Review: URINETOWN at Phantom Theatre Company

Almost everyone in the English-speaking world is familiar with the phrase, "One man's trash is another man's treasure." However, at URINETOWN: THE MUSICAL, presented by the Phantom Theatre Company, they've taken this adage quite literally, and have transformEd Harrisburg's trash into their own musical treasure.

The show was first produced on Broadway in September 2001 at Henry Miller's Theatre, and features music by Mark Hollmann and a book by Greg Kotis, with both men receiving credit for the lyrics. The original production was nominated for nine Tony Awards in 2002, and walked away with the awards for Best Book of a Musical, Best Original Score, and Best Direction under their belt. Phantom Theatre Company's creative rendition of the show, directed and choreographed by Ryan Hazelbaker, strings together elements of comedy and social commentary through fantastic performances and an original, eco-friendly set. It's a treat for anyone looking for a show that is unafraid to employ satire and poke fun at the endless tropes of a classic Broadway musical.

Before the actors themselves even grace the stage, the audience is greeted by Hazelbaker, and learns through him that the set and costumes they see are constructed almost entirely of donated recycled materials. Reused pieces of cardboard and small boxes are stacked about the stage to form several set pieces, and the costumes have given old couches and broken zippers a new life. This URINETOWN has been built with help from the Harrisburg community, and this unique design serves to add to the element of poverty and uncleanliness of a world that has been shocked by a twenty-year drought. As a result, water consumption is carefully monitored by the powerful (and cleverly named) Urine Good Company, and citizens must pay to use public amenities or are taken away to a place that the public only knows as Urinetown. The show thrives on comedic timing and the acknowledgement of the characters that they are in a musical and must act accordingly. URINETOWN is, at its core, the common tale of oppression, but it focuses on an aspect of life not typically emphasized. After all, when does anyone in a musical ever use the bathroom?

The performances given by both the principle cast and collective ensemble are certainly worthy of acclaim. The satirical nature of this show is one that lends itself to a purposely over-exaggerated style of acting that could easily fall flat if not done correctly. However, this was no problem for the cast of URINETOWN, as they were easily able to create characters that fit the classic tropes of the brave hero, beautiful love interest, all-powerful ruler, and righteous upholder of the law while also maintaining an element of self-awareness that they were, in fact, merely characters in a musical. Nik Olson's Bobby Strong was the perfect embodiment of a typical Broadway protagonist: popular, distrustful of authority, rebellious, and a natural leader. He wants to fight the powers that be in order to avenge his father, who was taken to the ambiguous Urinetown after refusing to pay to pee. Olson, along with a spectacular voice, creates a Bobby that is purposefully and humorously dramatic, and uses a wide array of facial expressions and big movements in order to convey this drama. He donned an air of both inspiration and a bit of ridiculousness with his character that was incredibly fun to watch, and was at his best in "Look at the Sky" and "Run Freedom Run."

This tactic is also seen through the ensemble, who have taken Hazelbaker's precise and difficult choreography and made it truly impressive to watch. Each member of "The Poor" brought a combination of physical humor and energy that made them just as fun to see onstage as the rest of the featured cast. While they all had their own unique characters, it was very clear when they all shared the stage that they knew how to cooperate with and play off of one another, especially evident when witnessing their synchronous group choreography. They truly worked together as a unit, but were also given moments to shine on their own, especially during rambunctious numbers such as "Snuff That Girl" and "We're Not Sorry."

Carly Lafferty and Dustin Leblanc are Hope Cladwell and her father, Cladwell B. Cladwell, respectively, and both deliver outstanding performances. Lafferty's Hope was a spectacular blend of the ditzy schoolgirl, the devoted daddy's girl, and the adorable ray of unfiltered optimism. She very clearly saw the beauty of everyone and everything around her, and since being first introduced was hardly ever seen without a smile on her face. Her character fit the classic role of Obvious Love Interest, but Lafferty effortlessly conveyed Hope as a girl who, once so sure of her loyalties, begins to feel conflicted when faced with the choice between her father and her new feelings for rebellion leader Bobby Strong. She showcased both her acting and vocal range in the delightful number "Follow Your Heart" as well as "I See A River." As Hope's father and the head of Urine Good Company, Leblanc crafted a very authoritative and horribly selfish Cladwell B. Cladwell. He was unafraid to use "whatever means necessary" to achieve his ends, and while he clearly cared for his daughter, he had no qualms when it came to showing her the world for what it was. He was enjoyably pompous and assured of his place on the social ladder, displaying this very well in "Don't Be the Bunny."

Another outstanding performance came from Samuel Rene Damare as Officer Lockstock, a police officer in charge of seeking out those in violation of the water conservation laws while also serving as the narrator of the story. He thrived on swagger and commanded attention whenever he took the stage. Damare's Lockstock, while being slightly crazy, took on the characteristics of omnipotent and righteous, wanting to do what was best for the community while also enforcing the rules with an iron fist. However, his character also took on a bit of charm as the narrator, especially seen in his relationship with Little Sally (Georgea Hall) as he explained to her the conventions of a musical and how things are done in the theatre. His voice and dancing ability are truly commendable, and his comedic timing and subtle humor was some of the best in the show.

Notable performers also include Chole Acquaviva as a gruff yet ultimately caring Penelope Pennywise, the warden of the worst public amenity in town. Her talent was displayed very well in "Privilege to Pee," and she continuously employed a unique kind of physical humor that was incredibly amusing while also developing her character considerably throughout the show, especially when a large secret regarding her true identity is revealed. In addition to Acquaviva was Georgea Hall, who took on the role of Little Sally. She cultivated just the right amount of naivety and cleverness to create a co-narrator alongside Lockstock who served to point out flaws in the musical's logic while also taking part of in its proceedings. She worked well with Damare's Lockstock to make an essentially likable character that made the audience think about the world of both the musical and that of the one right outside the theatre's door. In fact, the entire production ultimately served this same purpose.

Phantom Theatre Company's URINETOWN: THE MUSICAL was an impressive feat of talent and social commentary. While the musical itself speaks of class divides, wealth and poverty, oppressive government, and responsibility, this company did a fantastic job of combining these themes with a fun brand of outrageous comedy that kept the audience laughing for a full two hours. They made it possible to enjoy the humorous elements of the show while also recognizing that many currently relevant issues were being discussed. In fact, one particularly amusing touch was the "Make America Pee Again" sign displayed in "Act One Finale" just before intermission. While the sound was occasionally a bit spotty at times, it was impossible to miss the the pure and simple fun that the cast transferred from the stage to the seats below. URINETOWN was unapologetic and thought-provoking, and flushed away any previous expectations.

Presented by Phantom Theatre Company at the Pennsylvania State Museum through December 3rd. Next will be REEFER MADNESS. Visit phatomtheatrecompany.org.

Photo Credit: Alexandria Fazzolari of Lexi Lynn Photos

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