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You’re in ‘Urinetown’
Theater: The ancient admonition that art should “teach and please” has rarely found a more self-consciously pleasurable and instructive retort than “Urinetown.” The lessons learned? That social and environmental concerns are difficult to balance, and that the commonwealth is not best held in private hands. The sugar-coated package? A musical that borrows liberally, mockingly and without shame from just about every Broadway tradition of the past 50 years.
The material also closely matches the talents and interests of Zachary Scott Theatre director Dave Steakley and his generous team of artists. This time, Steakley did not so much reinvent the show, which opened on Broadway in 2001 after a rapid ascent through New York’s fringe scene, as respect its tune-clanging, tongue-wagging treats. (He was not shy, however, about contributing topical jokes on “Brokeback Mountain” or George Michael.) He was helped immeasurably by newcomer Robin Lewis’ choreography, which added unforeseen dimensions to the dances, as well as Michael Raiford’s bladders-bulbs-and-barriers scenery and Jason Amato’s urine-themed lighting.
We should set up the stringy, underdeveloped story: Severe drought (sound familiar?) has reduced water to so precious a commodity, it is rationed by a major corporation, which controls the public amenities with the help of greasy politicians (more famliar?) and the consent of the huddled masses (well, let’s not exaggerate). Our hero, Bobby Strong, leads a rebellion of the heart, predicated on the seizure of the big boss’s daughter, whom he also loves, Hope Cladwell (yes, the names are jokes, too).
The ensemble is without obvious flaws. As Bobby, David Sattler, another Austin newcomer, radiated integrity, capability and good looks (he even had a Jake Gyllenhaal-in-“Jarhead” thing going on). Tried-and-true Jill Blackwood, playing Hope, once again was cast as a sweet young thing, but with killer asides and deadpans. She finally took her Amneris turn in “I See a River.” Meredith McCall channeled her inner Patti LuPone as the melodramatic urinal-keeper Penelope Pennywise, while Marc Pouhe exalted in every move as the corrupt Mr. Cladwell. Narration is crucial to this show; it’s shared by Fosse-fied Jamie Goodwin as Officer Lockstock and Stephanie Elbel as Little Sally, who speaks the best line about this unhappy musical, “But the music is so happy!”
I can’t believe, however, that, in 2006, I’m still complaining about the sound system at Zach, which amplified every ambient breath and shuffle, while flattening Mark Hollman and Greg Kotis’ delectable harmonies.
Unhappy — and important — the subject matter may be, but it’s hard not to leave the theater singing aloud the proud title of this uncannily titled show.
Permalink | | Categories: By Michael Barnes
