Wackiness ensues in Muny’s fresh, funny, frisky ‘Something Rotten!’

Wackiness ensues in Muny’s fresh, funny, frisky ‘Something Rotten!’

By Lynn Venhaus

Merry mischief makers mix the Muny’s musical mash-up “Something Rotten!” into a zesty end-of-season treat. Of course it’s special — it has an exclamation point!

Sending up the art form while celebrating it, a high-energy ensemble accepts the mission: deliver a delightful, daffy show at a dizzying fast-pace for the 108th season closer.

One of two premieres this summer, this comedic gem takes place in 1595, during the Renaissance, and brothers Nick and Nigel Bottom (Matt Doyle, Will Burton) are desperate to write a hit play but are overshadowed by the pompous megastar William Shakespeare (Jacob Dickey), who has fangirls and an adoring entourage.

Nick enlists a soothsayer, Nostradamus (not that one, but his niece Donna), to predict the next big thing. Dynamo Jen Cody tells him to write a musical. Singing! Dancing! Acting! All together now — say what?

Matt Doyle (center) and the company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

And when Nick asks Nostradamus to predict what Shakespeare’s next hit will be, however, she just misses the mark – proclaiming it is “Omelette!” (Not you know that depressed Danish prince with family and girl trouble.)

And into the madcap romp we go near Mel Brooks-Monty Python land. What silliness! “Something Rotten!” contains more than 60 inside jokes and ‘Easter eggs’ referencing other musicals and shows throughout the entire production.

Theater-insider quips and well-written zingers abound — and an all-in audience reacts with glee. IYKYK, but it’s not required to be well-versed in Shakespeare and all things musical theatre to enjoy this amusing spectacle.

A crowd-pleasing cast of Broadway veterans and familiar faces is firing on all cylinders. They look like they are having a lot of fun throughout, but especially in the super-sized splashy signature numbers “A Musical,” “Welcome to the Renaissance,” and an absolutely bonkers “Something Rotten/Make an Omelette” (defies description).

The company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

The show-stopping “A Musical” is a bursting party pinata with nods to “Annie,” “Rent,” “A Chorus Line,” “Cats,” “Wicked,” “Chicago” and “Les Miserables” and more.

A big and shiny, mighty fine-y
Glitter, glitz, and chorus line-y
Bob your head and shake your heiney
Musical

As the Minstrel, DeMarius R. Copes splendidly kicks off the spoofy, goofy fun with the catchy opener “Welcome to the Renaissance” that sets the go-for-broke tone.

The ebullient tap-dancing ensemble excels throughout the show: Lawrence Alexander, Matt Allen, Darien Crago, Aaron Patrick Craven, Kristen Smith Davis, Johnny Duvelson, Michael Harp, Sean Harrison Jones, Ryan Kasprzak, David Paul Kidder, Carina-Kay Louchiey, Spencer Davis Milford, Lizz Picini, Daniel Plimpton, Renée Reid, Allysa Shorte and Caitlin Stebelman.

Elizabeth Teeter and Will Burton in the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

The 2015 show, conceived by brothers Karey and Wayne Kirkpatrick as a paean to the creative process in a pastiche of Broadway’s greatest hits, received 10 Tony nominations. Christian Borle won his second Tony as Shakespeare, its only nod.

The brothers – one a songwriter, the other a screenwriter — teamed up on the music and lyrics, and British satirist John O’Farrell came aboard to collaborate with Karey on the clever book. Hailed by critics and fans alike, it ran for 742 performances.

Magnetic Matt Doyle commands the stage as the passionate but stubborn Nick, who is driven to out-write the Bard for his failing acting troupe. He shows his resentment in “God, I Hate Shakespeare.”

He’s so consumed by jealousy that he clashes with his insecure but very talented brother Nigel, who is the better wordsmith. He and Will Burton make a good pair, teaming in the rousing “Bottom’s Gonna Be on Top” Act 1 closer.

Jacob Dickey (center) and the company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Doyle, Tony winner as Jamie in the 2022 “Company” revival, is a master of lightning-fast vocal stamina (Sondheim’s “I’m Not Getting Married Today”!), and with his soaring vocals, gets the audience on his side in the redemptive “To Thine Own Self.”

Burton is sweet as the sensitive, shy guy whose way with words wins over the heart of Portia, a Puritan. Elizabeth Teeter, in a welcome return to the Muny, is bright and bubbly as the poetry-obsessed young woman that rebels against her overbearing oppressive father Brother Jeremiah (her real-life dad, Lara Teeter).  The couple blend beautifully in the heartfelt ballad “I Love the Way.”

