Photos by B App
Exciting. Eclectic. Exuberant.
If you’ve never seen Urinetown the Musical, those three words are probably not the ones you expect to hear about a theatre production centered on a battle over public toilets.
Access to those facilities is the catalyst for Urinetown‘s plot, but the clever music, lyrics, and dialogue (thank you Mark Hollman and Greg Kotis) drive the show’s satirical and surprisingly relevant narrative.
While Hollman and Kotis provide the ingenious script and very enjoyable tunes, it’s the Cal Poly Theatre and Dance Department‘s faculty, staff and students who are producing an excellent version of the 2001 Tony Award-winner—so add another “e” to the adjectives this production deserves.
Most deserving of praise is without a doubt director Karin Hendricks-Bolen, who captains an outstanding crew—from dramaturg Niko Kaderabek, to choreographer Zach Johnson, to music director Paul Marszalkowski—and many others.
Kaderabek gives us brief but appropriate background on Brechtian drama in the printed program, explaining the contrast between “epic” and “traditional dramatic” theatre. Johnson equips the cast with an eclectic range of fantastic movement, reflecting a variety of dance styles (just sit in awe of his work in “Cop Song”). Marszalkowski also guides some very talented singers through a variety of song styles, with a welcome emphasis on clarity and enunciation.
Scenic designer Jason Bolen has created an institutional world, mixing scaffolding and staircases and moving set pieces into a simple but intricate set that inspires the actors as they work their magic onstage. Costume designer Kasey Knapp, lighting designer Cody Soper, and sound designer Hannah Jackson also deliver clever and potent handiwork that is cohesive and coherent.
This is exciting teamwork. Hendricks-Bolen’s blocking is precise and comprehensive. The cast is all in—it’s hard to single anyone out because each song, each scene brings new combinations of performers and great opportunities for everyone in the company to stand out.
That being said . . .
Kayden Safavi as Penelope Pennywise, who leads the company in “Privilege to Pee,” is a powerhouse. Chris Scott as the unscupulous head of the evil corporation UGC leads a kickline in his title song that will knock your socks off. Scott gets another opportunity to shine in a gold rabbit-trimmed robe (another outstanding costume choice) in “Don’t Be the Bunny”—the kind of song that, savvy and creepy all at once, is impossible to describe using any words except its lyrics.
René Exley is perfectly cast as Little Sally, but excellent casting is true for so many of the roles in this production.
Matthew Mefford as Officer Lockstock and Marya Wanous as Lockstock’s sidekick Barrell, Wyatt Traski as Bobby, Grace Zendejas as Hope, Nicole Swedberg as Josephine, Ben Walker as Senator Fipp, Joshua Schneider as Hot Blades Harry, Rosibel Mendez as Little Becky Tow shoes, Amani Arellano as Soupy Sue—plus the other members of the company that numbers almost two dozen—can be called out for the exuberant teamwork that makes this show a must-see.
Other reasons to put this show on your calendar for the upcoming weekend (the show’s final three performances): Exley’s admonition to Mefford that “we don’t want to overwhelm them [the audience] with too much exposition.” Zendejas’ little hand wave after she is taken hostage, bound, and led away. Traski leading the company in a rousing revival-style “Run, Freedom, Run.” The fervent “I See a River” that closes the show.
Here’s the thing: Unless you are so sick you can’t get out of bed, unless you have a wedding or a funeral to attend out of town, unless you are averse to having an evening of enjoyable entertainment for a very reasonable price, you have no excuse not to make this show part of your weekend plans.
This production of Urinetown the Musical is that good.