Urinetown review at the Hayes Theatre

URINETOWN: THE MUSICAL
Hayes Theater, January 13

Until February 5th
★★★★

This production of urine city extends the current Golden Run of Theater in Sydney. The direction, choreography, music, design and lighting are all sharp enough to injure someone, and most performances grab you like crossed legs when you have a full bladder.

We all know that there is a degree of stupidity in the whole idea of ​​musical theater, but we all agree to ignore that and get on with the business of entertainment. urine city sets out to remind us of the silliness and cheerfully shows broadcasts from Les Miserables to Westside Storywhile more radically mocking itself as it goes on.

Urinetown doesn't have any big stars, but it's perfectly cast.

Urinetown doesn’t have any big stars, but it’s perfectly cast.Credit:Phil Erbacher

Mark Hollman (music and lyrics) and Greg Kotis (book and lyrics) brought the play to a world unaccustomed to urine being a theatrical subject in 2001. “I don’t think too many people want to see this musical. says the fabulous creation Little Sally is late in the show. “And the title is terrible!”

You have to admit she’s right, but once you’ve seen it, you realize the creators didn’t have a choice about the name. For everyone who hasn’t slipped on the tiles yet urine city It used to be discontinued when an endless drought has made water so scarce that flushing has become a paid luxury. A company called Urine Good Company makes a motza of having privatized all public toilets, putting the poor in an insidious position because it is a serious crime to go anywhere other than these facilities.

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While this all sounds a bit grim, the story unfolds with all the crazy insouciance of a cartoon. The dead keep turning up, and in a cute twist, it turns out that the arch-villain had the most grip on environmental politics. But the show has two small cracks in the china: a tendency for splashes of student humor here and there, and the fact that when Broadway musicals are broadcast, the music has to follow a tradition that prevents it from being as original as the concept.

Nonetheless, the script is dizzyingly clever, and this Canberra-based Heart Strings Theater co-production, scathingly directed by Ylaria Rogers, ticks all the boxes, emphasizing that cleverness and squeezing out every drop of comedy, supported at every turn Brilliant choreography by Cameron Mitchell.

Rogers’ troupe does not feature any major stars of Australian musical theater, yet all the roles are ideally cast and there is another startling performance everywhere you look. Joel Horwood stars as the protagonist of the boy next door, Bobby Strong, who would seem incredibly naïve and innocent were it not for his love interest, Hope Cladwell, the vanishing point on the horizon of the entire Tienen concept of genius and sparkling humor realized by Petronella van. Natasha Vickery is a consistently hilarious Little Sally, and she’s equal in quality to Deanna Farnell’s Pennywise (the toilet attendant) and Karen Vickery’s gender-swapped Lockstock, the cop on the hunt who cheerfully tells us she’s safe because she is also the narrator. Max Gambale and Joe Dinn complete the lead roles.

https://www.smh.com.au/culture/musicals/think-musical-theatre-is-silly-wait-until-you-see-urinetown-20230114-p5cchm.html?ref=rss&utm_medium=rss&utm_source=rss_culture Urinetown review at the Hayes Theatre

Jaclyn Diaz

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