At the end of Musical Forum's "Urinetown," directed by Kathryn Wallem '07, the musical's narrator, Officer Lockstock (Alex Clifford '06), tells the pig-tailed urchin Little Sally (Emily Roberts '08), "Like I said...this isn't a happy musical." Sally quips back, "But the music's so happy!"
Actually, just about every element of "Urinetown" proves to be as happy as the music, except, perhaps, for the plot, which takes place in a community known simply as "Our Town." The Urine Good Company has, with legal permission granted by the bribable Senator Fipp (Dan Katz GS), taken over the town's toilets as a result of the ongoing 20-year long water shortage.
Because urinating in the bushes or in private facilities has been outlawed, the only option is to use the increasingly expensive UGC amenities. Disobedience, as Old Man Strong (Aaron Stanton '08) learns the hard way at the show's beginning, results in forced exile to the mysterious, dreaded Urinetown.
Old Man Strong's son, Bobby (Ross Cowan '07) works as the assistant to Amenity No. 9's frugal manager Penelope Pennywise (Blanche Case '06). He finds himself conflicted after his father's arrest until he meets the beautiful and woefully naive Hope Cladwell (Betsy Wilson '08).
The young pair, predictably, falls in love at first sight, but Bobby is unaware of Hope's background: her father, Caldwell B. Cladwell (Adam Mazer '08), runs the tyrannical UGC and solicits help from a combination of corrupt lackeys, bribery and generally evil practices. Hope encourages Bobby to "Follow Your Heart," and Bobby leads his fellow poor citizens in a revolt against Cladwell and his followers.
Tensions erupt, the music swells and a multitude of off-color and verbally clever jokes fly. "Urinetown" is definitely a happy musical for everyone but its miserable characters.
The scenery from set designer MinJung Son RISD '08 is meager, including only a white backdrop lit according to mood, a structure made from barbed wire and wood to house the orchestra and Amenity No. 9 and a rotating spiral staircase. But audience members don't miss anything that might have cluttered the space. The bare-bones set allows the audience to pay more attention to the energetic performances.
Though the acting does sag in places, especially at the opening, the cast shines and emits enough energy that the narrow performance space can hardly contain the booming voices of the 16 actors.
Roberts, commentating on the progression of events as Little Sally, and Clifford as Lockstock are particularly striking examples of the self-aware satire and deadpan humor that characterize most of "Urinetown." Roberts provides a neat blend of cynicism, perception, conscience and childlike innocence that is a welcome contrast to the idealism of Bobby and Hope. Clifford, too, successfully captures Lockstock's amorality and provides effective tongue-in-cheek observations of the show's events.
Cowan, as Bobby Strong, has little to do but look heroic and handsome, though he excels in this role. As the villainous Cladwell, Mazer has trouble maintaining eye contact but is so greasily self-interested that he can hardly go wrong. Wilson's performance highlights the annoying innocence that proves central to Hope's character.
Case is the only actor to have real success with the lower-class dialect that several others attempt. Plus, her hardened, all-business portrayal of Penelope Pennywise is just plain fun to watch.
An enthusiastic supporting cast, which features bloodthirsty rebellious peasants and Cladwell's cronies, constantly flanks the show's leads. The vaudevillian, cheesy choreography of Sofia Bengoa '08 perfectly enhances the musical's conscientious dark comedy. Kelly Ma '08's nondescript costumes - patched rags for the peasants, slick suits for Cladwell and company and a sweater set for Hope - are unremarkable but fulfill their purpose nicely.
Other than the missing happy ending Little Sally so desires, "Urinetown" has all the elements of a fun musical experience. The show's verbal puns and quick wordplay alone are worth the two hours.
