URINETOWN: THE MUSICAL*
By Mark Hollmann & Greg Kotis
Runway Theatre, Grapevine Tx.

*REVIEWED 09/22/07 Performance

Directed by Terri Hagar Scherer
Musical Direction by Tim Georgeff
Choreography by Nan Gammon & Terri Hagar Scherer
Scenic Design by Ellen Mizener, Chris Robinson, Hugh Scherer
Lighting Design by Michael Winters
Costume Design by Patsy Daussat
 

URINETOWN has a unique and very special place in my heart when it
comes to musical theater. Wait, did that come out right?  Let's try
again. There are really just two major reasons why I feel this way
about this hysterical musical that centers around paying a fee to
tinkle, lost love, and to let freedom run:.

First: I have seen many musicals on Broadway in my lifetime and still
to this day, URINETOWN: THE MUSICAL (UTM) is by far the funniest damn
musical I have ever seen. Sure since then I've seen on Broadway
SPAMALOT, THE PRODUCERS, SPELLING BEE, and AVENUE Q-and those musicals
had me guffawing loudly when I saw them-but not like UTM. I had never
laughed that hard (for over two solid hours) in a Theater on Broadway,
and not since. The lyrics, book, direction, and those tour de force
comedic performances of the entire original cast made it so magical
and downright hilarious. My face ached when I walked out of the Henry
Miller Theater that cold winter day in New York.

Second, I saw the production in October 2001, less than two months
after the horrific events that became September 11. I wanted to show
my support to New York and Broadway by not allowing the terrorists
scare me into not traveling. I (along with several other Texans) went
down to Ground Zero, where it all looked exactly as I had seen on TV.
They had yet to make any dents in the cleaning up process. I even have
a picture of the remains of the outer frame of the World Trade Center
that everyone saw on TV.

I felt deep in my heart that I wanted to laugh and enjoy myself at a
Broadway house. You could honestly feel that original cast lift the
spirits and energy of everyone in that theater. It was so cathartic
not to cry or feel the depression of what had occurred just across the
city. But instead laugh so hard that you had to cross your legs
tightly because you knew you were going to burst your bladder from
laughing so hard.

UTM would continue to deliver the laughs for a total of 965 perform
-ances, closing on Broadway on January 18, 2004. Sadly it lost the
Tony award for BEST MUSICAL to the less than deserving THROUGHLY
MODERN MILLIE.

Grapevine's Runway Theatre has taken the challenge of mounting this
production. While it does have its share of flaws, they are to be
applauded loudly for giving their audience a spanking new musical
instead of presenting the typical, old warhorse, decaying musical that
has been mounted and produced countless times around the metroplex.

Terri Hagar Scherer's direction is charming and the staging is quite
good, although it could use more levels and "pretty picture windows".
There are some pace issues that at times severely drag down the scene
work. Also some scene changes tended to be a bit long for the audience
to sit there in the dark But with a few more performances under their
belts this problem should smooth itself out.

The choreography by Nan Gammon & Ms. Scherer is visually vibrant,
exciting, and immensely entertaining. Some cast members do struggle
here and there with the complicated choreography, but they sell it
with delightful enthusiasm. The choreography makes many of the musical
numbers shine and glow. I find it extremely satisfying that they
challenged their actors to dance within complicated numbers instead of
subsiding into lackluster, basic dance steps. The best-choreographed
and performed number of the evening by far was "Snuff That Girl".

However, the major problem with the production is that many of the
"inside" jokes and comedic subtext was either missing or not fully
explored on the stage.

URINETOWN's creators Mark Hollmann & Greg Kotis have said in many
interviews that when they created UTM Off-Broadway, it was to poke
fun at musical theater, Broadway, and its history. It used endless
references and visual takes from so many past musicals that anyone
who loves musical theater would truly get the humor. They threw in
everything from SWEENEY TODD, to WEST SIDE STORY, to CHICAGO, to LES
MIZ and many others into the piece. That's what made the show so, so
hilarious-it was all that "inside" humor.

Runway's production lacks a lot of the "inside" humor. Several within
the cast seem to be missing that "tongue and cheek" quality and under
-ying theme within their performances & characterizations. While
others seem to be too obvious in that they are telegraphing to the
audience, "You catch my wink towards you, right audience?" or they
are completely in the dark on how to make that style of the rich,
layered humor hit its mark. Instead the stage has a mixture of acting
styles that seem to miss the mark for many of the jokes, gaffes, and
comedic subtext.

This is not your typical musical for it requires very pristine and
precise comedic timing, pace, and delivery to make the jokes hit
payola. So while Runway's cast is uneven in accomplishing this, you
must give them kudos for challenging themselves and its theater.
Because even with its missteps, this production still succeeds.

Tim Georgeff's musical direction was toe tapping pleasurable from the
first note to the finale. While there were only three musicians total
in the pit, they sounded more like an eight piece orchestra. Georgeff
kept his band at perfect tempo and pace with the cast.

