What a joy it is to see “Something Rotten” transformed into something terrific. The caffeinated comedy, which played New York back in 2015, is the marquee musical of the Stratford Festival in…
What a joy it is to see “Something Rotten” transformed into something terrific. And before this year, one would have had to search far and wide to find “Something Rotten” on any theater lover’s list of favorites.
Desperate for a big break of his own, Nick visits a soothsayer, Thomas Nostradamus , a nepo baby trying to leech off his better-known uncle’s fame. He’s a hack, but he makes at least one accurate prediction: The future of theater is, like it or not, musicals. Instead of being performed on a hokey, ye olde Elizabethan set, director Donna Feore’s production treads the same boards as this season’s “Romeo & Juliet” and “Twelfth Night.” A Shakespeare-focused environment adds both believability and irreverence to a show that is so easy to make cheesy and over-indulgent.
Jerry Herman’s 1983 tuner was groundbreaking in its day, making gays and drag queens the layered main characters of huge Broadway hit. The stirring ballad “I Am What I Am,” later covered by Gloria Gaynor, and the euphoric “The Best of Times is Now” both came from it.starring Douglas Hodge and Kelsey Grammer, but indecisive as to whether that’s because the French Riviera drag nightclub is glamorous or seedy. There’s no discernible point of view. Vagueness abounds.
Instead, you’ll watch Arthur Miller grapple, sometimes furiously, with the peculiarities of Chinese culture as he attempts to direct the first production of “Death of a Salesman” in China.It’s 1983, just four years after the US completed normalizing diplomatic relations with the Asian country. Miller is in residence at the Beijing People’s Art Theatre. And, boy, is he cranky.
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