GENERIC THEATER PRESENTS
PROVOCATIVE -- AND HILARIOUS -- URINETOWN
Theater Babe Says: Overlook the Off-Putting Title and Go . . . If You're Prepared for a Non-Traditional Musical
Maybe you're dubious about spending your hard-earned cash and even more valuable time watching a show in which the plot turns upon humanity's universal need to empty its bladder. Understandable, but to relegate Urinetown, the Musical to its most superficial level and dismiss it due to its lamentable title ignores the show's satiric intent – and, in case of the Generic Theater's current production, would cause you to miss some excellent performances by some very fine actors.
Set in "a Gotham-like City" during a period not unlike the present day that follows a 20-year drought, Urinetown tells the story of a community in which the water shortage has become so severe that all private bathrooms have been eliminated. All amenities are owned by a mega-corporation, UrineGoodCompany (a/k/a the "UGC"), which charges everyone a not-insubstantial fee to utilize their facilities. Ostensibly to preserve the minimal water supply and allegedly in the interests of public health, it is illegal to relieve oneself anywhere except at the UGC amenities. The corrupt legislature, unseen but for the role of Senator Fipp who symbolizes all that can possibly be wrong with representative government, sanctions UGC's practices – dictated by the UGC's CEO, Caldwell B. Cladwell. "Urinetown" is not the "Gotham-like City" in which the story takes place, but is rather the mysterious destination to which those who refuse to abide by the stringent restrictions upon fundamental bodily functions are exiled. Havoc erupts when Bobby Strong, the assistant manager at Amenity #9, permits everyone to utilize the facility for free and instigates a proletarian revolt that ignores the inevitable consequences of failing to preserve finite resources. Further complications arise from the Romeo-and-Juliet-esque romance between Bobby and Hope Cladwell, the daughter of UGC's CEO and a recent graduate of The Most Expensive University whose education only enables her to land a job as the fax/copy girl at her father's company.
In addition to satirizing (among other things) corporate greed, legislative lethargy and overpriced educations that produce inept graduates, Urinetown parodies not just the musical genre in general, but many classic musical moments, from Busby Berkeley's lavish production numbers to "Cool" from West Side Story. Here, director Brendon Hoyle does a good job of assembling a cast and production team that capitalizes on the show's complexities. And if this show entertains without really engaging the audience – we are amused and interested in its inherent cleverness, but never really care about the characters – that is perhaps more the result the material itself than anything attributable solely to this production; the work uses flat, stock characters to cynically expose the flaws of each side of the philosophical debate underlying the crisis without suggesting a solution and mimics/mocks well-known musical numbers and styles without creating anything truly new.
As Bobby Strong, Matt Polson displays a strong voice well-suited to the considerable demands of the role and we see his internal struggle and ultimate decision to rebel. Camille Robinson has a gorgeous upper register and a satisfying belt displayed to advantage particularly during the first part of "I See a River." Her portrayal of Hope Cladwell is one-dimensional, however, and although Mr. Polson skillfully attempts to generate tenderness during their romantic encounter, Ms. Robinson's response is unconvincing and squanders the opportunity to invest the material with any real emotion.
Christopher Kypros as the evil CEO Caldwell B. Cladwell is creditably shrewd and calculating. His diction when he sings is not always as clear as one might wish, but his rendition of "Don't Be the Bunny" – brought to life by the ensemble's energetic execution of the amusing and appropriate choreography by Cami Walton – is one of the show's highlights.
As Little Sally, Rachel Sullivan is consistent and convincingly young. AJ Friday's depiction of Officer Barrel is maybe too broad to perfectly mesh with the more restrained but no less comedic performances of his fellow actors, but it undeniably elicits several belly laughs. Caitlin Voigt gives a riveting performance as Little Becky Two Shoes, and infuses the relatively minor role with a compelling strangeness that commands attention without overshadowing the other actors. "Snuff That Girl," Ms. Voigt's duet with Garney Johnson (Hot Blades Harry), is outstanding.
The Theater Babe only regrets that the number was diminished by what hopefully was a momentary lapse in judgment by one of the crew. At the beginning of the dance break, one member of ensemble accidentally kicked off a shoe, and it sailed into the audience, caught by a surprised but unharmed gentleman in the third row. Rather than waiting until the end of the song, a well-intentioned crew member clambered down the aisle, then crouched, rooting around under the seats looking for the shoe until someone pointed out that the gentleman had it. The crew member then whispered to the gentleman, who handed it to her, but not before she created unnecessary commotion and inadvertently diverted the attention of more than half the audience to herself -- and away from the hard-working performers on stage.
The standout performance of the evening is unquestionably John Mark Bowman's portrayal of Officer Lockstock. Displaying impeccable timing, a consistent ironic but not displeasing speech pattern and a remarkably rich singing voice, Mr. Bowman's memorable performance alternately pushes the plot forward and conveys the exposition necessary for us to comprehend the show's context. Throughout the show, he successfully breaks the fourth wall without breaking character, inviting us to share in the fun.
As a whole, the ensemble (often comprised both of principals in different costumes and chorus members) have a fantastic collective sound. Music Director Cathy Francis achieves an excellent blend of strong voices in which the harmonies are uniformly well-balanced, and while the cast's diction is often muddy during the polyphony, it is simply a pleasure to hear them sing.
The set, designed by Shane K. Stelly, is beautifully ugly. (It is, after all, the outside of a public restroom in the poorest end of town.) Its multiple levels are effective, well-utilized by Mr. Hoyle's blocking, and strikingly lit by B Butterbaugh. Costume Designer Ryan Ward successfully depicts the ongoing class warfare through his choices of fabric and colors. The overall look of the production is impressive and silently reinforces the tone of piece.
Bottom line? Urinetown is different and thought-provoking, but it's not for everyone. For example, if you can't get past the distasteful title or lyrics like "It's a Privilege to Pee," this probably is not the show for you. But for those who are willing to set the superficial foulness aside and focus on the satire and the splendid performances that these talented actors deliver, it is indeed worth the time and ticket price.
Performances run thru September 23rd
Thursday – Saturday at 8 p.m. and Sunday at 2:30 p.m.
at the Generic Theater
215 St. Paul 's Boulevard, Norfolk , Virginia
(under Chrysler Hall – access through lower level of parking lot)
Tickets are $18 with discounts for students, seniors and military.
Reservations can be obtained by calling the box office at (757) 441-2160
© 2012 Hampton Roads Theater Babe. All Rights Reserved.
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