Interview: Something Rotten! WTS celebrating the art form of Musical Theatre

What: Something Rotten!– Tony Award nominated comedy-musical When: July 10-18, 2026   Where: Artscape Arena, Cape Town Featuring: Students of The Waterfront Theatre School, Cape Town Bookings: Webtickets Director: Paul Griffiths Choreography: Ursula Lubbe Musical Director: Thinus Viljoen

There were peals of laughter on Sunday, July 5, 2026, at the Baxter, at the Cape Town Theatre Award Ceremony which opened with a fabulous song from Something Rotten! – the musical – performed by students of The Waterfront Theatre School. The WTS is presenting the Tony nominated musical from July 10-18, 2026 in the Artscape Arena. The musical which looks screamingly funny is set in Shakespeare’s time. Much to the consternation of two brothers, Shakes has cornered the theatre market. They seek intel from Thomas Nostradamus, the nephew of the famous soothsayer. He prophesises that The Musical will be the next big thing. Imagine – singing, dancing and acting – in one production! This is core to the ethos of teaching at the WTS so not only is this season a coup in terms of being the SA premiere of the musical, but the conceptual arc of Something Rotten, dovetails with the ethos of the WTS – training triple threats – actors who can sing, dance and act . “This show is almost the ideal showcase for musical theatre training. It requires comic acting, excellent vocal ability, stylistic versatility and confident dance technique, including tap. What makes Something Rotten! particularly exciting is that it celebrates the art form itself. The score is filled with affectionate nods to musical theatre history, while the script playfully places Shakespeare at the centre of the story…” reflects director, Paul Griffiths:

TheCapeRobyn: This is the first major South African production? Was it difficult to get the rights?

Paul Griffiths: As far as we can establish, this is the first major South African staging of Something Rotten! Surprisingly, securing the rights was not particularly difficult. The process was straightforward and the rights holders were very supportive of the production. I think that speaks to how well the show travels internationally. It is a musical that celebrates theatre itself, so it resonates strongly with training institutions and audiences who love musical theatre. For Waterfront Theatre School, it felt like an exciting opportunity to bring a contemporary Broadway title to Cape Town while giving our students material that demands comic timing, strong vocals, dance ability and genuine ensemble work.

TCR: Have you seen the musical live, and what inspired the choice for WTS?

PG: I have not seen Something Rotten! Live on stage. My introduction to the piece was through the script and score and I was immediately drawn to the brilliance of the writing. What attracted me was not another production, but the concept itself: a musical about the birth of musicals. At Waterfront Theatre School we are always looking for productions that stretch our students across acting, singing and dance while allowing them to develop confidence, individuality and comic flair. After the success of our recent productions, Everybody’s Talking About Jamie, this felt like the perfect next challenge.

TCR: Have you adapted the musical, and how long is it?

PG:  We have not adapted the musical. We are presenting the licensed script and score as written by the creators. What I have enjoyed is finding ways to stage the work that respond to the intimacy of the Artscape Arena and the strengths of our student company. The production remains a full two-act musical, running at approximately two and a half hours including interval. The pace is relentless, with layers of theatrical humour, Shakespearean wit and affectionate musical theatre references that reward both seasoned theatre lovers and newcomers alike.

TCR: Can you talk about why this musical is such a strong showcase for your students?

PG: This show is almost the ideal showcase for musical theatre training. It requires comic acting, excellent vocal ability, stylistic versatility and confident dance technique, including tap. What makes Something Rotten! Particularly exciting is that it celebrates the art form itself. The score is filled with affectionate nods to musical theatre history, while the script playfully places Shakespeare at the centre of the story. The students move constantly between character comedy, ensemble storytelling, intricate harmonies and energetic choreography. It demands versatility, curiosity and collaboration—qualities that sit at the heart of our training philosophy at Waterfront Theatre School.

TCR: Insights into the set design?

PG: Rather than approaching the production with a traditional set design, I was interested in creating a world through theatrical suggestion rather than literal realism. We have repurposed and reimagined scenic elements from previous Waterfront Theatre School productions, allowing the production to embrace the playful inventiveness that sits at the heart of both Shakespeare’s theatre and Something Rotten! Much of the story unfolds in streets, public spaces and outside the Globe Theatre, so I wanted the environment to feel fluid and flexible rather than fixed. The Artscape Arena lends itself beautifully to that approach, with scenery, furniture and lighting working together to suggest locations while encouraging the audience’s imagination to complete the picture.

TCR: How have you approached the “A Musical” sequence?

PG: That number is one of the great theatrical celebrations of the piece. It is packed with references to the history of musical theatre, and I wanted to honour those influences without simply reproducing them. A musical is, by its nature, a collection of inspirations built on the shoulders of those that came before. Through the choreography we explore different dance styles as affectionate tributes to the productions referenced in the score, creating a sequence that feels both familiar and fresh. For the students it has been an invaluable opportunity to explore the extraordinary stylistic range that exists within musical theatre.

TCR: What is the costume aesthetic?

PG: The costumes have been styled rather than traditionally designed, drawing on a variety of sources from across Cape Town. I wasn’t interested in creating a museum-accurate Renaissance wardrobe. Instead, I wanted a heightened theatrical world that captures the spirit of the period while supporting the comedy and movement of the production. Shakespeare’s world has a slightly richer, more flamboyant quality, while the Bottom brothers feel more practical and grounded. Nostradamus occupies his own wonderfully eccentric visual space. The result is a playful, textured aesthetic that serves both the storytelling and the energetic physicality of the show.

TCR: Tell us about the cast and the creative team.

PG: We have a company of 26 performers, made up of principals and ensemble. Whenever I choose a production, I begin by thinking about the students and what will challenge them artistically at that point in their training. Our productions are cast through audition, and roles are awarded on merit rather than year of study, reflecting the realities of the professional industry. It creates exciting opportunities for emerging performers while encouraging every student to strive for excellence. I have also been fortunate to work alongside an exceptional creative team. Thinus Viljoen, our musical director, and Ursula Lubbe, our choreographer, have brought tremendous musicality, creativity and fresh energy to the production.

TCR: How have the students responded to the Shakespeare element?

PG: One of the unexpected pleasures of rehearsing Something Rotten! Has been watching the students rediscover Shakespeare through humour. While the musical affectionately pokes fun at him, it also celebrates his extraordinary influence on theatre. It reminds us that Shakespeare was not writing for classrooms; he was writing to entertain audiences. The rehearsals have become a joyful way of exploring Shakespearean language, rhythm and storytelling without the reverence that can sometimes make classical text feel inaccessible. In many respects, the show invites us to celebrate both Shakespeare’s genius and the wonderfully chaotic, collaborative nature of theatre itself.

PG: Take-home message?

TCR: To thine own self be true. 

✳ The Waterfront Theatre School, in rehearsal for Something Rotten! July 10-18, 2026 in the Artscape Arena, Cape Town. This is the South African premiere of the Tony nominated and Tony award winning musical.  Photo: Bella Blom. Supplied.