Review: URINETOWN: THE MUSICAL at Bastrop Opera House

From February 21 to March 9, Bastrop Opera House presents URINETOWN: THE MUSICAL by Greg Kotis and Mark Hollmann as the 4th offering of their 2024-2025 season, an offbeat musical that blends dark humor with social commentary on corruption, class struggle, and the environment. Entertaining an excited, energetic audience, this production showcases moments of creativity and ambition that bring moments of genuine charm, and the clever, self-aware script holds the audience's attention despite some normal opening night mishaps. 

Premiering in 2001, URINETOWN: THE MUSICAL is a satirical production that stands out for its offbeat tone, dark humor, and schtick. Set in a dystopian world where water is scarce and the company Urine Good Company profits off the public’s need to pay for basic sanitation, the show cleverly critiques modern issues such as government corruption, corporate greed, and class inequality while still including popular plot interest points of romance, the little “guy” triumphing (although, do they?), and the innocent wisdom of children. Through its exaggerated characters and wacky plot twists, this musical blends biting social commentary with witty, often irreverent humor, making its audience simultaneously laugh and reflect on the pressing concerns of the real world. The result is a story that is as thought-provoking as it is unconventional, using the unlikely setting of a water shortage to tackle universal themes that remain strikingly relevant.

Based in part on the themes, Jonathan Young, in his directorial debut, writes in his Note From the Director: “Under the laughs, URINETOWN asks pressing questions: What should be privatized, and what should remain public? Where do we draw the line on “rights” when resources are scarce? How are those lines drawn, and who gets to draw them? Is our way of life sustainable? How much authority do we give to law enforcement, and what tactics are we willing to accept  in the name of order? … As we experience our environment changing around us, we see just how fragile access to basic necessities can be. At the same time, the show’s commentary on power, control, and justice continues to resonate as we navigate ongoing discussions about civil rights and law enforcement in our own communities.”

Jason Lucio takes the lead as Officer Lockstock, bringing a mix of humor, sarcasm, and a touch of ridiculousness to the role. His delivery is particularly in the narrative dialogues and in the duet "Cop Song" with Tommy Schell, who plays Barrel. Thomas Kennebeck’s portrayal of Bobby Strong is charismatic, skillfully blending a rugged, justice-driven persona with subtle romantic undertones. Christie Branch brings depth to the role of Hope Cladwell, striking a delicate balance between her character's naive, optimistic spirit and her determination to make a difference. The production also features strong performances from Alexander Surian as Penelope Pennywise, Brad Leonhart as the corrupt Caldwell B. Cladwell, and Erin Renken as the precocious Little Sally, each adding their own unique flair to the ensemble.              

As a large-cast musical, the energy and enthusiasm in the singing were evident, though at times, the harmonies could have been more finely tuned. There were occasional challenges with balancing the choral voices, which slightly affected the overall clarity and impact of the melodies. However, the cast's passion and dedication still shone through in their performances. There were several standout voices in the cast, each bringing their own unique strengths to the production. Kennebeck's powerhouse vocals were not only impressive but also emotionally resonant and tuneful. Branch’s soprano is both lovely and delicate, complemented by her clear and precise diction. Leonhart stands out as one of the finest singers, delivering his performance with strength, maturity, and impeccable enunciation. Surian’s countertenor performance is strikingly unique, adding an extra layer of depth. Additionally, Mike Salvo (Joseph “Old Man” Strong), Judah Lathem (McQueen), Erin Renken (Little Sally), Anik Baker (Little Becky Two-Shoes), and Grayson Croft (Hot Blades Harry) all showcase impressive vocal talents, contributing to the overall musical success with their tuneful and effective performances.

The production is marked by several standout elements, notably the visually striking and versatile stage design. Jacob Layton’s set transforms the space, incorporating a lower platform and elevated loft to create three distinct performance levels, allowing for dynamic and creative staging. The design also effectively captures the gritty, urban environment with its pipes, tunnels, and other elements that evoke the feel of inner-city public works. Brad Wilbourn’s sound design enhances the setting, with a well-executed mix of low tones, cavernous echoes, rumbles, sirens, and street sounds during the pre-show and intermission, immersing the audience in the world of the musical. Kelsey Layton’s costume design complements the characters perfectly, capturing their essence while maintaining a timeless quality that fits seamlessly within the production.

Ultimately, this production of URINETOWN: THE MUSICAL is engaging, energetic, and impresses upon us the importance of water, resources, and balanced solutions to critical ecological issues. I recommend this performance for an entertaining evening in the beautiful town and historic theater of Bastrop. Some cautions for audiences are strobe lights, fog effects, light adult humor, depictions of murder, and aspects fo injustice that may stress some listeners. 

URINETOWN: THE MUSICAL

Book by Greg Kotis, Music by Mark Hollmann, Lyrics by Hollmann and Kotis.

Theater Company: Bastrop Opera House

Venue: 711 Spring St, Bastrop, TX 78602

February 21-March 9, Fridays and Saturdays at 7:30 p.m., Sundays at 2:30 p.m.

Running Time: 2 hrs 15 min, with 1 15-min intermission

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