Review: URINETOWN: THE MUSICAL at Ray Of Light Theatre
This production runs from July 29th through August 29th
What happens when water becomes a privilege—and rebellion comes with a price?
Ray of Light Theatre’s Urinetown takes one of musical theatre’s strangest premises and turns it into a sharp, hilarious satire about corporate greed, political control, environmental crisis, and the stories we tell ourselves about progress. Set in a world where a devastating drought has made private bathrooms illegal, the musical follows a community forced to pay for the most basic of human needs—until one young man decides enough is enough.
With music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and a book by Kotis, Urinetown gleefully mocks everything from capitalism to classic Broadway storytelling. Ray of Light Theatre embraces that irreverence with a production that feels grungy, modern, and startlingly relevant. Beneath all the absurdity is a warning about what happens when power goes unchecked—and when a society refuses to confront the consequences of its choices.
Honestly, this production was stellar from beginning to end. The moment I entered the space, I could tell the creative team had a clear vision for the world they wanted to build. Its edgy, industrial aesthetic almost felt like a heightened reflection of present-day San Francisco, giving the show’s familiar themes a fresh sense of urgency. The concept was bold without overwhelming the material, and I was blown away by the talent, precision, and commitment across the board.
Sadat Hossain brought an earnest warmth and strong stage presence to Bobby Strong, making him an easy hero to root for. He navigated the character’s idealism with sincerity while still fitting comfortably into the show’s heightened comedic world. Opposite him, Gabrielle Goodman delivered what may be my favorite performance I’ve seen from her yet as Hope Cladwell. She created a version of Hope that felt distinct from other interpretations I’ve encountered, taking several exciting vocal risks that paid off beautifully. Her voice was powerful, her choices were confident, and she fully embodied the character’s evolution.
Anne Warren was outstanding as Penelope Pennywise. Her killer vocals immediately commanded attention, while her sly, almost sultry physicality brought an extra layer of danger and intrigue to the role. She understood exactly how far to push the character without ever losing control of the comedy.
William Giammona was equally fantastic as Caldwell B. Cladwell, pairing a tremendous voice with the polished menace the role requires. He made Cladwell imposing, entertaining, and appropriately larger than life. I also had the opportunity to see understudy Danny Cozart as Officer Lockstock, and he was fabulous. He carried the show’s narration with confidence, sharp timing, and an easy connection with the audience.
Another special shoutout is owed to two incredible supporting characters played by Ralph Shehayed (Hot Blades Harry) and Amie Shapiro (Little Becky Two-Shoes/Mrs. Millenium) who both managed to make me laugh during numerous occasions and who's characters were just so distinct and memorable. Both of them are simply oozing talent.
It is difficult to single out only a handful of performers because the vocals and acting were stellar throughout the entire company. Every cast member seemed fully invested in the strange world of the show, and that collective commitment made the satire land even more effectively.
Director and choreographer Isaiah Tyrelle Boyd clearly approached this production with a strong point of view, and that vision paid off. The staging felt purposeful, while the choreography was bright, sharp, and distinctly modern. Every movement added to the personality of the production, allowing the company to appear both tightly unified and wonderfully unruly.
Matt Owens’s scenic design was one of the evening’s greatest achievements. Evoking a grimy San Francisco alleyway, the set created an immersive urban landscape that felt perfectly suited to this interpretation. I especially loved how the live orchestra was nestled within the environment rather than separated from it, making the musicians feel like another living part of the city. Under Ben Prince’s musical direction, the band sounded terrific and gave the score all the humor, energy, and bite it demands.
Ashley Renee’s costume design was another major standout. Every character wore a look that felt carefully curated and intentional, with details that communicated personality, status, and place within the world before anyone even spoke. The clothing embraced the production’s grungy aesthetic while still giving each performer a distinctive silhouette.
Ray of Light Theatre’s Urinetown is daring, hilarious, visually cohesive, and overflowing with talent. This production understands that beneath the show’s ridiculous title lies an intelligent and increasingly relevant piece of musical theatre—and it delivers that message without ever sacrificing the fun. This is absolutely one you will not want to miss.
|
Julius Caesar Marin Shakespeare Company (8/14-9/13) |
|
Pickleball Hillbarn Theatre (8/20-9/13) |
|
Little Shop of Horrors 40th Anniversary Tour with Ellen Greene (the Original Audrey) Curran Theatre (8/16-8/16) |
|
WRECKAGE: A Musical Tragicomedy San Francisco Mime Troupe (7/03-9/07) |
|
Good Night, Oscar Hillbarn Theatre (3/04-3/28) |
|
Robyn DeGuzman’s Enough Free The Marsh Berkeley (8/28-8/30) |
|
Based on a Totally True Story City Lights Theater Company (1/21-2/14) |
|
Hello, Dolly! Hillbarn Theatre (4/15-5/09) |
|
Sara Felder’s Class Act The Marsh (8/12-8/15) |
|
Ride the Cyclone City Lights Theater Company (7/16-8/23) |
Reader Reviews
To post a comment, you must register and login.