When the attack opened on Broadway nine days after the September 11 attack, Urinetown It’s my favorite musical. It appears downtown from the New York International Fringe Festival (which I attended), actively ridiculed the way songs and dances, conveying a faint sarcastic message about society and the environment that boiled to: “We fucked it. “Looking back on a quarter century, with the limited campaigns with the downtown! I found myself asking: I like it Urinetown Before I really like musicals? Do I know nothing about this type of joy?
This is possible, but my ambivalence is also related to the yogki limitations of the material and this huge avatar. In terms of musical comedy, Urinetown It may feel like an outsider, but has a bloodline: Horror storeanti-establishment quirks Anyone can whistleand New Brecht Cradle rocks. Half of the score sounded like it was tracked in the Kurt Weill score, composer Mark Hollman added Gospel, Disney and Leonard Bernstein to the Pastice Bowl. Book writer and shared familiar Greg Kotis are carefully crafted by evening length sketches about civilized politics and ecological vulnerabilities. The narrator shouts “Hail, Malthus!” has very few endings, a tribute to the philosopher who believes that war, famine and disease are necessary disasters to curb overpopulation. (Imagine the actors Sweeney Todd Received the Darwin Award on the Last Bow and Arrow. )
In the future when water is so scarce, private toilets are banned, and the environment is a city that wants to be named. To alleviate themselves, citizens have to line up and pay to answer natural calls (Clint Ramos created a modular port-style port kit in the case of tabletop and scaffolding). The city, which was completely acquired by Caldwell B. Cladwell (Rainn Wilson), CEO of Urine Good, has been continuously increasing urination fees and wool for the poor to stool in their own pockets. Our hero is Bobby Strong (Jordan Fisher), a strong lad who works in public amenities #9 and his nothing on the street Zhi’s father (Kevin Cahoon) is shaking in the streets, unable to control his high-level bladder. Spray “Acab” faster than you, Lockstock officer (Greg Hildreth) drove Coot to “Urinetown” and it was an euphemism, and it was…well, as Lockstock assured us, we’ll be in the second Found in the curtain. Bobby is radical and falls in love with Cladwell’s daughter, and with it a very stupid revolution.
Kotis’s book is full of metagazing, like Lockstock – accompanied by Street Hilchin Little Sally (Pearl Scarlett Gold), make sure we never forget our ridiculous musical:
Lockstock
Wow, there, little Sally. Not once. They will hear more about the water shortage in the next scene.
Small Sally
oh. I don’t think you want them to explain too much, um.
Lockstock
Everything was happening at that time, little Sally. You’re too young to understand it now, but nothing can kill too many shows.
Small Sally
How about a bad theme?
These things are really fun – I rolled in the aisle when I was 31, but after the twelfth self-referential joke, it started to thin. Hollman’s music and lyrics are undeniably skillful and witty, but compared to more refined (and cruel) irony Book of Mormonsound-like tunes can begin to change. Admittedly, the act in Act 2 features “That girl’s snuff” and “Run, Free, Run!”. Ensemble and two excellent comic displays by choreographer Matye Natalio. The former is a jazz descendant of Bernstein’s “Cool”, while the latter is a gospel number written by white people, although it is a bull burner in itself.
What is certain is: Urinetown No date. Oligarchs are so mean, will we shoot them to death? Make sure you have someone to create a musical for Luigi Mangione. Can unconscious masses easily be swung by bread and circus? Check. Police kill citizens? evergreen. Oh, climate change? We won’t talk about this anymore. Unfortunately, the downtown work is with director Teddy Bergman’s tentative comic attacks, uneven vocal force, and commanding Mary-Mitchell Campbell The lack of musical effects made me wonder what the material is so powerful in the first place.
The unforgettable Broadway production makes the bar too high. Jeff McCarthy’s Bondage, Dad Talk – Best Lock Knife doesn’t pretend to be a joke. Working with Spencer Kayden’s subversive sweet little Sally, he transfers the gears from high flying to gallows. Here, the frame device swings. I admire Greg Hildreth’s solemn clown shtick; if you need a tramp who quotes Kirkegaard, then Hildereth is your man. But he lacks threat and enough baritone. Little Sally’s choice was wrong. Gold is talented, but her deadline readings and li-scenes stage image loses energy from Sally’s appearance. As the cruel Cradwell, Rainn Wilson was interesting enough to keep Dwight Schrute’s liberal fanaticism level. Stephanie Styles does a great job as the classic screaming Ingénue of Cladwell’s lively, idealistic daughter Hope. She can also sing, which is a valuable resource in this revival. As a corrupt Senator Fipp, Josh Breckenridge stole his scene with Goony Aplomb, which could have broken many rehearsals.
I want to love Urinetown Again with nostalgic golden spray. My disappointment boils down to scale and carnival. The show more or less starts with punk stunt, a blatant anti-commercial stage for ironic jazz musicians. It took a Broadway adventure, performed well, and won a Tony Award (including best books and scores). To make its terrible fool work, you need budgetless trash to reserve cynical anger, or large budget entertainment value to achieve tension between style and content. Downtown content is unstable between #1 and #2.
Urinetown | 2 hours and 20 minutes. A midfielder. |Downtown New York | 155 West 55th Street | 212-581-1212 | Buy tickets here
