SEPTEMBER 18, 2015
There are musical comedies. And then there are comedy musicals.
Comedy musicals are a rare breed indeed. Rather than dazzle you with song and dance, comedy musicals try to make you laugh through song and dance. The apex of the genre was probably 1962’s “A Funny Thing Happened on the Way to the Forum,” written by Larry Gelbart and Burt Shevelove with music and lyrics by Stephen Sondheim. I emphasize Gelbert & Shevelove as they, to this day, stand as two of the best comedy writers of their generation, and, as comedy musicals live or die by the laughs they generate, their book for “Forum” has stood the test of time. But they set the bar so high that the comedy musical languished for four decades.
But in the 21st century, we have had four comedy musicals that have approached that high bar — “The Producers” (2001), “Spamalot” (2005), “The Drowsy Chaperone” (2006) and “The Book of Mormon” (2011). And now we have a fifth in “Something Rotten!” The one crucial element that most of these successful comedy musicals have in common is Casey Nicholaw, who was Tony-nominated for choreographing “Spamalot,” directing both “Drowsy” and “Rotten!” and winning the Tony for co-directing “Mormon.” Nicholaw has shown he has the ability to bring out the comedy without sidelining the musical, a gift that has eluded most directors of his generation.
Here’s the set-up for “Something Rotten!” — Nick and Nigel Bottom (Brian d’Arcy James & John Cariani) are playwrights with a struggling theater troupe, which includes an obnoxious actor named William Shakespeare (Tony-winner Christian Borle). They finally fire Shakespeare, who turns to writing and soon becomes WILLIAM SHAKESPEARE! The Bottoms are pissed as Shakespeare quickly becomes a rock star, complete with a black leather-clad entourage (some things never change).
Desperate to find a hit to battle his rival, Nick consults a soothsayer named Nostradamus (no, not that Nostradamus) who foresees the next big trend will be a musical, where actors stop mid-sentence and advance the plot by singing. After a huge production number (“A Musical,” which receives ovations every night and certainly did at my performance), Nick still can’t see how a musical could work but nonetheless plods on. Asking the soothsayer what Shakespeare’s next big hit will be, Nostradamus (the hilarious Brad Oscar) can’t quite get the title (“Hamlet”) right, but he says it sounds something like “Omelette,” so Nick sets out to write the first musical about eggs.
The premise is absolutely ridiculous and is absolutely hilarious. The spot-on book is by Karey Kirkpatrick and John O’Farrell, with music & lyrics by Wayne & Karey Kirkpatrick. A word about the Kirkpatricks’ lyrics — it is so refreshing to see new Broadway composers who are able to write lyrics that actually rhyme. Not only does the score contain “A Musical,” but the show’s opening number, “Welcome to the Renaissance,” is ridiculously catchy and one I cannot get out of my head days after seeing the show. The pace wears down a bit in Act 2, and in the “Make an Omelette” number namechecks musicals once again but not as effectively as it does in “A Musical.”
The ensemble is pretty terrific, but special mention must be made to Brian d’Arcy James who really carries this show on his back. I’ve never been a big fan of d’Arcy James, but I am here — with all due respect to Michael Ceveris in “Fun Home,” if I were a Tony voter, I would have cast my ballot for d’Arcy James as Best Actor, he’s that good. Borle preens effectively, Oscar is shameless (in the best possible way), Cariani is adorable as Nigel, and Heidi Blickenstaff makes a big impression as Nick’s wife Bea.
Comedy musicals can have a tendency not to age that well. Jokes become dated in a way that doesn’t encourage repeat visits — I’m fine, for example, with one viewing of “The Producers,” “Spamalot” and “Mormon,” although I do confess that I’d go back to see any production of “Forum” or “Drowsy” in a heartbeat. Still, even if “Something Rotten!” is not a show for the ages, it does produce one very funny evening in the theater.
