I don’t think too many people are going to come see this musical…” says a skeptical Little Sally at the end of Urinetown. Sure, the subject matter’s a little iffy, the moral is depressing and talk about an unappetizing title, but considering the full auditorium on opening night at the Longmont Theatre Company, Little Sally might be wrong.
Urinetown, not the place but The Musical, is about a town stricken by a 20-year drought. Water is a scarce resource, so now using the bathroom comes with a fee, which is a constant struggle for the poor peasants who just want to relieve themselves. If you break the rules, you’re banished to the mysterious Urinetown, a fate that strikes fear in the heart of all. As the evil corporation Urine Good Company proposes a fee hike, a rebellion starts to bubble.
The show premiered on Broadway in 2001 and won three Tony Awards for best book, score and direction. It has since garnered a reputation as a musical theater gem that provides humor, great music and poignant social commentary. The Longmont Theatre Company’s production, playing through March 28, added to that reputation by delivering talented singers, fun dance numbers, lots of laughs and an overall entertaining performance.
For those who have wondered how many urine puns you can make before it gets old, don’t look for an answer in Urinetown. The musical uses the idea for some laughs, then lets it fade into the background. Bathroom humor is one of the laziest sorts of humor, but Urinetown uses it more like a seasoning than a main course.
Toilet-centric jokes cloak a more sophisticated political message. At its core, Urinetown is about corruption, capitalism, bureaucracy, municipal politics, dirty cops, the corporatization of human rights for profit and the need for rebellion against tyrannical systems. The messages shine through in songs including “It’s a Privilege to Pee” and in lyrics like, “People are free. How can a fee enslave us… We’re suffering now such lives of sorrow. Don’t give us tomorrow just give us today.” But just as the musical itself is complex, it also takes a critical look at rebels and shows that the logistics of revolutions aren’t so easy to achieve.
Urinetown boasts a list of rich, interesting characters that each get a moment in the spotlight. At the Longmont production, there were several standout performances. Lacey Eberl plays Hope Cladwell, the naive, good-hearted daughter of evil businessman Cladwell B. Cladwell. The role of Hope could come off as fleeting and slightly annoying, but Eberl made the character feel grounded in the “hope” for the greater good. Tyler Nielson delivers a solid performance as the musical’s hero Bobby Strong. Not only did he have a beautiful singing voice, but he also had the necessary charisma of an impassioned leader of a revolution.
Two other notable performances were given by Lonnie Persons and Robin Bandurin who play Officer Lockstock and Little Sally, respectively. Adults taking on the part of children can sometimes be daunting to watch — with pigtails, penciled-in freckles and a permanent pouty face. While Bandurin has all attributes, she nails the innocent yet wisebeyond-heryears Little Sally by infusing her with child-like energy and tenacity. Lockstock’s character presents the duality of being a corrupted character in the show, yet a lovable narrator who provides comic relief. Persons juggled the dual aspect of the character perfectly along with his velvety voice that was a pleasure to the ears. The pair serve as co-narrators, with Little Sally constantly pointing out the problems with the musical — like overloading the audi ence with too much exposition and the over-simplified premise — and with Lockstock explaining metaphors and hinting at spoilers.
That self aware nature of Lockstock and Sally carries on throughout the show as it pokes fun at musical theater itself — taking playful jabs at Les Miserables, West Side Story, Guys and Dolls, Chicago and Fiddler on the Roof. The cast turned up the ham factor with jazz hands, cheesy grins, excessive use of spotlight, stereotypical dance moves and embellished poses at the end of each song — all perfectly over used to question and poke fun at common musical standards. The chorus, present in almost every song, was just as fun to watch as the main cast. The small ensemble allowed for the audience to recognize each individual’s strengths. Whether on their own or all together, the members of the chorus were talented and a delightful part of the show.
The set, while simple, suited the needs of the show and was appropriately painted in a mixture of varying shades of browns and yellows. There were some questionable costume choices, including Little Sally dressed in an obvious Dorothy replica outfit and a somewhat-distracting old man costume. The occasional misstep or awkward pause slowed the pace at times, but in the end, the material shown through and the cast’s energy and chutzpah overshadowed small imperfections.
The characters in the show are the first to point out that Urinetown is not a “happy musical,” and that it has a list of seemingly problematic aspects. But dammit, is it fun to watch.
Urinetown runs at the Longmont Theatre Company, 513 Main St., Longmont, 303-772-5200 through March 28. Tickets are $16-$18.
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