By LeAnna Hamblin
Beverly’s Terrace Plaza Playhouse in Washington Terrace, Utah showers its community with the hilarious black comedy Broadway hit, Urinetown, The Musical. Urinetown, with its quirky, slightly offensive(?) title,is a slightly lesser known musical that premiered on Broadway in 2001. Composer and lyricist Mark Hollmann and author and lyricist Greg Kotis would be quite pleased with the popularity their work has gained over the last several years. Terrace Plaza Playhouse helps the popularity grow even more. With an outstanding ensemble and captivating lead actors, the satirical humor brought to stage is enjoyed by audiences young* and old.
Director Dennis Ferrin has assembled a phenomenal group of experienced actors who not only possess an immense amount of talent, but also show boundless energy onstage. Spencer Watson, who plays Bobby Strong, is a young and talented actor who shows great promise for one who is only a senior in high school. Watson’s exuberance for acting is contagious and livens up the stage. His “superhero” stance throughout his performance is enhanced as his character attempts to save his town from the greedy clutches of Caldwell B. Cladwell (Darin Beardall). Watson’s vocal performance seems effortless as his clear voice shines through during the soulful musical number “Run, Freedom, Run” and the beautifully paired duet “Follow Your Heart”, which he sings with Morgan Richards who plays Bobby’s love interest Hope Cladwell. (The role of Hope Cladwell is double cast and is also played by Micaela Morgan.)
Beardall portrays a perfectly greedy villain who is willing to give up everything good in his life, including his family, for money. His greed overshadows his life so much so that even the walls in his office are covered with dollar signs, a clever nod from director and set designer Ferrin to the power money has over all aspects of life. Along with his obsession with money, C. Cladwell also loves to be adored by his employees. Whether it’s fear or true adoration, C. Cladwell has total control over the pulse of his company, demanding respect and adoration from everyone he interacts with. Beardall is commanding onstage and the audience is drawn to his powerful presence especially in the musical number “Don’t Be the Bunny” a clever song and dance full of analogies and interwoven with satirical comparisons to life.
Penelope Pennywise (Carla Zarate) is another notable character in this tangled tale. She is the enforcer of the overbearing laws (about urinating) that must be followed. Zarate may be small in stature, but her performance is impossible to overlook. Her vocal range is extraordinary, and she shows it off beautifully in the number “Privilege to Pee.” Although she plays the stern and straight-laced business woman, her eyes are opened to the ridiculousness of the laws put forth by Cladwell and her heart is softened as she comes to terms with the seriousness of the situation. (And her boots are fantastic!)
Urinetown, The Musical is filled with catchy tunes that are sure to end up on the playlists of all who are lucky enough to witness this hilarious comedy. Music Director Whitney Cahoon truly brings out the best of the ensemble during the opening number “Urinetown” and “Snuff the Girl” where many ensemble members show off their talent. And the rehearsal time put into “The Cop Song” certainly paid off. O’Bagy and the ensemble did a remarkable job executing that difficult song. Choreographer Emily Ferrin Checketts challenges the cast throughout the show, most notably during the number “Act One Finale” and they deliver. She also includes choreography that reflects some of Broadways most recognizable stage work, playing homage to the great shows that have paved the way for stage entertainment.
Hope Cladwell is appropriately named and spreads her positive outlook to everyone she encounters. Even as the town is living in squalor, she manages to bring light and love to their lives. She refuses to let her father’s suppression of the town affect her positive outlook. Her attitude is the only thing that can help this town recover from years of overbearing power. Richards and Watson have wonderful chemistry and are very captivating onstage. Their voices blend well, especially during the number “Follow Your Heart.”
Throughout the show, Officer Lockstock (Tyler O’Bagy) and Little Sally (Erin Trump) act as narrators and help the audience understand the nuances of the show. O’Bagy is perfectly cast as the straight-laced officer who wants nothing more than to please his “boss” Caldwell B. Cladwell. Although Officer Lockstock knows that honest business dealings have no place in his town, he still feels obligated to fulfill Cladwell’s wishes, no matter how ridiculous they may seem. And Little Sally is a superb counterpart to Lockstock. Both in stature and attitude, these two are polar opposites. Their comedic timing keeps the show moving along at a comfortable pace as well as keeping the audience in the loop as to what is happening in the storyline. This is very helpful to audience members who may not be familiar with the story or with the Broadway satire that is woven into the script.
Urinetown, The Musical is filled with catchy tunes that are sure to end up on the playlists of all who are lucky enough to witness this hilarious comedy. Music Director Whitney Cahoon truly brings out the best of the ensemble during the opening number “Urinetown” and “Snuff the Girl” where many ensemble members show off their talent. And the rehearsal time put into “The Cop Song” certainly paid off. O’Bagy and the ensemble does a remarkable job executing that difficult song. Choreographer Emily Ferrin Checketts challenges the cast throughout the show, most notably during the number “Act One Finale” and they nail it. She also includes choreography that reflects some of Broadway’s most recognizable stage work, playing homage to the great shows that have paved the way for stage entertainment.
The mood of this production is beautifully portrayed through the lighting and sound, both expertly created by DD Lynch, and carried out by Light Board Operator Ivy Combe and Sound Operators Lynch and Steve Petersen. Lighting and sound effects are used during pre-show and intermission to transport the audience to a place where one wouldn’t necessarily want to spend an entire evening. (Think dripping faucets and full bladders.) The lighting is also effectively used to portray the mood during many scenes throughout the performance.
The most effective determinant of social class is the costuming. Although a show of this nature may seem simple to costume, Cahoon, Jim Tatton, and Wendy Tatton did a remarkable job differentiating between the two classes of characters portrayed onstage, especially with the townspeople. The attention to detail in the layering and the color scheme used is telling of the socioeconomic differences
Beverly’s Terrace Plaza Playhouse’s Urinetown, The Musical may not sound like the most pleasant way to spend an evening out, but I can assure you that this production brings to light the power of a small group of people uniting to overcome social oppression in a most delightful and comedic way. I urge you to rush to this show before it gets flushed away from Washington Terrace.
Beverly’s Terrace Plaza Playhouse presents Urinetown, The Musical, music and lyrics by Mark Hollmann, book and lyrics by Greg Kotis.
Beverly’s Terrace Plaza Playhouse, 99 E. 4700 S. Washington Terrace, UT 84405
February 22, 2019-April 6, 2019 7:30 PM, Monday, Friday–, Saturday
Tickets: $10-$17 https://www.terraceplayhouse.com/tickets
Contact: 801-393-0070 https://www.terraceplayhouse.com/
Beverly’s Terrace Plaza Playhouse Facebook Page: https://www.facebook.com/terraceplayhouse/
Facebook Event: https://www.facebook.com/events/355306301986432
0 Comments