CEDAR CITY — Imagine being in the middle of a conversation with someone, hashing out a problem or describing something great, when all of a sudden, that person bursts into song. It sounds farfetched, laughable even in real life, but it’s a delightful reality of musical theater — and just one of the ideas superbly explored in Something Rotten at the Utah Shakespeare Festival this season.
Written by Karey Kirkpatrick and John O’Farrell with music and lyrics by Wayne and Karey Kirkpatrick, Something Rotten makes its inaugural Utah Shakespeare Festival debut this year under the direction of Alan Muraoka in the Randall L. Jones Theatre in Cedar City. Complete with a stellar cast and a bevy of intricate and beautiful costumes, this rich comedy offers a host of references to Shakespeare’s works and plenty of references to popular musicals — a surefire way to delight theater fans of all kinds.
Set in 1590s London as playwright William Shakespeare’s works are really gaining traction, two brothers, Nick and Nigel Bottom, are trying to catch a break in the theater world. Their efforts are regularly beset by The Bard’s rock star status, leaving them to seek a big new idea at the hands of a hilarious, but not fully reliable, soothsayer named Thomas Nostradamus (not the famous seer, rather his nephew). The idea: Musicals! Despite some hesitancy to embrace the absurdity of characters intermittently bursting into song, Nick and Nigel set out to produce Nostradamus’ blurry vision of Hamlet, misinterpreted as Omelette, leading to a breakfast-themed rendition of this classic Shakespeare play, and a journey that shows these brothers just what kinds of challenges their relationship can really overcome.
The decision to produce Something Rotten during the festival’s 65th season fits perfectly with the celebration of so many successful years. The show’s 48 musical theater references — many of which have been produced at the Festival over its lifetime — along with numerous nods to Shakespeare’s other works, and the fact that festival goers can see the real version of Hamlet this season on the nearby Engelstad Shakespeare Theatre, all adds something even more special to the production overall.
The set design, courtesy of Scenic Designer Jo Winiarski’s team, hits a homerun right out of the gate as the backdrop in the Randall Theatre bears striking similarity to the Adams Theatre, creating a bit of nostalgia for the space used by the Utah Shakespeare Festival for many years. This backdrop, however, includes more pizazz than the Adams Theatre ever did, with recessed lighting hidden behind the wooden slats, and a stage riser complete with blinding concert lights that turns the traditional looking venue into a rock and roll hall whenever Will has something important to share. The back and forth between the 16th century streets of London and a much more modern looking locale added to the interest of the entire production, but it was only one part of the musical’s ocular feast.
Assisting in the visual smorgasbord unfurled across the stage, the impressive number of costumes making an appearance throughout the production was rivaled only by the beauty, quality and details of each piece. From the colorful jester costume worn by Andre Love (as the Minstrel) to the Puritans’ black and white garb that revealed a sparkly surprise underneath, Costume Designer Tracy Christensen and the costume shop team surpassed expectations in creating this festal fashion parade.
Enhanced by the scenic and costume designs, but certainly never overshadowed by it, the vocal, acting and dancing talent on display in Something Rotten carried the hilarious yet thought-provoking plot forward in every single way. From Pascal Pastrana’s robust interpretation of Shakespeare as a rock star, to Matt Koenig’s relatable version of Nick Bottom as the frustrated playwright, the audience is offered so much to explore. Meanwhile, Jason Rexx’s physical comedy and perfectly nasal speaking voice as Nigel Bottom elicited sympathy and ultimately swelling support for Nigel’s efforts to give his poetry the proper voice. And Rexx’s dynamic with the equally talented Ali Ewoldt as Portia on musical numbers like “I Love the Way” and “We See the Light” proved gratifying in the extreme.
Emerging as a standout from an already impressive cast, Meggie Siegrist’s version of Nick’s wife, Bea, proved her strength as both a 1590s feminist, and an actress with which to be reckoned, when she donned several alternate personas in order to offer financial support to her floundering husband. Her vocals on “Right Hand Man” were some of the best of the night, and her genuine chemistry with Koenig provided an anchor to the reason behind Nick’s desperate efforts to succeed.
The entire production would not be complete without the vision, albeit somewhat blurry, offered by Brian Gonzales‘s excellent portrayal of Nostradamus. Minus a few microphone issues, his humor, confidence, and impeccable timing opened the way to more than a few hearty laughs. His efforts on “A Musical” and “Something Rotten” showcased his vocal chops and ability to lead the rest of the cast through some of the musical highlights in the show.
As the musical ensued, each ensemble number seemed to get better than the last. The talented execution of several tap dance numbers (choreographed by Alli Betsill) and numerous group scenes in which each cast member could have easily been the star, there was never a shortage of places on which to land one’s enthusiastic gaze. Thanks to so many throw away lines, well-placed jokes and delightful musical Easter eggs, Something Rotten is the kind of show one could easily see again and again.
SHOW INFO: Something Rotten plays at Utah Shakespeare Festival in the Randall L. Jones Theatre 35 S 300 W, Cedar City Utah 84720 through October 3, 2026. Tickets are $41-$96. For more information, visit www.bard.org or call 800-PLAYTIX.
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