Urinetown—currently enjoying a perfectly fine Encores! revival—was first confronted in 1999 at the New York International Fringe Festival, where it predictably caused a fracas. The title alone had jaws dropping far and wide.
Hardly anyone was prepared for something so, er, in your face, but when its unexpected quality was encountered—and even lionized—it not only further established itself as it moved off-Broadway and to Broadway in 2001 but brought new attention to the Festival. Almost instantly, it encouraged other hot-to-trot musical comedy perpetrators to outdo each other with outrageous tuners. (Ultimately, none made the grade.)
So, twenty-four years later here it is again, and though, as already mentioned, it’s extremely well-presented, the effect is palpably different. Okay, that’s possibly for those who’ve never seen it before, although even they might scratch their heads in wonder at what was so shocking back in that day when by now the once dubbed Boob Tube is all but unlimited in presentation.
[Read Elysa Gardner’s ★★★☆☆ review here.]
Urinetown composer-lyricist Mark Hollmann and bookwriter-lyricist Greg Kotis couch their hard-bitten story in a suppressed burg where the residents are required to pay for use of bathroom facilities. Also, the creators present their dire tale meta-theatrically. That’s to say that at the outset when Officer Lockstock (Greg Hildreth) appears with Little Sally (Pearl Scarlett Gold), he and she inform the audience members that they’re watching a musical. From then on, though the pair blend into the plot, they often step out of it to wax more meta.
The actual storyline tracks town bigwig and Urine Good Company CEO Caldwell B. Cladwell (Rainn Wilson), his privileged daughter Hope Cladwell (Stephanie Styles), and Bobby Strong (Jordan Fisher), who not only leads the growing uprising against Cladwell but also falls for Hope, who falls just as hard for him. Complications, of course, ensue, before a relatively happy ending signals lighting designer Justin Townsend’s final blackout.
Others making themselves known include Penelope Pennywise (Keala Settle), who presides over access to the toilets and, as penny-wise as her moniker, demands every red cent and then even more when evil Cladwell boosts the entrance fee. Officer Barrel (Christopher Fitzgerald), Lockstock’s partner—get it? Lockstock and Barrel—supplies additional humor. Old Man Strong (Kevin Cahoon) is the citizen most often short of toilet funds.
Hollmann and Kotis make their best contributions with the score—practically to a fault. They’re so handy with the enlivening numbers that they come close to overdoing it. For instance, Bobby Strong lifts his voice in at least three numbers dealing with rallying his troops. Not all are required and may detract from the last and best, “Run, Freedom, Run!”
Aside from the melodic ditties, Urinetown slips into trouble now and then. The meta-theatrics eventually become too cute, although Little Sally gets a laugh later in the proceedings when she predicts, with obvious irony, that not too many that tickets buyers are likely to crowd the box office.
Perhaps the most difficulties lie in the Hollmann-Kotis intentions, the weight of which may not have registered with first audiences enthralled at what they were witnessing. Throughout the first act Urinetown is presented as a unique (though fictional) local. The second act begins, however, with an ensemble anthem, “What is Urinetown?” Halfway through it, Little Sally is handed a solo line that goes, “What is Urinetown? Urinetown is here! It’s the town wherever people learn to live in fear.”
Uh-oh, so Hollmann and Kotis are after bigger game. They’re satirizing a wider portion of American society—e. g. capitalism in its larger manifestations. It may well be that in 2025, the aim is squarely on, say, the current administration and therefore cogent to the immediate time. Yet, the expansion isn’t easily, entirely integrated.
Still, the production is highly commended, due to all the elements. Everyone in the cast stands out, and that includes not only Wilson, Hildreth, Gold, Fisher, Settle, Styles, Cahoon, Fitzgerald, but every member of the ensemble. Each of that proficient number gets several chances to show his or her stuff, and each takes full advantage. (Incidentally, Wilson’s bio notes declare he’s previously never sung in front of an audience. No one would guess it.)
Director Teddy Bergman has complete control of his forces. Choreographer Mayte Natalio especially keeps the ensemble on the nifty move. Encores! music director Mary-Mitchell Cambell derives cheer and grit from the band, beginning with the Brecht-Weill-esque overture (Bruce Coughlin, the orchestrator). Producing Creative Director Clint Ramos designed the bursting-with-color set, featuring fancy toilet doors anybody would be pleased to enter.
Indeed, who’d not be eager to tour this Urinetown?
Urinetown opened February 5, 2025, at City Center and runs through February 16. Tickets and information: nycitycenter.org
