Clapham (Shaun Yates), Shylock (Ed Emmi), Bea (Alexa Wilder) and Master of the Justice (Jack Thorell).  All ensemble members should be proud to be part of this singular production.

When it comes to theatre, there’s a fine line between genius and madness, Aisle Say!

This exquisite production delivers a gleefully satisfying conclusion, leaving audiences breathless with laughter. The production is a must-see for theatre lovers, packed with inside jokes, over-the-top performances, and an infectious love for the art of musical theatre. Whether you’re a Shakespeare scholar or a Broadway aficionado, this show is a deliciously irreverent treat that proves, sometimes, the best way to honor tradition is to turn it completely upside down.

There is stunning, illegal and unconstitutional chaos in America now. Democracy is on edge. There is chaos (set to music) on Candlelight’s stage. At least with the latter, one can laugh about it and gives us brief relief for the days to come.

Wonderful photos by Tisa Della-Volpe

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