Something Rotten!
Book By Karey Kirkpatrick and John O'Farrell, Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Show Information
The Ruth & Nathan Hale Theater
PROUDLY PRESENTS
Book by
Karey Kirkpatrick andJohn O’Farrell
Music & Lyrics by
Wayne Kirkpatrick andKarey Kirkpatrick
Conceived by
Karey Kirkpatrick and Wayne Kirkpatrick
Arrangements by
Karey Kirkpatrick andJohn O’Farrell
Wayne Kirkpatrick andKarey Kirkpatrick
Karey Kirkpatrick and Wayne Kirkpatrick
Glen Kelly
Orchestrations by
Larry Hochman
Starring
Blake Barlow, Joseph Paul Branca, Amanda Baugh, Matt Baxter, Austin Dorman, Josh Durfey, Zack Elzey, Scotty Fletcher, Mark Gordon, Marshall Lamm, Shawn Lynn, Ondine Morgan-Garner, Bailee Morris, Amelia Rose Moore, Jordan Nicholes, Scott Rollins, Dr. Ryan Shepherd, Josh Tenney, and Jacob Thomason
Featuring
Bronwyn Andreoli, Michael Avila, Venna Barrowes, Francesca Bianchi, Tanya Cespedes, Keely Conrad, Jordan Dahl, Danna Facer, Tanner Garner, Madison Lynn Gehring, Cannon Hadfield, Jake Hart, Cole Hixson, Brant Johnson, Hannah Keating, Connor McMaster, Emily Manning, Spencer Manning, Hayden Mecham, Isaac Moss, Rachel Nicholes, Mike Rhodes, Maxwell Sperry, Maria Stephens, Madison Valgardson, Emily West, Heather White, and Elijah Wolford
DIRECTOR
David Morgan
Choreographer
Izzy Arrieta
Music Director
Justin Bills
SET DESIGN
Jason Baldwin
COSTUME DESIGN
Lexi Goldsberry
LIGHTING DESIGN
Ryan Fallis
HAIR & MAKEUP DESIGN
Bekah Wilbur
SOUND DESIGN
Dan Morgan
PROP DESIGN
Megan Heaps
PRODUCTION STAGE MANAGER
Ashtyn Waters
Something Rotten! is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI.
www.mtishows.com
The video or audio recording of this performance by any means is strictly prohibited.
The role of Nick Bottom will be played by
Ryan Shephard
The role of Shakespeare will be played by
Scotty Fletcher
The role of Bea Bottom will be played by
Ameila Rose Moore
The role of Brother Jeremiah will be played by
Joey Branca
The role of Man 2 will be played by
Eljiah Wolford
The role of Man 7 will be played by
Cole Hixson
Cast List
Nick Bottom
Blake Barlow MON, WED, SAT
Ryan Shepherd TUE, THU, FRI
Nigel Bottom
Austin Dorman MON, WED, FRI
Josh Durfey TUE, THU, SAT
William Shakespeare
Jordan Nicholes MON, WED, FRI
Scotty Fletcher TUE, THU, SAT
Beatrice "Bea" Bottom
Bailee Morris MON, WED, FRI
Amelia Rose Moore TUE, THU, SAT
Portia
Ondine Morgan-Garner MON, WED, FRI
Amanda Baugh TUE, THU, SAT
Thomas Nostradamus
Scott Rollins MON, WED, FRI
Marshall Lamm TUE, THU, SAT
Brother Jeremiah
Matt Baxter MON, WED, FRI
Joey Branca TUE, THU, SAT
Lord Clapham/Master of the Justice
Josh Tenney MON, WED, FRI
Zack Elzey TUE, THU, SAT
Shylock
Shawn Lynn MON, WED, FRI
Mark Gordon TUE, THU, SAT
Minstrel
Jacob Thomason SINGLE CAST
Man 1/Tom Snout
Jake Hart MON, THU, FRI
Connor McMaster TUE, WED, SAT
Man 2/Robin
