Educational Guide: Karey Kirkpatrick B John O'Farrell Wayne Kirkpatrick B Karey Kirkpatrick

EDUCATIONAL
GUIDE
BOOK BY
KAREY KIRKPATRICK B JOHN O'FARRELL
MUSIC & LYRICS BY
WAYNE KIRKPATRICK B KAREY KIRKPATRICK
Conceived by Karey Kirkpatrick B Wayne Kirkpatrick
Illustrations by Peter de Sève
BOOK BY
KAREY KIRKPATRICK
B JOHN O’FARRELL
MUSIC & LYRICS BY
WAYNE KIRKPATRICK
B KAREY KIRKPATRICK
CONCEIVED BY
KAREY KIRKPATRICK
Kate Reinders and John Cariani
B WAYNE KIRKPATRICK

WRITTEN BY
DEREK BOWLEY
B VICHET CHUM
Welcome
CONTRIBUTING EDITORS
MARTY JOHNSON
MARIANNE PHELPS
LAURA JO SCHUSTER
PRODUCTION PHOTOS
JOAN MARCUS
DESIGN AND LAYOUT
> HERE YE, HERE YE! Welcome to DANIELLE JOHNSON
the Something Rotten! Educational Guide, where quills and cre- KEVIN M. JOHNSON
ative minds rule, and there’s nothing wrong with going back SENIOR MANAGING EDITOR
to school… in the Renaissance. Running eight performances a SUSAN FULLER
week at the St. James Theatre on Broadway, Something Rotten!
CREATED BY
follows Nick and Nigel Bottom, a pair of writing brothers who
are trying desperately to find the perfect story to put on the
stage. The show imaginatively explores the intersection of Eliz-
abethan drama and modern musicals while teaching lessons
about overcoming obstacles and achieving true collaboration itheatrics.com
and friendship. So, pack your quill and put on your tap shoes. Copyright iTheatrics 2015
Let’s head to the Renaissance!
Brian d’Arcy James, Brad Oscar and company
TABLE P CONTENTS
> PREPRODUCTION > POSTPRODUCTION
Theater Etiquette......................................2 What Inspires the Something
How to Use This Guide............................2 Rotten! Creative Team.............................18
Plot Synposis.............................................3 Developing & Honing
Your Creativity..........................................22
The Characters.........................................5
Honoring Someone’s Ideas.....................23
The Writers & Composers.......................6
Poetic Writing...........................................24
The World of the Show.............................8
Creative Writing as Self-Expression......26
The Writers of 1595................................10
Writing for the Stage...............................27
Shakespeare
The Man, The Myth................................11 Reaching Your Goal.................................28
Musicals 101............................................14 Being Proud of Who You Are.................29
Shakespeare Sings!..................................16 Art and Religion Through the Ages......31
Careers in Theater....................................32
RottenBroadway.com Something Rotten! Educational Guide 1

Theater Etiquette
H 1 4
ark! When you step into THOU SHAN’T TWEETETH. THOU SHALT KEEP THY
the St. James Theatre on No cell phones, no texting, no LIMBS TO THINE SELF.
Broadway, just remember: phone calls and no social media! You’re not a groundling or a stand-
this isn’t exactly 1595. You The Renaissance created some ing patron at Shakespeare’s Globe
are still in a Broadway theater. pretty cool things… the cell phone Theatre. There are seats in the
Here are a couple of tips to rock is not one of them. Broadway house, so remember to
out in the Renaissance with keep your feet off them.
proper etiquette.
2 THOU SHALT FLUSHETH.
Make sure to use the restroom
before the show. By this point, the 5 THOU SHALT APPLAU-
DETH. It is standard to
first flushing toilet had been invent- applaud at the end of the show. The
ed… so flush away! performers and everyone behind
the scenes put together this show
3 THOU SHAN’T SELFIETH.
Photography and filming of
any kind is strictly prohibited at
for you. Show them the proper
support for all their hard work.
the theater. Save your selfie for the
stage door where the actors meet
the audience members.
6 THOU SHALT HAVE A
GREAT TIME. The theater
is a once-in-a-lifetime experience.
Unlike a movie or a television show,
you’re at the theater with audience
members, performers, technicians,
house staff and more, sharing this
story in real time. Sit back and enjoy
the show!
all you need to know plore further on their own the imaginative and artistic
HOW TO USE about the show. It gives
you an in-depth look at the
or with minimal teacher
guidance. This fun-filled
journey. Created for all
ages, this guide can be
THIS GUIDE musical’s story, characters, section includes activities used independently or
authors and background on developing a student’s applied to enrich a pre-ex-
information on the Renais- creativity, creating goals, isting curriculum. Each
The Educational Guide
is broken into two parts: sance, the man and myth cultivating self-confidence page is built so the fun of
Preproduction and Post- of Shakespeare, and the and investigating careers Something Rotten! doesn’t
production. The Prepro- evolution of musicals. in the theater. Additionally, have to end at the the-
duction section is crafted The Postproduction inside you’ll find exclusive ater. Use thisguide in the
for teachers to share with section is specifically de- interviews with the show’s classroom or at home – the
their students and includes signed for students to ex- creative team exploring Renaissance waits for you.
2 Something Rotten! Educational Guide RottenBroadway.com

Plot Synopsis
PREPRODUCTION
> ACT 1 Jewish money lender, who
is there to collect on Nick’s
Welcome to the Renaissance – where debt. However, Shylock has
art and science reign and the bubonic an offer: he will forgive
plague is so yesterday. It’s 1595 in South Nick of his loans if he can
London, and the town’s MINSTREL become an official in-
and the TOWNSPEOPLE are celebrat- vestor in the Bottoms’
ing the Renaissance of England (Wel- next play. Unfortunately,
come to the Renaissance) with artists having a Jewish patron is
and writers like John Webster, Ben illegal, and with interest for Shy-
Johnson, Christopher Marlowe and lock’s loan doubling soon, Nick is
several others. But who’s the “whiz under a great deal of pressure. Inside Nick employs to look into the future
of the Elizabethan stage”? Who’s “in- the house, BEA, Nick’s wife, is serv- and foresee what the next big thing in
credible, unforgettable, and just so ing boiled cabbage she found at the the theater well be. The answer? Mu-
freakin’ awesome”? WILLIAM SHAKE- stocks where the crowd was throwing sicals! Nostradamus shares with Nick
SPEARE! All other writers might as it at criminals. Times are tough for the the most informational, spectacled
well pack up their quills and go home. couple, which is why Bea suggests premonition either of them have ever
At a theater not too far away, a that she get a job and even sug- experienced (A Musical). Nick has his
pair of playwright brothers, NICK gests she could be an actor in one idea! The next day outside the the-
and NIGEL BOTTOM, run rehearsal of the Bottoms’ plays (even though ater, Nigel runs into a Puritan woman
of their new play, Richard II, with fel- it’s against the law to put women named PORTIA for whom he instant-
low actors TOM SNOUT, ROBIN, onstage). Though Nick is proudly ad- ly falls. But before they can share their
PETER QUINCE and the rest of the amant that he can get them out of love of poetry, Portia is pulled away
TROUPE. LORD CLAPHAM arrives to poverty on his own, Bea reminds him by her Puritan father, BROTHER JER-
inform them that Shakespeare is doing that she can be his second-in-com- EMIAH, who adamantly opposes
the exact same idea – and his opens mand (Right Hand Man). Bea leaves to the sinful ways of theatrical arts. Nick
sooner! If the Bottom brothers don’t hunt for some meat to eat, and Nigel returns with a game plan while Ni-
come up with a new play ‘on the mor- falls asleep, daunted by the idea of gel confesses his love for Portia. Nick
row,’ they’ll lose Clapham’s patronage. writing anymore. Nick is left with no warns Nigel against falling in love with
Nick, the older brother and driving good ideas (God, I Hate Shakespeare – a Puritan and then reveals that a mu-
force of the partnership, goes on a ti- Reprise)… except maybe for one. sical is their ticket to success. All they
rade about his hatred for Shakespeare Nick heads to Soothsayer Al- need now is the perfect subject. At
(God, I Hate Shakespeare), while the ley where he runs into an array of the theater, the Troupe rehearses their
rest of the gang, including Nigel, the eccentric characters. He’s looking new idea, a musical about the bu-
shy, insecure and unrecognized poet- for a soothsayer and inadvertent- bonic plague called The Black Death!.
ic genius, are in complete adoration. ly comes upon NOSTRADAMUS. When Lord Clapham hears it, he is baf-
The Bottom brothers are stumped But not the Nostradamus. This is fled and confused. He’s not the only
for an original idea and head to Nick’s his nephew. THOMAS. That’s right. one. Brother Jeremiah has heard about
home, where they find SHYLOCK, a THOMAS NOSTRADAMUS, who the inclusion of singing in their show

