Review: Lyric Stage Company of Boston Keeps Things Flowing in Uproariously Funny URINETOWN: THE MUSICAL

Public utilities may be at a premium in “Urinetown: The Musical,” but the laughs and uproariously funny musical numbers are free-flowing in the Mark Hollmann musical satire, with book and lyrics by Greg Kotis, now being given the fall season’s first must-see production at the Lyric Stage Company of Boston through October 20.

Following its premiere at the New York International Fringe Festival, and its subsequent off-Broadway run at American Theatre for Actors from May to June 2001, “Urinetown: The Musical” opened on Broadway at the Henry Miller’s Theatre, now the Stephen Sondheim Theatre, where it played from September 2001 through January 2004. It won three 2002 Tony Awards, including Best Book of a Musical and Best Original Score. A 2005 Lyric Stage production was directed by the company’s late artistic director, Spiro Veloudos.

Current Lyric Stage producing artistic director Courtney O’Connor has publicly stated that musicals just aren’t her thing, but you’d never know it from her imaginative direction of this new staging, which demonstrates more than just a splash of panache and makes its important points with aplomb.

Set in a dystopian city in the midst of a 20-year drought, the musical tells the story of a hero rising up to face a corrupt corporation controlling public toilets and water use. Claiming to want to protect the town from drought, the greedy and ethically challenged Urine Good Company promises to “keep that water in the ground and pee off the streets” by supporting legislation that will prohibit people from urinating anywhere except at UGC’s “public amenities,” which come with a fee.

Revolution is just around the corner, however, led by young hero Bobby Strong (a charming Kenny Lee) and a host of oddball characters eager to take on the not-to-be-trusted business titan Caldwell B. Cladwell (Christopher Chew, who is equal parts silly and sinister on act one’s “Don’t Be the Bunny.”)

A snag develops in Bobby’s plan to launch a heroic takedown of UGC’s dastardly owner when the latter’s innocent daughter, Hope Cladwell (Elliana Karris), comes back from college to work in her father’s company and ends up romantically beguiled by Bobby. Karris and Lee’s voices blend beautifully on their act one duet “Follow Your Heart.”

Also front and center, and fabulous, are Paige O’Connor as the waifish Little Sally, Anthony Pires, Jr., as the affable Officer Lockstock with the arresting smile, and Anneke Andstadt as Little Becky Two Shoes, whose pregnancy is much more than a sight gag.

Over two decades after its debut, “Urinetown: The Musical” feels as fresh today as ever, with its satirical sting still sharp and its musical homages to everything from its inspiration, Bertolt Brecht’s “Threepenny Opera,” to more recent Broadway shows like “Fiddler on the Roof,” “Wicked,” and “Les Misérables.”

The current Lyric Stage production features Christopher Shin’s wildly creative choreography and a 15-member company of some of Boston’s most gifted performers. Among the standouts are the always terrific Remo Airaldi as Senator Fipp and Joseph “Old Man” Strong, and the always marvelous Lisa Yuen as Penelope Pennywise, a quirky delight on act one’s “It’s a Privilege to Pee.”

Also strong, in more supporting roles, are the never-met-a-gag-she-wouldn’t-try Kathy St. George as Josephine “Ma” Strong and Mrs. Millenium; the dashing Darren Paul as Hot Blades Harry and Caldwell’s secretary; Gabriel Graetz as Officer Barrel, who has his eye out for criminals and also his partner, Lockstock; Todd McNeel, Jr., as Mr. McQueen; Katie O’Reilly as Soupy Sue, and James Turner as Tiny Tom and Dr. Billeaux.

Music director, pianist, and conductor Dan Rodriguez leads a versatile five-piece band, unseen on its perch above the action but tuneful throughout. Also adding to the proceedings are Rachel Padula-Shufelt’s costume designs, which range from tattered to refined.

And what can be said of Janie E. Howland’s scenic design – except maybe that it’s flush with all manner of toilets. The always inventive Howland has made sure that there are more commodes onstage than most bathroom supply stores have in stock.

In cards, a full house beats a flush. At the Lyric Stage, however, a flush is leading to a full house – so if you don’t want your chance to see this musical with a message go down the drain, then get your tickets now before it’s too late.

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