Review: THE BOOK OF MORMON at National Theatre
The Book of Mormon continues its robustly quirky, comedic, and intentionally offensive romp as it enjoys a much too-short touring run at The National Theatre in Washington, DC. Rushing to get tickets to this production would be a wise idea ---the phenomenon that is the Tony-winning The Book of Mormon has taken on new sparkle and sheen and just keeps bouncing along on the pathway of theatrical success.
The equal opportunity satirical and deliberately offensive jabs at anyone and everyone ---especially the Church of Jesus Christ of Latter-day Saints ----(the Church of Jesus Christ of Latter -day Saints issued a statement that they did not disavow this musical--)---are still delivered with the required punch but there is an added humanization at play here.
Other musicals such as The Producers, Bye Bye Birdie, A Funny Thing Happened on The Way To the Forum, How To Succeed in Business Without Really Trying, Urinetown, and the upbeat Hairspray have all had varying degrees of spoofery, satire, and stereotypes punctured, but The Book of Mormon has often pushed the limits to the outer stratosphere.
The reason I believe this musical still provides such amusement and joy is because there is actually an underlying tone of sweetness and good will underneath the caustic humor and sarcasm. Every character is equally open to the outrageous satire of Trey Parker, Matt Stone, and Robert Lopez. The subversive tone of the hit television and films of South Park (Mr. Parker, Mr. Stone) permeate the entire proceedings of these merry Mormons and the people they proselytize to---(Mr. Lopez is the co-writer --with Jeff Marx-- for the Tony award-winning musical Avenue Q).
The surging upbeat euphoria of Hairspray can be felt in this musical touring production but current director and choreographer Jennifer Werner (the original Broadway directors were Casey Nicholaw and Trey Parker---the original Broadway choreographer was Casey Nicholaw) wisely allows the currents of anxiety against traditional norms, rebellious convictions, and justified anger against vacuous authoritarianism to rise to the surface.
The extremely collaborative Mr. Parker, Stone and Lopez certainly know their Rodgers and Hammerstein and Sondheim very well, because the book, lyrics and music are all tightly unified.
There is more of a real human connection in this creative conception since I saw the show at the Kennedy Center in 2013. Though the spoofing and stereotypes continues, there is more parity between the foibles, traditions, and habits of the Mormon missionary elders, their president, and the Ugandan village inhabitants. The two main characters---Elder Price (actor Ethan Davenport) and Elder Cunningham (actor Jacob Aune)-- are played with nuance and subtle gradation. There were moments when the two main characters could have overplayed their parts –but, instead, they humanized their roles and complimented each other’s acting choices.
Director Jennifer Werner keeps the musical moving with an eye and ear that assimilates the provocation, absurdity, and outrageous satire of this highly audacious musical.
Music coordinator and conductor Eric Huffman briskly conducts a ten-piece orchestra which is highly compelling to the ear.
Orchestrations by Larry Hochman and Stephen Oremus are alternately lush, invigorating and bubbling over with variegated layers of excitement and instrumental versatility.
No less than sixteen exciting songs percolate through this musical and there are numerous styles of songs from more up-tempo ensemble singing to sensitive duets and solo anthems of pride.
The powerful song “Man Up” is a cry for courage in the face of despair and is sung and performed to the hilt by Jacob Aune.
The lilting and expressively joyous vocals of Charity Arianna (as the insightful village inhabitant Nabulungi) add much delight to this production. Ms. Arianna “knocks it out of the park” as she sings of her hopeful dream of living in “Sal Tlay Ka Siti.” Ms. Arianna’s comic timing is the linchpin of this production.
Ethan Davenport’s delivery of the ever-idealistic “I Believe” is alternately hilarious, sincere, and satiric. Mr. Davenport balances his ironic “wink of the eye” nicely with the more sincere platitudes of this finely tuned and demanding role.
“Tomorrow is a Latter Day” is a fitting conclusion and a grand finale to this musical tale of fervent hope amidst the rubble of reality sometimes gone sour.
The whirl of the choreography by Jennifer Werner captivates the senses----very detailed tap-dancing in the “Turn it Off “ensemble number hilariously subverts the narrative of thought control as espoused by the Mormon missionaries.
Radio City Hall “ Rockette-like” dancers kick their legs in synchronized fashion to elucidate the nightmarish horrors in “Spooky Mormon Hell Dream” –which is a surreal fever dream of a production number replete with dancing devils, a dancing Jerry Epstein, and dancing coffee cups (this production number seems to anticipate the carnival-like production numbers in the much later MJ: The Musical).
There are songs related to traditional Broadway songs of lore in this production: The heartfelt “I Believe” is modeled on Maria Von Trapp’s song in The Sound of Music entitled “I Have Confidence”. “Joesph Smith American Moses” is modeled on “The Small House of Uncle Thomas” from the classic musical The King and I.
Original scenic design by Scott Pask is replete with embedded dioramas to explicate pointed religious and historical narrative, and—as the dioramas fade out ----Mr. Pask beautifully delineates the interactive actions of the Ugandan inhabitants in their village and the missionary elders. Mr. Pask (no doubt aided by Mr. Brian MacDevitt’s superb lighting) flashes back to early missionary times or to idealistic sequences such as the rarefied dream of living in Orlando, Florida.
As mentioned, the lighting by Brian MacDevitt is superb--- appropriately stimulating, striking, and attention-getting.
Costumes by Ann Roth capture the very buttoned-up dress of the missionaries (almost similar to sexy sailor suits in their body-hugging contours; there is a light “riffing -off” of gay stereotypes that is playful and truly humorous throughout the production) as well as the colorful and more loose-fitting apparel of the village inhabitants.
The unique feeling of euphoria and joy that this musical instills (accompanied by the realities of a world that make this joy possible) are the perfect remedy for the challenging times that we live in. The Book of Mormon will continue touring and this is bound to please many people –both old fans and newly-minted fans!
Running Time: Two Hours and Twenty-five minutes with one fifteen-minute intermission
The Book of Mormon runs through May 3, 2026, at The National Theatre, which is located at 1321 Pennsylvania Avenue, NW, Washington, DC, 20004.
Photo credit: Craig Franke and company in the North American Tour of The Book of Mormon. Photo by Julieta Cervantes.
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