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Urinetown The Musical
Music and Lyrics by Mark Hollmann
Book and Lyrics by Greg Kotis
Directed by Tom Mullen
Choreography by Brian Loeffler
Musical direction by Michael Sobie
Produced by Blue Dog Entertainment
At The Mercury Theater
3745 N. Southport
Chicago, IL
Call 773-325-1700, tickets $45 - $48.50
Wednesdays & Thursdays at 7:30 PM
Fridays at 8 PM
Saturdays at 5 & 8:30 PM
Sundays at 5 PM
Running time is 2 hrs, 30 min with intermission
Limited Open run
Uninetown The Musical glows at the intimate Mercury Theater
Some shows need to be marketed to a specific audience and Urinetown appeals to the same 20-30somthing crowd that The House Theatre Chicago has cultivated. These folks like savvy satirical over-the-top fresh toe-tapping comic musicals. Urinetown (the winner of three 2002 Tony Awards) provides all of that and more. It also woks best in the intimate 300 seat Mercury Theater. This could be the right show, at the right time in the right venue. That is a formula for success.
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There is nothing like it anywhere. Urinetown is a fresh hilarious spoof of Brechtian ‘epic’ theater, of political theatre and a Weillian stretch of operatic from. The result is a fresh, original colorful surprising musical. Urinetown proves once again that almost any topic is grist for the mill of talented musical composers and lyricists. This exuberant show will leave you basking in the glory of the stage’s power to entertain. You’ll laugh so much that, well, you may just have the urge to pee in your pants! (Sorry, I couldn’t resist that reference.)
A product of the Fringe Festival in NYC, Urinetown is simply the story of two kids who fall in love in a city in the middle of a water shortage. It spoofs political corruption, corporate greed, and the social consequences of a mismanaged environment. Classic left-wing issues such as exploitation and abuse of the poor and organized resistance versus terrorism are explored in an irreverent, campy style that is pure Brecht as the characters stay aloof and at times, step out of character and speak to the audience.
These techniques and a fabulously energetic and melodious score amount to a winning show. We hear an original score chuck full of references to The Threepenny Opera, The Cradle Will Rock and depression era musicals. The wonderfully choreography by Brian Loeffler is true to the original Broadway production that is sometimes dance (imitating Fose, Robbins, etc.), sometimes a march, sometimes spectacularly frantic chaos, but theatrically thrilling. Movement is paramount in the show stopping numbers with terrific choral singing to underscore the moment.
We hear folk and gospel in the “Run Freedom Run” song that highlights act two and musical and dance references to The Boyfriend, Dames at Sea, Little Mary Sunshine, West Side Story, Guys & Dolls, Fiddler on the Roof, Cabaret, Annie, Chicago and Les Miserables and Wicked add laughter and underscores the show’s satire of musicals. They make reference to the show’s ‘lousy’ title (Urinetown) and the policeman (Jon Frazier) narrates with wit and deadpan. This adds another layer to the spectacle, to the fine script and excellent songs that are funny yet appropriate. “Don’t be a Bunny” is cute yet philosophical as it tells about corporate power.
With songs like “It’s a Privilege to Pee,” we laugh and wonder what’s going on here? Soon we realize that it’s theatre, its music and it’s wonderful. We sit back and let it do its magic.
Urinetown’s finest moments are ensemble drawn numbers with exuberant dance and rich choral singing (the Marc Blitzstein effect). We relate to Jon Frazier as Officer Lockstock, the dedicated officer and narrator. Frazier brings a campy presence and works well with Roni Geva’s Little Sally, the Annie type inquisitive child who comments on the shows action with Lockstock. Christine Sherrill belts several tunes in the best Ethel Merman tradition as Penelope Pennywise. Michael Accardo as Caldwell sells his greedy philosophy with campy humor. Tamara Spiewak as Hope Caldwell is funny and delivers her numbers with deadpan humor and sincerity. Michael Buchanan is the cute, boyish ‘hero’ Bobby Strong. He expels a fine vocal range as well as convincing low-keyed activist. He leads the fluid ensemble of ‘poor folks’ who perform and land the show’s several energetic numbers. In Urinetown, the ‘poor folks’ win in many ways.
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The bizarre plot and crude themes only ruffle the feathers of the Broadway musical purists. That’s playwright Greg Kotis’ point as he and the talented Mark Hollman created an in-your-face show that will challenge your basic concept of what makes a musical. They succeeded beyond even their expectations. The lesson here is that pushing the boundaries can result in a hilariously entertaining night that celebrates musical theatre. Who would have thought? Shows like Urinetown are why I love theatre! Kudos to the Mercury Theater for landing Urinetown -- it just may be playing for a long successful run if the young, hip crowd discovers this cute, high voltage musical satire. For the top ticket price of only $48.50, Urinetown offers a Loop caliber show for a lot less.
Highly Recommended
Tom Williams
Tom99@chicagocritic.com for comments
Talk Theatre in Chicago podcast
Date Reviewed March 26, 2006
Jeff Recommended
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