and arrives to warn the brothers that if and Shakespeare erupt into blows, imagine a life where their love is per-
they continue sinning, he will use his Brother Jeremiah arrives to retrieve missible with the Puritans (We See the
PREPRODUCTION
relationship with the Master of the Jus- Portia, who has been drinking alco- Light). Unexpectedly, Brother Jeremiah
tice to end their theatrical careers. With hol. Her father takes her away in a and other Puritans find Portia and pun-
that pressure, Clapham withdraws his rage. Nick reprimands Nigel for falling ish her by locking her in a tower where
patronage. for Shakespeare’s false friendship and she will stay until her exile to Scotland.
Nick and Nigel leave to regroup for falling in love with a Puritan. Nigel As a result, a heartbroken and artis-
and run into Bea, who is dressed as runs after Portia while Nick is left to tically inspired Nigel has written new
a man. Turns out all the good jobs in figure out a solution fast. Desperate pages for a dark and tragic play, which
town are for men. This humiliation only and out of options, he takes Shylock he presents at the next rehearsal (they
spurs Nick on to find a new patron and on as a financial backer, then returns to are actual parts of the real Hamlet).
leave Nigel to come up with a new Nostradamus for one final prediction: When Nick hears the changes, he’s
idea. But Nigel runs into Portia again what will Shakespeare’s most famous baffled as to why they don’t have sing-
who has come to return a poem that play be? Though his fortune-telling ing, they’re depressing and there are
was accidentally left with her after their skills are questionable, Nostradamus no eggs. The Bottom brothers can’t
initial encounter. Portia reveals to Nigel reveals that Shakespeare’s most fa- agree on which play to write (To Thine
how much she loves poetry and how mous play will be called... Omelette. Own Self), and Nigel leaves upset at
much she loves his writing (I Love the With this news, Nick envisions the the direction in which Nick is moving
Way). While they bond over their love paramount success he will soon have them. Shylock arrives to tell Nick that
of literature, a MESSENGER arrives to (Bottom’s Gonna Be On Top). the show, which is one week away,
invite Nigel to a private recitation in the is sold out. A deluded Nick is now
park hosted by Shakespeare. The rec- > ACT 2 convinced his Omelette idea will be a
itation is like a rock concert where huge success while Nigel is stopped
The Minstrel brings the audience back
Shakespeare is performing his great- to Renaissance times, where the Bot- by Shakespeare, still dressed as Toby
est hits to a crowd of adoring fans tom brothers are struggling to nail their Belch, who is desperate to get the pag-
(Will Power). Meanwhile, Nick pleads hit musical (Welcome to the Renaissance es to Nigel’s new play. When he hears
with Lord Clapham to reconsider, but – Reprise). Meanwhile, Shakespeare is Nigel’s reverence for the Bard, Shake-
Clapham won’t budge. There, he runs caught expressing his own anxiety of speare leaves, and then promptly
into Bea, who has once again dis- having to stay on top (Hard to Be the returns as himself, no longer in dis-
guised herself as another man taking Bard). His spy returns to Shakespeare guise. Feigning concern, he offers to
on a job helping break down Shake- to report that Nick Bottom was seen read Nigel’s pages and offer feed-
speare’s stage, and she unexpectedly with Nostradamus asking what would back. Shakespeare uses his status
reveals to Nick that she’s pregnant. be Shakespeare’s biggest hit. Keen to and influence to criticize Nigel’s bril-
After Bea leaves, Nick runs into Shylock know this himself, Shakespeare de- liant writing and create doubt and
who informs him that Nigel is at a pri- cides to disguise himself as an actor in uncertainty about the work. He takes
vate party for Shakespeare, and Shy- hopes of joining Nick’s acting troupe. the precious pages, saying he doesn’t
lock can get him in if Nick reconsiders Nick has brought Nostradamus to the want to see them performed with
his former proposition. theater in secrecy to consult about Nigel’s name on it, and he encourag-
At the star-studded party, Shake- the plot. Shylock arrives to hear the es Nigel to write his own Omelette. A
speare uses his influence and star sta- first new song for Omelette the Musi- despondent Nigel then runs into Bea,
tus with Nigel to get the inside scoop cal called “It’s Eggs!.” He doesn’t like it who is with HELENA and MIRANDA,
on what the brothers are writing. He and neither does Nigel nor the rest of who’ve thrown a baby shower for her.
manages to coerce Nigel’s notebook the Troupe. Shakespeare arrives dis- When she hears that Nick and Nigel
of ideas away from him, but Nick ar- guised as Toby Belch, an actor from have had a fight that threatens the
rives in time to question Shakespeare’s York, to join the company. After the partnership, Bea reminds him that Nick
ulterior motives. The rivalry between disappointing rehearsal, Nick wants is carrying the burden of the people
Nick and Shakespeare began when to keep writing, but Nigel has oth- he cares about most (Right Hand Man
Nick kicked Shakespeare out of his act- er plans and hastily leaves to see Por- – Reprise).
ing troupe because of Shakespeare’s tia. Once alone with her, Nigel shares Opening night arrives, and Nick,
less-than-desirable acting. Before Nick a poem that he’s written, and the two Nigel and the Troupe perform their

The Characters
big number, “Something Rotten!/
Make an Omelette.” But Shakespeare
PREPRODUCTION
(as Toby) stops the show to reveal his
true identity and inform the Troupe
that Nick has been seeking help from
Nostradamus to steal what should
have been Shakespeare’s greatest
The MINSTREL welcomes the LORD CLAPHAM begins as the
play. The whole Troupe is upset at
audience to the Renaissance and Bottom brothers’ primary patron,
the new discovery, especially Nigel,
the world of Something Rotten! but that changes quickly once
who is devastated that his brother With a merry and ironic dispo- he hears that Shakespeare is per-
lied and deceived him. Nick is left sition, the Minstrel sets up the forming the same play. Clapham
with the realization that his dishones- scene for the audience to enjoy is excited by the arts and certainly
ty hurt everyone he cares about, and all the show’s twists and turns. not ashamed to share his some-
now he has to pay the price. times zealous opinions about the
NICK BOTTOM is Nigel’s
On trial in court, Nick and his fel- Bottoms’ shows.
brother and leader of the acting
low defendants face a multitude of TROUPE, consisting of perform- SHYLOCK is a Jewish money-
crimes with the MASTER OF JUS- ers TOM SNOUT, ROBIN and lender who wants nothing more
TICE abiding over the proceedings. PETER QUINCE. He’s driven by than to be considered a patron
Bea enters disguised as an old lawyer success but above all, his ability of the arts but by law, can’t be
and makes a defense of temporary in- to support his most loved ones. considered an official investor.
sanity for Nick. Nick admits that he’s That pursuit leads him down a Regardless, he continues to help
guilty of all of his wrongdoings and rabbit hole of trying to outwrite Nick because he can’t stand to be
that he should have listened to the and outperform his arch nemesis, anywhere else besides the theater.
people around him, especially his Shakespeare.
THOMAS NOSTRADAMUS is
brother (To Thine Own Self – Reprise). NIGEL BOTTOM is the Troupe’s Nostradamus’ nephew and not
Unconvinced, the judge is about primary writer, and there’s little quite as talented or adept at
to pronounce a sentencing of be- doubt that his talent rivals and telling the future like his uncle. In
heading when Bea calls Master Wil- perhaps outshines Shakespeare’s. fact, he gets Nick’s premonition
liam Shakespeare to the stand. In a Nigel is very sensitive, so when for the greatest play of all time
surprise twist, Shakespeare suggests he meets Portia, he falls fast. The very, very wrong.
that Nick should be exiled rather younger of the two brothers,
PORTIA is Brother Jeremiah’s Pu-
Nigel has two great passions –
than beheaded. The star-struck Mas- ritan daughter, and while she has
to love and write about it.
ter of Justice agrees with the famous grown up in a conservative and
Bard and sentences Nick and Nigel to WILLIAM SHAKESPEARE is the incredibly religious household,
be banished to the New World – and ultimate rock star of the Renais- she has a great love for poetry and
to take their so-called ‘musicals’ with sance… and beginning to feel the arts. When she meets Nigel,
them. Portia arrives to say a final fare- the pressure of it all. Though out- she has to decide whether or not
wardly confident, Shakespeare is her love for the poet is enough to
well… to her father. She tells him
gradually losing his cool, trying disobey her father and her life.
where her true love, Nigel, is going,
to maintain his success by copy-
she is going as well. In America, their BROTHER JEREMIAH is a
ing work from others.
new musical form is a smash (Finale). Puritan who cares for nothing
Shylock gets news from England that BEA is Nick’s wife, and she does more than to maintain a com-
Shakespeare’s new play has opened her best to defy the limited role pletely virtuous life. His convic-
of Elizabethan women to help tion takes priority over all things,
and is considered his masterpiece.
support the household. She even including his daughter, the the-
It’s called Hamlet, to which Nostrada-
disguises herself as a man to ater and the other ills of society.
mus replies, “Hamlet! I was this close!” take on different jobs despite her
They sing (Welcome to America), hap- husband’s opinion.
py with their new lives in the land of
opportunity.

PREPRODUCTION
Michael James Scott and company
H Writers & Composers

KAREY performed improvisation on the streets of Walt Disney
KIRKPATRICK World’s EPCOT Center.

He went to on the USC School of Cinema-Television’s
(Book, Music
Filmic Writing Program (now known as the “USC School
and Lyrics)
of Cinematic Arts”) and there won the Jack Nicholson
Karey Kirkpatrick is an Ameri- Screenwriting Award and Robert Riskin Screenwriting
can screenwriter and director Award. Quickly after, he became a staff writer for Walt
originally from Baton Rouge, Disney Feature animation with his first writing credit
Louisiana. His comedy back- with The Rescuers Down Under. His early credits include
ground began first at the Honey, We Shrunk Ourselves; James and the Giant Peach;
SAK Comedy Lab improvisa- The Little Vampire; Chicken Run; The Hitchhiker’s Guide to
tional theater in Orlando, Florida, and after graduating the Galaxy; The Road to El Dorado; Spirit: Stallion of the
in 1988 from the University of Southern California, he Cimarron and Madagascar.

