The cast; photo by @nilescottstudios
Presented by Lyric Stage
Music and Lyrics by Wayne Kirkpatrick & Karey Kirkpatrick
Book by Karey Kirkpatrick & John O’Farrell
Directed by Ilana Ransom Toeplitz
Music Directed by Katya Stanislavskaya
Choreographed by Christopher Shin
Dramaturgy by Bindi Kang
Intimacy direction by Samantha Richert
May 1 – June 7, 2026
Lyric Stage Theatre
140 Clarendon Street
Boston, MA 02116
Runtime: 2 hours and 25 minutes including intermission.
Review by Helen Ganley
BOSTON — Something Rotten! The name itself is pithy—the vague and anachronistic “something” paired with “rotten,” a word associated with withered fruit and moldy bread. Accompanying this duo is, inexplicably, an exclamation point, leading to a questionable feeling of excitement after such a combination.
This innate and amusing contradiction is sown throughout Something Rotten. The show follows two playwrights, Nick and Nigel Bottom, as they attempt to pen a work greater than that of William Shakespeare in the 1590s Renaissance. So far, so on track—right? Well, not quite. The duo peers into the future and decides to write the first modern musical to go toe to toe with rock musician Shakespeare. The show is self-referential and full of mirth, two qualities that add to the already enjoyable experience.
The Bottom brothers, played by Ryan Mardesich and Ohad Ashkenazi, are a hoot. Mardesich brings a new flair to his role; Nick is, theoretically, the more grounded and pragmatic of the two. That grounding begins to falter during “God, I Hate Shakespeare,” as Mardesich launches into a jealous tantrum, marking the start of Nick’s cascade into desperation. As Nigel, Ashkenazi emanates a lofty, dreamlike energy. When Mardesich descends into relative madness, Ashkenazi remains consistent in his fervent, idealistic daydreams of poetry and love. His soaring tenor melts hearts during “To Thine Own Self.”
As is typical in theater, these two are spurred on by powerful women (I’ll digress on this point—but it’s quite convenient to have a woman who serves only to move a man’s story along…). Rife with empowerment is Kristian Espiritu as Bea. Espiritu exhibits vocal dexterity in “Right Hand Man,” bringing a comical knowingness as she masquerades as various men. Nigel’s star-crossed lover, Portia, is played by Lauren Dodds. Dodds is the show’s true standout; her sonorous soprano, laced with innuendo in “I Love the Way,” sweeps throughout the room. Her physical comedy is as sharp as her wit, transitioning from fervent fangirling to swooning drunkenness with ease.
Sensually serenading his ravenous crowd of adoring onlookers is Jared Troilo as Shakespeare. Troilo swaggers across the stage, ripping his shirt open during “Will Power” and playfully mocking a giggling audience member. This controlled flounce is fiercely juxtaposed with the frenzied predictions of soothsayer Nostradamus, played by Joy Clark. Clark sputters 20th-century predictions with zest, her vocal chops and explosive dance permeating “A Musical.”
The show’s ensemble ties the production together, shifting seamlessly between scenes—whether dressed as eggs (yes, eggs), Puritans, townsfolk, or concertgoers. In Lyric Stage’s relatively smaller space, the ensemble fills out the stage, their impressive choreography highlighted in “Welcome to the Renaissance” and “We See the Light.”
The show’s technical teams complete the production with remarkable alacrity. Between the intricate choreography (Christopher Shin), numerous detailed costumes (Chloe Moore), and the multi-leveled Tudor-style sets (Cameron McEachern), each moment is showcased memorably and appropriately. The live orchestra is especially impressive as the bedrock of each musical number.
Lyric Stage’s production of Something Rotten! is an ode to the original, bringing a few bits of unique flair while delivering the chaotic hilarity audiences know and love.
