It’s not too often that you come across a musical that’s all about pee. It’s even less often, in my opinion, that it turns out to be this fantastic despite the first impression its concept makes.
Showstoppers’ latest musical Urinetown may prompt a double take upon hearing the name, but capitalising on the bizarre and outlandish is something this 2001 musical always manoeuvres to its advantage, and Showstoppers’ take on it was a sharp, witty and stunning testament to the talent of every person in its cast and on its production team. It was thrillingly funny, and full of as much meaning as it was mirth. Set in a wasteland after a drought has necessitated the totalitarian control of water usage, Urinetown follows the users and owners of ‘Public Amenity Number 9’ (read: a public toilet grimier than the Jesters Twobicle on sports social night) as they head for revolution, and its concept was brilliantly executed by all the creative minds that worked hard behind the scenes.
This show has never met a fourth wall it couldn’t break, and neither have its directors, Tom O’Brien and Naomi Park. There was so much attention to detail: every moment with comedic potential was exploited, resulting in a larger-than-life production whose comic energy never waned. The directors packed the musical full of slapstick and succeeded in crafting a show where the kooky, hilariously over the top highlights balanced perfectly with its creepier moments. The stripped back set really helped to drive this atmosphere, with stark lines, exposed metal rods and harsh LEDs to intensify the sense of threat. And tech-wise, there were so many occasions of lighting being well-executed for comedic effect, which added to the polished feel of this very wacky production.
Photo Credit: SUSU Showstoppers
It was the little touches and the attention to detail on every single visual that made the experience of watching Urinetown so immersive for me. The Annex Theatre was littered with propaganda which urged the audience to vote for the musical’s corrupt politicians and adhere to Urinetown’s strict rules, and this extra effort even stretched to bathroom signs like the one pictured to really drive the point home, along with the fun graphics and publicity material from Isy Peterson, Emily Goring and Evie Warin. Visually, the excellent costuming by Izzy Saunders, Izzy Warren, Kit Colville and Lillian Strickland also kept us engrossed – the poor were homogeneously clad in plaids and covered in dirt, contrasting the sharp suits and bright colours of the rich. Mr Cladwell, the show’s controlling and maniacal dictator who owned all the usable toilets in their town, was costumed in a genius recreation of Trump’s blue suit and red tie, which was then expertly woven into Cladwell’s characterisation. Truly, there was an exceptionally well-thought-through and cohesive vision for the show – everyone involved in the execution of this concept should be very proud of themselves.
Of course, excellent songs are always make or break for a musical, and the Musical Directors and Choreographers outdid themselves. The production’s harmonies were phenomenal and everyone sounded brilliant thanks to Ali Treanor and Alyssa Kakoullis’ instruction, and both of these fab MDs also played in the band, which sounded gorgeous. This is one of the best bands I’ve heard from Showstoppers and that only comes from lots of dedication from the MDs, so massive congratulations are in order – especially to Alyssa, whose first time conducting was for this production! And what a masterclass in musical theatre choreography – Cerys May, Amy Black and Chelsea Gamble created a range of macabre and high-energy dances that always packed a punch. I loved how each number was crafted with the style and vibe of each song in mind, and every dance number was not only conceptually precise but also executed so cleanly by the cast. The cop song in particular looked like quite the workout – it was ambitious and it really paid off!