Kirkpatrick began directing with Dreamworks Ani- Original Score (Music and/or Lyrics) Written
mation’s Over the Hedge, for which he also co-wrote the for the Theatre.
PREPRODUCTION
screenplay with Tim Johnson. He also directed Para-
mount Picture’s Imagine That in 2009. His most notable
recent credits include Charlotte’s Web, The Secret World of JOHN
Arrietty, From Up on Poppy Hill and Smurfs 2.
O’FARRELL
Karey Kirkpatrick began work on Something Rotten!
(Book)
with brother Wayne Kirkpatrick in 2010, and the show
John O’Farrell is a British
went on to open in 2015 on Broadway. Kirkpatrick,
comic author and script-
alongside John O’Farrell, was nominated for Best Book
writer who grew up in
of a Musical and Best Original Score (Music and/or Lyr-
Maidenhead, Berkshire,
ics) Written for the Theatre.
and attended a number of
distinguished schools in
WAYNE England. His interests in the

theater began early at the age of ten when he played
KIRKPATRICK Christopher Robin in a production of Winnie the Pooh
(Music and Lyrics) in the West End. He continued his studies in drama and
Wayne Kirkpatrick is an Amer- writing at Exeter University.
ican songwriter, musician and He moved to London in 1985 and first began as a
brother to Karey Kirkpatrick. stand-up comic, winning a competition at Jongleurs,
The brothers grew up in one of a string of comedy clubs throughout the United
Baton Rouge, Louisiana, and Kingdom. O’Farrell eventually partnered with Mark
later, Kirkpatrick found a ca- Burton, and thereafter, the pair was commissioned by
reer in Nashville as a musician English television and radio producer Harry Thompson.
performing background vocals, guitar and keyboards. O’Farrell and Burton won a BBC Light Entertainment
He also wrote music for several famous artists, such as Contract Award and went on to write for prominent
Faith Hill, Garth Brooks, Babyface, Amy Grant, Joe Cocker, radio shows, including Little Blightly on the Down, McKay
Wynonna Judd, Bonnie Raitt and many others. Kirkpatrick the New, A Look Back at the Nineties and Look Back at
most intimately worked with the country band Little Big the Future. In 1988, the pair became head writers for
Town beginning in 2005 with their second album, The Splitting Image, and their various screenwriting credits
Road to Here. He continued to work and write on A Place include Clive Anderson Talks Back, Room 101, Murder Most
to Land, The Reason Why and The Road to Here. Horrid, Have I Got News For You, The Peter Principle, Chick-
Other notable works include a solo project called en Run and several more.
The Maple Room, with songs “Wrapped Up in You” and O’Farrell moved into books, publishing Things Can
“My Armageddon,” which later became hits for Garth Only Get Better: Eighteen Miserable Years in the Life of a
Brooks. In 2000, he worked with songwriters Gordon Labour Supporter in 1998, which became a number-one
Kennedy, Phil Madeira and Billy Sprague on the album bestseller and eventually became the third–best-selling
Coming From Somewhere Else, including Kirkpatrick’s political memoir in 2010. He later went on to publish his
song “Change the World” with Eric Clapton, which won first own book entitled The Best A Man Can Get, which
the Grammy Award for Song of the Year in 2002. became a best seller in 2002. His other books include
Wayne began working with his brother, Karey, on This is Your Life, May Contain Nuts, The Man Who Forgot
Something Rotten! in 2010, which opened on Broadway His Wife, Things Can Only Get Better, An Utterly Impartial
in 2015. The Kirkpatricks and book writer John O’Farrell, History of Britain and three collections of columns for The
were nominated for Best Book of a Musical and Best Guardian newspaper.

H World of the Show
PREPRODUCTION
> The Renaissance artists and figures of the time include Leonardo Da
Vinci, Michelangelo, Raphael, Niccolo Machiavelli,
Something Rotten! transports today’s audiences from Thomas More, Galileo, Martin Luther and several more.
the seats of a Broadway house across the Atlantic and In the next few hundred years, the Renaissance moved
back through the history book pages to Renaissance outward from Italy to its neighboring countries, in-
England. But what is the Renaissance, and how did cluding England.
it change England in the 16th century? The word
“renaissance” is French for “rebirth” and was a term > England in 1595
used to describe the period roughy between the 14th
and 17th centuries when society was marked by great It is believed that the Renaissance first moved to En-
advancements in art, science and culture. It is believed gland in the late 14th century, but the peak of the Re-
that the Renaissance began in Florence, Italy, in the naissance in England occurred during the Elizabethan
14th century after the Fall of Constantinople and the Age in the 16th century with Queen Elizabeth at the
Roman Empire. During this period, artists, scholars throne. During this time, England was marked by na-
and scientists moved to Italy to continue their work. tionalism, expansion and a great devotion to classical
Patrons, wealthy families of renown in Italy, like the ideas. The British had their sights across the Atlantic
Medicis, provided creative minds with great sums of and beyond as exploration and colonization of new
money to create art and innovate to further advance lands was well underway. In 1580, Sir Francis Drake
the family’s popularity and power. The period saw became the first man to circumnavigate the globe,
advancements in art, literature, music, politics, religion, or sail around the world, and in 1584, Elizabeth sent
science, philosophy and a revived interest in the hu- Sir Walter Raleigh to stake land in the Americas and
manism of the Greeks and Romans. Some of the most start a colony called Virginia. England was a dominant
notable inventions of the time were the telescope, mi- power on the global stage, and that position of status
croscope, printing press, advanced uses of gunpowder made way for advancements in culture – specifically
and artillery, and a flushing toilet. The most prominent literature and music.
Jousting was a popular Coaches were a popular Like most of Europe,
DID YOU
sport of the era. This pas- form of transportation people were accused
time involved two men in for the wealthy and royal. of being witches and
KNOW? full armor racing towards

each other on horseback
People drank alcohol
instead of water. Water
hanged if found guilty
in England during
to try to knock the other the time.
was considered unsafe
off with their lances.
Theatrical performances to drink because it was Queen Elizabeth I
at outdoor theaters be- English merchant contaminated. The En- never married or
gan during the day, usu- Sir Thomas Gresham glish drank beer, ale, wine had children, despite
ally at 3pm since that was proposed the first stock and cider because the political pressure. She
the point at which there exchange in England in alcohol content killed the vowed to be married to
was the most sunlight. 1565–the Royal Exchange. bacteria. England.

PREPRODUCTION
> The Puritans They forbade sinful practices in everyday life and
loathed the theater for attracting such sinful behav-
In 1558, Elizabeth ascended the English throne, iors. Theaters like The Globe became social centers
removing the former Roman Catholic Church as the where people gambled, including the practice of
religion of the state. The Religious Settlement of bearbaiting, where bears were pitted against dogs,
1559 gave Elizabeth the title as the Supreme Head of and people took bets on which animals would sur-
the Church. Services at the Church of England were vive. Theaters attracted an array of characters, includ-
mandatory, and people were punished for being ing thieves, prostitutes, beggars and more. Despite
absent. With fears of the Catholic Church secretly the advancements in theater, the Puritans sought to
uprising again, some Protestants and zealots became abolish theater and its sinful practices.
progressively strict about moral codes and behaviors. Eventually in 1642, the English Parliament issued
A group called the Puritans emerged and hoped to an ordinance to halt all plays, and later, in 1648,
separate from the Anglicans and return to Calvinism. all theatres were ordered to close. But the work
They desired for the Church of England to adopt a had been done – these plays of the English
rigid structure similar to Roman Catholicism and a Renaissance would be performed and cherished
plain church model. centuries later.

PREPRODUCTION
H Writers of 1595
A
rt and Literature emerged as a way to honor the pride and
legacy of England, with works like Edmund Spenser’s poem The
Faerie Queene and Thomas Wyatt’s first sonnets. Meanwhile,
theater quickly became the premier art form and social event of the
time. The style of theater moved away from the religious narratives of
miracle and mystery plays of the Middle Ages, and plays became much
more humanistic like those of the ancient Greeks and Romans. The first
English plays that followed this new style were Gorboduc by Thomas
Sackville and Thomas Norton and The Spanish Tragedy by Thomas Kyd.
Queen Elizabeth cherished the theater, and with her permission, profes-
sional theaters like the Red Lion Theatre, The Rose, The Swan, The Globe
and countless more were built with around 15,000 theatergoers per
week in London alone. Plays moved from serving a religious function
and were written to be enjoyed leisurely. Notable playwrights of the
time included Thomas Dekker, John Webster, Ben Jonson, Christopher
Marlowe, Thomas Kyd, Thomas Middleton, Thomas Moore and the most
famous of them all, William Shakespeare. These plays would be written
and rehearsed by various acting troupes that traveled across England
and often stopped for longer periods in London for performance. Some
of the most popular troupes of the time include Queen Elizabeth’s Men,
the King’s Men and Lord Chamberlain’s Men. With the financial backing
of wealthy English patrons, theater became the touchstone of art and
culture of the Elizabethan era.

Shakespeare
PREPRODUCTION
THE MAN, THE MYTH
Shakespeare’s speare’s plays had found a home on the London stage,

and his name was mentioned in the Stationers’ Register
Life by playwright Robert Greene with a quote from Henry
VI, Part 3. In the paper, Greene accuses Shakespeare for
William Shakespeare is con- overreaching in the presence of more established and
sidered by many the greatest successful writers like Christopher Marlowe and Thomas
English writer and playwright Nashe. Many scholars believe he began his career in the
of all time. He wrote approxi- mid-1580s with Lord Chamberlain’s Men, which became
mately 154 sonnets, 38 plays, the premier troupe in London. The company changed
two narrative poems and its name to the King’s Men after receiving a royal patent
many verses in the late 16th by King James I after Elizabeth’s death in 1603.
century. His reputation made him known as “The Bard of By 1594, some of Shakespeare’s plays had been
Avon” and England’s national poet. published in early quarto editions, and by 1598, his
Born in Stratford-upon-Avon, Warwickshire, Shake- name was printed on the title pages. Meanwhile, he
speare’s parents were John Shakespeare, a glover and a continued to act in his plays and his contemporaries’.
member of the municipal council, and Mary Arden, the During this time, he was divided between Stratford,
daughter of a rich landowning farmer. He had two older where he bought the second-largest house in the city,
sisters, Judith and Joan, and three younger brothers – and London, where he spent the majority of his time.
Edmund, Richard and Gilbert. He was baptized on April In 1599, Shakespeare and his business partners built
26, 1564, and though his actual birthdate is undeter- The Globe Theatre on the Thames River, which would
mined, most celebrate his birthday on April 23 on Saint later become a symbol of his legacy. Shakespeare was
George’s Day. Much is unknown of his childhood, but he thought to have died on April 23, 1616, at the age of 52
was believed to attend King’s New School in Stratford for reasons unknown. There were allusions to the idea
and there learned the basic tenets of a Latin education. that perhaps he drank too much alcohol and caught
At eighteen, Shakespeare married Anne Hathaway on a fever, but there are no specific records detailing
November 27, 1582, and later went on to have three cause of death.
children: Susanna and twins Judith and Hamnet. At the Though there’s been much speculation about wheth-
age of eleven, Hamnet died for unknown reasons and er or not Shakespeare was the true and sole author of his
was buried on August 11, 1596. many plays, most scholars believe that he was indeed
The years following the twins’ births are considered the man with the quill. Without a doubt, Shakespeare’s
the lost years, with little evidence of Shakespeare’s legacy continues to inspire literature, art and entertain-
whereabouts until 1592 in London. By that point, Shake- ment to this very day.

