By Jason Hagey and Alisha Hagey
Set in an alternate universe to our own, The Book of Mormon is a bawdy, delightful romp at the Eccles Theater in downtown Salt Lake City, Utah as part of their Broadway at the Eccles series. From the creators of South Park and Avenue Q, The Book of Mormon is an “outrageous musical comedy” about missionaries being sent to Africa to convert a small village to membership in the Church of Jesus Christ of Latter-day Saints. With their visit to Uganda, Elders Price and Cunningham (two complete opposites) begin misadventures from the moment they land on the continent and the hilarity never stops until after the curtain comes down.
If you have ever been to the Hill Cumorah or Manti pageants, you will instantly recognize the beginning of the play where a pageant-like history is given of the Book of Mormon. All this gives backstory to understanding the context of what ultimately is a comedy roast of Latter-day Saint missionaries and religious culture in general. A comedy roast is a double-edged sword that usually takes a person (or institution in this case) and pokes fun at them through often obscene jokes and lewd humor all while being a kind of tribute to that person or institution. The Book of Mormon, while satire, truly fits this description with its adult content and its fearless mocking of all things sacred or politically correct but, in the end, there is a kind of redemption and honoring of missionaries and religion in a most unique way.
Liam Tobin (Elder Price) is the picture-perfect missionary – a young man who has been groomed for missionary work by proper and perfect parents – and his narcissistic fatal flaws are on full display from the moment you meet him at the end of the infamous “Hello” number. His veneer hides an insecure and self-aggrandizing personality in such a way that you cannot help but anxiously wait for his comeuppance because you know it will be hilarious (which it is and so worth the wait). Jordan Matthew Brown (Elder Cunningham) is a veteran in this role (having also performed it on Broadway) and is the quintessential foil to Elder Price. His comic timing and reactions are impeccable. He is unabashed, shameless, and impossible to see in any other way than as this character. His awkwardness only creates for laughs (without ever being so awkward that the audience becomes uncomfortable). The companionship is refreshing – a true joy to watch.
The scene stealer, the actor whose presence shines every time he comes on stage, is Andy Huntington Jones (Elder McKinley and Moroni). As Elder McKinley, Jones is superb. He not only has fabulous timing, but his unspoken moments are filled with subtext. “Turn It Off” is a ray of pure sunshine with a gaggle of cast members joining in while Elder McKinley leads us through a huge dance number that is sure to satisfy the audience. Alyah Chanelle Scott (Nabulungi) bursts with an infectious personality and raw enthusiasm. As the first person in the village to take the missionaries seriously, Scott gives a naive yet lovable performance.
From the moment you enter the theatre you are transported. It helps that the audience is predominantly composed of Utah residents and so we, as a whole, are in on the jokes. Scott Pask (Scenic Design) creates a proscenium within a proscenium as he flanks the stage with the familiar Utah skyline of LDS Temples. Throughout the story, Pask harkens to all things familiar within the culture. The set is just enough that this particular audience gets every reference, but without being only for those ‘insiders.’ Brian MacDevitt (Lighting Design) works within the set pieces to give surprise moments of lighting. Everything has a flashy jukebox feel to it which makes sense with the bright sound design by Brian Ronan.
This show feels referential. Each dance number and song takes you through musical history, giving faint resonances to classics. The references give the audience a chance to connect with the music. Trey Parker, Robert Lopez, and Matt Stone (Book, Music and Lyrics) are very smart. They play with parody and that same joke-within-a-joke take on the text interplays with the music. It is familiar, it is comforting, and it is all fun and playful. This same approach is taken by Casey Nicholaw (Choreographer). Whether we are having a beach party, feel like we stepped into a Fossee production crossed over with The Lion King, or have a spontaneous tap routine (so delightful by the way), the choreography always keeps you laughing.
So if you are like me and have only listened to the cast recordings and watched the bits and pieces of the show from the Tony’s, I assure you, there is plenty of fun gags and jokes to surprise and delight. It somehow manages to be irreverent and relevant all at the same time. If you want to find a connection to an audience that seems to genuinely love being together and celebrating, this is the show for you. If you want to see an energetic musical full of satire and social commentary, then consider The Book of Mormon. I promise you will never look at doorbells the same way again.
Parental Advisory: Explicit Language and sexual innuendo.
Run time: 2 Hours and 30 Minutes with a 15 minute Intermission
Broadway at the Eccles Presents The Book of Mormon
Eccles Theater, 131 Main Street, Salt Lake City, UT 84111, Delta Hall
Tickets: $40-180
General Info: 385-468-1010
ArtTix Phone: 801-355-ARTS (2787)
August 13 – August 25, 2019, 7:30 PM
Eccles Theater Homepage
Eccles Facebook
The Book of Mormon Homepage
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