KAYSVILLE — Urinetown has a title as absurd as its premise: a dystopian future where private toilets have been outlawed and citizens must pay a fee to use public amenities controlled by a corrupt corporation. Created by Mark Hollmann (music and lyrics) and Greg Kotis (lyrics and book), it sounds less like a Tony Award-winning musical and more like an elaborate inside joke; and yet, somehow, it works.
The Silver Cast production of Urinetown at Hopebox Theatre certainly understands what is at the heart of this show. Director and choreographer Jim Christian leans into the campy ridiculousness, while never losing sight of the show’s classical musical theatre structure or its razor-sharp satire. The result is a production both thoroughly entertaining on the surface and surprisingly effective underneath. Christian uses the Hopebox’s intimate performance space exceptionally well. With minimal set pieces, the focus remains where it belongs: on the actors and the story. The staging feels dynamic without feeling cluttered.
Among the standout performances of the evening was Dylan Watson as Officer Lockstock. Watson has a tall, broad frame and possesses a commanding baritone voice that infused each line with ominous cynicism. His greatest comedic weapon was a particular glare on his face. He would lift his chin while pulling an exaggerated frown, widen his eyes, and peer down over his mustache to create the absolute embodiment of an “evil glare.” It was caricature at its finest and landed every time.
Watson’s physical presence was also utilized brilliantly through his partnership with Kaltin Kirby’s Officer Barrel. Watson’s imposing height contrasted perfectly with Kirby’s short stature, and Christian capitalized on the visual disparity for maximum comedic effect. Kirby provided a perfect contrast and compliment in the duo of Lockstock and Barrel.
Sean Bishop and Allie Hogge anchored the production as Bobby Strong and Hope Cladwell. Their voices blended beautifully during the intentionally over-the-top love songs, grounding the satire with genuine sincerity. Bobby’s earnest idealism and Hope’s optimistic naivete provided the emotional core necessary for the story’s more biting commentary to resonate.
Jim Dale’s Caldwell B. Cladwell was another highlight. His performance during “Don’t Be the Bunny” was deliciously sinister, particularly when the lighting shifted into blood-red gels as Cladwell enthusiastically described eliminating cute, fluffy bunnies. The moment perfectly captured the show’s ability to present horrifying ideas wrapped in cheerful theatricality. Dale occasionally struggled with clarity during the Act I finale, but overall delivered a thoroughly enjoyable performance.
Morgan Richards charmed as Little Sally. Costumed in a dirty ruffled dress paired with Mary Jane shoes, Richards employed a baby voice that heightened both the humor and pathos of the role. Her delivery during the song recounting Bobby’s words was especially memorable, balancing innocence with the show’s trademark absurdity.
The supporting cast strengthened the production and added strong character work to each role of the ensemble. Elizabeth Rossander’s Penelope Pennywise brought authority and humor to the role. Rossander’s belting was impressive and her flirting moments with Cladwell were very funny. I also really enjoyed Jack Dwyer’s character of Hot Blades Harry. Dwyer had a crazed look in his eye and kept licking his lips and darting out his tongue like David Tennant’s character Barty Crouch Jr. in Harry Potter and the Goblet of Fire. This was again a very powerful use of caricature that really works. The other cast members give strong performances individually, and overall the ensemble was very cohesive.
Musical director Whitney Cahoon deserves praise for the polished vocals throughout the evening. The ensemble sounded tight and confident, with harmonies consistently landing. Particularly impressive was the Act II opener, “Run, Freedom, Run,” which featured a beautifully executed a cappella section led by Sean Bishop as Bobby Strong.
The costume team, Shelbi Raynor with Savannah Neumann and Rachel Miller, also contributed significantly to the storytelling. The visual distinction between the haves and have-nots is immediately apparent, further reinforced by the set design by Tanaya Ropp. One particularly effective design choice involved Caldwell B. Cladwell’s environment. Cladwell appears in a light blue suit accented by a gold paisley tie, and the rolling wall unit that defined his corporate space mirrors those colors perfectly. Complete with white chair rail, soft blue walls, and elegant gold flourishes, the set extension visually reinforced Cladwell’s cultivated image and power.
Ultimately, Urinetown succeeds because it embraces contradiction. It asks audiences to accept an utterly ridiculous premise dialed up to eleven while simultaneously presenting it through the familiar framework of the American musical. It entertains with broad comedy, catchy tunes, and exaggerated villains. Then quietly challenges us to examine our own tendency of flattening complicated issues into easily digestible narratives and unrecognizable straw men. In a world where I feel absurd simply from opening the news on my phone as pundits constantly call for crucifying the crook of the week, I’d prefer suspending disbelief at a show for a bit. Then I can at least return to the task of life with a sense of humor about it all.
Hopebox’s Urinetown delivers a fantastic example of well-done community theatre, and as always, they uphold their mission of “bringing hope to families battling cancer through the performing arts.” This production’s Wall of Hope Recipient is Carla Avis. I recommend this show to all theatre patrons. The title might be unsavory, but it is a very family-friendly show.
MORE INFO: Urinetown plays through July 3rd. All performances are at the Hopebox Theatre located at 1700 Frontage Road in Kaysville. Tickets are between $18 – 25. Visit https://www.hopeboxtheatre.com for more information.
This production is double cast and this review is of the Silver Cast. A review of the Teal Cast is posted at Hopebox Teal Cast Hits the Mark with URINETOWN. As the two performances are attended by two different reviewers, each review provides a unique perspective and critique on the production’s common elements in addition to reviewing the different casts.