Shakespeare’s Writings
PREPRODUCTION
William Shakespeare is credited with writing plays, sonnets and poetry with
stories of love, war, adventure, politics, loss and so much more. Here’s an entire
breakdown of all of his works that have been celebrated throughout history.
PLAYS TRAGEDIES
Troilus and Cressida
POETRY Cozen: To cheat or trick
or commit something
COMEDIES Coriolanus THE SONNETS deceitful
The Tempest Titus Andronicus A Lover’s Complaint Anon: To happen soon or
quickly
The Two Gentlemen Romeo and Juliet The Rape of Lucrece
of Verona Huggermugger: An act
Timon of Athens Venus and Adonis done secretly without
The Merry Wives of Windsor
Julius Caesar Funeral Elegy by W.S. thoroughness
Measure for Measure
Macbeth
The Comedy of Errors WORDS THAT
Hamlet COMMON
Much Ado About Nothing SHAKESPEAREAN SHAKESPEARE
King Lear
Love’s Labour’s Lost WORDS INVENTED
Othello
A Midsummer Zounds: An exclamation Eyeball (The Tempest)
Antony and Cleopatra
Night’s Dream that serves as an oath; Swagger (Henry IV, Part II)
Cymbeline an abbreviation of
The Merchant of Venice New-fangled (Love’s
As You Like It “God’s wounds!” Labour’s Lost)
HISTORIES Sirrah: An address to call
The Taming of the Shrew Bedazzled (The Taming
King John someone who is socially
All’s Well That Ends Well of the Shrew)
Richard II inferior to you
Twelfth Night Fashionable (Troilus
Henry IV, Part 1 Ode: A lyrical poem and Cressida)
(What You Will) usually expressed with
Henry IV, Part 2 Cold-blooded (King John)
The Winter’s Tale feeling and style
Henry V Champion (Macbeth)
Pericles, Prince of Tyre Fie: An exclamation
Henry VI, Part 1 expressing frustration or Buzzer (Hamlet)
The Two Noble Kinsmen
Henry VI, Part 2 annoyance Zany (Love’s Labour’s Lost)
Henry VI, Part 3 Prithee: A synonym for Dawn (Henry V)
Richard III “please”
Henry VIII Sooth: A synonym for
“in fact”
Adapted stern Are Dead, the film Let the Devil

Wear Black and countless more.
Twelfth Night, O inspired by Othello,
Big Business and The Boys from
Shakespeare Romeo and Juliet, the classic tale of

star-crossed lovers, has seen many
Syracuse inspired by The Comedy
of Errors and countless others. The
adaptations, including the musical film Shakespeare in Love, starring
and movie West Side Story, the Baz Gwyneth Paltrow and Joseph Fi-
Countless productions, television Luhrmann film Romeo + Juliet and ennes, combines many of his plays
shows and films have tried their even Disney’s High School Musical, to create a fictional and imagined
hand at taking a modern look at which replaces warring families narrative of Shakespeare’s life.
Shakespeare’s classics. Hamlet has with warring high school cliques. And with a stage adaptation of
inspired countless stories, includ- Other notable adaptations include the film that premiered in London
ing Disney’s film and musical The 10 Things I Hate About You and Kiss in 2014, there’s little slowing
Lion King, Tom Stoppard’s play and Me, Kate inspired by Taming of the down the curiosity and love for
movie Rosencrantz and Guilden- Shrew, She’s the Man inspired by Shakespeare’s plays.

Shakespearean References
PREPRODUCTION
IN THE SHOW
S
omething Rotten! is jam-packed with references ers” whose love comes to a tragic end. Nigel and Portia’s
from William Shakespeare’s plays and life. How secret relationship is somewhat modeled after the original
many can you spot? Here are a few of those quotes, young lovers, with Nick and the Puritans indicating the
characters and parts of plays that will help you unlock warring families of the Montagues and the Capulets.
the topsy-turvy world of the Renaissance. Shylock: The character of Shylock comes from The Mer-
Richard II: At the beginning of the play, the Bottom chant of Venice, written somewhere between 1596 and
brothers are rehearsing the story of Richard II and actual- 1598. In both stories, Shylock is a Jewish moneylender
ly quote from Shakespeare’s King Richard the Second. who loans a sum of money that must be paid.
“Let us talk of graves, of worms, of epitaphs; Portia: Like Shylock, the character of Portia is derived
Make dust our paper, and with rainy eyes from The Merchant of Venice. While Portia in Something
Write sorrow on the bosom of the earth.” Rotten! is a Puritan who falls in love with Nigel, Portia
Richard II was a history play believed to be written from Shakespeare’s play is an heiress who is forced by
around 1595 and is based on England’s King Richard II, her father to attain the suitor who chooses the appropri-
who ruled from 1377 to 1399. ate casket containing her portrait and a scroll.
Nick and Nigel Bottom: The Bottom brothers are Sonnet: William Shakespeare wrote 154 sonnets that
named after the character Bottom from Shakespeare’s A were first published in a 1609 quarto titled “SHAKE-
Midsummer Night’s Dream. Bottom is an Athenian weaver SPEARS SONNETS.” Most sonnets possessed three qua-
who is part of the Mechanicals who rehearse the tale trains with the final couplet in iambic pentameter.
of Pyramus and Thisbee. Bottom begins the play as an
“Now is the winter of our discontent! Made
earnest performer who eventually falls victim to a little
glorious summer by this son of York.”: This quote
bit of fairy magic.
comes from act one, scene one of The Life and Death of
Bea: Nick’s wife takes on several disguises as men to Richard the Third from the character of Richard. The play
earn extra income for the house. Throughout Shake- was believed to be written in 1592 and follows the rise
speare’s plays, there are several heroines that don male and fall of King Richard III of England.
personas to get what they want or need. The most “And if music be the food of love—play on!”:
important examples include Imogen (Cymbeline), Rosa- These lines open Twelfth Night, or What You Will, a com-
lind (As You Like It), Portia (The Merchant of Venice), Viola edy of Shakespeare’s written around 1601 to 1602. In the
(Twelfth Night) and Julia (The Two Gentlemen of Verona). play, Duke Orsino is deeply in love with the Countess
The Bard: Shakespeare claims it’s “hard to be the Olivia, who lacks mutual affection, and seeks melancholy
bard, and he might just be right. “Bard” means poet, to console him.
and during the period, bards were poets that made a Omelette: Nostradamus’s unfortunate premonition for
career from travelling and telling stories. Through his Shakespeare’s greatest play, Omelette, was, in actuality,
cannon of work, Shakespeare became known as “The supposed to be Hamlet. In fact, when Nigel deals with
Bard of Avon.” his heartbreak by writing from his truth, much of what
Romeo and Juliet: This play is one of Shakespeare’s he shares with the Troupe is Hamlet’s actual soliloquies.
most famous stories, written somewhere between 1591 The Tragedy of Hamlet, Prince of Denmark was written
and 1595. Romeo and Juliet follows two “star-crossed lov- somewhere between 1599 and 1602.

Musicals 101
PREPRODUCTION
Company of SOMETHING ROTTEN
> The History and dance called court masques. These masques be-
came the first sung plays and arguably the first English
of Musical Theater operas. William Davenant’s The Siege of Rhodes (1656)
and John Blow’s Venus and Adonis (1683) are considered
In Something Rotten!, Nostradamus foretells that a new the first English operas. During the 18th century in En-
form of drama entitled “musicals” will be the next big gland, two major musical theater forms emerged: ballad
thing in theater. With no experience or knowledge of operas and comic operas. Ballad operas, like John Gay’s
musicals, the Bottom brothers set out to create the first. The Beggar’s Opera (1728), penned lyrics to contempo-
However, this wasn’t exactly the way musicals came to rary music of the time, while comic operas, like Michael
be, and the story falls short of how the musical form Balfe’s The Bohemian Girl (1845), combined original lyrics
continued to change through the years. Here, we’ll with mostly romantic plots. Around 1850, French com-
follow the birth and evolution of musicals. poser Hervé composed the first comic musical theater
EARLY FORMS piece called the operetta. French composer Jacques Of-
Since ancient Greece, dating back to the 5th century fenbach continued to develop the form. Many scholars
BCE, performance combined language, music and credit his music and satirical narrative to be the model
dance, with dramatists like Aeschylus and Sophocles. In for the musical comedy form that inspired Gilbert and
ancient Rome, around the 3rd century BCE, the drama- Sullivan and many thereafter.
tist Plautus wrote orchestrations for performance with
THE MUSICAL COMEDY
song and dance. The Romans too created the first tap-
The first musical considered to land in America was The
shoes by attaching pieces of metal called sabilla to their
Black Crook, with a book by Charles M. Barras and music
shoes, beginning a long musical theater tradition of
and lyrics by Giuseppe Operti, George Bickwell and The-
tap dance that can even be found in Something Rotten!
odore Kennick. It premiered in New York on September
In the Middle Ages throughout Europe, minstrels and
12, 1866, and ran for 474 performances. That same year,
troupes travelled from city to city presenting comedies
comedians Edward Harrigan and Tony Hart’s The Black
with music. Mystery and miracle plays emerged during
Domino/Between You, Me and the Post was the first show
this period, presenting religious narratives and parables
to actually call itself a “musical comedy.” Gilbert and
with alternating liturgical chanting and prose. During
Sullivan’s operas H.M.S Pinafore (1878) and The Mikado
the Renaissance, the Italian courts would present plays
(1885) did much for the genre, proving that the music
broken by an intermezzo – a short dramatic piece with
and lyrics could work together to create perfectly co-
music that became an important form of drama in the
late 16th century and the beginning of opera. hesive stories. Their perfectly paired form would inspire
musical composers and writers such as P.G. Wodehouse,
OPERA AND OPERETTAS Jerome Kern, Ira Gershwin, Lorenz Hart, Ivor Novello, Os-
During the Tudor dynasty and the Elizabethan Age, car Hammerstein II, Andrew Lloyd Webber and without
some plays included extravagant numbers with song a doubt, countless more.

