Review: THE BOOK OF MORMON at Orpheum Theatre
The Book of Mormon continues through February 1st.
Trey Parker and Matt Stone are on a high recently, with their long- running animated series South Park skewering the present administration in their inimitable profane and darkly surreal style. 2011’s The Book of Mormon brought their irreverent humor to Broadway in what at the time seemed shocking, blasphemous, and absurdly brilliant. Setting their bullseye squarely on the Mormon Church – “How dare they” people said. “Why not,” said the majority. The show went on to win nine Tony’s, five Drama Desk Awards, and four Olivier Awards.
Two starry-eyed Mormon missionaries are over-the-moon with their chance to travel to exotic locations to preach the faith. Elder Price dreams of being sent to Orlando, his fantasy of Disney and SeaWorld dancing in his brain. He’s partnered with Elder Cunnigham, a compulsive liar desperate for a ‘Best Friend.” Right from the opening number “Hello!,” with the doorbell ringing missionaries we all have encountered, you get the wit and satirical style that pervades this show.
It all goes horribly sour for the intrepid pair when their mission locale is a destitute town menaced by a warlord, fearful of AIDS, and famine in Northern Uganda. Price, played with annoying confidence by Sam McLennan, feels greatness is his destiny, but he’s dejected and horrified by the situation. The needy Cunningham (Jacob Aune) succeeds in converting the villagers with his hilarious re-interpretations of Mormon theology.
The score is deliciously irreverent. The stressed-out villagers sing "Hasa Diga Eebowai" to feel better and the missionaries join in, not realizing the words translate to Fuck you, God!. The missionary troupe sing and hoof their way through “Turn It Off”, their method of suppressing unwanted thoughts (mostly gay). It’s a brilliant riff on conversion therapy and the ridiculousness of denying emotions and desires. Featured actor Charity Arianna stars as Nabulungi, a young female villager who buys into the hope of a new life in magical Salt Lake City ("Sal Tlay Ka Siti"). In “We Are Africa,” the missionaries, giddy over their success at baptizing the heathens, culturally appropriate everything they associate with Africa. The score is both scathingly true and satirically sharp. Rather than suppress their funny bones, new generations continue to “turn it on.”
For tickets, please visit broadwaysf.org.
Photo Credit: Julieta Cervantes
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