The Hornsby Musical Society has truly surpassed expectations with its production of Urinetown. This delightfully sharp and rapid-fire comedy is both hilarious and surprisingly witty, eliciting genuine laughter from the audience. Set in a dystopian future where a severe water shortage has led to the privatization of public restrooms, citizens are forced to pay to use toilets, enforced by the tyrannical Urine Good Company. Director Emma Young has skillfully assembled a stellar cast and executed a complex production that deftly addresses themes of social injustice, capitalism, and corruption, encapsulating the class warfare between the affluent and the impoverished.
Narrators Samuel Byres (Officer Lockstock) and Skye Roberts (Little Sally) effectively break the fourth wall, providing running commentary that reminds the audience that Urinetown is not a "happy musical." Byres’ seamless transition from narrator to character, complemented by his rich baritone and impeccable comedic timing, establishes the lighthearted tone of the show. While Roberts’ character is dubbed “little,” her vocal range and commanding stage presence as a poor rebel are anything but diminutive. I cannot discuss Officer Lockstock without his sidekick Officer Barrel, played by the amazing David Emerson. Emerson was a stand out for me. His slapstick humour, impeccable timing and playful relationship with his mentor Officer Lockstock was so entertaining to watch.
Nick Hiebl’s portrayal of Bobby Strong, the endearing leader of the poor rebellion, is noteworthy for his vocal prowess and stage comfort, perfectly complemented by Kate Addison as Hope Cladwell, the daughter of Caldwell B. Cladwell. Addison’s performance as an innocent, wide-eyed woman, combined with her enchanting Disney princess-like voice, was particularly convincing. Their duet, “Follow Your Heart,” created an intimate moment that felt almost like an intrusion. Furthermore, Addison’s lead in the gospel song “I See a River” was nothing short of perfection. Among the standout performances, Jordan Berry as Penelope Pennywise truly shone. Reflected in her Rosie the Riveter look, her cheeky, bold and commanding vocals made her an essential part of the show.
I can honestly say this production featured an exceptional ensemble, whose harmonious singing and synchronized dancing were unparalleled. I would happily watch a production simply made up of the ensemble. Their Les Misérables-esque vibe resonated with the audience, and it was evident that the ensemble remained fully committed to their characters throughout the performance, reflecting a strong bond among them. Their versatility and vocal prowess were especially highlighted in the Act One finale and “I See a River,”. Paul Mepham’s role as Caldwell B Cladwell reflected his vast experience in amateur theatre. Noteworthy mentions include Logan McArthur (Old Man Strong), Tim Selby (Senator Fipp), Bronwyn Dyer’s mesmerizing voice, and Zach Goldmark’s expressive facial expressions.
Choreographer Lauren Oxenhamm merits commendation for her seamless integration of various dance styles, including Broadway, Russian kicks, gospel choir, and ballet. This eclectic choreography not only enhanced the entertainment value of the production but also highlighted the parody and intertextuality of different musical genres. The performance of “Mr. Cladwell” was particularly impressive, and the effective use of stage space in “Don’t Be the Bunny” stood out as noteworthy. It is important to also acknowledge David Lang, the musical director, whose contributions were integral to the success of this remarkable production. The band executed the fast-paced, varied musical styles flawlessly. One of my favorite aspects of Pioneer Theatre is the visibility of the band on stage, which adds a dynamic element to the performance.
I was equally impressed with production designer John “Jack” Goggin's meticulous attention to detail. Goggin fully utilized the multi-level stage and the two platforms on either side, effectively enhancing the thematic divide between the wealthy and the impoverished. The design elements—including exposed brickwork, metal fixtures, steam-punk aesthetics, toilet rolls, bow ties, vests, slides, moving floor sections, and red satin ties—demonstrated his creative vision. I even found myself returning to the performance hall during intermission, captivated by the sound effects that transported the audience underground. Personally, I loved the incorporation of toilet rolls, the slide, and the manila folders!
I highly recommend seeing Urinetown for a laugh at the unexpected, to catch as many clever references as possible, and to enjoy the numerous amusing puns throughout the production.
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