Something Rotten! Study Guide | Stratford Festival Official Website

ABOUT THE PLAY

Something Rotten!

Book by Karey Kirkpatrick and John O'Farrell
Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Conceived by Karey Kirkpatrick and Wayne Kirkpatrick
Directed by Donna Feore
Choreographed by Donna Feore
Music Director Laura Burton

House Program

Grade Recommendation Grade 8+

Content Advisory

The show includes some mature subject matter including sexual innuendo and explorations of homophobia and sexism. It also includes coarse language. Please see the show page for a detailed audience advisory.

Synopsis

The Bottom brothers, two struggling playwrights in Renaissance London, need a hit. That's easier said than done when your chief competition is William Shakespeare. The Bottom brothers' plan: write the world's first musical! This is a rollicking song-and-dance extravaganza that sends up the Bard and Broadway and everything in between.

Curriculum Connections

Global Competencies

Citizenship, Collaboration, Critical Thinking, Creativity, Metacognition, Self-Awareness

Grade 8

The Arts
Language
Science and Technology
Social Studies, History and Geography

Grade 9-12

The Arts
Canadian and World Studies
English
Technological Education

Grade 11-12

Social Sciences and Humanities

Post-Secondary

Suitable for courses in disciplines such as Arts, Cultural Studies, Creative Writing, Dance, Drama, English, Fine Arts, Gender Studies, History, Human Rights, Music, Social Development Studies, Teacher Education and Theatre

Themes

Confidence vs. Arrogance
Courage
Creative Expression
Identity and Self-Discovery
The Joy of Musical Theatre
Love and Relationships
Parody and Satire
Persistence and Determination
The Price of Success
Reaching a Goal
Rivalry and Competition
Theatrical Conventions
"To Thine Own Self Be True"
The Wonder of Shakespeare
Writers and Writing

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

What do you know about Shakespeare, his plays and the time and context in which he lived? What do you know about theatre, artists and gender inequity in Shakespeare's London?
Why do you think Shakespeare is such a polarizing artist today? What factors have contributed to Shakespeare still being produced and studied in Canada and the US today?
Why do you think the Stratford Festival selected this play for the 2024 season?
Something Rotten! is a "love letter" to Broadway musicals. Do you know any Broadway musicals? Do you have a favourite? What musical theatre tropes do you know? What iconic musical references do you expect to see referenced in this production?
What expectations do you have about a musical featuring Shakespeare?
Do you think it is important to love something and to be critical of it at the same time? Explain your thinking using examples.
What does it mean to "be true to yourself"? What are the challenges of doing so?
Would you consider yourself to be competitive? Are there certain situations that bring out a more competitive side in you? Why do you think this is?
What do you find funny? What styles of comedy appeal to you? Why do you think this is the case?
What is the difference between parody and satire?
Do you think humour can be used to explore deep or complex issues? Why or why not?
What are stereotypes? In storytelling on stage and on screen, how are stereotypes employed and what are the repercussions of using them? Are there different "rules" in using stereotypes in comedy and, in particular, in parody? Why or why not?
Have you ever faced any obstacles or challenges in achieving a personal goal or project? What steps did you take to overcome them?
Who or what motivates and supports you in working towards your goals?

POST-SHOW QUESTIONS

How did the musical incorporate and play with Shakespearean and Broadway references, and what impact did that have on the storyline and on you as an audience member?
Were you familiar with any of the historical, dramatic, literary and musical theatre references? How did your lack of/familiarity impact your experience?
Did you notice any social or cultural commentary relevant to today within the production? Share a few examples and what you think the creators were trying to communicate.
Lady Clapham is the patron funding the Bottom brothers' theatre troupe. In Shakespeare's time, a patron funding your work was crucial to your success as an artist. What might be the benefits of this system? What are the challenges? What is the relationship between artists, arts organizations and funding today?
Why do you think Nick felt so insecure and threatened by Shakespeare? What might have happened if he had been able to feel more confident and to trust in himself?
Is art collaborative or competitive? Use examples from the show and contemporary examples to support your opinion.
What are the challenges of creating artistic work in partnership with someone else? What are the benefits?
How are characters like Bea, Portia or Shylock impacted by the inequities of the time (e.g., laws against women working, employing Jewish people)? How do they change their lives despite the circumstances in which they live?
Does this musical resonate with contemporary understandings of gender, sexual orientation, culture, nationality and ethnicity? Use examples to support your thinking.
Why is it sometimes hard to ask for help? What can make it easier?
Mark Twain famously said, "There are no new ideas." Do you agree? What is the difference between inspiration and appropriation? Is it okay to mimic or mirror other artists in our work? Explain your thinking.
Do you believe that some artists are simply "geniuses"? Explain your thinking with examples.
In what ways did the set design, lighting and costumes enhance the overall atmosphere and storytelling of the musical?
What elements of Something Rotten! resonated most with the audience during the performance you attended? Were there specific moments that garnered strong reactions or applause from the crowd? In your opinion, how did the audience's energy contribute to the overall atmosphere of the performance?
Did the music and songs in the musical leave a lasting impression? Which ones were your favourites and why?
How did the characters reach their goals? If you were one of the characters, would you do anything differently to reach your goals or achieve your dream?
In what ways did the musical explore the challenges and rewards of pursuing artistic endeavors?
If you were to create a new show about a historical character, who would it be about and why?
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