The Components of a Musical Timeline of
PREPRODUCTION
The musical was revolutionary in the evolution of theater for its fusion the Musical
of all parts of performance, including music, dance and language.
Here’s a breakdown of the components of today’s modern musical.
1900s: Operettas like Babes in Toyland
BOOK: Also called the libretto, THE PIT: The orchestra consist- (1903) and The Merry Widow (1907)
the scripted narrative of the ing of the necessary instruments re-emerged, challenging the budding
musical that logically connects to play the score of the musical. popularity of musical comedies until
all the songs together. For some the 1920s.
time, the book was loosely craft- CHOREOGRAPHY: The dance
ed to showcase the score, but by or choreography that helps to 1920s: Musicals were driven less by
the 1940s, the book became a theatricalize the storytelling of plot and more by vaudeville forms, with
more sophisticated, cohesive and songs. Choreography in musicals big dance numbers and standards from
integral part of the storytelling. includes all types and forms of George and Ira Gershwin, Irving Berlin,
dance, including jazz, ballet, tap, Cole Porter, Lorenz Hart and Oscar Ham-
THE BOOK WRITER: The hip-hop and modern. merstein II. Notable musicals include
person working on the musical’s Ziegfeld Follies and Shuffle Along (1921)
script or book. THE CHOREOGRAPHER: The with an all African-American cast.
person responsible for creating
SCORE: The songs and music the dance and movement for In 1927, Show Boat premiered on
contained within a musical. the play. Broadway with music from Jerome Kern
Musical songs should serve the and book and lyrics by Oscar Ham-
function of furthering the sto- THE DANCE CAPTAIN: An ac- merstein II. Based on the Edna Ferber’s
rytelling or help to deepen and tor within the musical responsi- novel of the same name, this was a de-
strengthen the characters’ wants ble for leading and maintaining parture from the previous light-hearted
and desires in the play. the choreography set in place. shows and tackled tough subjects like
racial injustice.
THE COMPOSER: The person DANCE BREAKS: Instrumental
who creates the music portion sections reserved just to show- 1930s: Despite the hard times of the
of the score. case elaborate choreography. Great Depression, several light-hearted
song-and-dance musicals emerged,
THE LYRICIST: The person PRINCIPALS: Actors with including The Band Wagon (1931) and
who writes the words or lyrics of usually named parts that are the Anything Goes (1934).
the score. central focus of a musical’s story.
Often, these actors will perform 1940s: This decade was considered
ORCHESTRATIONS: The several solos or duets through- the beginning of The Golden Age of
additional music to support the out the musical. musicals with the birth of the Rodgers
primary vocal parts that will be and Hammerstein legacy with shows
eventually played by the pit or THE CHORUS: Actors who such as Oklahoma! (1943), Carousel (1945)
orchestra. portray the ensemble roles and and South Pacific (1949). Other notable
often perform the more grand- musicals include On the Town (1944),
SEGUE: A short musical section er, more theatrical songs in a Annie Get Your Gun (1946) and Finian’s
that follows (and resembles) the musical. Rainbow (1947).
previous song used to transition
into the next scene or song.

Shakespeare Sings!
PREPRODUCTION
S
omething Rotten! is brimming with countless “All That Jazz” Number: This number comes from
references from some of the most beloved the John Kander and Fred Ebb musical Chicago, featur-
modern musicals throughout history. Jazz ing the iconic Broadway choreography of Bob Fosse.
hands out! Below is a list of our favorites from the
two songs “A Musical” and “Something Rotten!/Make “525,600 Minutes” Excerpt: This moment comes
an Omelette.” from the song “Seasons of Love” from Jonathan
Larson’s Rent, which won the Tony Award for Best Musi-
cal in 1996.
> “A Musical”
Wash Buckets: The ensemble brings on cleaning
“Some musicals have no talking at all”: Several
buckets and emulates the iconic staging of the song
musicals are more akin to operas, possessing no spoken
“It’s the Hard Knock Life” from Charles Strouse and Mar-
dialogue, including Les Misérables, Jesus Christ Superstar,
tin Charnin’s Annie.
Rent and several others.
“When dancers kick in unison in one big wonder-
“I believe it’s called ‘Miser-ahh-bluh’”: This is direct- ful line”: The lyrics refer to the tradition of a chorus
ly referring to Les Misérables, with music by Claude-Mi- or ensemble dancing in a line in synchronized fashion.
chel Schönberg, original French lyrics by Alain Boubil This can be seen with the world–famous Radio City
and Jean-Marc Natel and an English libretto by Herbert Music Hall’s Rockettes and the musical A Chorus Line.
Kretzmer.
A Chorus Line: At the end of the song “A Musical,” the
“Feel that fascinating rhythm move into your entire company crosses to one line downstage with
feet”: These lyrics are from George and Ira Gershwin’s headshots (or rather head… sketches) in front of their
“Fascinating Rhythm,” which was first included in the faces. This is a replication of the iconic staging from the
Broadway musical Lady Be Good in 1924 with Fred and musical A Chorus Line.
Adele Astaire.
“It’s a musical, a Seussical?”: Seussical was a musical

that debuted on Broadway in 2000 and was based on
> “Something Rotten!/
the books of Dr. Seuss. Stephen Flaherty independently Make an Omelette”
composed the music and co-wrote the book with Lynn “Where is Macavity?”: Macavity is one of the many
Ahrens, who also wrote the lyrics. cats in Andrew Lloyd Webber’s Cats, which first pre-
miered in the West End in 1981.
Sailor Hats: During “A musical,” Nostradamus and the
chorus men don sailor hats, which harkens to several “An impossible dream”: The line comes from the 1964
nautical-themed musicals, including South Pacific, Any- musical Man of La Mancha, with a book by Dale Wasser-
thing Goes, On the Town and Dames at Sea. man, lyrics by Joe Darion and music by Mitch Leigh.

“There were wheels upon Americans, and the Sharks, Timeline, continued
PREPRODUCTION
yon dream.”: The line is comprised of Puerto Ricans,
derived from the 1996 musical battle one another for territory
Ragtime, with a book by Ter- in New York City.
1950s: Rodgers and Hammerstein’s col-
rence McNally, lyrics by Lynn
“Oh luck, be thy a lady laborations continue with The King and
Ahrens and music by Stephen
tonight.”: The lyric is based I (1951) and The Sound of Music (1959).
Flaherty.
on the song “Luck Be a Lady” Other notable musicals include Guys
“And raindrops upon from the 1950 musical Guys and Dolls (1950), My Fair Lady (1956),
Rosencrantz and whiskers and Dolls, with a book by Jo West Side Story (1957) and Gypsy (1959).
on his kitten”: These lyrics Swerling and Abe Burrows 1960s: Notable musicals include
and the mention of Nazis in and music and lyrics by Frank The Fantasticks (1960), A Funny Thing
the scene come from the Loesser. Happened on the Way to the Forum
Richard Rodgers and Oscar (1962), Fiddler on the Roof (1964), Funny
Hammerstein II musical The “Fair guests – wilkommen,
Girl (1964) and Cabaret (1966). Though
Sound of Music, with a book bienvenue, welcome.”: The
having considerable success before,
by Howard Lindsay and Russel German welcome comes from
Stephen Sondheim emerges now as an
Crouse. the 1966 musical Cabaret, with
important voice in musical theater.
music by John Kander, lyrics
“I could have danced all by Fred Ebb and a book by Joe 1970s: Rock musicals emerged with
night!”: This lyric comes from Masteroff. Jesus Christ Superstar (1970), Godspell
the song of the same name (1971) and The Rocky Horror Show (1973).
from the Frederick Loewe and “Right here in River City, Other important musicals of the decade
Alan Jay Lerner musical My Shipoopi…”: River City is the include Pippin (1972), The Wiz (1974), A
Fair Lady. town mentioned in the 1957 Chorus Line (1975) and Chicago (1975).
musical The Music Man, with
“Gentle prince, thine music and lyrics by Meredith 1980s: Pop mega-musicals reigned with
absence ‘twas worrisome Willson and a book co-written Andrew Lloyd Webber’s Cats (1981) and
for the King and I.”: The King by Willson and Franklin Lacey. The Phantom of the Opera (1986) and
and I was one of Rodgers and “Shipoopi” is a song featured in Alain Boubil and Claude-Michel Schön-
Hammerstein’s most famous the musical. berg’s Les Misérables (1980) and Miss
musicals, debuting on Broad- Saigon (1989).
way in 1951. “And I am telling you I’m
1990s–Today: Musicals today range
not going to be an om-
from large-scale spectacles, such as
“With their succor, we elette…”: This iconic moment
Disney’s The Lion King (1997) and Wicked
shall make war against the comes from the song “And
(2003), to cutting edge, innovative
Puerto Ricans. TONIGHT!”: I Am Telling You I’m Not
works, like Jonathan Larson’s Rent (1996)
The line is based on the pri- Going” from the 1981 musical
and Spring Awakening (2006). Jukebox
mary conflict in the American Dreamgirls.
musicals celebrated the life and dis-
musical West Side Story, with a
cography of musicians, like Jersey Boys
book by Arthur Laurents, music
(2006) and Mamma Mia (1999). The
by Leonard Bernstein and
musical form continues to be pushed as
libretto and lyrics by Stephen
modern composers continue to look for
Sondheim. In the play, the
new ways to tell new stories.
Jets, comprised of Caucasian

POSTPRODUCTION
WHAT INSPIRES THE
Something Rotten! Creative Team?
John O’ Farrell, book writer Wayne Kirkpatrick, composer Karey Kirkpatrick, composer
W
e asked the creative team of Something comedy was a worthwhile, grown-up pursuit.
Rotten! a couple of questions about the
KK: I had a really great drama teacher in high school
development of their Broadway hit and
– Sylvia Martinez; I keep in touch with her to this day.
how they came into the arts. Book writer John
She was so passionate about what she did, about
O’Farrell (JO), and composers Karey Kirkpatrick
theater, and about sharing it with kids. I also had a
(KK) and Wayne Kirkpatrick (WK) chat about
great creative writing teacher, Scott Kaple, who was
what inspires them! the first person who said to me, “You really know
how to tell a story. Keep it up.” Teachers have no idea
how a statement like that can impact a kid’s life. It
What teacher or educator inspired you? sure impacted mine.
JO: I had an English teacher called Mr. Williams who WK: My freshman year of high school was when I
not only laughed at my stupid jokes but used lesson first got into theater. My first drama teacher was a
time with the whole class to talk about the comedy woman named Virginia Hill. She taught me my first
shows that had been on TV the night before. It made lesson about being in the theatre: if you’re going to
me feel that my sense of humor had value, and that do it, give it all you’ve got. And mean it.