With moves like Jagger, Jacob Dickey plays slick Will as a whirling dervish of preening rock ‘n roll excess. This showman’s got game, and swagger to spare – and is an arrogant buffoon.

New to the Muny stage, Dickey sure knows how to make an entrance, working every angle. The mega-watt “Will Power” encapsulates rock god cliches, a la “Spinal Tap,” and his unbridled ego shines through on “Hard to Be the Bard.”

Matt Doyle and Jen Cody in the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Jen Cody is always a secret weapon and makes her ninth Muny show memorable, stealing every scene as genre-bending Nostradamus. With her crisp and snappy delivery, her visions of the future were a hoot, quickly endearing herself.

Fun Fact: Cody won an Annie Award (animated films) for voicing the flamboyant Southern belle Charlotte “Lottie” La Bouff in “The Princess and the Frog” in 2009.

Bryonha Marie, a Muny standout as Dolores in “Sister Act” and Mother Abbess in “The Sound of Music,” is fierce and fun-loving as Bea, an early feminist married to Nick. She wants to help support her family, and takes odd jobs disguised as a guy, best expressed in “Right Hand Man.” She and Doyle are a pleasing pair.

With such quick-witted pros as Lara Teeter as Brother Jeremiah, the priggish fire-and-brimstone Puritan preacher; Adam Heller as producer wannabe Shylock; and Gary Glasgow as wealthy patron Lord Clapham, they’re a force field of fun. Their timing is impeccable and their presence cheerful.

From left: Bryonha Marie, Matt Doyle and Will Burton in the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Director Rob Ruggiero, the winningest director in St. Louis Theater Circle Awards history (3), leans into the zany. His Muny collaborations on grand-scale musicals are always distinctive, bringing out the best in cast and crew alike.

The creative team is in absurd overdrive – costume designer DW adds visual gags to the vibrant costumes, based on originals by Gregg Barnes; new video designer Camilla Tassi has fun with Broadway marquees and those plentiful eggs, and lighting designer Rob Denton illuminates it all with verve. Sound designer Joshua Hummel and wig designer J. Jared Janas added to the playful ambience.

Scenic designer Edward E. Haynes Jr., back for his 10th show, created a colorful canvas transporting us to 16th century London and Stratford-upon-Avon with striking rotating and expansive Tudor and Elizabethan architecture.

Choreographer Parker Esse’s vivacious storytelling is a master class of fluid, upbeat motion, with associate choreographer Justin Prescott ensuring seamless moves from one high-spirited number to the next. Here for her third show, music director Anne Shuttlesworth is a marvelous maestro in motion, a beat poet with a baton.

The company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Another fun fact: The 2015 show, previously on national tour here at the Fox Theatre in 2017, starred Muny favorite Rob McClure as Nick Bottom, and his real-life wife Maggie Lakis, as Bea.

Surely even the grumpiest, most cynical theatergoer will find something to smile about, for laughs were in abundance from start to finish in this well-cast, well-staged show.

With zippy wordplay, sterling comic timing and vivacious musical numbers, the Muny has delivered another love letter to this cherished art form. “Something Rotten!” is a refreshing tonic, something silly and summer-y to savor when we’ll be in the throes of the winter blues! Until we meet again, thanks for the memories.

The Muny presents Something Rotten August 17 – 23 at 8:15 pm. Performances take place on the Muny’s outdoor stage in Forest Park. For more information: muny.org.

Lara Teeter (center) and the company of the 2026 Muny production of “Something Rotten!” Photo by Phillip Hamer

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

By Lynn Venhaus
A jubilant celebration of a Hall of Fame career, “Beautiful: The Carole King Musical” tells the story of how a remarkable singer-songwriter found her voice and influenced a generation.

But it is as much about others who are woven into the history of early rock ‘n roll, and those catchy tunes that have a good beat and you can dance to them, as it is an everlasting tribute to the most successful songwriter of the last half of the 20th century.

King wrote such memorable hits as “I Feel the Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” and the title song.

For Boomers, this is the soundtrack of our lives. For other generations, it’s a blast from the past and an introduction to the stories behind the music, and for all, it’s an example of the transformative power of music.

As one of four premieres for The Muny’s 105th season, it was a crowd-pleasing way to open, especially during a stretch of gorgeous weather. I thought it brought fresh air into the venerable institution, for presenting a show from the last decade that has all the makings of a new classic.

Photo by Phillip Hamer

King’s rise to stardom is ideally suited for the Muny, and their interpretation of this jukebox musical is dynamic, slickly staged by director Marcia Milgrim Dodge.