MINDS ON

Objective: Engage students in critical thinking, communication, and creative expression by producing a podcast episode that incorporates key themes and elements of the musical, Something Rotten! Students will work in a group to produce a podcast episode where the podcast host(s) interviews one or a few of the characters in the musical. By creating questions and responses unique to each character, students will analyze character development, motivations, and relationships.

Materials:

Writing utensils and paper
Laptops/chromebooks
Phones or other recording devices

Directions:

Part 1: Individual Reflections

Using a selection of the Post-Show Questions in this Study Guide, have students write down and/or record their initial thoughts and feelings about Something Rotten! after seeing the musical.
Then, invite students to choose a key character from the musical to focus on (i.e. Nick Bottom, Nigel Bottom, William Shakespeare, Thomas Nostradamus, Bea, Portia, or Brother Jeremiah) and have them write down and/or record the following:
- their role and impact on the storyline
- their development over the course of the show
- key personality traits
- motivations and overarching goal

Part 2: Exploring Interview-Based Podcasts

Invite students to listen to a selection of podcasts with interviews. (There is a selection included in the New York Times piece, Making a Podcast That Matters: A Guide With 21 Examples From Students, but you may wish to suggest others as well.)
After they have had a chance to listen, invite students to note the key elements needed in an interview-based podcast episode based on the above article and NPR's Starting Your Podcast: A Guide for Students.
Thinking back to their chosen character, invite students to write up to 10 questions they would ask them in an interview-style podcast. Remind students that they should focus on the character's arc in the musical with the goal of us better understanding them, their motivations and/or what happens next.
Then, working in pairs, invite students to conduct these interviews with the students-in-role as their chosen characters. Give students time to switch so each one has a chance to practice interviewing and responding in character.
After each interview, reflect on what the interviewer personally gained and any connections that arose between the character interviews and current events that might be of interest to a contemporary audience. Then, summarize the main points discussed and decide upon a question for the audience to reflect on after listening to the podcast interview.

Part 3: Group Collaboration and Podcast Creation

Working in small groups, have students share their individual reflections and engage in discussion about common themes or ideas based on the last part of the exercise.
Ask students to decide upon one or two characters to interview.
Students will collaboratively plan the structure of their podcast episode. They will decide together on the overall flow, interview questions and each member's role.
Have students write a script. The script should include the introduction, questions for the character/s, their answers, and conclusion. Each member should have designated speaking parts.
Provide time for students to explore, through writing and/or improvisation, their character and how they might react and express themselves when interviewed in the podcast episode.
Give students time to record and edit their episodes using the available apps or equipment.
Extra challenge: See if students can incorporate elements of Shakespeare's language (e.g., quotes from his works, iambic pentameter) as well as musical elements into their podcasts!

Part 4: Presentation

Have students share their podcast episodes with the class.
Facilitate discussion in small groups or as a whole class about the various reflections and insights presented in the podcast episodes.
Encourage questions and reflections from classmates.

Debriefing Questions:

Reflect on your individual reflections from Part 1 of the exercise. Did your initial thoughts and opinions about the musical and/or the characters evolve or change as you engaged in the podcast creation process?
What did you enjoy most about creating your podcast episode?
Did collaborating with others enhance the overall quality of the episode?
What challenges did you encounter during the podcast creation process, and how did you overcome them?
How did your group decide on the structure and content of the podcast? What considerations influenced these decisions?
Reflect the skills you developed during this assignment, including research, scriptwriting and public speaking. How might these skills be valuable to you in the future?

