Review: THE BOOK OF MORMON at Van Wezel

I first saw The Book of Mormon in 2011, the year it opened on Broadway. I remember it being ok but disappointed in the overall performance. Years later (in 2022) I gave the show another chance on a trip to NYC and I wondered how my view could have been so different than the first time I saw it. Well now, The Book of Mormon has returned to Sarasota with a high-energy spectacle that lit up the Van Wezel Performing Arts Hall from the first ringing doorbell of “Hello!” to the rousing final chorus. This touring production delivers a hilariously off-kilter yet unexpectedly warm tale about faith, self-discovery, and friendship—told through the gleefully outrageous lens of Trey Parker, Matt Stone, and Robert Lopez. The musical follows two young Latter-day Saint missionaries: the ambitious, picture-perfect Elder Price and his socially awkward, eager-to-please companion Elder Cunningham. Assigned to preach in a remote Ugandan village rife with poverty, illness, and political turmoil, they quickly learn that converting new followers is far more complicated than the missionary training center suggested.

The plot moves briskly as Elder Price’s dreams of Orlando and spiritual grandeur collide with the harsh realities of the villagers’ struggles. Elder Cunningham, meanwhile, finds himself surprisingly effective at spreading scripture—though he embellishes the Book of Mormon with an increasing number of fantastical flourishes involving hobbits, Darth Vader, and other bits of pop-culture heroism. Through the villagers’ eyes, these stories become symbols of empowerment, turning metaphors into motivation. Songs like “Hasa Diga Eebowai,” “Turn It Off,” and “Baptize Me” walk the razor’s edge between satire and sincerity, creating a comedic world so absurd that its earnestness sneaks up on you. Ultimately, the missionaries and villagers forge a community of belief—not necessarily in the traditional sense, but in the power of storytelling to inspire hope.

Since its Broadway debut in 2011, The Book of Mormon has been nothing short of a theatrical phenomenon. The show opened to rapturous reviews and quickly became one of the hottest tickets in New York. It went on to win nine Tony Awards, including Best Musical, Best Book, Best Original Score, and Best Direction of a Musical. It also received a Grammy Award for Best Musical Theater Album. With its razor-sharp humor, joyous score, and boundary-pushing satire, the production has enjoyed a remarkably successful run on Broadway and around the world, maintaining a reputation for both brilliant craftsmanship and cultural audacity.

At the Van Wezel, the touring cast displayed superb precision, particularly in timing and choreography. Casey Nicholaw’s signature, tightly structured staging—the crisp pivots, synchronized jumps, and comedic freezes—was executed with remarkable sharpness. Each ensemble number pulsed with electricity, especially in group songs where comedic timing is everything. The cast hit punchlines and physical gags with exacting rhythm, creating the kind of comedic momentum that only builds when every performer is locked in with the others.

As Elder Price, Sam McLellan delivered a breakout performance filled with polish, power, and unexpected nuance. His portrayal balanced self-assured zeal with a gradual unraveling that revealed humor, vulnerability, and ultimately compassion. McLellan’s passionate rendition of “I Believe” was not only a vocal highlight but an acting triumph. He infused the anthem with multiple emotional levels—confidence, confusion, determination, and wide-eyed sincerity—making the song feel fresh and character-driven rather than simply comedic. His voice soared with clarity, matching the character’s ideals, while his subtle shifts in physicality and facial expression showed the cracks in Elder Price’s self-image.

Jacob Aune, as Elder Cunningham, was the show’s comedic lightning bolt. His impeccable wit and lovable awkwardness made every line pop with spontaneity. Aune has a gift for weaving physical humor into even the simplest dialogue, yet he never veers into cartoonishness, which I appreciated as the first time I saw the show I felt the role was very overeboard but this was not the case—his Cunningham remains grounded in genuine earnestness. That sincerity is what makes him endearing not only to the audience but to the characters around him, especially Nabulungi (played by Charity Arianna), whose scenes with Cunningham are unexpectedly touching. Aune managed to bring comedic chaos and emotional warmth simultaneously, a combination that elevated every ensemble member sharing the stage with him. His interpretation captures what makes Cunningham such a beloved character: beneath the babbling and the pop-culture mashups lies a heart bursting with loyalty and hope.

The production’s aesthetic is enriched by the exquisite costume designs of Ann Roth, whose work here blends crisp missionary uniforms, vibrant village attire, and hilariously imaginative fantasy costumes. Roth’s attention to detail helps define character and tone at every moment—the pristine white shirts of the missionaries serve as both visual comedy and symbolic canvas, while the striking colors and textures of the Ugandan costumes bring vibrancy and specificity to the community’s world. Her playful, unexpectedly elaborate designs for Cunningham’s improvised mythology add a delightful flourish to the fantasy sequences.

Ultimately, what makes this production soar is the chemistry of the ensemble. Their collective energy, timing, and emotional connection bring cohesion to a story that constantly dances between satire and sincerity. Every performer contributes to a rhythmic, joyful theatrical machine that amplifies humor while grounding the show’s heart. At the Van Wezel, The Book of Mormon proved my first viewing of the show was a fluke and that with the right cast, tight direction, and genuine ensemble synergy, this audacious musical remains one of the funniest—and surprisingly uplifting—theater experiences touring today.

Sarasota Awards - Live Stats

Best Musical - Top 3

1. CABARET (The Sarasota Players)

23.2% of votes

2. SYNCOPATED AVENUE (Westcoast Black Theatre Troupe)

21.7% of votes

3. CHORUS LINE (Ovation Theatre Inc.)

11.9% of votes

Vote Now!