Breathe in deeply — ‘Something Rotten’ is a blast in Cleveland

Playhouse Square hosting touring production of musical comedy that is uproariously funny, if lacking top-notch music

Let’s get something out of the way.

The music in the touring production of Tony Awardnominated musical comedy “Something Rotten” that has taken up temporary residency at Playhouse Square is unremarkable. From the musical arrangement of the songs to the vocal talent, there’s just little you’d consider terrific. Passable, sure, but not truly wonderful.

However — and this is one big however — “Something Rotten” is so enjoyable, so frequently laughout-loud funny and so consistently entertaining, that it really doesn’t matter.

There’s nothing rotten about “Something Rotten.”

The clever idea for “Something Rotten” — from brothers screenwriter Karey and songwriter Wayne Kirkpatrick — has two playwright brothers living in William Shakespeare’s massive shadow in 1590s England. (Shakespeare’s latest premiere, “Romeo and Juliet,” is all the rage.) The fun but somewhat harsh-sounding “Welcome to the Renaissance” does a fine job of establishing the cultural environment for the show, from the Kirkpatricks’ fun lyrics about artistic expression to the exaggerated period garb adorned by the relatively large company.

We soon after get to know Nick (Rob McClure) and Nigel Bottom (Josh Grisetti), who see the play they’re constructing be closed down when the backer learns Shakespeare is doing something similar. This causes Nick to launch into “God, I Hate Shakespeare,” in which he lambasts not only the Bard but also everyone who “bloviates” about him. (When singing that his plays are too wordy, Nick follows up by calling him a “little turdy.”)

While Nigel is the more talented writer of the two, Nick is the dominant half of their dynamic, feeling he must support the passive Nigel. That’s on top of supporting his loving wife, Bea (Maggie Lakis), who wants to get a job to help them stay solid financially.

“None of the other writers’ wives get jobs,” the proud Nick pleads.

“Well,” Bea answers, “they should — it’s the ’90s!”

(She also believes women will be treated as equals come 1600.)

While Bea does go to work, disguised as a man — this is when Lakis is at her comedic best — Nick hatches a desperate plan. He visits a soothsayer, who happens to be a nephew of Nostradamus named Thomas (Blake Hammond), and pays him to look into the future to see the next big thing in theater. The answer, Thomas tells him, is the musical!

Thomas explains that in a musical, actors will break into song after speaking dialogue to further the story, develop character, add emotion, etc.

“That is the stupidest idea I have ever heard,” he responds.

Yet he quickly takes to it during the showstopping number of the show, “A Musical,” in which Thomas — a big guy with big hair and a big voice — explains to Nick the various aspects that will come to make up successful musicals, including a highly choreographed dance break included only because it is entertaining. When McClure, Hammond and the ensemble had finished the number during a recent performance, the Connor Palace audience gave them an extended ovation the likes of which you don’t usually see mid-show.

While Nick is inspired by the concept, he and Nigel struggle to find an idea for the show. Thus, Nick makes a return visit to see Thomas, paying him to look into the future to learn what will be Shakespeare’s greatest future work. Thomas doesn’t quite get it right, and the results are hilarious. (Hint: It’s not egg-xactly something audiences would want in a show.)

As Nick pushes forward with his misguided plan for the first musical, Nigel has fallen for Portia (Autumn Hurlbert), a girl who adores poetry — especially his — but whose Puritan father, the oddly, um, flamboyant Brother Jeremiah (Scott Cote), condemns writers and will not have his daughter involved with one.

As the second act, which is as enjoyable as the first, begins, Shakespeare (Adam Pascal) — who’s made every bit the Renaissance rock star in “Something Rotten” — is suffering his own creative block and seeks to infiltrate the Bottoms’ production.

Directed and choreographed by Tony Award winner Casey Nicholaw (“The Book of Mormon,” “Aladdin”), “Something Rotten” was nominated for 10 Tonys, including Best Musical, winning only one. Perhaps it isn’t worthy of the industry’s top honors, but it is a blast.

And this production boasts Broadway talent; McClure, Pascal and Grisetti all come from the Broadway production, and each knows all the right comedic buttons to push with his character. McClure has the greatest workload and really helps power the show.

If anyone is on their level, it’s Hammond. He’s overthe-top as Thomas, but delightfully so. The character hangs around as the Bottoms construct their musical, helping to fill “Something Rotten” with myriad references hit musicals such as “Rent,” “Fiddler on the Roof” and “Les Miserables.”

Relatedly, the Kirkpatricks have packed the show with jokes for the Shakespeare set, a wonderful touch.

While incredibly silly — and even with a parade of double entendres that can wear just a little bit thin — “Something Rotten” is intelligently constructed.

Early on, one of the Bottoms’ actors tells Nick during rehearsal that he has a question about motivation. “Yes?” Nick answers. “Why haven’t you given up yet?” the actor asks.

Nick doesn’t have any give-up in him, and “Something Rotten” audiences are the better for it.

JEREMY DANIEL Thomas Nostradamus, portrayed by Blake Hammond, predicts the future for Nick Bottom, portrayed by Rob McClure, in the touring production of “Something Rotten.”