Possible Extensions:

Character Songwriting

Have students select a character from a Shakespearean play that does not appear in the musical.
Invite students to write at least two verses and a chorus for an original song that captures the essence of the character through parody, using the musical theatre style found in Something Rotten!
Students can share alone or incorporate their songs into their podcast episodes.
Afterward, facilitate reflection/discussion about how they incorporated elements from the musical into their compositions and what it revealed about their chosen characters.

Dramatic Monologue

Invite students to choose a character from Something Rotten! and write and perform a dramatic monologue from that character's perspective that takes place after the show ends.
This can be incorporated into the podcast episode or completed as a separate activity.
Afterward, facilitate reflection/discussion about what their writing/performances revealed about their chosen characters.

Marketing in the Arts

Have students incorporate their visual arts and graphic design skills to create media advertisements for their podcast, or for the musical Something Rotten!
First, provide examples of playbills from Broadway shows as well as social media strategies employed by theatre companies (e.g., trailers, reels, posts, YouTube video ads).
Invite students to choose an example on which to base their creation.
During or after the creation of their own media advertisements, invite students to reach out to the Marketing Department at the Stratford Festival or at other theatre companies to learn more about how and why they approach marketing the way they do.

About the Play

ABOUT THE PLAY

Something Rotten!

Book by Karey Kirkpatrick and John O'Farrell
Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick
Conceived by Karey Kirkpatrick and Wayne Kirkpatrick
Directed by Donna Feore
Choreographed by Donna Feore
Music Director Laura Burton

House Program

Grade Recommendation Grade 8+

Content Advisory

The show includes some mature subject matter including sexual innuendo and explorations of homophobia and sexism. It also includes coarse language. Please see the show page for a detailed audience advisory.

Synopsis

The Bottom brothers, two struggling playwrights in Renaissance London, need a hit. That's easier said than done when your chief competition is William Shakespeare. The Bottom brothers' plan: write the world's first musical! This is a rollicking song-and-dance extravaganza that sends up the Bard and Broadway and everything in between.

Curriculum Connections

Global Competencies

Citizenship, Collaboration, Critical Thinking, Creativity, Metacognition, Self-Awareness

Grade 8

The Arts
Language
Science and Technology
Social Studies, History and Geography

Grade 9-12

The Arts
Canadian and World Studies
English
Technological Education

Grade 11-12

Social Sciences and Humanities

Post-Secondary

Suitable for courses in disciplines such as Arts, Cultural Studies, Creative Writing, Dance, Drama, English, Fine Arts, Gender Studies, History, Human Rights, Music, Social Development Studies, Teacher Education and Theatre

Themes

Confidence vs. Arrogance
Courage
Creative Expression
Identity and Self-Discovery
The Joy of Musical Theatre
Love and Relationships
Parody and Satire
Persistence and Determination
The Price of Success
Reaching a Goal
Rivalry and Competition
Theatrical Conventions
"To Thine Own Self Be True"
The Wonder of Shakespeare
Writers and Writing

Discussion Questions

DISCUSSION AND REFLECTION QUESTIONS

PRE-SHOW QUESTIONS

What do you know about Shakespeare, his plays and the time and context in which he lived? What do you know about theatre, artists and gender inequity in Shakespeare's London?
Why do you think Shakespeare is such a polarizing artist today? What factors have contributed to Shakespeare still being produced and studied in Canada and the US today?
Why do you think the Stratford Festival selected this play for the 2024 season?
Something Rotten! is a "love letter" to Broadway musicals. Do you know any Broadway musicals? Do you have a favourite? What musical theatre tropes do you know? What iconic musical references do you expect to see referenced in this production?
What expectations do you have about a musical featuring Shakespeare?
Do you think it is important to love something and to be critical of it at the same time? Explain your thinking using examples.
What does it mean to "be true to yourself"? What are the challenges of doing so?
Would you consider yourself to be competitive? Are there certain situations that bring out a more competitive side in you? Why do you think this is?
What do you find funny? What styles of comedy appeal to you? Why do you think this is the case?
What is the difference between parody and satire?
Do you think humour can be used to explore deep or complex issues? Why or why not?
What are stereotypes? In storytelling on stage and on screen, how are stereotypes employed and what are the repercussions of using them? Are there different "rules" in using stereotypes in comedy and, in particular, in parody? Why or why not?
Have you ever faced any obstacles or challenges in achieving a personal goal or project? What steps did you take to overcome them?
Who or what motivates and supports you in working towards your goals?