POSTPRODUCTION
Christian Borle and company
Growing up, was there something that in- write some. I was inspired by Disney animated mov-
spired you artistically? What brought you to ies, particularly ones with songs written by the Sher-
the arts? man Brothers. My high school (Baton Rouge Magnet
JO: I loved the popular comedy of the age – Monty High) had a really fantastic performing arts program.
Python and all sorts of British sitcoms that I recit- You could actually choose a major, and mine was
ed on the playground the next morning with my performing arts. So I drew a lot of inspiration and val-
friends. I also did a bit of acting – when I was ten, I idation there… just knowing that pursuing the arts
played Christopher Robin in a West End musical of was valued was tremendously inspiring.
Winnie the Pooh. Rather prophetically, I opened the WK: I was a self-taught musician/writer, so I became
show by singing the lines “Wherever I go, there’s inspired by the recording artists/writers I was trying
always Pooh!” to emulate: James Taylor, Dan Fogelberg, Jackson
KK: I was inspired by many things. It probably start- Browne and Billy Joel to name a few. The songs of
ed in church – performing in church choir, church Rodgers and Hammerstein, Meredith Willson, Lerner
variety shows, singing those great Baptist hymns and and Loewe, and Kander and Ebb all had an influence
realizing that I could carry a tune… and then even on me. All of this brought me to the arts as I had a

POSTPRODUCTION
Brian d’Arcy James and company
desire to create songs and stories like these writers

veterinarian because I liked animals. Then I thought
had done. I might be a landscape architect, which I studied
for a few years in college before deciding to follow
my love of music and pursue songwriting as
When you were young, what did you think a profession.
you’d be doing for a career?
JO: I always wanted to write comedy for a living but
What was the inspiration for Something
never believed I would be allowed or could succeed
Rotten!?
in such an ambitious and unconventional career
path. I wasted years not really pursuing this dream JO: There was the initial inspiration of the actual
with any vigor after college but eventually was driv- idea, which came from Karey and Wayne before
en to give it a go after realizing I really wasn’t very I came on board. But creativity requires constant
good at anything else! inspiration each time you go back to your computer
or sit in a room with collaborators; with each scene
KK: At age 14, I knew I wanted to do something in
or line, you are seeking to invent something out of
the arts. At that time, I wanted to be an actor, and
thin air. Ultimately, finishing a project like this is more
by the time I left high school four years later, I had
about perspiration than inspiration. A writer who
36 credits on my resume – and two of them were
says he or she is ‘waiting for inspiration’ isn’t a writer!
professional (local dinner theater). When I was 20, I
You just have to keep turning up at your desk to
switched my focus to writing.
stare at that blank page until you have something to
WK: When very young, I thought I might be a work with.

KK: Wayne and I came up with this idea back in worked with the new sections. It becomes a much
POSTPRODUCTION
1993/94. We’re both big history buffs, and I think we more collaborative process once you have a cast.
said something like, “What would it have been like There was a phrase I learnt during this process: “The
to be a struggling writer in the days of Shakespeare, show will tell you.” And it’s true: you can feel when
and what if the theater scene back then was a lot the energy dips or the plot wanders off point, so you
like the NY theater scene in the 20s and 30s where just have to keep listening to the show, from that
writers had agents and lawyers and producers? But very first table-read to the last night of previews!
what if, in the Renaissance theater world, the agents
KK: Our song list became our outline, and if some-
are the original agents, and their names are William
thing wasn’t working, it was usually because it was
and Morris? And Shakespeare’s lawyers were at the
the wrong song in the wrong place, or the song was
law firm of Rosen, Crantz, and Guildenstern?” Those
saying the wrong thing. So after doing a table-read,
early jokes helped us set the tone. And we thought
a semi-staged reading and then a four-week lab,
that was a funny idea – two Renaissance writers
which was fully staged and choreographed, we en-
grappling with the idea that in the middle of a play,
tered rehearsal in pretty good shape – though there
people just break into song. What would it be like to
were still three or four songs that weren’t quite work-
write the very first musical? Once we had those ideas
ing. But now we had the actors who would actually
in place, we were off to the races.
be bringing these characters and these songs to life
WK: Our love of history and our love of theater – and their input was really valuable because they
prompted us to eventually combine the two with could communicate to us what was feeling right and
a series of ‘What if?’ questions: What if we focused easy to play and what wasn’t ringing true to them.
on a couple of writers who were trying to write in So we would tweak the scenes and add new jokes
Shakespeare’s shadow? What if Renaissance England one day and then get to see them on their feet the
was like modern-day show business? What if our next. Then, we moved out of rehearsals and into
writers went to a soothsayer to look into the future previews where we could see the scenes and songs
and get a head start on what to write? It was a very played before an audience. And the audience really
organic and casual idea that we entertained for a lets you know what’s working and what isn’t. So we
long time before getting serious about it. But the made many changes during previews as well. Once
idea never left us, so, eventually, we decided to rehearsals started, we wrote for 85 straight days
pursue it with vigor. without taking a break until they finally said to us we
had to lock the script and couldn’t make any more
changes. If they hadn’t said that, we would probably
Inside the rehearsal room, how did you still be making changes to this day!
shape your ideas, and how did you come up
WK: It was a very collaborative effort. As we watched
with new ones?
the show being rehearsed, we were able to see what
JO: It was great to have such a talented cast and was working and what wasn’t. We benefitted from an
director to work with, and the process of collabo- incredible cast that we could now write for as we saw
rating with others is exciting and sometimes very how they interpreted the songs and dialogue. We also
testing. You can’t be precious about your ideas. You had the benefit of working with seasoned director
have to be open to changes and rewrites, while Casey Nicholaw and producer Kevin McCollum, who
keeping a clear head about which notes are on point had valuable input and guidance on how to make
and which are not. So we listened to our director it better. It continued to evolve and get tighter, not
and actors, we cut sections we had always loved and only in the rehearsal room but all the way through
wrote new material, and we watched how the team previews and up until it opened.

POSTPRODUCTION
DEVELOPING AND HONING
Your Creativity
A
s the famous quote attributed to Thomas > PRACTICE
Edison goes, “Genius is 1% inspiration, 99%
perspiration.” Substitute “creativity” for “ge- Set aside time every day to explore your creativity,
nius” in that saying and you can understand why it even if it is only five minutes at first. Push yourself.
is “Hard to Be the Bard” or why Nick Bottom hasn’t Always settling on what you can already do will not
written a hit. Shakespeare just wants to be help you expand your abilities. Do you play
a celebrity while he pilfers other peo- an instrument? Try a new piece or a
ple’s writing, and Nick is spending different genre. Do you like to sketch?
his time paying soothsayers in Try sketching something you’ve
order to “borrow” ideas from never drawn before or use a new
the future. Meanwhile, Nigel medium. Do you like to cook?
Bottom’s writing is getting Experiment with a new spice
better and better because or unfamiliar vegetable. Chal-
he is working at it every lenge yourself.
day with all of his heart and
soul (it doesn’t hurt that he > LEARN
has Portia for inspiration).
Creativity is not fixed; it is
FROM OTHERS
boundless. The more effort A teacher can help you to de-
you put into it, the more velop your creativity. Someone
potential there is for what you else to push you when you want
are able to produce. Not only will to play it safe, or help you notice
you feel good about yourself, and something you are overlooking (good
possibly find opportunities for person- or bad), can have a positive influence on
al growth or advancement, but you may help your work. This doesn’t mean you have to take a
others in the process. Creative inspiration has helped class. Find someone in your school or community
organizations provide fresh water to villages in third- (older, younger, friend, acquaintance) who shares a
world countries. Creative inspiration is what made creative interest. If there isn’t someone with whom
air travel possible. The light bulb – the very symbol you can work, go to see people do what you like to
used to represent an idea – was the result of Thomas do. Observing someone else can be a powerful tool
Edison’s creative inspiration. for expanding your own skills.

Honoring Someone’s Ideas
POSTPRODUCTION
(INTELLECTUAL COPYRIGHT)
G
iving credit where credit is due, especially
when it comes to creative endeavors, is very
important. In fact, it’s the law. Of course,
Shakespeare’s time was a time before copyright laws
(those didn’t come until the early 18th century). As
portrayed in Something Rotten!, Shakespeare is not
interested in “intellectual property.” If he can put an
idea or soliloquy onstage before another writer, then
the idea belongs to him, as far as he is concerned. John Cariani and Brian d’Arcy James
Today, if you wanted to take what someone else has
written and adapt it for the stage, you would need
permission. Or if you wanted to sample an existing Patents are issued by the U.S. government and give
song in a new song you were writing, you would an inventor a 20-year period of exclusive production
have to get legal clearance to do so. of the invention.
When we talk about intellectual property, there A trademark protects a specific name, image,
are three major categories of protection that exist slogan, etc., that identifies the source of a product
depending on what is being protected: copyright, and distinguishes it from other similar products. For
patent and trademark. example, many companies make facial tissues, but
Copyright covers the work of authors and artists only one company has the right to use the name
by protecting the expression of ideas (through liter- that most Americans use to refer to facial tissues.
ature, music, visual art, etc.) but not necessarily the Returning to works of art (since that’s what Some-
ideas themselves. For instance, a cookbook would thing Rotten! would be considered), copyright laws
be copyrighted, and you would not be allowed to re- help to protect the interests of artists when it comes
produce the pages of the book without permission. to their original work. Think about what constitutes
However, you don’t need to get permission from the “intellectual property.” Right now, in your immediate
publisher to make the recipes because the copyright vicinity, how many things can you identify that are
covers the way the recipes are presented but not someone’s original idea protected by a copyright?
the recipes themselves. A recipe can’t be given a Why is this important to the copyright holder in each
copyright because it is a combination of ingredients. case? How might copyright laws have changed the
A recipe would need to be protected with a patent. events of Something Rotten! for Shakespeare, Nick
A patent is legal protection given to an invention. Bottom and Nigel Bottom?

