Urinetown

This was my first introduction to Urinetown (pronounced yoor’in toun) which is a 21st Century musical that debuted at the New York International Fringe Festival, and then was produced Off-Broadway at the American Theatre for Actors, from May 6, 2001 to June 25, 2001. It was nominated for ten Tony Awards and won three and thanks to the energetic, no holds barred performance by the BMTG cast and production team it is easy to see why.

Urinetown is a very dark and superbly funny satire set in a near future world where a 20 year drought has resulted in the government enforcing a ban on all private toilets. Running through the production there are two of the most subversive narrators in musical theatre.  Officer Lockstock played with such Machiavellian relish by Chris Bryan, who’s sudden snap out of character to reveal the darkest secret, followed by an equally fast snap back into normality was judged to perfection, and Little Sally, Claire Rybicki who was simply brilliant as the “little girl” who’s sarcasm and confusion allows the audience to understand that Urinetown is a black comedy that you are allowed to laugh at, as well as be disturbed by.

The central plotline, in this drought struck world, is that the public must use pay-per-use amenities operated by a draconian, profit driven company with a ruthless CEO Caldwell B Cladwell, a role that Simon Owen played with relish especially in Don’t be the Bunny.  Laura Such shone as Hope Cladwell, the boss’s daughter who began to see the evil behind the façade of the company, fought for the freedom of the public to pee for free, but ultimately caused the death of the entire city.  

Chris Collington was on top form as Bobby Strong, the leader of the people’s revolt and was very convincing in both the rabble-rousing elements of his character, and the more gentle relationship that developed with Hope.  Chris played both the broad humour and pathos of Bobby to great effect.   Steph Gray-Blest made a very welcome return to a lead role with BMTG as Penelope Pennywise the overlord of the public conveniences with a dark secret in her past.  Great soring vocals from Steph along with a very sympathetic portrayal and character arc throughout the production.

The chorus and supporting roles were effectively split, a la the Jets and the Sharks, into Caldwell’s Staff and Bobby’s Rebels and in all cases the ensemble really threw themselves into their various roles, quite literally in Hollie Smith’s case. The characterisation, choreographic delivery and vocal talent of the chorus was one of the greatest strengths of the production with Run Freedom Run, and I see a River as superb highlights.

The production team should be suitably proud of what they have achieved with Urinetown,  Beth clearly had a vision which was superbly delivered by Jodie’s choreography, Morris’s attention to detail in the rehearsal room and from the pit, together with the set and lighting design that created the overall otherworldly feel to the production and highlighted the dark undertones of the story.  There were some sound balance issues that meant we didn’t always hear the vocals as clearly as we might, but this did not detract from this excellent production.

Congratulations to all and I very much look forward to seeing you again.

Martin Holtom

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