POST-SHOW QUESTIONS

How did the musical incorporate and play with Shakespearean and Broadway references, and what impact did that have on the storyline and on you as an audience member?
Were you familiar with any of the historical, dramatic, literary and musical theatre references? How did your lack of/familiarity impact your experience?
Did you notice any social or cultural commentary relevant to today within the production? Share a few examples and what you think the creators were trying to communicate.
Lady Clapham is the patron funding the Bottom brothers' theatre troupe. In Shakespeare's time, a patron funding your work was crucial to your success as an artist. What might be the benefits of this system? What are the challenges? What is the relationship between artists, arts organizations and funding today?
Why do you think Nick felt so insecure and threatened by Shakespeare? What might have happened if he had been able to feel more confident and to trust in himself?
Is art collaborative or competitive? Use examples from the show and contemporary examples to support your opinion.
What are the challenges of creating artistic work in partnership with someone else? What are the benefits?
How are characters like Bea, Portia or Shylock impacted by the inequities of the time (e.g., laws against women working, employing Jewish people)? How do they change their lives despite the circumstances in which they live?
Does this musical resonate with contemporary understandings of gender, sexual orientation, culture, nationality and ethnicity? Use examples to support your thinking.
Why is it sometimes hard to ask for help? What can make it easier?
Mark Twain famously said, "There are no new ideas." Do you agree? What is the difference between inspiration and appropriation? Is it okay to mimic or mirror other artists in our work? Explain your thinking.
Do you believe that some artists are simply "geniuses"? Explain your thinking with examples.
In what ways did the set design, lighting and costumes enhance the overall atmosphere and storytelling of the musical?
What elements of Something Rotten! resonated most with the audience during the performance you attended? Were there specific moments that garnered strong reactions or applause from the crowd? In your opinion, how did the audience's energy contribute to the overall atmosphere of the performance?
Did the music and songs in the musical leave a lasting impression? Which ones were your favourites and why?
How did the characters reach their goals? If you were one of the characters, would you do anything differently to reach your goals or achieve your dream?
In what ways did the musical explore the challenges and rewards of pursuing artistic endeavors?
If you were to create a new show about a historical character, who would it be about and why?
Are there any unintentional harms that might be caused through the production of this play? If so, what are they and what might be done to take care of the artists and audience members participating in the work?

Minds On

MINDS ON

Objective: Engage students in critical thinking, communication, and creative expression by producing a podcast episode that incorporates key themes and elements of the musical, Something Rotten! Students will work in a group to produce a podcast episode where the podcast host(s) interviews one or a few of the characters in the musical. By creating questions and responses unique to each character, students will analyze character development, motivations, and relationships.

Materials:

Writing utensils and paper
Laptops/chromebooks
Phones or other recording devices

Directions:

Part 1: Individual Reflections

Using a selection of the Post-Show Questions in this Study Guide, have students write down and/or record their initial thoughts and feelings about Something Rotten! after seeing the musical.
Then, invite students to choose a key character from the musical to focus on (i.e. Nick Bottom, Nigel Bottom, William Shakespeare, Thomas Nostradamus, Bea, Portia, or Brother Jeremiah) and have them write down and/or record the following:
- their role and impact on the storyline
- their development over the course of the show
- key personality traits
- motivations and overarching goal

Part 2: Exploring Interview-Based Podcasts

Invite students to listen to a selection of podcasts with interviews. (There is a selection included in the New York Times piece, Making a Podcast That Matters: A Guide With 21 Examples From Students, but you may wish to suggest others as well.)
After they have had a chance to listen, invite students to note the key elements needed in an interview-based podcast episode based on the above article and NPR's Starting Your Podcast: A Guide for Students.
Thinking back to their chosen character, invite students to write up to 10 questions they would ask them in an interview-style podcast. Remind students that they should focus on the character's arc in the musical with the goal of us better understanding them, their motivations and/or what happens next.
Then, working in pairs, invite students to conduct these interviews with the students-in-role as their chosen characters. Give students time to switch so each one has a chance to practice interviewing and responding in character.
After each interview, reflect on what the interviewer personally gained and any connections that arose between the character interviews and current events that might be of interest to a contemporary audience. Then, summarize the main points discussed and decide upon a question for the audience to reflect on after listening to the podcast interview.