Featuring 26 bouncy pop hits and unforgettable ballads, the music score moves the story along, and music director Charlie Alterman honors that timeless sound with tremendous skill and verve.

Interestingly, there is a Muny connection — Paul Blake produced the Broadway show and he was the Muny’s executive producer for 22 years, until his departure in 2011.

Popular on Broadway, “Beautiful” played for 2,418 performances from Jan 12, 2014, to Oct 27, 2019, nominated for seven Tony Awards and won two – Jessie Mueller as Carole and sound design. Two national tours have played at the Fabulous Fox in St. Louis, in 2016 and 2019.

And the Muny’s creative teams and cast didn’t miss a beat.

With every number performed with gusto, you could feel the audience’s joy in the waves of recognition as patrons named that tune. “”Oh!” followed by cheers and applause.

The most frequent comment I overheard was “I didn’t know she wrote all those songs!”

That, indeed, is an engaging calling card for this well-constructed musical, which features a witty book by Douglas McGrath to accompany the American song catalogue.

Photo by Phillip Hamer

Born Carol Klein, the chart-topping music legend grew up in Brooklyn and then fought her way into the record business as a teenager. She met Gerry Goffin, her match in life and love, at Queens College, and they were married for 10 years, from 1959 to 1969. By the time she was in her 20s, she was flourishing as a songwriter in the fabled Brill Building, churning out hits for the biggest rock ‘n roll acts — Gerry’s words and her music.

It wasn’t until her personal life unraveled that she finally managed to find her true voice, culminating in her landmark solo “Tapestry” album in 1971, which won four Grammys – including Record, Song and Album of the Year — and went on to be one of the greatest selling albums of all-time.

The addition of Cynthia Weil and Barry Mann to the story of Goffin and King makes this musical more than one-note, and with performances by the acts who recorded the songs — The Drifters, The Chiffons and The Shirelles, it’s a sentimental walk down memory lane. Muny hometown favorite Kennedy Holmes shines belting out “The Loco-Motion” as their baby sitter, Little Eva.

Using a moving labyrinth skyscraper grid, scenic designer Ryan Douglass shows the inner workings of the fabled Brill Building, at Broadway and 49th St. in New York City.

That’s an important part of music history, and in this musical. A hit-making music factory, the Brill Building was not only home to Goffin-King and Mann-Weil, but also Burt Bacharach-Hal David, Mike Lieber-Jerry Stoller, and Jeff Barry-Ellie Greenwich.

Between them, they penned scores of hits for the girl groups and teen idols who dominated radio airwaves after Elvis joined the Army in 1958 and before The Beatles ushered in the British Invasion in 1964. But also, still formidable duos beyond with the ‘now sound.’

Using the LED screens, video designer Kylee Loera replicated old-timey television where we watched the popular acts in black-and-white.

Sara Sheperd is a warm and winsome Carole, charting her growth from shy but talented teen to a strong, independent solo artist whose “Tapestry” album released in February 1971 was a landmark achievement – more than 25 million copies sold and longest run on Billboard chart by a female artist.

When the character discovers her worth after heartache and pain, it’s a thrilling moment.

Steven Good emphasizes how gifted and how troubled Gerry Goffin was. (Goffin died in 2014 at age 75, and did see “Beautiful” on Broadway before he passed. He and Carole married three more times in their lives.)

Jackie Burns and Jarrod Spector are sensational as Cynthia Weil and Barry Mann, the songwriting team in the next cubicle, and the competitiveness resulted in many standards that defined the rock era.

Spector, who originated the role on Broadway, nails Mann’s character quirks with aplomb, stealing the show.

John Battagliese and Mike Schwitter as The Righteous Brothers brought the house down with a soulful “You’ve Lost That Lovin’ Feeling.”

There’s also strong support from Noah Weisberg as mentor and boss Don Kirschner, and Sharon Hunter as Carole’s nagging mom Genie

The emotional journey isn’t an easy one, and the book ends in 1971, glossing over some events and not following up what happened as a coda. This tale is focused on the King-Goffin relationship and the work, highlighting the changing times for frames of reference.

The fashions by Tracy Christensen smartly captured the era whereas J. Jared Janas has selected the right hairstyles for the appropriate times and situations.

Savor this satisfying, fun, vibrant musical in its Muny premiere, where it will make you feel ‘Home Again’ for another summer.

“Beautiful: The Carole King Musical” opens the 105th Muny season, with performances at 8:15 p.m. nightly June 12-18. For more information, visit www.muny.org.

Photos by Phillip Hamer