The Wolf From The Door review: Aristos meet ASBOS at the Royal Court, Speed the Plow: Lindsay Lohan is not a car crash on stage. Cullum’s Caldwell B. Cladwell, owner of the Urine Good Co., is a leering, exuberantly malevolent fellow. Among the things Urinetown satirises is the very genre it is part of. The second is that Lloyd was hired to direct straight after his success with the Trafalgar Transformed season and new musical The Commitments still running to sell-out audiences at The Palace Theatre. What Urinetown does is to show the situation in all its absurdity and outrageousness and, in doing so, elucidates the real motivation behind it all: greed. further cements his reputation as one of the great triple threats in Singapore theatre today. Written as a piece to satirize not only society but also the mandatory pay toilets of European cities, the musical Urinetown is the perfect escape show, full of good music and talent with lots of humor and satire. Thank goodness satire is not fake news, as the Media Literary Council presumed earlier this month, because Pangdemonium’s hysterically funny satire is the most fun this reviewer has had at the theatre in the past six months.

Given its lavatorial setting and its palpable debt to Brecht and Weill's most popular work, I'm tempted to dub it The Spend-a-Penny Opera.

Tongue in cheek is clearly the tone of choice for Off Broadway musicals this season. The show is narrated by a sinister Brooklynesque cop played by Royal Shakespeare company regular Jonathan Slinger who, while on the payroll of the malevolent co-operation, points out directly to the audience the absurdities of the musical’s very form in which he is a part. The costumes are designed in a way that fits the characters and their specific social status well. The supporting cast of misfits are reminiscent of a Victorian freak show, individually grotesque and full of buoyant energy. It doesn’t really aim to comment on actual experience but on the experience of theater; it’s not about people but about people as they’re represented onstage. Along with Scott Pask’s grungy, atmospheric set, the direction owes something to Sam Mendes’ work on the revival of “Cabaret,” a debt that’s overtly acknowledged in a lively mock-Fosse number in the second act, “Snuff That Girl.”. ... Urinetown: The Musical. Onstage is a crew of uniformly delightful performers both seasoned (the bad-guy duo of John Cullum and Nancy Opel) and fresh (the good young lovers Jennifer Laura Thompson and Hunter Foster). And then? Enter Little Sally (Spencer Kayden), pig-tailed and precious: “Say, Officer Lockstock, is this where you tell the audience about the water shortage?” “Everything in its time, Little Sally. Jonathan Slinger works hard as the policeman/narrator, even if he has largely given up on his Gotham accent by the finale, and the rest of the company have a lot of fun with the lively choreography.
34 reviews. There is even some flag-waving on a battlement to echo Les Miserables’ heroic ending. The show’s tone, of course, precludes our taking any real interest in the proceedings. Flushed with success on Broadway, where it ran for three years, this bizarre show finally makes it to London. Soutra Gilmour's excellent designs also bring a touch of Piranesi to the world of underground pissoirs. Kotis’s book and Hollmann’s score also give constant nods to the popular musical genre, with pastiches of Bertolt Brecht and Kurt Weill socialist anthems, Sister Act-style gospel numbers, even glimpses of rousing romantic song reminiscent of Les Miserables. Set designer Soutra Gilmour has once again returned to Jamie Lloyd’s side after their collaboration on The Commitments. Urinetown runs at the St James’s Theatre until 5 May 2014. Very energetic post, I loved that a lot. Simon Paisley Day and Jenna Russell are underused as evil Caldwell and toilet-keeper Miss Pennywise. In a futuristic society where it is illegal to use the restroom for free, people struggle with the need to use the bathroom and pay the fees. With Darian Archie, Jordan Brooker, Alexandra Coonradt, Stephanie DeMarco. No one knows what awaits them in Urinetown, but no one in this town seems interested in figuring out where Urinetown is either, just as no one is addressing the devastating drought, which is the true reason that they are paying to pee. But the show does more than mock the failure of bureaucracy. See today's front and back pages, download the newspaper, First came “Bat Boy,” a self-consciously preposterous musical based on a story in the tabloid Weekly World News. COVID-19 “close contacts”: remaining aware during breaks, Decade of Restoration Part 1: The Fallen King of New England, First-years look for community amid isolating conditions, Mental health & modules: why the Mac admin needs to give us a spring semester, Mac welcomes Gabrielle Brown to track and field program, MCSG Overzoomer: LB discusses the module system, student workload, DML hosts screening of “The First Rainbow Coalition” with artist Ricardo Levins Morales, Students organize to raise voter turnout at Mac, With athletes in Kirk, students wrestle with student-athlete divide, COMPASS Explores the Meaning of Home Through Art, Good Wishes to Everyone: Professor Ruthann Godollei’s “The Wish Machine” in Minneapolis, Confined to Zoom, Mac Choirs continue creating, Chaos incarnate on a flat screen: Mia’s fifth “Foot in the Door”, Bits of Storytape and Feldspar: bedroom pop and jazz for the age of Covid-19, Mac alum fosters artistic expression at the Loft Literary Center, Music despite everything: “Twelfth Night” at the Guthrie, “Make Art Not Waste” combines artistic visions with sustainability, The Student News Site of Macalester College, © 2020 • Privacy Policy • FLEX WordPress Theme by SNO • Log in, Urinetown review: “It’s a privilege to pee””. Richard Fleeshman strikes the typical leading man figure, almost bursting out of his vest and boiler suit. Hollmann’s music eventually strays far from the mock-Weillian strains of its beginnings, going on to embrace romantic balladry in the Bernstein “West Side Story” mode as well as a bit of Kander & Ebb jazz and, eventually, gospel. The casting director for this production deserves an award, if only there was one! The Peak is an essential guide for business leaders and the diplomatic community to keep abreast of the latest developments in corporate, professional, social and cultural spheres.