Part 3: Group Collaboration and Podcast Creation

Working in small groups, have students share their individual reflections and engage in discussion about common themes or ideas based on the last part of the exercise.
Ask students to decide upon one or two characters to interview.
Students will collaboratively plan the structure of their podcast episode. They will decide together on the overall flow, interview questions and each member's role.
Have students write a script. The script should include the introduction, questions for the character/s, their answers, and conclusion. Each member should have designated speaking parts.
Provide time for students to explore, through writing and/or improvisation, their character and how they might react and express themselves when interviewed in the podcast episode.
Give students time to record and edit their episodes using the available apps or equipment.
Extra challenge: See if students can incorporate elements of Shakespeare's language (e.g., quotes from his works, iambic pentameter) as well as musical elements into their podcasts!

Part 4: Presentation

Have students share their podcast episodes with the class.
Facilitate discussion in small groups or as a whole class about the various reflections and insights presented in the podcast episodes.
Encourage questions and reflections from classmates.

Debriefing Questions:

Reflect on your individual reflections from Part 1 of the exercise. Did your initial thoughts and opinions about the musical and/or the characters evolve or change as you engaged in the podcast creation process?
What did you enjoy most about creating your podcast episode?
Did collaborating with others enhance the overall quality of the episode?
What challenges did you encounter during the podcast creation process, and how did you overcome them?
How did your group decide on the structure and content of the podcast? What considerations influenced these decisions?
Reflect the skills you developed during this assignment, including research, scriptwriting and public speaking. How might these skills be valuable to you in the future?

Possible Extensions:

Character Songwriting

Have students select a character from a Shakespearean play that does not appear in the musical.
Invite students to write at least two verses and a chorus for an original song that captures the essence of the character through parody, using the musical theatre style found in Something Rotten!
Students can share alone or incorporate their songs into their podcast episodes.
Afterward, facilitate reflection/discussion about how they incorporated elements from the musical into their compositions and what it revealed about their chosen characters.

Dramatic Monologue

Invite students to choose a character from Something Rotten! and write and perform a dramatic monologue from that character's perspective that takes place after the show ends.
This can be incorporated into the podcast episode or completed as a separate activity.
Afterward, facilitate reflection/discussion about what their writing/performances revealed about their chosen characters.

Marketing in the Arts

Have students incorporate their visual arts and graphic design skills to create media advertisements for their podcast, or for the musical Something Rotten!
First, provide examples of playbills from Broadway shows as well as social media strategies employed by theatre companies (e.g., trailers, reels, posts, YouTube video ads).
Invite students to choose an example on which to base their creation.
During or after the creation of their own media advertisements, invite students to reach out to the Marketing Department at the Stratford Festival or at other theatre companies to learn more about how and why they approach marketing the way they do.

CONNECTION TO THE ARCHIVES

As a character, William Shakespeare has been featured in two previous productions: Elizabeth Rex in 2000 and Shakespeare in Love in 2016. If you were going to play Shakespeare in a play, what research or preparation would you do in advance? Would your preparation change if you knew you were playing him in a comedy? Why or why not?

Elizabeth Rex, 2000

Brent Carver as Ned and William Hutt as Shakespeare in Elizabeth Rex, 2000. Written by Timothy Findley and Paul Thompson. Directed by Martha Henry. Designed by Allan Wilbee. Lighting design by Louise Guinand. Photograph by V. Tony Hauser. Stratford Festival Archives, GPO.2000.004.1108.

The Stratford Festival's Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

RESOURCES

Study Guide PDF

Stratford Public Library's Something Rotten! Reading List

Study Guides

View Study Guides for selected 2024 plays along with those from previous seasons free of charge on our website.

ADDITIONAL RESOURCES

Something Rotten!

Interview with Something Rotten! Creators | New York Theatre Guide

Something Rotten! on Broadway | YouTube Channel

Comedy

Type of Comedy for Drama Class | Justin Cas, The Drama Teacher

Writing satire: Are you punching up or punching down? | Andrew Unger

13 Types of Comedy: Popular Types of Comedic Performance | MasterClass

Drama Exercises

Role Play and Drama | Literacy Teaching Toolkit

Musical Theatre

Broadway Musicals: A Jewish Legacy | PBS

Musical References in "A Musical" from Something Rotten! | YouTube

Ranking Musical Theatre Tropes | Hope Wilson, YouTube

Podcast Creation

Apple Podcasts - Stratfest@Home | Stratford Festival Podcast

Making a Podcast That Matters | The New York Times

Starting Your Podcast: A Guide For Students | NPR

Shakespeare

Shakespeare | Canada College Library

Shakespeare's Life and Times | Royal Shakespeare Company

Shakespeare's Patrons: Henry Wriothesley | Gemma Sykes, Shakespeare Birthplace Trust

