Urinetown

Once again 2025 sees HHTC take on another lesser known musical following the success of Soho Cinders in ’24, this time the dubiously titled ‘Urinetown’. The title can be misleading making one think it is totally guttural and whilst it certainly is a close to the knuckle tale, it tells a real life story. A situation being witnessed in many respects throughout the world, in areas where severe drought, lack of management and control result in untold disasters. The musical addresses these outcomes. The combination of water restrictions plus the pay to pee scheme, conserves water supply but the poorest are those to suffer the most. Cladwells’ tight controls, leading to the breaking of the rules by Old Man Strong sees him being thrown into the mythical Urinetown which leads to revolt among the people. A relaxing of the staunch rules, following a rebellion, brings happiness and peace but not for long. The water runs out, disease spreads and death results. Not the normal happy ending one might expect from a musical!

The production team of Matthew Walker and Jane Jefferson-Blythe should be thrilled with the way the actors have brought this to life. Their vision and direction bringing out all aspects of emotion, not missing bitterness, moments of true tenderness, fear and reality. The music and quality of singing was excellent thanks to the guidance of Musical Director Steve Trotter. Acting through song was delivered with ease and clarity. The Choreography by Hayley Wilbourne and Bethe Cooke was performed with precision from the talented cast. The togetherness and discipline in movement was innovative, different and challenging. I saw a level of military movement in some routines along with a Jewish dance influence in others.

Joseph Walker as Officer Lockstock, the head of the manipulated police force under control from the Cladwell’s, set the scene with a narrator style opening, delivered with power and purpose. He gave some memorable lines at the end of Act 1 and summarised the story towards the end of Act 2. Lockstock’s clear, well delivered script and a rich singing voice forming a formidable duo with Officer Barrel by Matt Bevan, another well performed role throughout. The two fronting some memorable scenes along with a brilliantly devised rendition of the ‘Cop Song’ with an ensemble of police. Penelope Pennywise by Sarah Morrell, the plunger threatening boss of the Amenity, relentless in her discipline with the queues of desperate townspeople. A well performed role, beautiful singing and strong acting and a touching duet with Cladwell of ‘I’m Not Sorry’. The larger than life Caldwell B. Cladwell played by Mark Holmes, the owner of the aptly named UGC, Urine Good Company, a powerful performance desperately trying to keep the discipline with his aides over the townspeople. I particularly enjoyed ‘Don’t Be a Bunny’. His true colours tested when choosing to not support his daughter, Hope. His dramatic suit along with the shiny gold tooth made him stand out from the rest. Little Sally played by Katie Granger with red ribbons in her pig tails. A lovely contrasting part delivered with such innocence, beautiful singing and clear diction. As bad contrasts with good we have Bobby Strong by Neil Kirkman who gave an outstanding performance, his principals initially leading the uprising following the duet with Hope Cladwell played by Emily Germon of ‘Follow Your Heart’ when seeing daylight and a future without the controls of paying to Pee. Your duet as you both reached the top of the stairs reminded me of a certain ‘Titanic ‘moment. Hope Cladwell, the highly educated daughter of Cladwell returning to work in the business, falling not only for Bobby but also his principals. In total contrast to her father, kindness and compassion along with the discipline of being gagged and tied up for at least 20 minutes at the start of Act 2, well portrayed and performed. Many other memorable scenes performed by Andrew Stansall as Mr McQueen, Steve Mather as Senator Fipp, Old Man Strong by David Jefferson, Soupy Sue by Carol Wibberley, Hot Blades Harry by Sam Widdowson, Tiny Tom by Steve Pashley, J Strong by Danni Hibbert, Little Becky Two-shoes by Helen Green and the remaining ensemble, whilst not named individually, but no less important performed to the highest standard. The lighting by T D Lighting was well thought out adding atmosphere to the scenes and the sound balances by PM Promotions worked well. The costumes were perfect for the production.

As our narrator reminded us this musical doesn’t have a happy ending with so many dying, but as a performance it will live long.

I thoroughly enjoyed this musical and appreciated all the work put in by the whole cast and production team. Thank you to all the FOH who made us feel very welcome and compliments to all those unseen members, costumes, makeup, backstage, making everything come to life.

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