Review: URINETOWN THE MUSICAL at Roxy's Downtown

Once you get past the title of the show and the setting of a public restroom, Roxy’s production of URINETOWN THE MUSICAL is more than bathroom wit – it’s hilarious satire that pokes fun at capitalism, local government, environmental doom, and musical theatre itself.  It’s an entertaining evening that Wichita audiences won’t want to miss!

URINETOWN is a musical comedy that mocks American wastefulness, the legal system, and corporate mismanagement.  Imagine living in a destitute city where water consumption is monitored, and local authorities dictate when you can and can’t water your lawn.  Almost sounds like Wichita, huh? The subject matter is sprinkled with toilet humor, but the audience on opening night applauded and laughed.

URINETOWN THE MUSICAL premiered on Broadway in 2001 with music and lyrics by Mark Hollmann, with book and lyrics written by Greg Kotis.  With a three-year Broadway run and three Tony awards, one can hardly dismiss this show with a single flush.  (Get it?)  While creating the musical, authors Kotis and Hollmann had a little fun by adding hidden easter eggs and nods to other Broadway musicals throughout the score.  Keen musical theatre lovers will enjoy nods to Fiddler on the Roof, West Side Story, Les Misérables, and The Threepenny Opera, respectively.

The show’s premises are preposterous, yet that’s what gives URINETOWN its appeal.  In the show, citizens who are too poor to pay for the usage of the facilities are sent to Urinetown, a town not far away.  No one seems to know what awaits them in Urinetown.  Director Rick Bumgardner takes the ridiculous nature of the subject matter and delivers a production that is both lively and energetic.

Due to a 20-year drought, the town’s authorities have joined together with the Urine Good Company (UGC) to charge residents for using public toilets.  As UGC hikes the price, the poor start a revolution led by the hero of the story, Bobby Strong. Bobby is a cleaning custodian who falls in love with the UGC CEO’s daughter, Hope Cladwell.  Narrators, Office Lockstock, and Little Sally guide the audience as the story unfolds.  Little Sally offers critiques of the show’s writing and discusses where characters are headed.  At one point, Officer Lockstock chuckles casually to the waif, “Oh, Little Sally, dreams only come true in happy musicals.”

Rigid and business-minded Penelope Pennywise and Officer Barrell must administer the law that was passed down by the UGC CEO, Caldwell B. Cladwell.  If the laws are broken, then the offenders are sent to Urinetown, never to return.  When an incident takes place involving Bobby’s father, Old Man Strong, Bobby is moved to lead a charge against the money-grabbing men of power, fighting for the freedom to pee “wherever you like, whenever you like, for as long as you like, and with whomever you like.”

This is a tight-knit ensemble cast, each shining and worthy of applause throughout.  KWCH’s Max Dutton delivers an impressive and stellar performance as the hero, Bobby Strong, the leader of the resistance.  He is instantly likable, and his rich voice is a highlight of the show.  Claire Gerig depicts Cladwell’s rich, beautiful, and compassionate daughter, Hope.  Her singing is pure and clear.  Gerig’s character often reminded me of a sweet young Mary Tyler Moore.  Gerig’s Hope is full of life.   Together, Dutton and Gerig are a cute, goofy couple who share each other’s wide-eyed determination and optimism.

Wichita favorite Kyle Vespestad is engaging, charismatic, and in charge as Officer Lockstock alternating between being a cop and narrating the plot at various interludes.  Vespestad’s strong singing voice reinforces his character.  Note: Vespestad also choreographed the show.  His choreography was innovative, vibrant, and fun to watch, especially with the moves in “Snuff That Girl” and “Run, Freedom, Run.”  Vespestad never ceases to amaze Wichita audiences.  Making her Roxy’s debut, 9th grader Lilliana Mullins is excellent as the street-smart, conflicted, and precocious Little Sally. Her scenes with Vespestad are witty, and her solo “Tell Her I Love Her,” is sweet and well done.

With commanding vocals, WSU Theatre professor Joseph Urick plays the bombastic cartoonish chief villain Cladwell.  His “Don’t be the Bunny” is humorous, and he does well to keep his character believable without going over the top.  His extortionist sidekicks, Lorenz Looney as Senator Fipp and Justin Petersen as Mr. McQueen, often steal the scenes with their crazy antics, and the audience loves them.

Other outstanding stage performances include Kierra Abrienne’s strong-willed Josephine "Ma" Strong.  She is decisive, compassionate, but hard as nails…“I don’t understand - You’re heart is like a stallion?”  My eyes always went to Haylee Couey’s defiant and very pregnant Little Becky Two-Shoes.  She’s a riot!  Clayton Reitz’s rebellious Joseph "Old Man" Strong is perfect. Sam Warner as Lockstock's fun, high-spirited sidekick, Officer Barrel,  always finds a way to make an eye-popping role remarkable with his animated portrayal.

However, it is veteran actress Megan Parsley as Penelope Pennywise that commands the stage in her scenes.  Pennywise is Bobby’s supervisor and a woman with a dark secret.  With her superb comedic timing and beautiful vocals, Parsley has the audience eating out of her palm.  She brings depth to Pennywise, who is caught between a rock and a hard place.  Parsley had the audience roaring with her antics with the toilet plunger and toilet brush. She is a pure delight to watch!

Hats off to musical director Chris Shaw and this multi-talented cast for executing the songs with skill and confidence.  Adding Vespestad’s choreography makes each song a delight.  Chadwick Armstrong’s costumes are designed to display the characters’ specific social status well.  The torn, ragged clothes contrast with the fancy suits and dresses of the Cladwell business.  Particular shout-out to the cute Soupy Sue costume and soup can hat!

J Branson’s set is clever and takes place with a somewhat familiar but dilapidated Wichita skyline that features the iconic Century II roofline and the Keeper of the Plains statue.  Arthur Reese’s lighting design is excellent and is executed well.  Jason Huffman’s sound design is good, and hopefully, the mic feedback will be resolved.  Property design by Louise Brinegar is appropriate.

URINETOWN THE MUSICAL runs through June 21 and is the closing show of the 2024-2025 season.  Tickets and reservations can be obtained by calling 316-265-4400 or going to https://vivenu.com/c/sedhjf31

Wichita Awards - Live Stats

Best Musical - Top 3

1. FIDDLER ON THE ROOF (Wichita Community Theatre)

22.5% of votes

2. NEWSIES (Music Theatre Wichita)

16.1% of votes

3. MATILDA THE MUSICAL (Newton community theatre)

13.7% of votes

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