Haddonfield Plays & Players Welcomes Us to the Renaissance

by Stephen T. Kreal

On Thursday, October 5th, I enjoyed a performance of “Something Rotten” at the Haddonfield Plays and Players Theater. The play was directed by Al Fuchs, with vocal direction by Andre Vermeullin. “Something Rotten” was written by John O'Farrell and Karey Kirkpatrick, with music and lyrics by Karey and Wayne Kirkpatrick. “Something Rotten” whimsically follows the challenges of two brothers who are trying to write “the next big thing” to compete with the wildly popular William Shakespeare, brilliantly portrayed as a rock star, complete with leather pants and swagger to spare.

The play was nominated for nine Tony Awards in 2015 (winning one) and was nominated for several other awards. HPP produced an outstanding production of this high-energy musical. The lobby was decorated with period-appropriate decorations, including different colored flags to announce which type of play was being put on that day, an homage to the original Globe Theater of Shakespeare’s time.

Chris Miller’s set was simple, spacious, and designed to evoke images of Shakespearean London. Stone walls and painted cobblestones with subdued lighting (also designed by Chris Miller) conveyed this very well. There were LED street lamps that added ambience to the set. Three panels on each side of the stage allowed for entrances and exits that were smooth and well-executed. The scene changes were smooth and quick.

The performance starts with the number “Welcome to the Renaissance”, a witty song sung (at first) by the Minstrel (Emily Kimble) who is joined by the company for the opening to a thoroughly delightful evening of musical theater entertainment. The audience is immediately impressed with the quality of this production.

Ryan “PJ” Mulholland was the costumer (assisted by Noel Davis). The costuming is meticulous, with a blending of colors and styles that are fitting to the individual characters. It was almost as if the costumes enhanced the individual characters and provided extra depth to their personas. In particular, the character of Lord Clapham, brilliantly played by Dustin Fife (impressive vocal inflections). One can see that great care and attention was given to this aspect of the production.

The story starts in earnest with brothers Nick and Nigel Bottom (and troupe) articulating their hatred (jealousy) of Shakespeare’s success in a number appropriately called “God, I Hate Shakespeare”. Nigel Bottom is played by Brian Herrick and Nick Bottom is played by C.J. Kish (who I have had the pleasure of seeing performin this same role before). The stage chemistry between these two experienced and highly talented performers cannot be conveyed in a theater review. CJ and Brian act, sing, dance, and react as seasoned performers and are highly professional and thoroughly entertaining to watch and hear.

We are then introduced to Nick’s wife Bea (wonderfully played by Danielle DiFassio), a loving and supportive wife who belts out “Right Hand Man”, an upbeat song about her support for her husband and their relationship. In a bid to bring more desperately-needed income to the household, she dresses as a man to find work. DiFassio’s performance was excellent, with multiple costume changes and portrayals of the various “men”, hilariously working at various jobs.

In a desperate bid to stave off financial disaster, Nick spends the last of his money to hire a soothsayer (Thomas Nostradamus, nephew of the real Nostradamus), played by Joe Carlucci, who was outstanding in his role of the mischievous soothsayer. In what I regard as one the most energetic, fun, funny, and whimsical music numbers ever, Nostradamus tells Nick that the future of theater is the musical. Thus follows “It’s a Musical”, a song that both pokes fun at, while also honoring, the history of musical theater. There are countless references to many musicals, woven into both the lyrics and the costuming, with different theaters honoring different characters and productions. I will not spoil the fun for you. This part of the performance is a dazzling spectacle of choreography, song and motion. The choreography of Jenn Colleluori (assisted by Danielle Houpt) is simply dazzling. The ensemble has skilled tap dancers and the movements flowed beautifully.

We are then introduced to younger-brother’s (Nigel) budding love interest Portia, daughter of the local Puritanical preacher Brother Jeremiah, played by the experienced and talented Glenn Funkhouser. Brother Jeremiah is not at all happy by the fact that his daughter and Nigel are exchanging sonnets. There are several beautiful and tender moments share by Nigel and Portia, played by Sara Flail, whose angelic singing voice and energy made her scenes truly memorable.

By Act Two, we have already been introduced to the character of William Shakespeare. Actor Mike Doheny is simply perfect in portraying the over-confidant, full-of-himself William Shakespeare. Shakespeare is presented as a type of rock star, complete with an entourage of swooning women and hangers-on. Shakespeare and the ensemble then belt out “Hard to be the Bard”, Shakespeare’s lamentation about the challenges of being the best. This is where Doheny really shines as a performer. He commands the stage and sings beautifully while emoting the smug attitude of a character who knows they are really good at something! His rendition electrified the audience, who applauded enthusiastically after this song.

As the brothers struggle to complete their production, tensions mount as the financial burdens continue, and Brother Jeremiah strongly disapproves of Nigel and Portia spending time together. An offer is made to save the production from ruin by Shylock, played Drew Russell DuBoff. This creates more problems, as Jews were not permitted to be theater patrons. DuBoff’s performance as the money lender was really funny. His character has some particularly good lines.

All of this is accompanied by an excellent ensemble of high-energy dancers/singers who provide spectacle and energy. There are two sections with tap-dance breaks (both involving C.J. Kish and the tap ensemble). The ensemble includes: Andrew Bank, Jessica Brotherton, Corey Critelli, Jared Camacho, Danielle Houpt, Marisa Knipfer, Ryan Lynd, Claire McDermott, and David Mooney-Todd.

The brothers finally get it together, and we are treated to their theatrical creation. Because I don’t want to spoil it for anyone, I will simply say that their big number is really quite a thing to see and hear! Nick Bottom and Company go all out in an oversized number (similar in grandeur to “It’s a Musical”). The plot narrative is resolved, and “they live happily ever after”. Again, if you haven’t seen this production, I don’t want to spoil it for you.

Haddonfield Plays and Players has been creating some real magic with their recent shows: “Singin’ in the Rain”, “Urinetown”, and “Cabaret” (which was honored with multiple Perry Awards!), all of which I saw and enjoyed. Something Rotten” is easily on par with those productions. The music accompaniment was to prerecorded tracks, as opposed to a live pit orchestra. This is one area for future refinement. It is a disservice to the source material, and the grand tradition of musical theater. The caliber of talent in this production deserves the finest a theater can offer. A live pit orchestra is merited. All of the performers were poised, polished, and confident. Al Fuch’s direction was superlative. The costuming was elegant. The choreography was well-executed. It would be fitting to have live music.

“Something Rotten” runs through October 14th. Tickets can be purchased here: https://haddonfieldplaysandplayers.csstix.com/event-details.php?e=478