Review: URINETOWN at Second Generation Theatre

The days when old fashioned musical comedies were drawn  from classic  love stories, silly high school antics and farces will always be tried and true. But more heady topics like mental illness, Alzheimers, race relations, big business, and corrupt governments also have found a place into the uniquely American canon of musicals. A ridiculously named musical, URINETOWN, is now playing at Shea's Smith Theatre, and the fine production by Second Generation Theatre not only entertains but provides much food for thought in this time of government unrest.

We are placed in a dark town where the water supply is controlled by big business, and in doing so, all toilets are pay only. If you have the funds, you can use the toilet. If you don't,  you must pay the ultimate price-- a trip to "Urinetown"- that unknown enigmac palce that everyone fears. A dystopian society exists where it's citizens live in fear, and mostly in  squalor. The police patrol , instilling fear to all those down on their luck, carting away anyone who can't pay. This is all done in the name of keeping the streets and city clear of the unworthy. 

The 2021 musical with Book and Lyrics by Greg Kotis and Music and Lyrics by Mark Hollman was truly the little show that could. With an icky title and and ickier premise, it seems this show was destined only for the fringe of theatre companies. But by the time it came to Broadway, it won TONY Awards for Best Book, Best Best Score and Best Direction of a Musical. The public was ready to engage with a show that came on the tails of September 11th of that year.

Similar satirical precedents for musicals have been set by such classics as L'IL ABNER, which  used Al Capp's cartoon characters to give a social commentary of government control on a weak society in an attempt to build the perfect human specimen. HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING enlightened the world of the corrupt way big business functions. DEAR WORLD tells of a beautiful  Parisian neighborhood being torn apart by amoral developers who think they struck oil below it's streets.

Directed by Louis Colaiacovo, this production of URINETOWN is gritty and dark, with an uber talented cast willing to dive in to the dark side of society. Colaiacovo uses the space in a multitude of creative ways, while allowing the stock cartoon characters to find the comedy in their individual roles.  We have a poor elderly couple, a lame pregnant woman, a rich damsel in distress, a Dudley-Do-Right, and a money hungry all controlling millionaire who works  alongside the police and a unscrupulous politician.  There is hand ringing, sneering, and crying that allows the story to unfold with  tongue and cheek humor,  serving as a mask to deliver a deeper message. The authors grasp the confines of a musical and have Police Officer Lockstock serve as a narrator, filling the audience in on the plot while referencing what you are witnessing is still a  musical ( he struts and uses jazz hands as needed to convey this point!) Even the character names are given without a glimpse of subtlety.

Choreography by Kristy Cavanagh is energetic and also pokes fun at classic shows in many of it's dance moves-- yes, you will see bits of  WEST SIDE STORY, CHICAGO and FIDDLER ON THE ROOF.  All is masterfully handled by the large cast and the intimacy of the space ensures the audience is drawn into the action. Even this musical is a parody of musicals, not unlike the Broadway hit SOMETHING ROTTEN.

As the story unfolds, the evil become  even more corrupt and demand higher fees. The poor uprise to overtake control and a battle ensues. In a game of tit for tat, each faction hoping to win. The tactics are extreme and the price paid is equally melodramatic. The first act is heavy on exposition and thus can drag, no fault to the production. In a rarity among many musicals, the second act is full of action and  provides some fabulous ensemble numbers.

Marc Sacco  masterfully leads the troupe as Officer Lockstock, wielding his bully club and instilling fear. Sacco is a musical stage veteran and his vocals are strong, while eliciting just the right amount of comedic timing.

Arin Lee Dandes is spunky and quite endearing as Little Sally, like the little engine who could. Dandes carries her stuffed animal like a child, but her performance is bold and her talents are many. She's the little cheerleader that everyone appreciates.

The fabulous Charmagne Chi is commanding as Penelope Pennywise, the tough as nails "pee Warden." Chi is like the jailhouse warden at a Womens Prison, and she revels in her power. She belts "It's a Privilege to Pee" as an anthem for tyrannical power.

Sean Ryan as Bobby Strong is the leading man who takes on the establishment. Ryan has a strong voice and shines as the "everyman" type. Ryan continues to blossom on stage, having recently taken on the lead role of TARZAN in Lockport

Philip Farugia is Caldwell B. Cladwell, the head honcho of the water facility UGC ("Urine Good Company.") The role fits Farugia to a tee, with a his massive imposing presence and pinstripe suit, he is aptly feared by all. Farugia thoroughly convinces at every step and is a joy to hate.

Penelope Sergi is Cladwell's recently University graduated daughter, Hope. Full of beauty and optimism, she joins the  UGC company as a fax/copy girl. Sergi is pretty, bright eyed and a fine comedian who shines when singing as well as when gagged and tied to a chair!

The cast includes many of Buffalo's finest actors including Christopher Victor, Kristopher Bartolemeo, David P. Eve, Gretchen Didio, Brittany Bassett-Baran, Nicole Cimato, and Thomas Evans.

Bartolomeo and Bassett- Baran lead the cast in a rousing "Snuff That Girl" followed by the freedom spectacular  spiritual "Run Freedom Run," fully sung  by Ryan and his downtrodden poor.

The five piece off stage band was tightly led by music Director Allan Paglia. Set/Light/Sound Designer Chris Cavanagh firmly establishes the mood of a dark society with every shade of grey. A spinning wall resets the space and costumes by Lindsay Salamone are grimy and tattered for the "Rebel Poor," and spiffy and polished for the office elite. Kelly Copps  craftily designed hair and makeup, and the attention to detail did not go unnoticed. Despite the fact that  the cast needs to transition quickly from poor to elite in seconds, the end result remained polished.

 URINETOWN seems to be playing at a time where the story hits a little too close to present day American society. The have and have nots continue to be at odds, without an acceptable compromise or clear cut resolution within reach. URINETOWN ends much as it begins, despite a temporary glimmer of hope. Is this pessimism or merely grim reality? If nothing else, it is top notch escapist entertainment.

URINETOWN presented by Second Generation Theatre plays at Shea's Smith Theatre through November 9, 2025. Contact sheas.org for more information

Buffalo Awards - Live Stats

Best Musical - Top 3

1. INTO THE WOODS (O'Connell & Company)

23.9% of votes

2. JESUS CHRIST SUPERSTAR (Open Door Productions)

17% of votes

3. GREASE (Starring Buffalo)

12.4% of votes

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