Reviews: Something Rotten! at Fairfax High School
Written by Noah Kirkland of Quince Orchard High School
Sun-warmed cobblestones stretched across the stage as crooked Renaissance buildings leaned inward, framing a lively square complete with a looming bell tower and a bustling apothecary shop lined with colorful vials and remedies. With bodies swirling through the space and music bursting to life, Fairfax High School's Something Rotten! transformed this vivid village into a comedic playground where ambition, rivalry, and theatrical chaos collided.
"Something Rotten!" follows brothers Nick and Nigel Bottom as they struggle to find success in the theatre world while living in the shadow of a wildly popular William Shakespeare, leading them toward an outrageous and unexpected solution. Premiering on Broadway in 2015, the musical earned multiple Tony nominations and quickly became known for its rapid-fire humor, layered score by Karey and Wayne Kirkpatrick, and affectionate satire of musical theatre. Its fusion of Renaissance storytelling with contemporary wit continues to make it a standout comedic work.
Nate Wheeler Smith's Nick Bottom was a commanding force, delivering a performance rooted in razor-sharp physical comedy and striking vocal control. Every movement felt deliberate, from exaggerated gestures to perfectly timed reactions, with expressive facial choices that consistently drove the humor. Whether shooting a cutting glance or storming off in frustration, his physicality remained dynamic and precise. Vocally, Wheeler Smith sustained powerful belts with impressive clarity, even while navigating demanding choreography. Beneath the comedy, he revealed Nick's desperation and ambition with nuance, grounding the character in something real. Alongside him, Lucas Schnotala's Nigel Bottom provided a heartfelt counterbalance, his tone clear and his falsetto effortless. Schnotala's emotional sincerity and quiet vulnerability gave weight to Nigel's journey, while his awkward charm and genuine chemistry with others made him deeply endearing.
Tristan Farmer's William Shakespeare burst onto the stage with unapologetic confidence, crafting a larger-than-life presence that blended rockstar swagger with comedic brilliance. His vocal performance was dynamic and controlled, maintaining clarity even through physically demanding staging that required bending, crawling, and constant motion. Farmer's physicality was fearless, and his interactions with the ensemble added layers of humor to every moment. Whether leaning into arrogance or playful manipulation, his portrayal remained engaging and consistently entertaining, holding the audience's attention with ease.
Choreography, led by Naomi Bautista, Libby Hansen, and Nate Wheeler Smith, propelled the production with energy and intentional storytelling. As described on their board, each number prioritized narrative clarity, resulting in movement that felt both purposeful and exciting. "Welcome to the Renaissance" established a cohesive ensemble through synchronized formations, while "A Musical" stood out as a high-energy spectacle filled with tap, stylized references, and sharp comedic timing. "Make an Omelette" embraced controlled chaos, blending rapid transitions and layered staging into a number that was both technically impressive and visually engaging.
The costume team, led by Gaby Adumua with assistants Lilly Kyle and Kara Lee, crafted a detailed and cohesive visual world that elevated the production's storytelling. Structured doublets, layered skirts, and carefully constructed bodices reinforced the Renaissance setting while allowing individuality to shine. Bea Bottom's corseted dress stood out for its craftsmanship, while seamless quick changes, particularly Shakespeare's transformation, showcased impressive technical execution. The integration of theatrical references within "Make an Omelette" added humor without disrupting the overall aesthetic.
Fairfax High School's "Something Rotten!" thrived on precision, collaboration, and fearless creativity, bringing its Renaissance world to life with clarity and energy. Like the bustling square beneath that silent bell tower, the production pulsed with movement and invention, and by the final curtain, it left little doubt that when theatre leans fully into its own absurdity, it becomes something unmistakably magical�and unmistakably musical.
Written by Sasha Jacobs of Quince Orchard High School
Featuring tap-dancing eggs, a mediocre soothsayer, and rock-star bards, prepare for Fairfax High School to welcome you to the Renaissance through a flurry of exaggerated ruffs, men in tights, and fierce rivalry in their production of "Something Rotten!"
Created by songwriter Wayne Kirkpatrick, and screenwriters Karey Kirkpatrick and John O'Farrell, "Something Rotten!" is a wacky and over-the-top musical comedy that quickly received several Best Musical nominations. The unconventional show opened on Broadway in 2015 and follows the journey of playwright duo, the Bottom brothers, as they struggle to gain success when living in the same era as the illustrious William Shakespeare. After visiting a questionable soothsayer for advice, they set off to write the world's first musical - a supposedly sensational blend of song and dance revolving around omelettes. Their path towards out-doing the famous Shakespeare comes with unexpected twists and inventive musical references.
Riddled with soaring ambition for theatrical recognition, Nate Wheeler Smith's portrayal of Nick Bottom expressed unfaltering passion in his desire of surpassing Shakespeare in talent. Smith showcased Nick's skill through his outstanding footwork and impressive vocal control, leading large numbers with everlasting energy and not a single hitch in breath. A well-matched rival to the Bottom brothers was none other than the one and only William Shakespeare, played by Tristan Farmer. Farmer's air of maximum haughtiness revealed just how conceitedly aware Shakespeare was of his popularity, never shying away from dominating the stage with magnified expression. To embellish his performance, Farmer maintained a posh English accent throughout the musical. The pair got their opportunity to shine brilliantly in a dazzling display of clicks and kicks in the intense tap-dance face off of "Bottom's Gonna Be on Top".
Living with a man of far-fetched dreams is not easy, especially as a wife in the strict "90s" of the 16th century, but Bea Bottom, played by Olive Webster, stepped up to the task with inspiring strength. Carrying herself as a tough and determined woman, she defied the restrictive lifestyle set for women of the olden days to support her struggling family of hopeful playwrights. Webster demonstrated a range of acting when she disguised herself and took on manly jobs to make money. She starred in her number "Right Hand Man" both through smooth song and sharp acting prowess. Her interactions with her husband so naturally imitated that of, not young sweethearts, but instead a relatable, seasoned married couple who could use a break from each other every now and then.
Including a whopping 662 cues, the lighting team (Nikolai Crowl, James Conron) elevated the professionalism of the show. They timed flashes and colors to attune to the beat of songs. Most striking was how they thoughtfully switched between foot lights and modern lighting to distinguish the old-timey atmosphere from the forward-thinking mind of the soothsayer. Spotlights blurred at the edges to offer subtle but effective focus on lead characters. Additionally, the hair and makeup team (Mauro Manganello, Gaby Adumua) took the show further into the past with the use of intricate wigs and bold looks. Inspired by unique styles of ballroom dance, Minstrel opened the show in "Welcome to the Renaissance" sporting two distinct bang curls as a nod to the artistry of the era. As theater patron, Lady Clapham's Marie Antoinette-style wig communicated her status of wealth. The combination of these technical elements transformed a modern stage into the lively streets of the Renaissance.
At last, Fairfax High School's production of Something Rotten! successfully debunked Nick Bottom's initial doubts of musicals as a perfect example of just how spectacular a musical can be.