To tackle the absurdity of Urinetown effectively, it takes talent, timing, and a knack for innovation—all things that Riverton Arts Council in Riverton, Utah clearly has. Urinetown is one of those rare satire musicals that doesn’t necessarily end with a “happily ever after,” and breaks the invisible barriers between fiction narrative and allegory (as well as the barriers between the audience and the performers). When it first hit the Broadway stage in 2001 (running until 2004), it garnered critical interest immediately, taking home the Lucille Lortel Award for Best Musical (2002), the Outer Critics’ Circle Award (2002), and Tony Awards for Best Book of a Musical, Best Original Score, and Best Direction of a Musical (2002).
In the Riverton Art Council’s version of this musical, the direction is no less innovative. It is the vivacity of Director Kim Ostler’s vision of the production (assisted by Music Director David Martin and the incredible choreography of Vicki Wartman) that makes Urinetown a captivating story despite the built-in roadblocks the show holds for typical theatergoers.
Urinetown is an allegorical story set in a future where water is a diminishing resource. Water baron Caldwell B. Cladwell (played by Heath Bateman) has made millions off the shortage by forcing the people of his town to pay for the “Privilege to Pee.” At one of the town’s “amenities,” run by iron-fisted power-singer Penelope Pennywise (Lani King), the hero, Bobby Strong (Parker Rawlins, also slated to be played by Jacob Shamy) is forced to watch his own father (Jon Price) face the consequences of public urination when he is unable to pay the fine. The consequence? To be taken to Urinetown—the ultimate punishment for all those unwilling to follow the law.
The action and outcome of the musical are set out from the very beginning by Officer Lockstock (Rex King) and Little Sally (Lily Snow) who act as the Greek Chorus for this laugh-filled tragicomedy. King fits the part beautifully, singing every line with a knowing wink and making the audience feel right at ill-ease from the start. Snow plays perfectly opposite of him, her physicality and voice perfectly tuned to be the bearer of both of innocence and wisdom.
During this performance, Rawlins and his co-star Kate Lynn Child (Bobby’s love interest, Hope Cladwell, a part also played by Jessica Yergensen) show off their incredible vocal skills as well as a well-developed emotional connection. Rawlins’ voice is strong and sure on even the highest notes of “Look at the Sky,” and Child’s mezzo-soprano belt is no less impressive on “Follow Your Heart.”
Although Price is not onstage long, it is his scene that sets the stage for the action, and he brings a sense of honest integrity to his role which is a stark contrast to the villainy of Bateman and his stooges Mr. McQueen (Ross Adamson) and Senator Fipp (Todd Taylor). Bateman is as big and evil as he needs to be, his stage presence and vocal prowess perfectly riding the line between melodramatic and relatable. Taylor is as oily as Bateman is evil, and his interactions with Child are cringe-worthy in the best sense. Adamson is wily and physically capable as McQueen, proving his acting skills in the “Don’t Be the Bunny,” segment—which includes him hopping across the stage and climbing under tables, all while being the quintessential “yes” man—and his singing prowess in several of the group numbers, his high tenor awe-worthy during the “Act One Finale.”
Other impressive performances include those from Taite Morgan (as Hot Blades Harry) and McKenna Dibble (as Little Becky Two-Shoes, a role also played by Ashley Shamy). Morgan is genuinely frightening as Harry, and is perfectly paired with Dibble, their voices both strong and strident—an impressive feat from such young performers. King is also a notable performer, her acting chops just as seasoned as her singing chops, and she is magnetic every time she’s on stage. Kye Tanner (Officer Barrell) is willing to take big, absurdist risks to get a laugh, and is successful every time. Alternatively, Pauline Mendes brings a weight and wisdom to her role as Josephine Strong, making her one of the few oases of normalcy in an otherwise insane world.
A few of the smaller roles also catch the audience’s eye: Angie Chapman as Ms. Millenium gives energy and a touch of wickedness to every line; Hannah Benedicto (Dr. Billeaux) portrays the frenetic energy of a good, futuristic mad scientist; and Jeffrey Kay (Billy Boy Bill) and Cody Harman (Tiny Tom) get their share of giggles from their bladder-pressure prancing in Act I. In addition, Cami Rawlins (Soupy Sue), Talitha Jo Garrison and Reagan Mills are a pleasure to watch onstage. Rawlins’ intense, big personality fits her big voice, while Garrison’s energy and Mills’ vocals are definite standous.
Still, it can’t be denied that the entire cast is truly standout. They are able to execute the phenomenal choreography from Wartman with confidence—choreography that is intricate, interesting, and mesmerizing from every seat of the house. The costuming (designed by Ostler and Katie Whiteley) gives the impression of near-apocalyptic future as well as near past, adding to the feeling of allegorical story that makes the musical so relevant regardless of when it is performed. In addition, the set (designed by Ostler and Mark Halverson) is simple and includes only a few key set pieces, but keeps the eye moving and works on a number of levels.
Urinetown is a tragicomic good time, especially if you love theater that challenges the norms and leaves you thinking. Although not appropriate for children under the age of 13 without a parent (there is some insinuated violence), it is still a family-friendly show. And the overall impact is an important one to get your family thinking: What makes a “good guy”? Who are the villains? As absurd as Urinetown seems, The Riverton Arts Council makes us consider the possibility that it is future possibility, and that it is up to each of us to make a change today—wisely—to change the world for the better.
Riverton Arts Council presents Urinetown, Book by Greg Kotis, Lyrics by Greg Kotis and Mark Hollmann, Music By Mark Hollman.
Sandra N. Lloyd Community Center, 12830 S Redwood Rd, Riverton, UT 84065
March 15-16, 18-19, 20-23, 25, 2019 7:00 PM, Sat matinee 2:00 PM
Tickets: $12
Contact: 801-520-9330, rivertonartscouncil1@gmail.com
Riverton Arts Council Facebook Page
Riverton Arts Council Urinetown Facebook event
0 Comments