With this standard, Urinetown is a show that probably entertains you for a little while, but lacks real substance. But it’s possible to admire the show’s execution — it’s distinctly more stylish, cohesive and clever than “Bat Boy,” for starters — while lamenting the essential paltriness of the enterprise. A chronic water shortage means that public loos have been extravagantly privatised. The torn, ragged clothes contrast with the fancy suits. Certainly: “The Producers” and “Chicago,” to take two examples currently on Broadway, are full of knowing jokes and cutting references to theatrical artifice, but they also give us full-blooded characters and stories drawn from life, not other shows; irony is the seasoning, not the whole meal. The central conceit posits a world in which people must pay to use government-run public amenities; to relieve oneself in any other fashion is outlawed. Photo courtesy of the set designer, Erica Zaffarano.“What is Urinetown? It is surprising how long it has taken for this Broadway musical to make it across the pond to the West End. An Expert Weighs in With Some Tips, AC/DC Paint the Stage Red in ‘Shot in the Dark’ Video, Panerai Taps Its Collecting Community to Create a New Version of Its Radiomir Watch, Rams Deal With Fanatics, Postmates to Deliver Jerseys Like Takeout, The Best Men’s Scrubs for Pulling Off the “Sexy Doctor” Look During Rounds. Desperate queues form outside the archetypal ‘Amenity Number 9’, whose young and dashing cleaner Bobby Strong (Richard Fleeshman) is suddenly radicalised by the arrest and abduction of his father for peeing in public. by Oliver Mitford on Tuesday 25 March 2014, 3:18 pm in London Theatre Reviews. Photograph: Johan Persson. Matthew Seadon-Young plays Bobby, the hero of Urinetown [JOHAN PERSSON]. As a satire on the privatisation of public utilities this is a fair conceit for a sketch, but it struggles to sustain a whole show. If you need to ‘spend a penny’ in this world, your only option is to use the privatised facilities that will set you back more than a penny.
Similarly the inventive choreography by Ann Yee manages to keep the movements fast and dynamic, while containing the dances to the small stage area. What gives Urinetown its gaiety, however, is its parodic, self-referential tone. It is a satirical musical comedy written by Greg Kotis that mocks American wastefulness, bureaucracy, the legal system, corporate mismanagement and indulgement of shortsighted citizens in their delusional dreams of freedom. Urinetown Tongue in cheek is clearly the tone of choice for Off Broadway musicals this season. The performances are uniformly splendid and perfectly pitched, with each actor playing up the archetypal silliness of his or her role without descending to cheap caricature. Thank goodness satire is not fake news, as the Media Literary Council presumed earlier this month, because Pangdemonium’s hysterically funny satire is the most fun this … Home of the Daily and Sunday Express. But this all makes sense when one discovers that the musical is a self-mockery as well. The show, with pitch-perfect direction from Tracie Pang, changes little from the original, though there are some cursory local touches – toilet fee collection is dubbed Economical Relief Pricing (ERP) and much is made of the setting, the “most expensive city in the world”. The casting director for this production deserves an award, if only there was one! Creators Mark Hollmann and Greg Kotis would doubtless say I'm taking it too seriously, that they're just having a bit of fun and it's only a musical. Sean Ghazi puts in a slick turn as UGC toilet tyrant Caldwell B. Cladwell, while the redoubtable Mina Kaye sings her heart out as his ingenue daughter Hope. Matthew Seadon-Young as Bobby justly brings the house down with the one genuinely uplifting number, the cod-gospel Run Freedom Run.


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