Isaac Moss MON, WED, FRI
Elijah Wolford TUE, THU, SAT
Man 3/Peter Quince
Mike Rhodes MON, WED, FRI
Michael Avila TUE, THU, SAT
Man 4/Snug
Tanner Garner MON, THU, FRI
Jordan Dahl TUE, WED, SAT
Man 5
Spencer Manning MON, WED, FRI
Hayden Mecham TUE, THU, SAT
Man 6
Maxwell Sperry MON, WED, FRI
Brant Johnson TUE, THU, SAT
Man 7
Cannon Hadfield MON, WED, FRI
Cole Hixson (u/s Minstrel) TUE, THU, SAT
Woman 1/Miranda
Danna Facer MON, WED, FRI
Hannah Keating TUE, THU, SAT
Woman 2/Rosalind
Emily Runyan Manning MON, TUE, FRI
Heather White WED, THU, SAT
Woman 3/Helena
Keely Conrad MON, WED, SAT
Emily West TUE, THU, FRI
Woman 4
Tanya Cespedes MON, WED, FRI
Bronwyn Andreoli TUE, THU, SAT
Woman 5
Maria Stephens MON, WED, FRI
Francesca Bianchi TUE, THU, SAT
Woman 6
Rachel Ryan Nicholes MON, WED, FRI
Venna Barrowes TUE, THU, SAT
Woman 7
Madison Valgardson MON, WED, FRI
Maddie Gehring TUE, THU, SAT
Production Team
DIRECTOR
David Morgan
CHOREOGRAPHER
Izzy Arrietta
MUSIC DIRECTOR
Justin Bills
SET DESIGN BY
Jason Baldwin
COSTUME DESIGN BY
Lexi Goldsberry
ASSISTANT COSTUME DESIGNER
Ryver Mecham
LIGHTING DESIGN BY
Ryan Fallis
HAIR & MAKEUP DESIGN BY
Bekah Wilbur
SOUND DESIGN BY
Dan Morgan
A1 OPERATORS
Rachel Carr and Devon Parikh
PROP DESIGN BY
Megan Heaps
PRODUCTION STAGE MANAGER
Ashtyn Waters
ASSISTANT STAGE MANAGERS
Kati Morgan Torrie
DECK CREW
Kate Hales, Collin Ohran, Thomas Petrucka, and Sophie Shepherd
HEAD DRESSERS
Danielle Hendrickson, Ri Mosswood, Alexis Sanders, and Seneca White
WARDROBE CREW
Carlie Mccleary, Astrid Melendez, Zach Raddatz, Annica Stenquist, Kate Watkins, and Seneca White
Scenes and Musical Numbers
• Scene 1 •
A South London Street
Welcome to the Renaissance
Minstrel and Company
• Scene 2 •
The Theatre
Man, I Hate Shakespeare
Nick, Nigel, and The Troupe
• Scene 3 •
A South London Street/Outside Nick and Bea's House
• Scene 4 •
Nick and Bea's House
Right Hand Man
Bea, Nick, and Nigel
Man, I Hate Shakespeare (Reprise)
Nick
• Scene 5 •
Soothsayer Alley
A Musical
Nostradamus, Nick, and Company
• Scene 6 •
A South London Street/Outside the Theatre
• Scene 7 •
The Theatre
The Black Death
The Troupe
• Scene 8 •
A South London Street
I Love the Way
Portia and Nigel
• Scene 9 •
The Park
Will Power
Shakespeare and Company
• Scene 10 •
After-Show Party
• Scene 11 •
Soothsayer Alley
Soothsayer Alley
Bottoms Gonna Be on Top
Nick and Company
Intermission
• Scene 1 •
London
Welcome to the Renaissance (Reprise)
Minstrel
Hard to Be the Bard
Shakespeare and The Bard Boys
• Scene 2 •
The Theatre
It's Eggs!
Nick and The Troupe
• Scene 3 •
A London Park
We See the Light
Portia, Nigel, Brother Jeremiah, Nick, and Company
Nigel's Theme
Nigel
• Scene 4 •
The Theatre
To Thine Own Self
Nigel and The Troupe
• Scene 5 •
A South London Street
Right Hand Man (Reprise)
Bea
• Scene 6 •
On Stage at the Theatre
Something Rotten!