Booking Information: Student Matinées, InterACTive Preshows, Workshops & Chats

Student Matinées

You may book any available date, but selected student matinée performances for this show are at 2 p.m. on the following dates:

Tuesday, April 16
Monday, April 22
Thursday, April 25
Thursday, May 2
Tuesday, May 7
Thursday, May 9
Monday, May 13
Wednesday, May 15
Thursday, May 23
Thursday, May 30
Thursday, June 6
Friday, June 7
Wednesday, June 12
Tuesday, June 18
Friday, June 21
Thursday, September 5
Tuesday, September 10
Friday, September 13
Wednesday, September 18
Friday, September 20
Tuesday, September 24
Thursday, October 3
Tuesday, October 8
Thursday, October 10
Thursday, October 17
Wednesday, October 23

InterACTive Preshows

Led by artists appearing in the matinée, these high-energy sessions provide students the opportunity to explore key themes, questions and technical aspects of productions on the Festival's renowned stages. $4 per student (free for Teaching Stratford Program participants)

11 a.m.-noon on the following dates:

Thursday, May 2
Thursday, May 9
Wednesday, May 15
Thursday, May 23
Thursday, June 6
Tuesday, September 24
Thursday, October 3
Thursday, October 10 *Technical Theatre-Focused: Rather than exploring the play's themes, characters and questions, this session focuses on technical theatre and is ideal for students interested in the inner workings of theatre production and understanding the magic that happens back/offstage.
Thursday, October 17
Wednesday, October 23

For more information, visit stratfordfestival.ca/InterACTive.

Workshops & Chats

Workshops and Chats (virtual, onsite or at your school/centre) can be booked by calling the Box Office at 1.800.567.1600 or by emailing educate@stratfordfestival.ca.

Pre-Show Workshops customized to your students' needs and interests are available from 10-11 a.m. or 11 a.m.-noon before selected matinées. $10 per student. For more information,visit stratfordfestival.ca/Workshops.

Half-Hour Post-Show Chats with cast and creative team members are available after selected matinées. $3 per student. For more information, visit stratfordfestival.ca/Chats.

TOOLS FOR TEACHERS SPONSORED BY

Canada-Life_White(1)

Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts.

THE 2024 SEASON IS SUPPORTED BY OPHELIA LAZARIDIS.

PROUD SEASON PARTNERS:

2019_BMO_White RBC_White(1)

SUPPORT FOR THE 2024 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN & CLAIRE FOERSTER.

PRODUCTION CO-SPONSOR:

RBC_White(1)

PRODUCTION SPONSORS:

JOHN & THERESE GARDNER
ROBERT & MARY ANN GORLIN
THE WILLIAM AND NONA HEASLIP FOUNDATION
RIKI TUROFSKY & CHARLES PETERSEN.

SUPPORT FOR EDUCATION INITIATIVES IS GENEROUSLY PROVIDED BY THE ESTATE OF NOELLE SAVILLE, LAURIE J. SCOTT AND AN ANONYMOUS DONOR.

Connection to the Archives

CONNECTION TO THE ARCHIVES

As a character, William Shakespeare has been featured in two previous productions: Elizabeth Rex in 2000 and Shakespeare in Love in 2016. If you were going to play Shakespeare in a play, what research or preparation would you do in advance? Would your preparation change if you knew you were playing him in a comedy? Why or why not?

Elizabeth Rex, 2000

Brent Carver as Ned and William Hutt as Shakespeare in Elizabeth Rex, 2000. Written by Timothy Findley and Paul Thompson. Directed by Martha Henry. Designed by Allan Wilbee. Lighting design by Louise Guinand. Photograph by V. Tony Hauser. Stratford Festival Archives, GPO.2000.004.1108.

The Stratford Festival's Archives maintains, conserves and protects records about the Festival and makes those materials available to people around the world. Their collection contains material ranging from 1952 right up to the present and includes administrative documents, production records, photographs, design artwork, scores, audio-visual recordings, promotional materials, costumes, props, set decorations and much more. These materials are collected and preserved with the aim of documenting the history of the Festival, preserving the page-to-stage process, and capturing the creative processes involved in numerous other activities that contribute to the Festival each season.