POSTPRODUCTION
Poetic Writing
W
hen you were a young child, you probably had a very simple definition for poetry: it’s writing that
rhymes. As you grew older, you most likely discovered that this wasn’t true as you learned about
various forms that poetry can take, from free verse to blank verse to haiku to sonnets.
> TOOLS
FOR POETIC WRITING
There are different tools for different jobs. Saws, hammers and screwdrivers will help you build things. Pots, pans,
whisks, tongs and knives will help you cook things. There are also tools that will help you write poetry. Since
poetry is all about using the power of words to evoke emotion or provoke thought, the tools for poetic writing
involve words and how we use them, and these include:
TOOLS FOR POETIC WRITING

Figurative Language Simile – making a comparison using the word “like” or the word “as”
Metaphor – making a comparison by saying that one thing is something
else (no “like” or “as”)
Imagery – “painting a picture” with your words to help the reader create a
mental image
Personification – giving human traits or characteristics to a non-human
thing
Hyperbole – extreme exaggeration that is not intended to be taken
literally
Alliteration Using consecutive words that begin with the same sound
Line Breaks Making choices about how you divide the text in order to dictate how
it is read
Rhyme Using words that sound the same or have the same ending sound
Rhythm/Meter The pattern or arrangement of words or syllables, often repeated
throughout a work of poetry. This last tool is especially important in
Shakespeare’s writing.

> WRITING
IN > LEARN ABOUT
POSTPRODUCTION
IAMBIC PENTAMETER SHAKESPEAREAN SONNETS
What is iambic pentameter? You could probably Shakespeare’s sonnets were written in iambic pen-
describe it with sounds because you’ve heard tameter. There are a few more rules for this form:
Shakespeare’s writing (da DUM da DUM da DUM da Shakespearean sonnets have 14 lines divided into 3
DUM da DUM). Let’s break it down. Meter in poetry is quatrains (four lines) and one couplet (two lines). The
composed of syllables. Two syllables together form a rhyme scheme is as follows: abab cdcd efef gg
“foot.” A foot that has an unstressed syllable followed
by a stressed syllable (da DUM) is called an “iamb.” John O’Farrell (one of the book writers) wrote
“Penta” is the prefix for five (ever seen a pentagon?). Nigel’s sonnet that he reads for Portia in Act Two.
So, pentameter is a line with five feet. Iambic pentam- The text, as it appears in the show, is below:
eter is written with lines of five iambs, or ten syllables
Like stars and sun together never seen,
in the pattern of unstressed followed by stressed.
Yet heaven made us one our flames to shine.
Through night and day, no dusk nor dawn between,
For example, the following lines from Sonnet
And none could dim our light nor love divine.
18 (sung in the show as lyrics to “Will Power”)
demonstrate the pattern:
Astronomers - behold these starry eyes!
Shall I comPARE thee TO a SUMmer’s DAY? Forbidden love - bid secret hearts beat loud!
Thou ART more LOVEly AND more TEMperATE: If laws of man our stately love denies,
Rough WINDS do SHAKE the DARling BUDS of MAY, In laws of nature is our love allowed.
And SUMmer’s LEASE hath ALL too SHORT a DATE;
(Missing Quatrain…)
Speaking the lines in this pattern puts emphasis on
certain words and makes them more important. What And to the stars will fly the elusive dove,
would happen if the stressed syllables shifted? Try To heaven’s gate with my eternal love!
speaking the four lines in the example above with
opposite stress. Does it work? Does the meaning You’ll notice that there are four lines missing. Nigel
change? Copy the text over or search Sonnet 18 on gets carried away and skips the third quatrain, going
the internet to get a printed copy without any of straight to the final couplet. Can you fill in the missing
the stressed syllables illustrated. Try to read it as you quatrain? Remember, you need four lines in iambic
would normally, if it were prose, stressing the words pentameter (10 syllables, unstressed-stressed). The
that you think are important. Did you stress the same first and third lines should rhyme with each other, and
words that are stressed in the iambic pentameter? the second and fourth lines should rhyme with each
Now try writing a few lines in iambic pentameter. other (efef). Also, you cannot use the rhymes that have
Remember, 10 syllables (5 iambs) with unstressed already been used in the first two quatrains or in the
followed by stressed syllables make up a line. Be sure final couplet.
to keep in mind what words are falling on the stressed
syllables and make sure that the sound and meaning
are working.

POSTPRODUCTION
CREATIVE WRITING AS
Self-Expression
N
ick Bottom writes for one purpose – to
make money. Nigel, on the other hand,
writes to express his feelings. His writing
is his creative outlet. Creative writing provides
a wonderful opportunity for you to express
yourself, share your feelings, make your opin-
ions known or entertain others. Poetry works
for some people, and there are many forms to
choose from, but you don’t have to be limited to
poetry. You can write prose, as well.
What inspires you? What troubles you? What
are you struggling with? What successes have
you had? These questions can provide the
basis for self-expression through writing. Give
it a try. You can give yourself a lot of structure
by choosing a form like haiku or sonnet with
rules about lines and syllables. Or, you can leave
it more open with prose or free verse poetry
(which has no meter or rhyme). You can share
your writing with others or keep it to yourself.
Start a writing journal. Many people keep diaries
or journals that chronicle their experiences, but
you could also keep a writing journal to collect
your creative output.

POSTPRODUCTION
Writing for the Stage

J ust like poetry, writing for the stage is an indi-
vidual genre that has special characteristics. The
major difference between writing for the stage
and writing for the page is that a play is intended to be
eliminating all of the extra “stuff” that you find in a
book (description, things like “he said” after a quota-
tion). Get some friends and act out the scene using
your script.
seen and heard, not read. Authors of books spend a lot
Adding Text to Subtext: Write a new scene for
of time describing visuals and “painting a picture” with
Something Rotten! based on things we learn through-
their words. That mental image is not necessary in the
out the show. For example: Write a scene showing
theater because the audience will see it realized on the
Nick and Bea deciding to start putting money in the
stage. Theater is also a very collaborative art. After the
money box. Write the scene in which Nigel comes to
playwright has written the work, the final production is
live with Bea and Nick. Write a scene with the Puritans
created by directors, designers and actors through an
at a meeting or with Portia and Jeremiah at home
extensive process. Writing a scene for the stage is more
discussing the state of society. Write the scene in
about crafting the storytelling arc and then writing the
which Shakespeare gets kicked out of Nick’s acting
dialogue (or monologues) that the characters say. Details
troupe. Or, write a scene in America that takes place
about what the room looks like or the expression on a
after the musical ends.
character’s face are not necessary to include on the page.
Original Work: Try writing an original scene. Pick
> TRY
IT
something familiar – a realistic event that might
happen during your school day. Think about what the
Adaptation: Pick a scene from a book that is full of actors need in order to successfully act out the scene
dialogue. Try to turn that scene into a stage script by – that’s what you need on the page.

Reaching Your Goal
POSTPRODUCTION
A
goal is something you strive for or work > TAKING THE
towards. For Nick and Bea, their joint goal is
UNEXPECTED PATH
to own a small cottage in the country one
There are certainly a lot of unexpected paths taken
day. Individually, Nick wants to write the greatest
in Something Rotten! Certainly hiring a soothsayer
play that has ever been written, while Bea pursues
to look into the future of theater is not how most
equality for women. Throughout the show, you saw
playwrights go about finding that next great idea.
some positive examples (Bea taking men’s jobs to
On a more practical level, think about professional
show that she is just as capable) of how to work
football players. In order to be the best they can
toward your goal and some negative examples (Nick
be on the field, some of these athletes take ballet
trying to cheat by paying a soothsayer to tell him
classes. They could just practice more, but doing
about the future).
ballet provides another method for strengthening
the muscles they need for football while building
> IDENTIFYING YOUR GOAL
their endurance and mental focus. Can you think of
AND MAKING A PLAN other examples like football players taking ballet? As
In order to achieve a goal, you first have to identify a class, brainstorm a list of examples that you have
the goal. Your goal should be specific, achievable read about, heard about or experienced yourself.
and within your control (setting your sights on Keeping these innovative strategies in mind, re-ex-
taking part in a lunar landing before you graduate is amine the goal and action steps you have created
not likely to lead to success). Next, make a plan with for yourself. Is there another path? Think outside
action steps to help you achieve the goal. Once you the box. What else could you be doing to work
have your plan in place, get to work. This doesn’t toward your goal?
guarantee success; it just sets up the framework. As
you work toward your goal, you have to periodically
check in on your progress. Are your action steps
working? Are you getting closer to your goal? If the
answer is yes, keep up the good work. If you haven’t
made any progress toward your goal, it’s time to
re-evaluate and change the plan. Think about
Nick and Bea’s goal of buying a cottage. Their plan
involved putting extra money into the money box
whenever possible. Checking in on their progress,
Bea acknowledges that they haven’t put any money
in the box for a while, so she comes up with a new Christian Borle
plan – get a job to provide more family income.

