‘Something Rotten’ delivers the laughs — and more — at BDT Stage

If you’re looking for musical comedy, this is the hottest show in town

People who love musicals are in seventh heaven right now in the Denver area, with a variety of shows to choose from all around town. But, OMG, you must see Something Rotten at BDT Stage. They have pulled out all the stops to bring this witty, clever, charming show to the stage in Boulder.

First of all, the script by Karey Kirkpatrick and John O’Farrell is the funniest thing to hit the stage since Noises Off or The Play That Went Wrong. Set in the 1590s, it’s very loosely based on a Shakespeare theme, but you don’t have to know a lot about the Bard to enjoy this slightly (at times) raunchy dialogue (and well-placed silences). If you do, you may laugh a little louder or a little longer, but only a little. Along with the laughs are great music and lyrics  by Wayne and Karey Kirkpatrick in a story that is propelled by comic melodies, wistful love songs and big production numbers.

Something Rotten is the first musical the Kirkpatrick brothers wrote — although both had been making their living in the arts long before they got together for this. Wayne is a songwriter who had previously worked mostly with country singers, like Garth Brooks and Little Big Town and rock stars the caliber of Peter Frampton and Eric Clapton. His brother Karey was primarily a screenwriter, having contributed to a significant number of animated and live films. They had been toying with the idea of creating a musical for years before it all came together in 2014 with a workshop, then straight to Broadway in 2015 where it became an instant hit.

Let’s throw a hooray into the mix for director Seth Caikowski, a gifted comedian himself, who corralled this group of players to mine every ounce of comic joy out of every moment. And layer in the witty choreography by Alicia Meyers that keeps the music bouncing and shows off the talent of this amazing dance corps. Everyone on this stage seemed to be having a blast making their audience laugh.

And laugh we did! The script is full of double entendres that work. In some cases, the humor is blatant; in others, it subtly sneaks into your consciousness a few second later. Some of the biggest laughs of the evening were the result of silent pauses as a character realizes he may have said something they shouldn’t have and tries to figure out how to take it back or make it right. Ethan Knowles as the pious Brother Jeremiah is a master at the delayed double take. He has twice as much fun as the seer Nostradamus who predicts the future of theatre as well as the impure Puritan.

The Bottom Brothers, Nick and Nigel (brilliantly played by Bob Hoppe and Brian Cronan) are struggling poets and playwrights who are losing the battle to the upstart Shakespeare (Scott Severtson), the hottest thing in town and a rock star of the Renaissance. That is until Nostradamus predicts that the next big thing in theatre is going to be the musical. The idea of music in a play is outrageous to them — until they begin trying it out.

Shakespeare is worried by what he hears about their newest production and sneaks into rehearsal to find out what’s going on. At the same time, a love story is developing between the younger Bottom Brother Nigel and Portia (Julia Jackson), the daughter of Brother Jeremiah, the local monitor of morality. A third plot revolves around Bea (Alicia Meyers), Nick Bottom’s adoring (and adorable) wife who is trying to pass herself off as a man to get a job so Nick can continue working on his musical. A play on the role of women in the theatre during those times. All of these story strings come together to create an evening to remember.

Everyone fills their role with joy and humor, but special recognition goes to the three actors at the heart of the story. Severtson is a flaunting, flirty, confident and cocky Shakespeare in black leather who would probably have a motorcycle (if they had such things in the 1500s). He prances and preens and considers himself the prettiest thing on stage . a wondrous delight to behold.

Bob Hoppe holds his own as the determined Nick Bottom who wants to be on top. He leads his troupe of actors into the first ever musical rehearsal with confidence, but knowing he has no idea what he’s doing — fake it till you make it. Hoppe is a BDT favorite and a long-time staple in the musical theatre world of Denver. His youthful appearance allows him to play male ingenues for years past his “best by” date. Now that he has matured into leading roles (King Arthur, Harold Hill, Don Lockwood and now Nick Bottom), those years as second banana have served him well in the development of his comic timing and vocal dexterity.

Brian Cronan has also risen through the ranks to a lead role and performs Nigel Bottom beautifully as a lovesick poet.

As the Minstrel, Alejandro Roldan starts the show with his amazing tenor announcing “Welcome to the Renaissance” where everything is new. It’s so heartening to see all of this talent be recognized in these great roles in this terrific production.

For the ladies, Ally Meyers is the dutiful wife who shows both determination and disdain over being taken for granted as a bread-winner. Not only does she sing, dance, act and choreograph, she’s a great “right-hand man.”

Julia Jackson as Portia, the star-crossed lover to Nigel Bottom, is lilting and tickled to death to discover love in an unexpected place. She and Cronan together are the cutest couple possible. And we must pat Eric Heine on the back for taking the female roles in the Bottom Brother plays because, of course, women weren’t allowed on stage then. A long-time ensemble member at Candlelight, Heine brings his light to BDT to take on the role of Robin, the all-purpose female of the troupe.

In this 45^th and final season at BDT Stage (the building having been sold), it seems no effort has been spared to make this production one to remember. The set is clever (even if a little difficult to move into place occasionally), the sound is balanced, the lighting creates the mood and there’s twice as many musicians under the leadership of Neal Dunfee as usual, giving the whole production a healthy big-band sound. The costumes by Linda Morken are extravagant when they need to be, giving all the dancing girls corseted serving wench looks, and Shakespeare his sexy black leather.

Bottom line: If you love musicals and comedy, you simply must see this one!