The Troupe
Make an Omelette
Nick and Company
• Scene 7 •
Courtroom
To Thine Own Self (Reprise)
Nick and Nigel
• Scene 8 •
New American Colony
Welcome to America
Nick, Nigel, Bea, Portia, Company
Director's Note
Something Rotten! is one of my favorite musical comedies. It’s a delightful pastiche of 100 years of musical theater, with tongue-in-cheek parodies, theatrical Easter eggs, and self-aware humor about Shakespeare, musical theater, and the Renaissance. It’s a love letter to musicals that celebrates their history and conventions while also poking fun at popular culture. Most of all, it’s simply a lot of fun—and I hope tonight it gives you some wonderfully funny entertainment.
Interesting Facts
By Mark Fossen
Shakespeare: The Original Rock Star ( and Plagiarist? )
Today, we put William Shakespeare on a pedestal, thinking of him as the very definition of “literature”. But in his own time? He was less of a literary deity and more of a popular entertainer. He wasn’t crafting High Art—he was writing to please the masses, from noble patrons to rowdy commoners. Shakespeare was, in short, the rock star of the Renaissance.
The musical Something Rotten! runs with this idea, giving us a Shakespeare who struts across the stage like a Renaissance Mick Jagger, adored by fans, basking in his own genius, and blatantly stealing ideas from others. Something Rotten! will never be mistaken for a history lesson, but the truth is that Shakespeare wasn’t just a brilliant writer who chronicled the human condition as few others have done. He was also savvy, competitive, and, by today’s standards, wildly unoriginal. And that was completely normal.
Theatre was a Blood Sport
Shakespeare lived in a time when theatre was booming. London had multiple playhouses, including the Globe, the Rose, and the Swan, each run by rival acting companies that constantly fought to stage the next big hit. Unlike Broadway today, where a successful musical can run for years, Renaissance theatre moved at breakneck speed. A show might get a dozen performances in a season before being replaced. Theatre companies needed 10 to 20 new plays a year, which meant playwrights had to churn out material fast.
While we think of Shakespeare as a solitary artist crafting timeless works, collaboration and speed were the norm. Playwrights co-wrote scripts, rewrote old plays, and borrowed freely from each other. The best modern comparison would be a television writers’ room. Modern ideas of plagiarism and rights didn’t apply: if a story worked, you used it. If another writer had a great idea, you took it and made it better. It was a theatrical free-for-all, and Shakespeare was just another writer alongside other names like Thomas Middleton, John Webster, Ben Jonson, Thomas Dekker, Francis Beaumont and John Fletcher, and Thomas Kyd. Middleton wrote parts of Macbeth, and one of the very few examples we have of Shakespeare’s handwriting is found in a speech he contributed to Sir Thomas More along with many other playwrights.
Shakespeare: The Great Borrower
Today, we call Shakespeare a genius. But if he were working under modern copyright law? He’d be drowning in lawsuits. Nearly all of his plays were based on existing material:
- Romeo and Juliet –
Lifted from Arthur Brooke’s The Tragicall Historye of Romeus and Juliet (1562). - Hamlet –
Borrowed from an old Scandinavian legend which had likely been adapted to the stage years before and reworked into the kind of revenge thriller that was dominating stages. - King Lear –
A revamped version of an older play called The moste famous Chronicle historye of Leire king of England and his Three Daughters. - King Lear, Macbeth, Richard III, Henry VI, Coriolanus, and more –
Modern plagiarism software finds word-for-word borrowings from A Brief Discourse of Rebellion and Rebels by George North in 11 of Shakespeare’s plays.
Back then, this wasn’t considered stealing—it was just how storytelling worked. Elizabethan audiences didn’t expect originality; not unlike modern movie audiences they wanted familiar stories told well. Shakespeare’s genius wasn’t in coming up with brand-new plots—it was in how he transformed them, layering in richer characters, sharper dialogue, and better drama.
The Race for the Next Big Thing
Theatre in Shakespeare’s day was a high-stakes game, and playwrights were constantly looking for the next trend. That’s exactly what happens in Something Rotten! when Nick Bottom, desperate to beat Shakespeare at his own game, visits a soothsayer to find out what’s next in theatre. The answer? Musicals.
It’s an absurd, hilarious anachronism—but is it really that far-fetched?
Were Musicals Possible in the Renaissance?
While full-blown musicals didn’t exist in the 1590s, Renaissance theatre was already experimenting with music-driven storytelling. If Nick Bottom had tried to stage a musical, it might not have been as impossible as it seems.
