[usr 4]
You know that you are at a good show when , despite it’s length, the minutes seem to fly by. This is a very good show.
URINETOWN THE MUSICAL first appeared on Broadway in September 2001, with music and lyrics by Mark Hollman, and book and lyrics by Greg Kotis.
This production is unusual in that it is staged by the Heartstrings Theatre Company who are based in Canberra and founded by Ylaria Rogers, who is also the Director of the musical.
As a result of its unusual location (ie not a large city) it has attracted a cast from all parts of Australia.
URINETOWN THE MUSICAL contains some classical theatrical tropes such as Romeo and Juliet in the form of Bobby Strong and Hope Cladwell and the big, bad Corporation exploiting the people.
There is no need to be put off by the title as the urine is the symbol of a basic human necessity that is withheld by greed. All restroom activities are done in public toilets controlled by the corrupt mega-corporation called or UGC for short,. It is headed by a meglo-maniacal dictator in the form of Caldwell B Cladwell. His surname is a play on words as he controls the wells which contain the water that is distributed im meagre amounts that people have to pay to use public toilets that contain the water that will flush the urine away. Aided by a corrupt legislator Cladwell can collect food and taxis at will.
The hero who revolts against Cladwell is aptly named Bobby Strong who needless to say falls in love with Cladwell’s daughter named Hope. One can correctly conclude that this show has its tongue firmly implanted in its cheek.
It is also demonstrates how capitalism unrestrained can lead to poverty, deprivation and despair. This is particularly the case when it has a monopoly on a basic human need. I was reminded of the movie Mad Max where petrol and oil is in very short supply, therefore societal chaos ensues.
Clearly set in a dystopian future water is in short supply and accordingly URINETOWN THE MUSICAL has an ecological relevance 22 years after its was first seen,.
The show is a rollicking riot of fun and frivolity tempered with a subtle seriousness. It is a wonderful pastiche of musicals styles, the stand-outs being the finger clicking sequence which pays tribute to West Side Story’s ‘Play It Cool, Boy’, and the stand out number Run Freedom Run has a powerful, gospel feeling..
In addition, there are glorious harmonies, choral numbers, outright hamminess, pantomime and face mugging.
Another aspect of the aforementioned fun was that cast members played caricatures of their roles, parodying themselves, which added to the satirical bite of the show.
The show is steered by a cynical and mocking narrator played ina wickedly delicious way by Karen Vickery who also doubles as a one of Cladwell’s henchman named Lockstock.
Joel Horwood as Bobby Strong has a firm baritone which powerfully conveys his passion for his friends and his love for Hope.
Hope is played by Petronella Van Tienen whose bell like soprano can convey a sort of vulnerability but also can be used as. an almost shrill like strength.
Max Gamble as Mr Cladwell has a bass baritone that reeks of. narcissism and mendacity,
Special mention must be made of Deanna Farnell who plays Pennywise, the keeper of the toilets whose illustrious vocals turn from contempt to regret, and Natasha Vickery as Little Sally who is part narrator, part silly girl, and and a great figure of fun.
The Director Ylaria Rogers effortlessly extracts from the cast the maximum amount of humour and satire, and when necessary, the gravitas of the more pitiful parts of the show. Her use of ladders almost as secondary characters in a ballet with the cast was masterful.
Rogers has obviously worked closely with set designer Monique Langford who with thew assistance of cast members ladders and platforms creates a fortress of steel reminiscent of Les Miserables, a set of stairs to match Cladwell’s ego and a stage-wide cloth banner behind which characters can pop up and disappear.
Choreographer Cameron Mitchell keeps the flow of dancing and movement fluid and eye catching in tiny Hayes Theatre space, which at times has fourteen cast members all at once on stage.
The band which we can partially seen in its claustrophobic space is brought to life as as it is outside this space by Musical Director Matthew Reed who achieves the right balance between the soundtrack and the voices.
This is the first production I have seen where the lighting, and in particular the spotlights and the use of handheld torches, add to the humour and ,at time, cynical aspects of the musical.
Like the best of musicals it has a serious heart that is adorned by music of illustrious distinction and beautiful voices furnished with a sense of joy, enthusiasm and purpose.
URINETOWN THE MUSICAL runs at the Hayes Theatre till the 5th February 2023.
Featured image : Karen VIckery and Natasha Vickery in ‘Urinetown’ Production photography by Phil Erbacher