Visually the production glitters and shines as brightly as the
Chrysler building. The scenic design is a multi-level, decaying city
of metal, chain, and pipe. The "main wall" of white tile is painted
and colored in disgusting hues to resemble a gross urinal center.
Even the entrance into the theater is designed like you're going
through the pipes of Urinetown's water system..they even painted a
yellow streak on the floor! You do get a sense that these designers
had wicked fun in creating the city. Ellen Mizener, Chris Robinson,
and Hugh Scherer designed this decadent set to perfection.

Michael Winters lighting design works magical wonders in creating
visually enhancing moments throughout the evening. This may be an
intimate space, but that does not limit Winters whatsoever. Using an
array of colors (apple green, pink, even a swirl of red) at his
disposal, he bathes the set in wacky, fun color. Winters also designed
pools of light to bring intimacy to various scenes on stage when
needed. His design here is outstanding.

Finally we have Patsy Daussat's festive costuming of the Urinetown
citizens. She has the poor wear ripped, tattered costumes in hues of
browns and crèmes, while she dresses the wealthy in richer tones and
fancy suits.

Within the large company there are some solid performances, but alas
there are a few that are just not up to par with the rest of its cast.

Providing audience pleasing performances with engaging stage presence
include Chris Robinson as "Bobby Strong" (although I did miss the
naïve qualities that the role demands);  Nelson Wilson as "Tiny Tom";
Sherry Etzel as "Little Becky Two Shoes"; Andrew Burns as "Mr.
McQueen"; and Noelle Salter as "Josephine `Old Ma' Strong". Each of
these performers gave the evening some of the best laughs of the
night.

As "Officer Lockstock" (who also serves as the narrator for the
evening) Brian Brissman started off lacking the comedic subtext and
delivery the role demands. The actor seemed to stay stuck in a predict
-ble pattern, thereby not achieving the laughs the role demands. But
after a few scenes the actor settled into the role, found the comedic
tone/delivery the role demanded and knocked a home run with his
characterization. Using a suave demeanor and semi-fatherly figure,
Brissman brought the role of the backstabbing cop to hilarious
results.

Alas there were some problematic performances within the large
company. Karri Atchley struggled vocally with the demanding role of
"Penny Pennywise", but also seemed not to grasp firmly the humor
written within the role. The transitions from operatic to belt within
her vocal range were not smooth. Phil Nixon sorely lacked the
bombastic aura that is needed for the role of "Caldwell B. Cladwell".
The actor struggled with lines and seemed to look uncomfortable and
stiff on stage. He (like Atchley) did not explore nor seem to
comprehend the rich comedic subtext that is written within their
roles. Finally, Tom DeWester as "Hot Blades Harry" tried way too hard
to sound exactly as the original cast recording in his delivery and
vocal inflections within his characterization.

The outstanding, scene stealing performances within the production
were delivered by Jad B. Saxton as "Little Sally" and Blake Rodgers
as "Officer Barrel". These two actors locked firmly into their comedic
subtext and never once wavered. Saxton and Rodgers remained fully
committed to the comedy and succeeded in delivering the best acting
work of the night.

But the performance that stole my heart was that of Rachel Joy
Robertson as `Hope Caldwell". Ms. Robertson easily has the best
singing voice within the large cast. A vibrant, gorgeous, lilting
soprano voice that sounded crystal clean & pure. Like a soft orchid
blowing in the wind, her voice rested with ease on a firm, solid
vibrato. Each of her solo songs were sparkling crystals that floated
over the audience. With cascading brown curls framing her lovely
face, the young actress bright the right amount of innocence and sass
to the role of being the daughter of the mean ole CEO. Ms. Robertson
was adorable from beginning to end.

A resounding round of applause must also go to the energetic ensemble
that played a myriad of roles throughout the evening. Their energy
never once dimmed and you could see that they were enjoying themselves
on stage with their lively disposition.

Finally, I honestly don't know what to make of the curtain call dance
thing. This choreographed bit came after curtain call in which the
cast did this strange homage to FIDDLER ON THE ROOF. Or was it a mini
URINETOWN meg-a-mix? It was perplexing and really is not needed.

Runway's production of URINETOWN  is problematical at times, but for
a community theater to raise its artistic bar by mounting a unique
piece like this deserves your attendance and support. Instead of
producing yet another "seen that a thousand times now" musical, they
have pushed themselves artistically in producing a fresher, newer
musical. I personally would much prefer to see a theater company
stretch its artistic wings with newer, difficult material than do the
same, dreaded shows that we've all seen so many times before in the
past. Bravo Runway! Bravo!


GRADE: B-



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URINETOWN the Musical by Mark Hollmann & Greg Kotis
Plays through October 14, 2007

Presented at Runway Theatre, 215 North Dooley Street, Grapevine TX
76051 Fridays & Saturdays at 8 p.m. and Sunday matinees at 3 p.m.
Tickets are $15 for adults and $12 for Seniors over 60 and students.
Reservations are recommended and tickets can be reserved by calling
817-488-4842 or online at www.runwaytheatre.com.
 

Reviewed by: John Garcia