- Greek Tragedy: Educated men were taught Latin and Greek and would have been familiar with the plays from Ancient Greece which were being rediscovered during the Renaissance. The chorus in Greek theatre traditionally sang and danced, leading directly to the chorus in the modern Broadway musical.
- Court Masques: These lavish performances combined spoken word, elaborate music, and dance, often featuring royalty as performers. Ben Jonson and Inigo Jones collaborated on some of the most famous ones.
- Plays with Songs: Shakespeare himself used music constantly. Twelfth Night, As You Like It, and The Tempest all include multiple songs performed within the story. Some moments, like Ophelia’s mad singing in Hamlet, feel almost like proto-musical theatre soliloquies.
- Jigs: Short, often bawdy musical performances that followed the main play—think of them as the Renaissance equivalent of a vaudeville act.
The idea of blending music, theatre, and dance was already thriving in Shakespeare’s time. If someone had just taken that next step—tying songs directly to character development and advancing the plot—we might have had musicals centuries earlier. Instead, we saw the development of opera in Italy around the same time as the Italians worked to recreate Greek tragedy.
The Shakespearean Rock Star
In Something Rotten!, Shakespeare isn’t just a playwright—he’s a brand, a celebrity, a larger-than-life figure who overshadows his contemporaries. Again, this is exaggerated for comic effect, but the truth isn’t far off.
Shakespeare was a big deal in his own lifetime. His plays were performed at court for Queen Elizabeth I and later King James I. His company, the King’s Men, had royal patronage. He was one of the few playwrights whose works were published during his lifetime—meaning he had enough clout to be considered worthy of print, something many of his peers never achieved. (Many of those published plays were pirated, however; some were reconstructed by actors who knew only their lines and approximated the rest, while others were written down by scribes who attended the plays and furiously scribbled down the dialogue and stage directions in shorthand.)
While Shakespeare wasn’t dodging paparazzi or signing autographs, he was the playwright to beat. And in an industry where survival depended on who could produce the next big hit, he played the game better than almost anyone else.
Nick Bottom in Something Rotten! isn’t alone in his annoyance with Shakespeare. Once of the first mentions of Shakespeare as a playwright is this criticism by Robert Greene in 1592: “for there is an upstart Crow, beautified with our feathers, that with his Tygers hart wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and being an absolute Johannes fac totum, is in his owne conceit the onely Shake-scene in a countrey.”
The Bard as a Hustler
As you watch Something Rotten!, remember: the Bard wasn’t an isolated genius, toiling away in solitude. He was a hustler, a competitor, and a “borrower”. The show’s over-the-top portrayal of Shakespeare as a plagiarist superstar isn’t so far off: he wasn’t just writing plays—he was crafting blockbusters.
A Year in the Life of William Shakespeare: 1599
and The Year of Lear: Shakespeare in 1606 by James Shapiro
These books look in detail at specific years in Shakespeare’s life and give a detailed picture of what his theatrical world was like.
Shakespeare & Co. by Stanley Wells
This book focuses on the other playwrights that surrounded Shakespeare.
Shakespeare's Stage Traffic by Janet Clare
This is an academic text that dives into the way Shakespeare relied on adaptation and “borrowing” from both non-theatrical sources and his fellow playwrights.
