SALT LAKE CITY – Playing to a Salt Lake City audience at the George S. and Dolores Doré Eccles Theater downtown must be simultaneously unnerving and exhilarating for the cast of The Book of Mormon musical directed by Jennifer Werner. Although the show debuted in 2011 on Broadway, touring through Salt Lake City seems both highly apropos, and highly inappropriate at the same time—which is also an apt description of the show itself. With book, music and lyrics by Trey Parker and Matt Stone (creators of South Park), and Robert Lopez (creator of Avenue Q), the irreverence of this production is hardly surprising.

The show follows the story of two young and naïve missionaries from “The Church of Jesus Christ… of-Latter-day-Saints.” as they seek to spread their faith in a small Ugandan village where, unsurprisingly, nothing goes as they anticipate. Sitting in the lobby before the show began, I was surprised—though I probably shouldn’t have been, by the number of audience members who arrived wearing what were likely their own Mormon missionary nametags (some even sporting bike helmets) for the photobooth, making the event feel a bit like a reunion of disaffected returned missionaries. I imagine the presence of a number of patrons who are former missionaries, myself included, who know personally what it is like to serve a mission for the Church of Jesus Christ of Latter-day Saints, is another element and energy unique to a Salt Lake audience.

Scott Pask’s set design includes the stage’s proscenium which is framed with cartoony gothic and stained glass details, with a golden replica of the Angel Moroni statue at the apex, reminiscent of the Salt Lake Temple of the Church of Jesus Christ of Latter Day Saints. When a backdrop appears with a beautifully painted mishmash rendition of Salt Lake City, the temple dominating the center, the local audience responded with applause—my only wish was that they had updated the image to the “temple in chains” as it currently exists in its prolonged reconstruction phase.

Book of Mormon ; National Tour ; Eccles ; Broadway at the Eccles ; 2025 ; SLC ; Salt Lake County

PC: Julieta Cervantes.

Numbers like “Sal Tlay Ka Siti” have particular resonance and irony as Nabalungi, a lovely Ugandan girl, played beautifully by Keke Nesbitt, sings with innocent naivete about how she knows she will be accepted and will fit right in in Salt Lake City where “no one there will judge you or care where you have been.” Later in the show, Nabalungi realizes she won’t be going to Salt Lake City, and another character has to explain to her that “Salt Lake City is not a real place, it’s a metaphor”, winning resounding laughter from the Salt Lake audience who understand the odd veracity of that statement.

In the very first scene, we are treated to a brief introduction of the history of the restored Gospel of Jesus Christ, with a page taken from the faith’s own theatrical roots in religious pageantry, mimicking the expansive melodramatic gestures and lip syncing to a canned soundtrack that were hallmarks of the Hill Cumorah pageant presented for many decades in upstate New York. This, and other moments of well dramaturged imitation support Parker and Stone’s claim that they wrote the show as an affectionate tribute to their Latter-day Saint (colloquially “Mormon”) friends—which makes me glad I’m not their enemy. This tribute does shine through in notable moments where the script highlights the sincerity and dedication common of young missionaries — even to a fault.

I was unprepared for the stereotyping of the African village and villagers. Though this is clearly a statement about the stereotypes promulgated by well-meaning white folks, especially as they participate in the white-savior trope, it nonetheless made me uncomfortable. I think that is the point. This production excels at forcing its audience to let down its guard through comedy just enough to insert some disturbing truths to contemplate.

The choreography by Jennifer Werner (with original choreography by Casey Nicholaw) is fantastic—the juxtaposition of squeaky-clean, nametag-clad elders dancing tight choreography in big Broadway showtunes is a delight. From the showy missionary tap dance in “Turn It Off” to the “I am Africa” post-conversion anthem, I just couldn’t get enough of the dance numbers.

Book of Mormon ; National Tour ; Eccles ; Broadway at the Eccles ; 2025 ; SLC ; Salt Lake County

Book of Mormon: The Musical plays as part of the “Broadway at the Eccles” series through January 26. | PC: Julieta Cervantes.

The technical elements of the mind-blowing, psychedelic dream ballet “Spooky Mormon Hell Dream” were phenomenal. Costume design in this number by Ann Roth includes an entire chorus of demons wearing red and black striped onesies with black neck ties, tails, and pitch forks, with guest appearances by the likes of Jeffrey Dahmer, OJ Simpson, Hitler, and giant dancing cups of coffee. And Lucifer; with 8-foot dragon wings, creepy giant hands, and an electric guitar. The show’s soft-spoken blonde Jesus, played by Trevor Dorner, makes another brief appearance in Hell Dream—just to tell Elder Price that even Jesus thinks he’s a dick. 

The cast is extremely strong all around, as actors but especially as vocalists. Stand outs are Sam McLellan as Elder Price, whose solos “You and Me (But Mostly Me)” and “I Believe” are vocally phenomenal. Diego Enrico as Elder Cunningham is sincere, loveable throughout, and kills it in “Man Up”. Lamont J. Whitaker as Mafala Hatimbi is endearing and commanding. Jarret Martin as the Doctor is hilarious. Craig Franke also gives a charming performance as the closeted gay Elder McKinley. The entire ensemble is outstanding, with notable vocal performances by Kemari Bryant and Jewel Noel.

Book of Mormon ; National Tour ; Eccles ; Broadway at the Eccles ; 2025 ; SLC ; Salt Lake County

PC: Julieta Cervantes.



In many ways The Book of Mormon isn’t just a scathing mockery of a specific faith (though it is that), it is also a commentary on the apparent absurdity of religion and faith generally. However, it is also a surprising tale of the power of belief and story to elicit change in people. Elder Price sings about believing without thinking in the unusual tenets of doctrine, culture and lifestyle within the Church of Jesus Christ of Latter-day Saints. The audience watches later as belief in a story even more absurd, transforms the lives of the villagers and the missionaries in a positive way in the end. I see this not as an outright dismissal of religion and its seeming implausibility, but as an endorsement of belief in the stories that can change us for the better, despite, and perhaps because of their inherent unbelievability.

Salt Lake audiences have a complicated relationship with the local dominant religious culture. This outlandish and biting parody of Utah’s predominant faith pulls no punches. Having grown up here, as part of the dominant culture myself, yet possessed of a healthy sense of humor, robust self-awareness, and a very thick skin, I thought I was well prepared for the limits pushed and license taken that this show is famous for. And yet, I was not fully prepared for just how far the show leans into profane irreverence to maximize the humor. Every time I thought it couldn’t get any more outrageously vulgar, somehow it did, in the best and worst possible ways. This culminates in the riotous “Joseph Smith American Moses” number where the villagers present with great sincerity and pride, the absurd and uproarious revisionist version of Book of Mormon history that Elder Cunningham had spun them. The creators are not known for restraint in their comedy and The Book of Mormon is no exception. The show leaves no stereotype unexploited, no joke un-milked, and no caricature unexplored. This musical is not for everyone. It is packed full of profanity, vulgarity beyond innuendo, and mockery of anything sacred. But if you don’t mind a bit (or a lot) of all that, it is a riotous good time.

The Book of Mormon plays through January 26 in the George S. and Dolores Doré Eccles Theater (131 S. Main Street, Salt Lake City). Tickets start at $119. For more information, visit www.saltlakecountyarts.org
Editor’s Note: Revisions have been made to properly credit the director, choreographer, and the original choreographer.

These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.