Stage Struck Review

Reviews for theater within the greater Los Angeles area.

Tag Archives: Scott Pask

Hold Onto Your Funny Bone: “Something Rotten!” Roasts Both Shakespeare and Musicals

The cast of “Something Rotten!” at the Ahmanson Theatre through December 31, 2017. [Photo: Jeremy Daniel]

There are many different slants on what makes a Broadway musical worth seeing. In some cases, the focus is on message or depth of story line. In others it may be the music itself, or the choreography, or the star performing in it. In rare cases there is a moment of particular spectacle which cannot be duplicated in any other art form, and which proves so completely theatrical the entire production is put on pause until the roar of applause subsides.

Which is why, if you love musicals, you will do yourself a treat to take in Wayne and Karey Kirkpatrick’s “Something Rotten,” now at the Ahmanson Theatre in Los Angeles. Wry, silly and satirical, it includes one of the most complete show-stoppers in recent memory: “A Musical” is almost indescribably silly, paying homage to virtually every possible style, form, or substance of Broadway musical from the past 70 years or more, all in six minutes. It is not to be missed.

Not only this, but the show starts with another number nearly as clever, and adds a third rollicking one toward its close.

A send-up of musicals, Shakespeare, vapid writing, and ever so many other things, “Something Rotten” welcomes you to the Renaissance England. There The Bard is literally a rock star, and Nick Bottom is trying to find a niche for himself and his brother Nigel as a duo of playwright and director before their patron pulls his financial backing.

Desperate, he goes to a rather scattered sooth sayer to find out what Shakespeare’s next great hit will be, so he can steal it. Armed with an imperfect answer, Nick embarks on “Omelet the Musical”. The results prove just as bad as that sounds, while Shakespeare sneaks in to steal the best lines for himself. But the story isn’t the point, which is good because it gets rather uneven by the end. Rather, the constant use of Shakespearean dialogue in non sequitur ways, the many references to the Broadway musicals (some of them delightfully subtle) and the constantly raging subtexts are the real focus.

Among a list of characters almost entirely sharing names with the rough peasants in “A Midsummer Night’s Dream,” or the protagonists of “The Merchant of Venice,” Rob Mcclure is the brashly ambitious Nick, played to the hilt as a man of rather hopeless ambition. Josh Grisetti gives the meek, poetic brother Nigel an innocent charm which plays well against the brash Nick.

As his love interest Portia, the rebellious daughter of a Puritan, Autumn Hurlbert matches Nigel’s earnest love of words and general niceness in ways which balance the crazy silliness of brother Nick’s storyline. As Nick’s practical wife Bea, Maggie Lakis delights, spending much of her time being a woman who dons men’s clothing (a regular Shakespearean trope) to work at jobs which support her husband’s dreams, later doing so again to save him in more direct ways. Nick Rashad Burroughs gives the occasional narrator, a minstrel, a compelling presence from the first curtain-rise.

Still, it is beyond these central characters that the true charm of this show appears. Blake Hammond proves a hoot as the somewhat iffy prognosticator, Nostradamus. Scott Cote, as Portia’s Puritan preacher father, makes subtle (and not so subtle) statements about the hypocrisy of many a religious fanatic, all with body language. Yet all these pale next to Adam Pascal’s Shakespeare, in leather jacket and bling, providing the slippery, stagey Elvis-like icon cashing in on presence.

Director-choreographer Casey Nicholaw is the reason all this works so well. So much of the comedy is physical, and so much of the pacing is critical, that his direction is key to the success of the entire venture. In this he is aided by Gregg Barnes costumes, which emphasize the more unique aspects of Elizabethan era clothing, and Scott Pask’s layered quick-changing set.

Truth be told, “Something Rotten” is not a perfect musical, but it is often very entertaining, ranging from snicker-amusing to full-guffaw funny. And those ridiculously delicious spectacular numbers are worth it all. We could all use a laugh in these tough times. Anyone who loves the Broadway musical art form will find a lot to laugh at. Go see.

