Urinetown has to be one of the quirkiest musicals ever to grace Broadway theatre. It debuted in 1999 at the New York International Fringe Festival, but by 2001 it had flowed (sorry that will be my only bathroom pun, promise) right up to Broadway. It is a wacky potpourri, throwing together political and social commentary, environmentalism, love stories and Broadway musical parodies. Director Jake Groshong somehow is able to have his troops pull the whole thing off in a spirited combined effort from Balagan and Seattle Musical Theatre.
The premise is dark as can be: a severe water shortage has allowed a greedy corporation, UGC-Urine Good Company, to charge fees for using the only toilets left available to the public. And what’s worse, they’re now proposing a rate hike. I imagine this scenario could really have draught-ravaged California audiences squirming in their seats. Opening scenes find disgruntled and uncomfortable citizens waiting in endless lines to get to use the only pay restroom in the vicinity—Public Amenity #9. Officer Lockstock (Doug Willott) delineates the exposition; and yes, he’s paired off with Officer Barrel (Ben Wynant). Urinetown plays with language throughout its two acts. A delightful Tatum Ludlam, as the street urchin Little Sally, often pitches in with the narration, offering a naïve and hopeful perspective on the gloomy proceedings.
The entire tale is told with a sly wink; the show knows it is just a silly musical but they’re inviting us all along for the ride nonetheless. Often the play’s archly ironic approach to the modern musical genre seems to be on the brink of pulling the rug out from underneath itself, but inevitably the show lands on its feet, combining a strong collection of tunes with an intriguing narrative. Mark Hollman Book wrote the music and lyrics with Greg Kotis writing the book and aiding in the lyrics.
Molli Corcoran plays the daughter of UGC’s CEO and Frederick Hagreen is Bobby Strong, a soon to be ex-employee of the firm, ready to become a zealous rebel, fighting to free all the toilets of the city. Corcoran and Hagreen ably drive the bus of this production. Both have Broadway-ready voices, and sound wonderful in their duet “Follow Your Heart. “ Corcoran’s solo in the gospel flavored “I See a River” is a flat out showstopper in Act II. Kate Jaeger offers some fine moments as a stern and loyal UGC employee.
Production qualities are top-notch throughout. Set designer Jared Roberts has done wonders within the constraints of the SMT stage, establishing the foreboding presence of a dystopian metropolis. Tori Spero devised the knockout choreography, most impressive when the play begins to channel West Side Story and Fiddler on the Roof in Act II. A highlight for me was the work of sound designer Michael Connolly and sound engineer Caleb Dietzel. This was the clearest I have ever experienced the audio at the old Magnuson Park venue.
Urinetown runs through August 24 on the Seattle Musical Theatre Stage at Magnuson Park. For more information and tickets go to www.balagantheatre.org or call 206-329-1050.