If any of this show’s ensemble of hilarious characters felt tired from the larger-than-life dances or the numerous big singing pieces, it didn’t show on their faces for a moment. Everyone on that stage was giving their all constantly – Eleanor Tippey, Grace Taylor and Poppy Smith were always shining when it came to facial expressions and were on it throughout the show with their background acting (it amazed me how many ways you guys found to look like you’re bursting for the loo.) Ben Mansell made me laugh every time he spoke with fab characterisation as a snooty scientist, and I did truly believe he was playing up his sneaky entrances after costume changes for laughs until I spoke to him outside – congrats, Ben, nothing says stage presence like turning a blunder into a comical moment! Emily Cassidy’s Mrs Millenium was very comically serious and I could always spot her bizarre adoration of Cladwell as scenes were unfolding. Lilli Waters and Alexia Ambekar also played their comic moments very well – Lilli’s stand-up jokes with Old Ma Strong were a treat and Alexia’s whacky flirting as Soupy Sue made my day. Isabel Scott was excellent in her dual role as Old Ma Strong and Josephine Strong (both of protagonist Bobby Strong’s parents) and her flawlessly executed frantic energy at the beginning set the tone and the high acting standard for the rest of the show. Lily Ong has never met a bit she couldn’t commit to and was a fabulously high-powered businesswoman as Mrs McQueen – I enjoyed every moment she was onstage. I was so impressed by India Browning’s big characterisation as Senator Fipp, as well as her crazy flexibility when she plonked a leg on my row and stared us down in Act 2 – menacing yet still stunning! Belle Priestley and Nora Shields additionally blew me away – at every turn they both never failed to bring heightened maniacal energy to their roles as Little Becky Two Shoes and Hot Blades Harry. Their dynamic worked so well, with both actors matching each others’ crazed physicality and gorgeous voices.
Photo Credit: SUSU Showstoppers
A musical that is this satirical really requires earnest talent to keep things moving forward, and the main plot-moving characters of Urinetown were up to the task. Rosie Young excelled as Little Sally with wonderful vocal characterisation as well as a beautiful singing voice. Her comic timing as a dynamic duo with Officer Lockstock was lovely and together they had so much capacity for improv and crowd engagement. James Warner was really brilliant as the other half of this duo, as well as having hilarious chemistry with his other double act counterpart Officer Barrell. Sophie Le Duc’s Barrell genuinely made me laugh every time she opened her mouth and even sometimes when she didn’t – James and Sophie’s physical comedy was really impressive and they handled the tension between their characters with amazing comic timing. James’ Lockstock was also excellent as a standalone character – he brought such gravitas and charisma to the role and shone in terms of stage presence and vocals. And speaking of amazing vocals – Emily Young was such a star. Emily’s expert handling of her tongue-twister lyrics and her booming voice made her a standout performer, and when you couple it with her hard taskmaster characterisation as Miss Pennywise, you get a masterclass in sass! On the flip side, Toby Walden gave us a stunning lesson in megalomaniacal villainy, playing the antagonist Mr Cladwell with terrifying panache. His portrayal of little details that evoked a Trump-esque villain grounded the show in out current climate well, and he provided a convincing dictator for the protagonists to compete against. And last, but certainly not least, Kimmy Shopland and Daisy Wallace were so completely brilliant. In a musical so full of pipes (I tried to hold out on the plumbing jokes but it’s too tempting), Daisy’s and Kimmy’s were phenomenal: Kimmy’s belting was very powerful and her sweeter moments of singing just beautiful, and Daisy’s gorgeous lower register was so well showcased by this role, especially during ‘Run Freedom Run’. More than this, though, both actors excelled at fully embodying their characters to each of their satirical ends, which is no mean feat. Kimmy’s portrayal of Hope Cladwell was effortlessly comedic and she really nailed the art of being a real-feeling character in a story while always maintaining the funny criticisms of how media portrays heroines. Daisy similarly sustained a wonderful performance as Bobby Strong – her Golden Retriever boyfriend energy never dimmed and this unswayable optimism was well manoeuvred into satire through her performance.
What the cast and production team achieved through this musical was really impressive. In terms of its concept and its penchant for toilet humour, it could be described as an acquired taste, but the work that every single person who was part of this production was so evident that even the most highbrow of critics would have to respect it. I am no such critic – I loved the silliness of this show and found it a very entertaining and interesting watch, and it was definitely worth spending a penny on (after a while of reading the Urinetown programme, you just begin to accept the puns).