Resources

RESOURCES

Study Guide PDF

Stratford Public Library's Something Rotten! Reading List

Study Guides

View Study Guides for selected 2024 plays along with those from previous seasons free of charge on our website.

ADDITIONAL RESOURCES

Something Rotten!

Interview with Something Rotten! Creators | New York Theatre Guide

Something Rotten! on Broadway | YouTube Channel

Comedy

Type of Comedy for Drama Class | Justin Cas, The Drama Teacher

Writing satire: Are you punching up or punching down? | Andrew Unger

13 Types of Comedy: Popular Types of Comedic Performance | MasterClass

Drama Exercises

Role Play and Drama | Literacy Teaching Toolkit

Musical Theatre

Broadway Musicals: A Jewish Legacy | PBS

Musical References in "A Musical" from Something Rotten! | YouTube

Ranking Musical Theatre Tropes | Hope Wilson, YouTube

Podcast Creation

Apple Podcasts - Stratfest@Home | Stratford Festival Podcast

Making a Podcast That Matters | The New York Times

Starting Your Podcast: A Guide For Students | NPR

Shakespeare

Shakespeare | Canada College Library

Shakespeare's Life and Times | Royal Shakespeare Company

Shakespeare's Patrons: Henry Wriothesley | Gemma Sykes, Shakespeare Birthplace Trust

Booking Information: Student Matinées, InterACTive Preshows, Workshops & Chats

Student Matinées

You may book any available date, but selected student matinée performances for this show are at 2 p.m. on the following dates:

Tuesday, April 16
Monday, April 22
Thursday, April 25
Thursday, May 2
Tuesday, May 7
Thursday, May 9
Monday, May 13
Wednesday, May 15
Thursday, May 23
Thursday, May 30
Thursday, June 6
Friday, June 7
Wednesday, June 12
Tuesday, June 18
Friday, June 21
Thursday, September 5
Tuesday, September 10
Friday, September 13
Wednesday, September 18
Friday, September 20
Tuesday, September 24
Thursday, October 3
Tuesday, October 8
Thursday, October 10
Thursday, October 17
Wednesday, October 23

InterACTive Preshows

Led by artists appearing in the matinée, these high-energy sessions provide students the opportunity to explore key themes, questions and technical aspects of productions on the Festival's renowned stages. $4 per student (free for Teaching Stratford Program participants)

11 a.m.-noon on the following dates:

Thursday, May 2
Thursday, May 9
Wednesday, May 15
Thursday, May 23
Thursday, June 6
Tuesday, September 24
Thursday, October 3
Thursday, October 10 *Technical Theatre-Focused: Rather than exploring the play's themes, characters and questions, this session focuses on technical theatre and is ideal for students interested in the inner workings of theatre production and understanding the magic that happens back/offstage.
Thursday, October 17
Wednesday, October 23

For more information, visit stratfordfestival.ca/InterACTive.

Workshops & Chats

Workshops and Chats (virtual, onsite or at your school/centre) can be booked by calling the Box Office at 1.800.567.1600 or by emailing educate@stratfordfestival.ca.

Pre-Show Workshops customized to your students' needs and interests are available from 10-11 a.m. or 11 a.m.-noon before selected matinées. $10 per student. For more information,visit stratfordfestival.ca/Workshops.

Half-Hour Post-Show Chats with cast and creative team members are available after selected matinées. $3 per student. For more information, visit stratfordfestival.ca/Chats.

Sponsorship

TOOLS FOR TEACHERS SPONSORED BY

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Tools for Teachers includes InterACTive Preshows, Study Guides and Stratford Shorts.

THE 2024 SEASON IS SUPPORTED BY OPHELIA LAZARIDIS.

PROUD SEASON PARTNERS:

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SUPPORT FOR THE 2024 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN & CLAIRE FOERSTER.

PRODUCTION CO-SPONSOR:

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PRODUCTION SPONSORS:

JOHN & THERESE GARDNER
ROBERT & MARY ANN GORLIN
THE WILLIAM AND NONA HEASLIP FOUNDATION
RIKI TUROFSKY & CHARLES PETERSEN.

SUPPORT FOR EDUCATION INITIATIVES IS GENEROUSLY PROVIDED BY THE ESTATE OF NOELLE SAVILLE, LAURIE J. SCOTT AND AN ANONYMOUS DONOR.