Theater reviews: Tempting 'Rotten,' fresh 'Temptations'

'Something Rotten' Even the best regional theaters stretch their limits when it comes to mounting a big Broadway musical, usually the domain of the national tour circuit in Northeast Ohio. But Beck Center for the Arts stretches its talent (if not its budget) to new heights in its production of the relatively new Broadway hit "Something Rotten." Ironically, "Something Rotten," which opened on Broadway in 2015 and toured in Cleveland two years later, is a fragrantly hilarious hit about putting on a musical — or perhaps putting on a lot of musicals all at once. It's the brainchild of sibling composers Karey and Wayne Kirkpatrick, who teamed up with librettist John O'Farrell in sort of a "Spamalot"-meets-"Producers" concoction. It seems back in the 16th century, a heretofore unknown Renaissance theater producer by the name of Nick Bottom and his poet brother Nigel set out to make a name for themselves by snuffing out (artistically) that pilfering, self-aggrandizing, preening superstar William Shakespeare. So Nick procures the services of a dithering soothsayer, Nostradamus (that is, Nostradamus' younger relative), brilliantly and bumblingly conceived by Mathew Wright. Nick seeks a new theatrical idea so that his theatrical company can finally eclipse that over-popular Globe Theater once and for all. Nostradamus conjures up a vision of this new thing called a "musical," and before you can say, "To Be or Not to Be," an Elizabethan chorus line starts tap-dancing and high-kicking to a mashup of dozens of eye-winking musical references — known by theater buffs as the slang "Easter Eggs." The scene erupts into one of the most extravagant production numbers this side of "Springtime for Hitler." Whether this "musical" bucks the Bard is a matter for the second act, which climaxes in yet another extravaganza, marking the world's first musical, titled "Omelette" — befittingly made almost entirely up of Easter Eggs — which seems to be a terrible misreading into nearer future of what should have been "Hamlet." References upon Shakespearean and Broadway references pile up, resulting in nothing more than hapless hilarity. But it would be for naught were it not for the jaw-dropping, gut-guffawing singing, dancing and comedic talent of the cast. As the Bottom brothers, Eric Fancher as Nick and Ian Stewart as Nigel ably command the show. Mathew Wright one-ups the original Broadway concept of Nostradamus, turning what was more a Ralph Kramden/Jackie Gleason personae into something more akin to Ed Norton/Art Carney. It works even better. Scott J. Sumerak squeezes every self-aggrandizing drop of narcissism out of the Bard, who turns out a much better singing and dancing talent than writing. Eileen Brady as the dewy ingenue who falls for Nigel and Brian Altman as her repressed Pilgrim-ish father (uncontrollably and unwittingly unleashing all sorts of gay double-entendres) steal scene after scene, as does Tim Tavcar as Shylock, a wandering Jew who not-so-ironically produces the Bottom brothers' prescient hit production. But the biggest surprise is Theresa Kloos as Nick's devoted, budding-feminist wife who sees no problem with mixing wifely and motherly duties with joining the men-only workforce to make ends meet. What could have been the female second-banana turns out to be a source of endless highlights. She's a powerhouse of musical and comedic delights. As usual, Martin Cespedes' choreography captures terpsichorean madness with classic Broadway panache. Larry Goodpaster's music directions mines all the richness of a full-stage orchestra. Ben Gantose's lighting design and Angie Hayes sound design are perfection. Director Scott Spence maintains subtle control while letting the cast have ample inventive reign By comparison, the visual production value at the Beck slightly and uncharacteristically underwhelms when it comes to Cheri DeVol's sets (still remarkably mercurial in rendering a lot of scenes) and Inda Blatch-Geib's costumes. One can only suspect budgetary constraint. Then again, when Beck Center offers so many other riches, and for such an inexpensive ticket price, this "Something Rotten" is something priceless. 'Ain't Too Proud' On Playhouse Square, the extravagant budget matches the extravagant talent for "Ain't Too Proud, The Life and Times of The Temptations," one of the better jukebox musicals to dazzle Broadway. Given that the show's full title pretty much sums up the plot — assiduously scripted by Dominique Morisseau in mostly first-person narration by Temptations founder Otto Williams, based on his co-authored biography — the only surprise is how a talented cast and production keeps the Motown mojo fresh for nearly three hours, including intermission. Only R&B aficionados would be able to slice through the nuances of the dozen or so cast members who make up the in-flux musical members of what is perhaps the top Black musical group in pop history. But the musical magic of the Temptations — in 30-plus recreations of their hits — is genuine enough. Michael Andreaus, understudying Marcus Paul James as Otto on opening night, understandably lacks command for such a pivotal role, but his singing, dancing and empathetic acting create a vivid persona, nevertheless. Yes, the expected ups and downs of superstardom — drugs, alcohol womanizing, troubled marriages — are all there, as are the trials and tribulations of navigating the 1960s, from the bigoted South to the turbulent North. Yet a sleek black-and-grey production design by Robert Brill, powerfully lit by Howell Binkley, nuanced direction by Des McAnuff and mesmerizingly accurate choreography by Sergio Trujillo keep the proceedings exciting and vital. Contact Howard Gollop at howieeg@hotmail.com. IF YOU GO WHAT: "Something Rotten" WHEN: now through Aug. 7 (times vary) WHERE: Beck Center for the Arts, 17801 Detroit Ave., Lakewood TICKETS: $10 to $34 INFO: (216) 521-2540 or beckcenter.org IF YOU GO WHAT: KeyBank Broadway Series presents "Ain't Too Proud, the Life and Times of The Temptations" WHEN: Now through July 31 (times vary) WHERE: KeyBank State Theater, 11519 Euclid Ave., Cleveland TICKETS: $25 to $125 INFO: (216) 241-6000 or PlayhouseSquare.org