POSTPRODUCTION
Christian Borle and company
Y
ou are an individual. There is only one you.
Being Proud
There was only one Shakespeare (though that
has been widely debated, but that’s not for us
to solve). It’s important to recognize your individual-
ity and be proud to be you. Sometimes that will be
easy, sometimes not. Portia and Nigel struggle with
this through the entire show. In the fantasy sequence
OF WHO YOU ARE during Act Two, the Puritans sing lyrics that illustrate
the power of taking pride in yourself and standing up
for your beliefs. They sing:
YEAH, WE SEE, THE LIGHT
YOU CHANGED HOW WE’RE THINKIN’
CUZ WE WERE BLIND,
BUT YOU SHOWED US THE WAY
WE’RE WRONG, YOU’RE RIGHT
SALVATION IS YOURS
IF YOU DO WHAT IS TRUE TO YOU
AND YOU DO IT WITH LUH-UH-UH-UH-UH-OVE

Now, this is just a fantasy sequence, but it demon- > UNDERSTANDING WHAT
POSTPRODUCTION
strates the potential power of taking pride in

MAKES YOU SPECIAL
yourself and your beliefs. What do you think would
have happened if Portia had actually told her father As Nigel’s confidence grows (along with his love
and the other Puritans how she felt and had Nigel for Portia), he starts to realize his talents and take
shared what’s inside his heart? Would the outcome pride in his work. He gains the confidence to tell
have been the same as the end of the show or Nick that he no longer wants to write Omelette. He
different? realizes that his passion for his work is what makes
him special, and he wants to be true to that, and
himself. Think about the other characters (Nick, Bea,
> CONFIDENCE
Portia, etc.). What makes them special? Are they
VERSUS ARROGANCE aware of what makes them special from the begin-
While confidence is the positive outcome of having ning of the show, or do they learn something new
pride in yourself, arrogance can be the negative over the course of the musical about what makes
outcome. Confidence, like Bea demonstrates them special?
through the entire musical, and Nigel develops Now it’s your turn… What makes you special?
over the course of the show (and that Nigel and There are lots of traits and talents that we share
Portia relied on in the fantasy described above), with others. That’s great! Common interests help
is a belief in yourself and your skills. It’s knowing us form friendships and create bonds. However, it
what you are capable of and can be counted on to is our uniqueness that sets us apart. Make an inven-
do. It’s approaching a task without fear of failure. tory of your talents and skills. Spend some time ob-
Nigel and Portia only had enough confidence to serving others in your life or learning more about
think about confronting Portia’s father but not their talents and skills through conversation. The
enough to actually do it until the end of the show. commonalities are probably already obvious, but
Arrogance, which can be seen in Shakespeare (it’s what sets you apart? What sets your friends apart?
what the song “Will Power” is all about) and Nick, Once you understand what makes you special or
once he deludes himself into believing that he different, you can begin to celebrate that.
is writing the greatest show ever, is believing or How can you celebrate what makes you
acting as though you are better than others. Put special? That all depends on you.
more simply, confidence is believing in yourself
and arrogance is believing you are better than • If it is a talent for performing, enter a talent show,
everyone else. If Nigel and Portia approached the hold a recital or join a performing group.
Puritans with arrogance, fantasy or not, they would • If you are special because you are able to make
not have received a positive reaction. things, give away your creations to people who
Can you think of other characters or situations are special to you or share pictures of what you
in Something Rotten! that demonstrate confidence have done with your friends, teachers and com-
or arrogance? How do other characters respond to munity.
each of these situations? Now, think about situa- • If you are special because you have a lot to offer
tions you have been in where you have witnessed others, let everyone know that you can be count-
each of these different traits. Have you ever exhibit- ed on to lend a hand or lend an ear.
ed arrogance? Has someone been arrogant toward
• Host a fair in your class that allows everyone to
you? How does that make others feel? What was
share what makes them special and celebrate
the result?
each other.

POSTPRODUCTION
Art and Religion
Through HAges
HISTORICAL CONTEXT OF
ART FOUND IN RELIGION
B
rother Jeremiah and the Puritans express their geometric shapes and designs were placed on Islamic
disdain for the theater because of their strong architecture and items. These shapes were repeated
religious convictions. Throughout history, too, and arranged to reflect the desire for order and balance
the worlds of religion and the arts have often come in the world and faith. In the Buddhist faith, the life of
into conflict. But not always! Religion is responsible for Guatama Buddha inspired art in India from the 6th to
some of the most important and iconic artwork that 5th century BC. Ancient cave paintings can be found
exists today. In this section, we’ll explore art and religion in Anjata Cave in India and the Dunhuang Caves in
throughout history and the world. China – each detailed with images of the Buddha.
For centuries, patronage was the primary way art The practice of art was often tied to the practice of
was created in the western world. Patronage is when a Buddhist tantra or meditation, and metal ritual objects
person or institution of power or money offers support were crafted to help with the practice of meditation.
to an artist. An early example was when the Roman Religion has undoubtedly created centuries of art that
Emperor Constantine the Great came into power. In the ranges from being hung in museums to being used in
religious practice. Without religion, art would not be as
300s, the emperor began to support the church finan-
vast or as diverse as it is today.
cially and went on to build a good number of basilicas.
During this time, Christian art found form in iconogra- Here are some questions and activities for
phy or images of Christian figures. During the Renais- students to further explore the intersection
sance, a great volume of Christian art also emerged, between art and religion.
including Michelangelo Buonarroti’s The Sistine Chapel • What are some similarities between religion and art?
and the Pietà, Leonardo da Vinci’s The Last Supper,
• What are examples of patronage in your city or state?
Gianlorenzo Bernini’s columns in the St. Peter’s Basilica
and countless more. In Islamic countries, Islam prohib- • What are other examples of art in other religions?
ited representational imagery in art, so calligraphy and Judaism? Hinduism? Taosim?
geometric designs became the religion’s primary art • Create a collage of some of your favorite images of
forms. In the 7th century, Arabic script developed into artwork found in various religions.
two main calligraphy families: the dry styles and the • Create your own work of art based on a specific
soft, cursive styles. Geometric artwork with complex religion.

POSTPRODUCTION
Careers in Theater
> INVESTIGATE YOUR
PLAYBILL (Discover More Career
Opportunities in the Arts)
Wonder what it takes to make a Broadway show?
Lots of people! Just check your Playbill: inside its
pages, you’ll find that there are many more roles in
the theater besides the performers. The creative team
consists of a composer (lyrics and music), book writer,
director, music director and choreographer. The de-
signers, including the set designer, costume designer,
lighting designer and sound designer, develop their
specific areas of design in relationship with the others
to create a cohesive and fully imagined show. The
casting director gathers the perfect performers for the
parts and administers the audition process. The stage
manager facilitates all rehearsals and makes sure that
every rehearsed element is performed accordingly
during performances. The publicity and marketing
team are charged with the important task of filling
the seats by getting the word out there. They work
with the advertising team to develop creative ways
to get people into the theater. Once you’ve arrived at
the theater, the box office, the house manager and
the ushers have the great responsibility every evening
to make sure all the audience members have their
tickets and are in their seats to enjoy their night on
Broadway. And beyond that, there are countless jobs
behind the scenes, in the dressing rooms, on the grid
and in offices making sure the show goes off without
a hitch. If you’re a student, just remember that any of
these roles could be the perfect career opportunity to
pursue your passion. At the theater, there’s a place for
everyone!

Additional Resources
For more information about Shakespeare and musicals,
check out the websites below!
shakespeare.mit.edu
shakespeareinamericancommunities.org
shakespearepost.com
shakespeareteacher.com/blog
musicals101.com
broadwaymusicalhome.com
playbill.com
broadway.com
CREATED BY:

Educational Guide: Karey Kirkpatrick B John O'Farrell Wayne Kirkpatrick B Karey Kirkpatrick

Uploaded by

Copyright:

Available Formats

Educational Guide: Karey Kirkpatrick B John O'Farrell Wayne Kirkpatrick B Karey Kirkpatrick

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Educational Guide: Karey Kirkpatrick B John O'Farrell Wayne Kirkpatrick B Karey Kirkpatrick

Uploaded by

Copyright:

Available Formats

EDUCATIONAL

RottenBroadway.com Something Rotten! Educational Guide 1

2 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 3

4 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 5

Michael James Scott and company

H Writers & Composers

KIRKPATRICK World’s EPCOT Center.

6 Something Rotten! Educational Guide RottenBroadway.com

WAYNE England. His interests in the

RottenBroadway.com Something Rotten! Educational Guide 7

Jousting was a popular Coaches were a popular Like most of Europe,

KNOW? full armor racing towards

8 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 9

10 Something Rotten! Educational Guide RottenBroadway.com

Shakespeare’s speare’s plays had found a home on the London stage,

RottenBroadway.com Something Rotten! Educational Guide 11

Adapted stern Are Dead, the film Let the Devil

Shakespeare Romeo and Juliet, the classic tale of

12 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 13

Company of SOMETHING ROTTEN

14 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 15

“It’s a musical, a Seussical?”: Seussical was a musical

16 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 17

WHAT INSPIRES THE

Something Rotten! Creative Team?

18 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 19

Brian d’Arcy James and company

desire to create songs and stories like these writers

20 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 21

DEVELOPING AND HONING

22 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 23

TOOLS FOR POETIC WRITING

24 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 25

26 Something Rotten! Educational Guide RottenBroadway.com

Writing for the Stage

RottenBroadway.com Something Rotten! Educational Guide 27

28 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 29

strates the potential power of taking pride in

30 Something Rotten! Educational Guide RottenBroadway.com

RottenBroadway.com Something Rotten! Educational Guide 31

32 Something Rotten! Educational Guide RottenBroadway.com

You might also like

Pfad - The Proxy pFad of © 2024 Garber Painting. All rights reserved.

2 Something Rotten! Educational Guide RottenBroadway.com

4 Something Rotten! Educational Guide RottenBroadway.com

6 Something Rotten! Educational Guide RottenBroadway.com

8 Something Rotten! Educational Guide RottenBroadway.com

10 Something Rotten! Educational Guide RottenBroadway.com

12 Something Rotten! Educational Guide RottenBroadway.com

14 Something Rotten! Educational Guide RottenBroadway.com

16 Something Rotten! Educational Guide RottenBroadway.com

18 Something Rotten! Educational Guide RottenBroadway.com

20 Something Rotten! Educational Guide RottenBroadway.com

22 Something Rotten! Educational Guide RottenBroadway.com

24 Something Rotten! Educational Guide RottenBroadway.com

26 Something Rotten! Educational Guide RottenBroadway.com

28 Something Rotten! Educational Guide RottenBroadway.com

30 Something Rotten! Educational Guide RottenBroadway.com

32 Something Rotten! Educational Guide RottenBroadway.com