Urinetown – The Comedy Musical

Reviewed by Holly Bartges

WHAM! BAM! KALAMAZAM!!! Urinetown, the comedy musical arrived at Wastewater Management with Batman wings. That’s Urinetown, not the city, THE MUSICAL, a point made frequently by Officer Lockstock brought to hilarious life by Geoffrey Kent with wham bam gestures and kalamazam eyes punctuated with a sharp turn to the audience.

Michelle Merz as Hope Cladwell and Zander Meisner as Bobby Strong from Urinetown – The Comedy Musical. Photo by Michael Ensminger

What a slam-dunk idea, to produce the Broadway smash hit three-time Tony Award-winning Urinetown at Wastewater Management. At first the City of Denver didn’t think it was such a great idea. After Mayor Hickenlooper got behind the project, and the Powers-That-Be had time to mull over the possibilities, it became an idea whose time had come and nothing or nobody was going to stop it. Casting wasn’t a problem. Director/Producer Dan Wiley fielded 124 actors who turned out for auditions. Following the opening night performance, he said he could have cast the show twice. Well, maybe he should.

At the moment Denver remains free of drought, although conservative caution blazes across the skies. As demand for water continually increases, the demand for thoughtful conservation snuggles in close for a not so playful nip at the heels.

Energy generated by this top-flight electrified professional cast could run Wastewater for six months, that is, if the energy could be contained, but lightening bolts determine their own course of action avoiding high fences. Containment doesn’t run through lightening bolts DNA.

In an auditorium that probably has never seen a full-fledged production company, the cast and crew jerry-rigged lights, gave it a professional air with an appropriate set on the small stage, set up folding chairs, and grabbed Urinetown, not the city, THE MUSICAL by the throat allowing the thunderous magic-free rein, the likes of which is difficult to believe any cast, anywhere, anytime could come close much less match the quality. Amazing, when someone wants to do something so badly they can taste it, obstacles only become intriguing challenges.

Following the opening night’s show, Lorrin Dyer, stage manager and light operator, rolled her eyes, smiled a sigh of relief that this was the hardest show she has ever worked. That’s the voice of experience telling an incredible story right there.

A small town in the middle of a severe 20-year drought separates the Have’s and the Have Not’s through the charm drenching spiteful money hungry Caldwell B. Cladwell deliciously played by Robert Sanders. The water shortage has made private toilets unthinkable. Public amenities (toilets) are provided. Everyone has to pay to pee. (You can bet your bottom dollar Caldwell doesn’t have to.) The public amenities are managed by the Urine Good Company known as UGC, run by the slick wealthy Caldwell.

Drastic laws oversee that everyone abides and anyone who dares to break the laws, gets sent to Urinetown never to be heard from again.

Office Lockstock and Little Sally open the show by welcoming the audience with “Too Much Exposition” and “Urinetown.” Cute, cuddly, adorable, Genevieve Baer engulfs Little Sally with her lovesick eyes clinging always to her stuffed rabbit.

In the poorest section of town sits Public Amenity 9 managed with intense scrutiny by Penelope Pennywise with Bobby Strong as her assistant. Jessica Gisin-Mosley takes Penelope for a wild bushy haired ride looking as though she has been stuck in a tornado for as many years as the town has been centered in a draught. Obedient to her job she must make sure everyone who uses Public Amenity 9 gives her the exact change. No exceptions no matter how dire the circumstances. Gisin-Mosley gives Penelope magnificent, power, strength all frazzled in her frizz.

Bobby however is a different animal. Zander Meisner plays him with his heart on his sleeve, a born romantic, a defiant rebel, a revolutionary with a cause after his father, Old Man Strong (Mark Pergola) defies the system and pees right there in front of Penelope and everyone.

A romantic twist has to come into play, especially for someone like Bobby. The object of his affection just happens to be Caldwell’s innocent beautiful daughter, Hope, who has just been hired at UGC as a fax/copy girl. Of course in Broadway tradition, when they first meet, when the love bug bites, neither one knows who the other is. Ah, the fanciful plot thickens. Michelle Merz grows Hope from the satisfaction of being beautiful, thrilled to be home working as a fax/copy girl, idolizing her father, to an independent woman of fortitude, eager to take on any cause. She does, with good reason.

Lori Hansen’s caricature of the uptight, frozen running her train on her own track Senator Fipp is hysterical in more ways than one. When her tracks get crossed, Hansen’s Fipp becomes a train wreck waiting to happen.

The cast fills the musical notes leaving no power behind to the raucous, rambunctious, melodic songs: “It’s A Privilege To Pee, Mr. Caldwell,” “Follow Your Heart,” “Look At the Sky,” “Don’t Be A Bunny,” “Run Freedom Run,” “Tell Her I Love Her,” and “I See A River.”

Supporting the lyrical songs, the band — under the music direction and keyboards of the exciting Amanda Farnsworth; Michael Weaver on clarinet/bass clarinet/alto sax and tenor sax; Stephen Gehring on bass/trombone; Scott Alan Smith on bass; and Mark Emmons on percussion. Every blood vessel in the entire room kept time with the band in voluntary exaltation in fun; frolic, on an understandable serious bent.

Juliana Black supplied the creative innovative choreography designed for this cast to shine, and shine they did.

Rebecca Spafford outdid herself in dressing the cast for their specific roles. Goodwill must have been happy to see her flaunting the ridiculous to the sublime, separating the Have’s and the Have Not’s, pinpointing corruption, greed and desperation.

The plot turns and twists with expectation riding along side of the tornado twirling Penelope. The Good get knocked out of the saddle, the Greed gloats. Tables get turned, and then turned again, and turned once more for good measure all with tongue in cheek, exaggerated movements, and sharp tactical side jokes that sneak up on the playful staging.

The large smart brilliant cast includes: Heather Larson, Phil Rosenberg-Watt, Jack Wefso, Mare Trevathan, Joyce Cole, Brityn Martin, and Step Pearce. All have their moments. All stand out even when all 15 actors/dancers/singers find their way on the small stage. Eyes need to be sharp and clear to catch the various nuances. Surprise would be lost to point them out.

Stuart Barr and Wiley designed the very effective set turning the stage into Caldwell’s office, the filthiest part of town where Public Amenity 9 sits, sewers under the city for hiding, and a cat walk across the stage in such a manner the production could move quickly and freely from one scene to the next with its Wham, Bam, Kalamazam Batman cartooned revenge.

Have a difficult time with the title? I certainly did, but the word of the day is “get over it.” Besides no one is suppose to like the title. It’s probably one of the few times in my life I have actually done something I am suppose to do.

Last weekend sold out, and chances are the rest of the run will sell out also. Don’t wait to count your pennies. Get your reservations now at www.UrinetownDenver.org. You may have seen Urinetown before, but the truth is you only thought you saw this splendid hilarious thought-provoking cartooned Batman splurge.

Urinetown will blow you out of the water. No pun intended, but if it is there, run with it. It’s been said before. I can’t improve on it. “Just Go.” If the Sold Out sign hangs before your eyes, keep at it. This show spells “Extended Run.”