TU's 'Urinetown'

            Urinetown: The Musical, a local production of which opened last weekend at Towson University, has been much in the news lately, with accusations of plagiarism flying back and forth between producers of regional productions, and the show's Broadway creators.  It is somewhat of a relief, then, to read in the director's notes that he (James Hunnicutt) had never seen it before, but relied on the demands of the script and the memories of the show's fans to craft an original piece.  And while there are plenty of similarities, it is mostly original.  In this case, however, it is good and bad. 

            The biggest problem with this production (and that is relative, as it is good in spite of it) is that Mr. Hunnicutt has virtually ignored the notes of his dramaturg, Laura Stauffer, who, in her notes, reminds us that the show mocks itself while it celebrates musicals.  And in forgetting that, it shows that perhaps he does not have a full grasp on the major point of the show.  Instead, he has chosen throughout the evening to interpolate references to all kinds of pop culture, and somewhat cheap sexual sight gags.  To be fair, his cast probably understands those better than the art form they are supposed to be sending up – who wouldn't giggle at a Deal or No Deal briefcase, the "King of the World" sequence from Titanic (the film, NOT the musical), Michael Jackson's Thriller dance moves, endless breast jokes and the now de rigueur gay jokes?  But it speaks volumes for the show that it works in spite of those questionable additions, and it speaks even more volumes for the audience that it seems this production has underestimated, who laughed the most heartily and gave the biggest hands to the Les Miz homage and the "Sit Down, You're Rocking the Boat"/Guys and Dolls tribute in the "Run, Freedom, Run" sequence.  Perhaps, given the high profile of musicals and musical films of late, more trust should have been placed on the audience for understanding a spoof when they see one.  The show provides opportunities to send up such classics as West Side Story, The Sound of Music, and even Chicago.  Most people would even recognize a spoof of the Fosse style.  But these are nowhere to be found.  What is particularly disappointing about this missed opportunity is that this production is being done at a college, by a department teaching students in preparation for a performing career.  Doing Urinetown could have led to much learning about the history of musical theatre instead of pandering to the lowest common denominator.  And save for a few cast members, most of the young folks in it clearly had no clue what they were/are spoofing/satirizing.  Fortunately, other members of the design team and a few of the cast members understand (or fake it most excellently) what they are doing.

            The most reliable designer in the Baltimore area, Daniel Ettinger, has designed a set that is functional, reminiscent of the original set (to appease the Urinetown faithful), and a send up of famous musical sets.  The big metal crosswalk over the upstage area reminds me of the original Sweeney Todd (as does the oversized industrial piping and valves); the clapboard "hideout structure" reminds me of Lil' Abner, and perhaps West Side Story; the giant metal staircase of the original show, and perhaps the original Company; and the stage right pile of junk, including large pipe entrance/exit, is a post-apocalyptic Cats, for sure.  Similarly, costume designer Melanie Lester, has created show appropriate costumes, while paying tribute to the Annie urchins, the Les Miz urchins and the Oliver! urchins.  Even the cop costumes of Officers Lockstock and Barrel (another easy joke overlooked) are reminiscent of the keystone kops of Billion Dollar Baby (or Jerome Robbins' Broadway) or Mack and Mabel.  Both Ettinger and Lester also have a firm grasp on the Brechtian style of the book, aided by the sinister lighting designed by Jay Herzog.  Technically, this show is aces.

            This is a thoroughly talented cast of student-actors, each singing well and always committed to the characters they are creating.  With few exceptions, any missteps in character should be blamed on misinterpretations that effect the entire performance.  For example, though completely focused and in character, Valerie Westall Sale's (ensemble) slack-jawed, Hunchback of Notre Dame, affectation is so completely over the top, complete with scenery chewing and mugging to the audience, that she often pulls focus from where it needs to be.  Similarly, and most disappointingly, is Alex Kliner's Mr. McQueen.  Gone is the actor who was simply brilliant in TU's The Adding Machine.  Here, he lives up to his character's name, playing a flaming queen.  One would hope that an actor with his skills might have come up with something more original than the usual gay stereotype.  I am certain that were he of color, and came out on stage talking like Br'er Bear, eating watermelon, he (and the director) would be called racist.  But I guess perpetuating similar stereotypes of gay men is ok, since both he and we are laughing at it.  Still other actors are in way over their heads – chief among them, Brad Burgess as Caldwell B. Cladwell, who has trouble with his songs, his volume and his interpretation.  Is he a leering corporate big wig or an incestuous daughter-lover?  One never really knows, as he barely scratches beyond the surface.  Burgess might have watched How to Succeed in Business without Really Trying for a clue or three.

            On the plus side, which is much more the majority of the show, solid performances are given by Bobby Libby as Officer Lockstock, the narrator, who at least says the lines right, even though he occasionally appears to not understand what he is really doing.  His partner in crime, Little Sally, played by the adorable, and dead on Jaclyn Keough, is a little ball of energy, mesmerizing to watch, and thoroughly in command of her performance.  Danielle Robinette as Penelope Pennywise has a firm grasp on Brechtian excess, and is quite funny during "It's a Privilege to Pee."  At one point, eyes wild, body tense, she reminded me of Joan Crawford.  What a hoot!  Elisa Dugan has a lovely voice and plays the innocent ingénue to the hilt, giving her Hope Cladwell enough backbone to show that she understands that she is sending up all the wide-eyed babes before her.  She even handles, with minimal embarrassment to herself, the constant references to her chest.  The real find of the evening is Ryan Haase, as Bobby Strong, who has created a unique interpretation of the leading man/hero type.  It is almost as if he were directed separately, or was given private interpretive lessons about the script.  He has a great voice and presence, and really comes into his own during "Run Freedom, Run."

            To Mr. Hunnicutt's credit, the overall pacing of the show, and most of the direction is fast paced and interesting.  Perhaps a little more time might have been spent on enunciation ("Don't Be the Bunny" was unintelligible) and creating original characters.  And the act one finale and act two end montage scenes are an unfocused mess.  Audience members unfamiliar with the show probably got a lot less out of it than those of us who knew what we were seeing.  What should have played like a fine tuned instrument was a muddled mess, where each cast member seemed intent on stealing the scenes instead of adding to the layers of them.

            Still, as well written as the book and score are, this is an enjoyable evening, disappointing only for what might have been, but ok for what it is.

 

PHOTOS: TOP: Enseble members in Towson University's production of Urinetown: The Musical; BOTTOM: (Center, holding flag) Valerie Westall Sale, (Immediate Right) Jaclyn Keough as Little Sally.  Photos courtesy of Towson University.