Urinetown
Book and Lyrics by Greg Kotis
Music and Lyrics by Mark Hollmann
Directed by Elana Boulos
Flat Iron Arts Building, 1579 N. Milwaukee (map)
thru Aug 17 | tickets: $20 | more info
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Too serious for its own good
Awkward Pause Theatre presents
Urinetown
Review by Lauren Whalen
When it comes to art, genuine emotion is generally preferable. In the past I’ve been turned off by productions that spend two hours winking at the audience, a nonverbal cry of “Look how clever we are!” However, there are some excellent shows that require this exact attitude, and if executed properly, are effective in a whole different way. Urinetown, a musical that originated at the New York Fringe Festival and became a mainstream hit, is such a show. It’s snarky, loud and strange, almost a precursor to The Book of Mormon, but darker. Unfortunately, the true nature of the show seems to have escaped Awkward Pause Theatre, namely director Elana Boulos. This Urinetown is brimming with unrealized potential, mainly because its actors are serious when they should be snappy and playful.
Urinetown is set in a futuristic society when drought and other disasters have severely cut down on water supply. In the name of conservation, private toilets are a thing of the past, and citizens are forced to share public amenities. Only such amenities aren’t so public. They’re monetized by the corporation of Caldwell B. Cladwell (Joshua R. Bartlett), an evil moneybags with a pure-of-heart college-graduate daughter (Kelly Krauter). Consequences for public urination are severe: permanent exile to the mythical, mysterious Urinetown. When virtuous Bobby Strong (Brandon Ruiter) sees his father (Johnny Kyle Cook) carted off by police for such an offense, he decides to rally the town in protest, but complications ensue. The action is presided over by narrator Officer Lockstock (Michael Hamilton) and sweet, naïve Little Sally (Hillary Horvath).
From the beginning, Urinetown sets out to parody traditional Broadway musicals. There are big production numbers, dramatic vocals, showboat choreography and cheesy love ballads galore. However, what sets Urinetown apart is its sharp sense of satire. The show is extremely well-written: it’s loud but quiet, enjoyable but depressing. Officer Lockstock reveals early on that there won’t be a happy ending. An ideal production of Urinetown should leave the audience thoroughly entertained, maybe a little annoyed by the over-the-top characterizations, but with a growing sense of foreboding: is this where our society is headed if we continue to waste resources?
Unfortunately, director Boulos seems to have missed the point. She’s chosen an exceptionally talented cast with vocal and dance prowess galore, not to mention childlike enthusiasm. I’ve seen and loved many of these actors in other Chicago productions, namely Ruiter, who’s an ensemble member at The House Theatre. I know that these actors are capable of staging a terrific Urinetown, but as my companion and I sat in the audience, we wondered what exactly went wrong here. It appeared that Boulos had instilled a gravity in this show and cast, instructing them to play everything straight. For example, Little Sally is a caricature of every annoying stage moppet, from Annie to The Music Man’s Winthrop Paroo. Horvath states in her bio that this is her dream role. However, her Little Sally is nothing more than a regular little girl, or more precisely, a twentysomething woman toting around a stuffed animal. Horvath has a lovely voice and an adorable stage presence, and should be having the time of her life, but throughout the show she appears disappointed – and who can blame her?
Only two actors appear to grasp the true purpose of Urinetown: Hamilton, and Luke Michael Grimes. The former gives Officer Lockstock just the right balance of jovial and imposing, the cheerful frontman who can get downright violent. He’s not a great singer, but it doesn’t matter because his sense of humor hits just the right note. Grimes, as Cladwell’s assistant Mr. McQueen, is pressed-perfect and fussy, every gesture and syllable bursting with sly wit. (I got the sense that these two were (rightfully) rebelling against their director.)
Also, a note regarding the sound design: no matter how small the space, this is a show where actors need to be heard. Urinetown contains a lot of complex vocals, with lyrics the audience needs to understand, often two sets of lyrics simultaneously sung. This is a cast of strong singers, but they can’t do everything and need help being heard, be it mikes or some other arrangement to bring out the lyrics.
I wanted to love Urinetown. When done right, the show is so much fun and more than a little twisted: just my cup of tea. Unfortunately, this Urinetown was largely wrong. A talented ensemble is wasted on a too-serious interpretation of an edgy, satiric modern classic.
Rating: ★★½
Urinetown continues through August 17th at Flat Iron Arts Building, 1579 N. Milwaukee, Room 300 (map), with performances Thursdays-Sundays at 7:30pm. Tickets are $20, and are available by online through BrownPaperTickets.com (check for half-price tickets at Goldstar.com). More information at AwkwardPauseTheatre.com. (Running time: 2 hours, includes an intermission)
Photos by Brian Jarreau
artists
cast
Michael Hamilton (Officer Lockstock), Neala Barron (Penelope Pennywise), Brandon Ruiter (Bobby Strong), Hillary Horvath (Little Sally), Clinton Boylan (Tiny Tom, Dr. Billeaux), Luke Michael Grimes (Mr. McQueen), David Wesley Mitchell (Senator Fipp), Tanner Munson (Officer Barrel), Kelly Krauter (Hope Cladwell), Johnny Kyle Cook (Old Man Strong, Hot Blades Harry), Kiley B. Moore (Soupy Sue, Mrs. Millennium), Sadie Rose Glaspey (Little Becky Two Shoes), Jay Mast (Robby the Stockfish), Joshua R. Bartlett (Caldwell B. Cladwell), Sabrina Conti (Josephine Strong)
musicians
Evan Swanson (piano, music director), Hunter Diamond (reeds), Ian Cory (drums)
behind the scenes
Elana Boulos (director), Evan Swanson (music director), Andrew Jessop (set design, technical design), Marie Mohrbacher (choreographer), Michael C. Smith (lighting design), Preston Reynolds (sound designer), Delia Ridenour (costume design), Jennifer Betancourt (props design), Danielle Whaley (stage manager), Michelle Maurer (assistant director), Erin O’Shea (production manager), Brian Jarreau (photos)
14-0810