Meet the Cast
Blake Barlow
Dr. Ryan Shepherd
Austin Dorman
Josh Durfey
Jordan Nicholes
Scotty Fletcher
Bailee Morris
Amelia Rose Moore
Ondine Morgan-Garner
Amanda Baugh
Scott Rollins
Marshall Lamm
Matt Baxter
Joseph Paul Branca
Josh Tenney
Zack Elzey
Shawn Lynn
Mark Gordon
Jacob Thomason
Jake Hart
Connor McMaster
Isaac Moss
Elijah Wolford
Mike Rhodes
Michael Avila
Tanner Garner
Jordan Dahl
Spencer Manning
Hayden Mecham
Maxwell Sperry
Brant Johnson
Cannon Hadfield
Cole Hixson
Danna Facer
Hannah Keating
Emily Runyan Manning
Heather White
Keely Conrad
Emily West
Tanya Cespedes
Bronwyn Andreoli
Francesca Bianchi
Maria Stephens
Rachel Ryan Nicholes
Venna Barrowes
Madison Valgardson
Madison Lynn Gehring
Meet the Production Team
David Morgan
Justin Bills
Izzy Arrieta
Ashtyn Waters
Jason Baldwin
Lexi Goldsberry
Bekah Wilbur
Dan Morgan
Ryan Fallis
Megan Heaps
Theater Staff
Leadership
Theater Founders
Cody & Linda Hale
Cody & Anne Swenson
Production
Artistic Director
Jennifer Hill Barlow
Production Manager
Meagan M. Downey
Head of Audio
Timothy Riggs
Sound Supervisor
Richie Trimble
Sound Assistant
Devon Parikh
Head of Lighting and Media
Michael Gray
Master Electrician
Ryan Fallis
Head of Automation and Rigging
Scott Freeland
Automation
Sam Nielsen, Alena Rodriguez, Noah Sheen, and Ryder Spotts
Costume Shop Supervisor
Kimberly Fitt
Head Draper
Jessica Barksdale
Draper/Cutter
Danielle Dulchinos
First Hand
Kristal Berger and Monica McNeill
Assistant Cutter/Draper
Molly Hartvigsen
Ruth Costume Shop Staff
Sarah Baldwin, Amy Handy, Mckayla Howlett, Keri Johnson, and Sara McCorristin
Assistant Costume Shop Manager
Alyssa Baumgarten
Craft Shop Manager
Olivia Kline
Crafts & Costume Construction
Megan Conde, Rowan Forsyth, Mckayla Howlett, Sara McCorristin, Brienna Michaelis, Brooklyn Schoenwald, and Erin Torres
Resident Assistant Costume Designers
Lexi Goldsberry, Ryver Mecham, and Lili Riberia
Hair & Makeup Supervisor
Melinda Wilks
Hair & Makeup Assistant
Emilie Ronhaar, Brooklyn Tolley, Mattie Victor, and Bekah Wilbur
Wardrobe Supervisor
Danielle Tanner
Assistant Wardrobe Supervisor
Carli Bringhurst
Assistant Technical Director
Paul Hintz
Master Carpenter
David Knowles
Carpenters
Boston Anglesey, Zippy Hellewell, Steven Ingram, Garion Jorgensen, Lincoln Oliphant, Jaren Raymond, and Ian Scott
Lead Metal Fabricator
Jay Johnson
Purchasing Coordinator / Props Artisan
Elisabeth Goulding
Props Supervisor
Megan Heaps
Props Artisan
Allen Lafferty and Lucinda Lai
Scenic Charge Artist
Morgan Dawn Golightly
Scenic Artist
Malorie Hansen and Amanda Ruth Wilson
Head of Stage Management
Shae Candelaria
Production Stage Manager
Jordan Liau
Deck Operations Manager
Katie Torrie
Education
Managing Director of Education
Linda Hale
Director of The Ruth Academy
Jon Liddiard
Youth Artistic Director
Amelia Rose Moore
Administrative Assistant
Opal Tolman
Acting Instructors
Kelly Coombs, Morgan Gunter, Jon Liddiard, Clara Wright, and Dylan Wright
Vocal Instructors
Amanda Baugh, Amanda Crabb, Kristian Huff, Marcie Jacobsen, Rex Kocherhans, Chelsea Lindsay, Amelia Rose Moore, Brandalee Bluth Streeter, Brad Summers and Marcie Yacktman
Instrument Instructors
Christian Wawro, Rachel Kirschman
Group Class Instructors
Bronwyn Andreoli, Will Baird, Rachel Bigler, DeLayne Dayton, Charlie Flint, Nick Garner, Morgan Gunter, Emily Hawkes, Cole Hixson, Emma Wadsworth Hurley, Audrey King, Rachel Carter Kirschman, Merrilee Liddiard, Mak Milord, Amelia Rose Moore, Kolton Nielsen, Kelsea Smellie, Channing Spotts, Opal Tolman, Madison Valgardson, Charlotte Westover, Clara Wright, and Dylan Wright
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Bill Woahn
Director of Administration
Joe Cook
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Kristine Widtfeldt
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Juli Adams
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Troy Anderson
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Mark Ostler
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Sydney Dameron
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Hale Center Foundation for the Arts & Education
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Greg Cook
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Thank You!
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