The Bard and the Bottoms:'Something Rotten' at Lyric Stage Boston
Review
It’s 1595 in London, and brothers Nick and Nigel Bottom are desperate to write the next great theatrical masterpiece. Armed with Nick’s sheer grit and Nigel’s poetic prose, they set out to do exactly that. The only problem? They are contemporaries of the Bard Baddie himself, William Shakespeare.
In an attempt to outmaneuver whatever smash hit Shakespeare is currently brewing, Nick seeks the counsel of the local soothsayer, Thomas Nostradamus. The eccentric prophet foretells that Shakespeare’s next big success will be a musical called Omelette. Fueled by a thirst for notoriety and financial security, Nick sets out to bring this poultry-themed production to life. What follows is a surprisingly high-energy 2.5 hours of comedic mayhem in Lyric Stage Boston’s production of Something Rotten!
Directed by Ilanna Ransom Toeplitz, Something Rotten opens on a Cameron McEachern set that initially gave me pause with its sketchbook aesthetic; however, the production’s vibrant energy more than made up for it. While the visual style clearly aligns with the show’s parody genre, I still found myself wishing for a bit more polish. Specifically, the back wall panel felt underbaked with its lone, distant house, leaving me wanting a more distinct vision.
I’ll be honest: before arriving, I was skeptical. Historically, I have rarely enjoyed reimagined, IP-fueled shows ([coughs], Penelope) and Something Rotten carries the added challenge of a demanding choral score. In a production like this, a lackluster ensemble can easily make or break the experience. However, after the opening ensemble number, “Welcome to the Renaissance,” my fears swiftly abated.
One of the true triumphs of this production is its tight ensemble under the direction of Katya Stanislavskaya, comprised of Bryan Miner (who also doubles as Lord Clapham), Jonah Barricklo, Temma Beaudreau, Danny Hernandez, Elliana Karris, Jennifer Preston, Colin Welter, and Indijhan Richard. Richard, in particular, was a standout for his vibrant tone, animated diction, and energetic dancing. As someone with a deep appreciation for choral singing, I love nothing more than a well-tuned wall of sound. When you pair that vocal strength with Christopher Shin’s playful choreography, you have a winner. From the opening notes to the rapid-pitched phrasing of “Shakespeare,” nearly every ensemble moment was defined by crisp diction, solid intonation, and hilarious physicality. The only notable exception was the a cappella section in Act II, which sat slightly under pitch.
Amidst the energy of the ensemble, the production finds its heart in the individual performances of the leads. Ryan Mardesich, as Nick Bottom, boasts an impressive belt and anchors the show with frantic desperation. He shines brightest in his scenes opposite the hilarious Joy Clark as Thomas Nostradamus and Kristian Espiritu as Bea, Nick’s steadfast, independent wife.
One standout moment is the first meeting between Nick and the soothsayer. As Nostradamus attempts to conjure a vision of Nick’s theatrical future, Clark infuses the character with side-splitting humor, using a mix of bizarre vocalizations and physical comedy that is just confusing enough to be brilliant. I completely lost it when she began playing patty-cake with the air. Conversely, Espiritu and Mardesich share lovely chemistry. Espiritu delivers “Right Hand Man” in Act I with exceptional vocal range and technical skill, only to return in an Act II reprise with a tenderness that provides a beautiful contrast to the song’s earlier bravado.
Playing the Bard Baddie himself is Jared Troilo, whose Shakespeare is the consummate Elizabethan rockstar. Troilo’s swagger, coupled with quick-witted and seemingly improvised moments, made the production feel incredibly cohesive. He signaled to the audience that they were invited to have a great time, nearly causing his co-stars to break from the sheer absurdity of his portrayal—a choice I found delightful.
Serving as a secret fan of Shakespeare is Nigel Bottom, played tenderly by Ohad Ashkenazi. Nigel, who eventually falls for the local Puritan daughter, Portia, boasts beautiful high notes and a dorky physicality that makes you root for him instantly. His chemistry with Lauren Dodds as Portia — whose singing was exceptional throughout — was another highlight of the show. Their scene in the park, where he reads her a poem, elicited enough laughter to lift the roof off the theater.
My absolute favorite performance among this already talented and kooky cast was easily Kenneth Kelleher as Brother Jeremiah. As we say in the community—he was twirling! Brother Jeremiah is the staunch, though quite possibly closeted, Puritan minister who is vehemently against the coupling of his daughter and Nigel Bottom. In every scene, his specific physicality and hilariously queer-coded vocal delivery made his performance brilliantly subversive — taking a secondary antagonist and making him the most memorable person on stage.
Many aspects make this production an absolute joy: the staging of the larger numbers, the way they incorporate Bretton Reis’ stadium-tour-esque lighting design, and the delightful absurdity of a script that isn’t afraid to rhyme “penis” with “genius.” The musical within the musical in Act II is a total riot; it injects a much-needed surge of energy just as the act begins to sag, aided by Chloe Moore’s comically inspired egg costumes. One area that could benefit from some fine-tuning was the comedic delivery of a few of the jokes. At times, a few performances felt a bit too “in on the joke.” This specific brand of humor relies on total commitment to the bit, allowing the audience to make the connection to the source material or the playwright’s intent for themselves. Despite this minor lack of earnestness in some moments, I still had a fantastic time.
Ultimately, Something Rotten succeeds because it understands exactly what it is: a love letter to the theater, wrapped in a glittery, egg-shaped package. The sheer joy of the ensemble and the standout comedic turns make it a fun time — the most fun I’ve ever had at Lyric Stage. If you’re looking for a night of theater that doesn’t take itself too seriously, but still delivers a memorable performance, this is it!
Something Rotten is playing at Lyric Stage Boston in Boston Massachusetts through June 7th.