One of the best investments of time and money I ever made was waiting in line for three hours on a Saturday morning in December 2001 for a $25 rush ticket to see the original Broadway production of “Urinetown,” which was the most original, daring and dark of the musical comedies of the early 2000s such as “The Producers,” “Hairspray,” and “Spamalot.”
I have since seen other professional and amateur productions of “Urinetown” that were unable to achieve the original production’s one-of-a-kind alchemy of satire, sincerity, and freewheeling energy –the latest being a rough, “not ready for primetime” staging at City Center Encores!
This is especially unfortunate because not only is “Urinetown” a terrifically fun musical, it is undoubtedly more relevant now than ever — with an allegorical story that revolves around environmental disaster, dwindling natural resources, the consequences of public policy decisions, populist revolt, a corrupt oligarchy, and the deconstruction of traditional musical theater conventions.
A solid revival of “Urinetown” ought to be on Broadway today – but the City Center production is not worth transferring, at least without significant reworking.
Those who are unfamiliar with “Urinetown” will no doubt have questions about its gross and unsettling title. “Urinetown” is set in a society where the scarcity of water has caused private toilets to be replaced by pay-for-use public toilets, leaving the poor to struggle for “the privilege to pee” and ultimately leading to a doomed rebellion.
Meanwhile, a poor boy-meets-rich girl love story unfolds, a rich tycoon battles for control, and an upbeat police officer and an inquisitive little girl serve as supporting characters, narrators, and commentators.
Mark Hollmann and Greg Kotis’s rollicking score blends romantic ballads, ensemble dance numbers, jazz, and spirituals with a satirical and absurdist point of view that often evokes Weill and Brecht’s landmark “The Threepenny Opera.”
A major problem with the City Center production (directed by the little-known Teddy Bergman) is that the venue is too large for “Urinetown,” which is a minimalist work that benefits from an environmental feel. It brings back memories of when City Center used to revive Off-Broadway musicals over the summer as part of its Off-Center series, which has been on hiatus since 2019.
Although the production benefits from newly enlarged orchestrations, the tempo is especially slow and the singing is uneven, with some performers resorting to screaming or riffing. One also misses John Carrafa’s lively original musical staging, which was full of clever homages and over-the-top, dynamic movement.
As the young hero Bobby Strong, Jordan Fisher (“Hadestown”) is earnest but not much of an actor, while Stephanie Styles (“Kiss Me, Kate”) fares far better as his romantic counterpart Hope, channeling the spunk and vocals of a young Kristin Chenoweth. Rainn Wilson (“The Office”) is not much of a singer but brings ease to the villainous persona of Caldwell B. Cladwell.
Keala Settle (“The Greatest Showman”) gives an erratic vocal performance as the tough Penelope Pennywise. Pearl Scarlett Gold, the young girl who plays Little Sally (as opposed to having an adult play the role, as is usually the case), is inexpressive. Greg Hildreth, who took over as Officer Lockstock for Taran Killam, lacks the authoritative presence of Jeff McCarthy (who originated the role), but still gives a fine performance, balancing showy jazz hands with somberness.
City Center, 131 West 55th St., nycitycenter.org. Through Feb. 16.
