From the moment we get a musical “Welcome to the Renaissance” to danced “Bows” at the end, we know we’re seeing and hearing a modern take on a different theatrical era. At Florida Studio Theater, it’s going to be Something Rotten in reverse of what that title usually designates. On a smaller stage in a more intimate theater than the one that housed a big Broadway hit, director Ellie Mooney gives us a really tasty treat.
Basic Plot: Traditional leading actor Nick (Cordell Cole, winning our sympathy) bemoans to his writer-brother Nigel (likeable Cornelius Davis ) “God, Why I Hate Shakespeare.” That guy, known as “The Bard” though Nick considers him a minor actor, is stealing their audiences. This presages dire outcomes for Nick’s venue, family and staff—adding to opposition to theater itself by Pilgrims (headed by James Patterson’s appropriately sour Brother Jeremiah}. So Nick eagerly accepts the advice of Nostradamus, a seer—though not the famous one (played enthusiastically by very funny Kraig Swartz). He predicts the need for major innovation: “A Musical.” Despite Nostradamus’s imperfect visions, Nick and Nigel both go along and create the first stage musical! That creation and its effects deal with the brothers’ success and also with Shakespeare.
Before the end of Act I, in search of a proper subject for a musical, a darkly humorous consideration of a current plague, “The Black Death” takes place. In Pilgrims’ confrontation with the brothers, Nigel meets the Pilgrims’ leader’s daughter Portia (lovely Elena Ramos Pascullo), introducing a Romeo and Juliet subplot. Also Jillian Louis’ proves versatile physically and emotionally as Nick’s wife-to-be and mother of his child. Nick wins sympathy from Shylock (expressive David Cantor), an actor with difficulty getting work because he’s Jewish. The song “Bottoms Gonna Be on Top” is both prediction and promise.
Act II starts by emphasizing the appearance of Shakespeare (Charlie Tingen, wired to be wily) moaning “It’s Hard to Be The Bard.” Upset at being short of his own ideas or ideas better than his, he disguises himself as a Scot able to spy on Nick and Nigel. Nostradamus predicts the best play of all time will involve eggs and be written as—he thinks—about “Omelet.” A great chorus (that the Ensemble will actually provide) is also in the works, since he has dreamed of great one dealing entirely with cats. We’ll keep getting a mix of inaccurate predictions as well as skewed references to well known plays, both Shakespearian and modern, in the goings-on.
We see a confrontation with Pilgrims turning out unexpectedly and Shakespeare’s theft of a good plot but Nick cannot cancel Nostradamus’ predicted hit musical because its performance has already sold out. The musical “Something Rotten/Make an Omelet” is a highlight we won’t forget. Every element of the non-musical play is brought “Into the Courtroom” where much resolution takes place. Suffice it to say that the conclusion, “To Thine Own Self Be True” applies to all the plot threads.
As for the elements of the present musical, Director-Choreographer Ellie Mooney deserves much praise for the variety of acting roles accomplished by the Ensemble but, just as spectacularly, for their dancing. There’s nothing rotten in any of the technical work, for sure, especially the often sumptuous costuming. Finally, we appreciate the musicians who, though fewer in number than Broadway’s performances of the show, are as undeniably effective.
