Theater Review: “Something Rotten!” Still Smells Sweet at GCP
by Heather Parish
I came away from Good Company Players’ latest production of “Something Rotten!” with a quandary. From Jonathan Wheeler’s opening minstrel pose to Shawn Williams’ contractually-obligated leather pants, I had a smile on my face for the entire evening. But after reading Donald Munro’s review of the first iteration of the musical presented at Roger Rocka’s Dinner Theater in 2020, I didn’t have any words. I can only say,
“Yeah. Same.”
All of it still stands. So, in the words of Inigo Montoya, “Let me explain. No, there is too much. Let me sum up.” Here is the summary of the 2020 TMR review (Too Long; Didn’t Read” version):
“Something Rotten!” isn’t rotten at all—more like a perfectly ripe Broadway banana split loaded with tap-dancing nuts. Good Company Players turns Shakespeare into a Renaissance rock star, eggs on a musical prophecy, and serves bawdy jokes with such goofy charm you can’t help but giggle. With costumes (by Ginger Kay Lewis-Reed) worthy of a “Project Runway” meltdown, a wig that deserves its own zip code, and a cast tapping, twirling, and winking through every Elizabethan innuendo, director Laurie Pessano delivers a production so polished it practically sparkles. In short: If Shakespeare were around, he’d probably give this one a standing ovation—unless he truly was allergic to leather.
Heather’s take
Set in 1595, “Something Rotten!” follows struggling playwright Nick Bottom, who’s desperate to out-Shakespeare Shakespeare, and his poet-brother Nigel. With the help of an unsteady soothsayer, Nick learns that the future of theater is… singing and dancing simultaneously. Thus begins his misguided quest to write the world’s first musical—complete with scrambled prophecies, forbidden romance, Puritans in a panic, and one very confused omelette. It’s irreverent, chaotic, and joyfully self-aware.
“Something Rotten’s” Shakespeare/musical mash-ups are clever and kicky without being pretentious. There are more Shakespeare quips and overt musical-theater references than you can waggle a staff at, but each one is played with an affection that keeps fans happy while not losing a less-initiated audience.
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It is also just plain funny. Its ability to mix high and low humor through wordplay, bawdiness, sight gags, and character-driven confusion is one of the strengths of the show. Throw in the fact that the story is clear, character-driven, and tightly constructed, and you have a near-perfect musical comedy that Frank Loesser might envy.
The ensemble acting and singing are still first-rate.
GCP veterans such as Williams, Steve Souza, and Emily Pessano return in their scene-stealing roles. Williams’ Shakespeare is a showman who knows how to give his fans what they want while disguising his own artistic insecurities. The bravado of “Will Power” is equally matched by the relatable angst of “Hard to Be the Bard.” Williams puts an artist’s contrasting characteristics of ego and insecurity fully on display in his performance, which is a wry delight.
As the resident kook, Steve Souza (and the aforementioned wig) is in fine form as Thomas Nostradamus, the mediocre psychic who predicts the popularity of musical theater but can’t quite nail the plots. Souza has a unique ability to play camp without losing the heart of the character, which I greatly enjoy. The grand spectacle of “A Musical” is delivered with his signature lightness and nonchalance, guiding the audience through a dizzying array of jokes, musical references, and sly satirical commentary without missing a beat.
Emily Pessano returns as Bea, wife to underdog playwright Nick Bottom and a sublime example of the optimistic and resourceful spouse of a struggling artist. I hesitate to call Bea “plucky” because I wouldn’t really want to cross her, but she’s someone we can root for in the midst of the theatrical nuttery throughout the show.
Wheeler (The Minstrel), Karlie Stemler (Portia), and Roger Christensen (Brother Jeremiah) all take the moments afforded to them to deliver excellent vocals or comedic chops, filling out the principal roles nicely.
New headliners take the lead
As for the Bottom Brothers, Teddy Maldonado (Nick) and Nick Sterling (Nigel) work in tandem as a writing duo struggling to compete in Shakespeare’s world. Both are terrific in their roles. Sterling handles his character’s passivity through bursts of frustration and rebellion, culminating in a wonderful “To Thine Own Self Be True.”
As for Maldonado, his Nick is challenging, funny, and full of desperation for a hit. His rendition of his opening number, “God, I Hate Shakespeare,” is bitingly delivered and completely relatable, setting up the antics to come. And from there, he just gets better. From “This Bottom’s Gonna Be on Top” through “Welcome to America,” Maldonado doesn’t let Nick slip one jot. At this point, I admit to being a fan.
Emily Pessano and Kaye Migaki’s choreography is not only rich and energetic but also leans into the essentials of musical comedy in a way that shows its greatness. I was even inspired to give a kickline its traditional applause. Laurie Pessano’s direction doesn’t stray from what worked the last time around, and I suspect it includes several improvements. The show felt as crisp as a new benji, even in this second iteration. It’s a testament to her ability to balance spectacle and silliness while keeping the core story intact—a recipe that still works.
In the end, this “Something Rotten!” proves once again that there’s nothing rotten about it—unless we’re talking eggs, and even then they’re perfectly scrambled.
“Something Rotten!” continues at Roger Rocka’s Dinner Theater through Jan. 18, 2026.