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“An Act of God” at the Ahmanson: Faith, Cleverness, and a Challenge

Sean Hayes (center) certainly knows how to make an entrance, with James Gleason (L) and David Josefsberg (R) in “An Act of God. [Photo: Jim Cox]

Sean Hayes (center) certainly knows how to make an entrance, with James Gleason (L) and David Josefsberg (R) in “An Act of God. [Photo: Jim Cox]

It’s an interesting concept – one that could, I suppose, only be carried off by someone with the experience at satire and irreverence which comes from a background in such as “The Daily Show.” Bring God down to earth, have Him take the form of a well-known actor, and then let Him share, preach, pontificate and even hand down new commandments for the next 90 minutes, with a bit of angelic assistance. Give the enterprise impressive staging and special effects to enhance the humor, and then sit back to see which audience members laugh the most.

Those are the essentials of David Javerbaum’s “An Act of God,” just opened at the Ahmanson Theatre in Los Angeles. Sean Hayes, best known for his award-winning stint as Jack McFarland on “Will and Grace,” is God, or rather has been inhabited by God, who figures that being incorporeal might cause confusion. Hayes makes God chummy and snippy, intimate while offering up gossip, testy when crossed and ready to tackle everything from humanity’s false gods to its overarching judgementalism.

It’s a neat trick and Hayes pulls the thing off with a deceptive sense of ease, even on an opening night when his voice was giving him problems. Assisted by David Josefberg and James Gleason as the angels Michael and Gabriel respectively, he answers “questions” from the audience, interacts with Biblical stories and concepts, and chats about God’s kids – particularly Jesus whose visit to earth impressed his father for reasons you might not expect.

The thing is fairly static, as Hayes sits on a coach most of the time. Michael roams the orchestra section of the audience in order to give the impression of a question and answer session. Gabriel reads snips from the Bible, when asked, and shares God’s sense of humor over some of the more odd elements. Much of the dramatic element comes from Scott Pask’s otherworldly set design and Peter Nigrini’s extremely elaborate and animated projections. Under director Joe Mantello, the whole thing is more of a costumed lecture than a standard play.

But it works. At least, it works if you have some background in what the play is talking about, and a willingness to laugh at something many people are uncomfortable even questioning. The more skeptical, or at least liberal you are in relation to religious belief, the funnier you will find “An Act of God.” Also, the more you know of the items God references during the play, the more humor there is to be pulled from it.

Indeed, on opening night the audience seemed to fall into one of four categories: those who found just about every skewering of religion hysterical, those who laughed at the home truths encased within a discussion of the religion they believe in, those who were left clueless on occasion as they didn’t get the references, and those who were offended that someone would even write something like this. Thus, it depends on how well you handle satire related to – almost literally – sacred cows, as to whether you will find this comedy as funny as it often is.

It is very funny. Hayes is terrific, and at the very end achieves even greater humor in ways you have to see to totally “get.” Josefberg and Gleason enhance the tale with very specific senses of character without ever stealing focus from what has to be the main attraction. The show is fast-paced and engaging, and only when it ends to you realize how long you have been sitting still.

So, use the above as filter, but I thoroughly suggest going to see “An Act of God.” It’s worth it just to watch Sean Hayes do what he does so well, but it is also a chance – particularly for those whose religion is far more open-minded than what the media portrays as Christianity these days – to hear with great humor an alternative to the narrow conservative dogma which has so divided this nation. And yes, Javerbaum not only wrote for Jon Stewart on “The Daily Show,” he co-authored Stewart’s two “history” books with him. He’s good at poking fun at the stuffier elements of anything, but at this point in time getting people to lighten up on religion seems a good thing to aim for.

What: “An Act of God” When: Through March 13, 8 p.m. Tuesdays through Fridays, 2 p.m. and 8 p.m. Saturdays, 1:30 p.m. and 6:30 p.m. Sundays, with one 2 p.m. performance Thursday, March 10 Where: The Ahmanson Theatre, 135 N. Grand Ave. in downtown Los Angeles How Much: $25 – $130 Info: (213) 972-4400 or http://www.CenterTheatreGroup.org

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