Review: URINETOWN at Monumental Theatre Company

Let's face it - we've all had those moments we don't want to admit to when we have snuck into somewhere purely to use the restroom. We hope no one catches us as we sneak in without buying anything and duck out, feeling a mix of simultaneous pride and humiliation. Now imagine if those facilities were not only heavily regulated, but also heavily taxed. Here you find the central premise of URINETOWN, a musical about musicals and a town with a massive water shortage, now running at Monumental Theatre Company.

URINETOWN mainly revolves around the unwilling patrons of Public Amenity #9, a public restroom in the worst part of town. All amenities are regulated by Urine Good Company or UGC, a massive corporation that delights in paying off politicians and finding no solutions whatsoever as they jet off to Rio. It's an uncomfortably resonant premise, and a timely one. Should citizens try to bend the rules, they are immediately hounded by Officers Lockstock and Barrel, and, if worse comes to worst, sent to the ultimate punishment, Urinetown.

Luckily (or perhaps not) for the people of #9, a young thinker named Bobby Strong (Chris Rudy) listens to his heart and begins to revolt. Bobby's inspiration comes from a meeting with Hope Cladwell (SUZANNE LANE), daughter of UGC CEO Caldwell Cladwell (IAN COLEMAN), as well as the belief that things can and should get better. As Bobby and his fellow citizens storm towards UGC, the show continually steps back and takes a look not only at the story, but the structure and predetermined notions of musicals as well.

This is the second year for Monumental Theatre Company, staging their production at Ainslie Arts Center at Episcopal High School in Alexandria. While I think the show could potentially work in this type of space, there were problems throughout which affected the overall experience of this particular production.

The main issue affecting this show is the sound. While all the actors wore microphones, none of them worked during the performance, so the actors were fighting to be heard over the Orchestra sharing the small black box theatre with them. Unfortunately this caused balance issues on several levels, since some actors sang even louder and the chorus failed to sound as a tight unit should. The singing occasionally bordered on screaming which, in close proximity, proved unsettling over the course of the show. A few actors were also cast in parts that did not fit their vocal range causing struggle.

In addition, many actors seemed to feel an inherent need to overact. KAITLIN KEMP got laughs as Josephine Strong, but her Senator Fipp character was an overused stereotype and her costume continued to have issues. On the whole, there was a lack of subtlety that would have helped. In a large theatre where there is room to play to, this show staging and vibe would fit. Here it was just too much.The set pieces also proved problematic. The main metal structure seemed too high, causing one actor to hit his leg as he tried to land on it, and a few others to have very shaky footing while getting down.

Highlight performances came from Sakile Lyles as Little Sally, whose steady thoughtfulness and charm was lovely, as well as ALAN NAYLOR as Officer Lockstock, whose quirky expressions, resonant voice and comedic timing excelled. SUZANNE LANE had a hilarious transformation as the ill-fated Hope, and Chris Rudy was a goofy, sweet delight as Bobby Strong.

Monumental Theatre Company, given all of the current events, has chosen a show that will definitely resonate, and there are some good performances here. However, on the whole, they have taken on more than they can handle in their space, and this show ultimately suffers from a lack of balance and direction. As a New Theatre Company, I wish them the best as they continue to gain their footing, build shows and learn.

URINETOWN runs through August 1st at the Ainslie Arts Center on the campus of Episcopal High School in Alexandria, VA. For more information on the company and production, visit their website.

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