BWW Reviews: URINETOWN, St James Theatre, March 8 2014

It's taken 15 years since opening on Broadway, but URINETOWN, directed by Jamie Lloyd, has finally hit London with quite a splash. This dystopian satire has sell-out crowds cheering at the stylish St James Theatre in Victoria.

Officer Lockstock (Jonathan Slinger) acts as narrator for this very self-aware show, full of nods and winks to the tricks of the musical theatre trade. With the help of down-and-out townsgirl Little Sally (Karis Jack) he introduces us to a city wrecked by drought, now under the control of a corrupt corporation that has privatised the right to pass urine. And to ensure everyone pays their way - wrongdoers are exiled to Urinetown - a place Lockstock promises us we'll see in Act Two.

As the fees continue to rise, and custodian Penelope Pennywise (Jenna Russell) shows no mercy, the townspeople, led by assistant urinal custodian Bobby Strong (Richard Fleeshman), prepare to revolt.

Using a trick reminiscent of An Inspector Calls, Soutra Gilmour's elaborate set puts the underclass on the ground and raises the elite above the action on a steel balcony. Up above, at the headquarters of Urine Good Company, we meet Caldwell B. Caldwell (the excellent Simon Paisley Day) and his team of corrupt senators and officials all dreaming of the one big pay-off that'll let them escape to Rio.

The set, centred around a dark, dank industrial Public Amenity #9, is impressive, but swamps the small and heavily raked theatre. It gives the impression they've already got one eye on a West End transfer.

This is a fun show, with more than a little hint of pantomime (who says the Americans don't get it). There are some great musical numbers, given a real comic lift by the talent of Russell and Slinger. You'll leave the theatre with Urinetown running through your head - and Privilege to Pee is expertly delivered, with Ann Yae's witty choreography taking centre stage.

The second act also manages to really get the audience going, with Fleeshman having the time of his life singing the naïvely optimistic Run Freedom, Run, although some of his songs do seem a little high, and it's clear he's so much more comfortable when they come down just a little.

URINETOWN is good silly fun, just sitting on the edge of self-indulgence, even if it doesn't always manage to stay on the right side of the line. There's a feeling that it loses its courage when it threatens to take on a very dark tone as we learn more about Urinetown but then pulls back from the brink. But ultimately the strong score and energetic performances mean audiences won't be disappointed. URINETOWN won't be flushed down the sewers any time soon.

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