A Privilege to Pee

Urinetown

Welcome to Urinetown. It’s not an actual place, as Officer Lockstock, our Narrator and political henchman enjoys telling us: it’s a metaphysical state of mind. He and Little Sally, a precocious street urchin, inform the audience that a twenty-year draught has led to a severe water shortage. This unnamed, dystopian city is now run by a corrupt municipal administration. It’s lorded over by the evil authoritarian, Caldwell B. Cladwell. This miserly money grubber has outlawed private toilets and is gleefully exploiting the poor for every penny. Each citizen is forced to pay an exorbitant fee, in order to use the communal toilets around town. Suddenly it becomes “A Privilege to Pee.” 

Cladwell owns the mega governmental agency called Urine Good Company. The company strictly manages all the Public bathrooms. Designated for the poor, Amenity Number 9 is the filthiest public toilet in town. It’s run by Gestapo-like warden, Miss Penelope Pennywise, and assisted by Custodian Bobby Strong (our dashing hero). It’s only a job for Bobby, because he doesn’t agree at all with Cladwell’s blood-sucking methods. Anyone caught sneaking into the toilets for free, or discovered urinating behind a bush, is arrested and forcibly dragged off to Urinetown…and they’re never seen or heard from again.

This clever, satirical musical comedy first came into prominence at the 2001 New York International Fringe Festival. It proved popular enough to earn an Off Broadway production, followed by its Broadway debut later that same year. The show became a popular and critical sweetheart, particularly because of its unconventional storyline, unique setting and extremely bizarre characters. URINETOWN also lampoons many of our national institutions. Audiences and analysts love a well-constructed parody; and this musical, which somehow feels very timely, zings everyone and everything about this country. Its biting humor pokes fun at politics, the absurdity of the law, the top dog billionaires who govern, corporate mismanagement and governmental bullying. It even parodies the musical theatre genre, itself.

How did this unusual show come about? While traveling in Europe, Greg Kotis first encountered what he considered the absurdity of pay toilets. That sparked the idea for a story and he began scribbling down his ideas for a play. Joining up with friend Mark Hollman, who composed the score, with lyrics by both Hollman and Kotis, this unusual musical, with its off-putting title, eventually began to take shape. At first, no one was interested in producing a musical about paying to pee; but the musical went on to surprise many theatergoers by being nominated for ten Tony Awards in 2002, winning for both Best Book and Best Original Score of a Musical. It also took the Theatre World Award that year.

This musical cleverly skewers so many things: the living conditions of the poor, our tyrannical government control, the takeover of everyday needs and rights and, of course, police brutality. But it also serves up smart, funny, clever parodies of familiar Broadway hits, as well. Between Hollman’s catchy score and Kotis’ tongue-in-cheek writing, audiences will recognize songs and iconic scenes reminiscent of LES MISERABLES, WEST SIDE STORY, FIDDLER ON THE ROOF, THE CRADLE WILL ROCK, THREEPENNY OPERA and many others.

Helping guide the audience’s enjoyment, while bringing out the best in his actors, is clever and wonderfully creative Director Danny Kapinos (Jeff-nominated for ON THE TWENTIETH CENTURY and SHE LOVES ME with Blank Theatre Company). He makes his bright debut with Theo Ubique with a staging that’s brisk, well-focused and mines every ounce of comedy from the script, although never allowing his talented cast to take their performances overboard. This production is also totally immersive. The actors are always in motion, completely surrounding the audience, as Kapinos submerges the theatergoer directly into the heart of the play. The action’s never more than a few inches from the patrons, with theatergoers serving as the crowd. 

Mr. Kapinos is supported by talented Musical Director Aaron Kaplan, who also brings his talent to Theo Ubique for the first time. Kaplan’s musical direction is spot-on and beautifully layered with harmony. Kevin Zhou returns to Theo (as he di with DIANA) as Conductor and pianist of the show’s five-member onstage orchestra. The always brilliant contribution by Jeff Award-winning Choreographer Brenda Didier is familiar to Theo Ubique audiences. Once again she’s give this production plenty of extra pizz-zazz, adding her own trenchant touches. Ms. Didier’s choreography pays homage to the dance moves of classic musical comedy, without becoming carbon copies.

As always, Theo Ubique boasts a stellar cast for this latest production. Babyfaced, charismatic leading man Luke Nowakowski is one of several actors in the cast making his debut at Theo. He portrays the powerful protagonist, Bobby Strong. His crystal clear voice soars, allowing Kotis’ comical lyrics to rest easy on the ear. Luke creates a likable character worthy of the leadership and confidence that Bobby Strong exudes. He’s matched by lovely Amanda Rodriguez’s Hope Cladwell. Audiences will remember Amanda for her appearance in ASSASSINS at Theo Ubique. She begins the musical as the stereotypical innocent ingenue, but as the story becomes darker, Ms. Rodriguez amps up the fervor and fortitude, dazzling as a fierce fighter for justice. This Pollyanna princess does an about face and Hope becomes the show’s unexpected heroine. Ms. Rodriguez possesses a clear soprano that beautifully befits this role. At first, Hope come across as tender and trusting, but when the tables are turned we learn that there’s a wise warrior hidden beneath the innocence.

Several of the supporting characters take the lead in this musical, especially in this production. They include a cool, calm and collected Officer Lockstock, played with dry wit and both vocal and physical command by talented Ryan Stajmiger. The villainous, money-mad Caldwell B. Cladwell is given a deliciously diabolical portrayal by Drew Longo. And the show-stopping, Jeff Award-winning Alicia Berneche, also debuting at Theo, is the tough-as-nails Miss Penelope Pennywise. She plays the wacky warden of Lavatory Number Nine with considerable flair and flamboyance. And what a voice! Hopefully we’ll be seeing more of the sassy Ms. Berneche in future productions at Theo Ubique.

Other company members making big names for themselves in this production are Maya Tanaka Allwardt as the sweet, cheeky and disarmingly knowledgable Little Sally. And there’s also Reginald Hemphill as Lockstock’s yes-man and fellow bully, Officer Barrel, a policeman harboring a surprising secret crush. Ensemble members Mai Hartwich, Natalie Henry, Alex Madda, Kevin Chlapecka and Matt Frye are all striking, multitalented standouts of the ensemble of this musical, each tackling a variety of roles with ease. Their vocal finesse and physical flourish make this versatile, hardworking ensemble the strength of this production.

The always inventive Theo Ubique Cabaret Theatre continually ups the ante, producing terrific, timely and thought-provoking musicals that showcase the artists’ intellect. This popular, highly praised, controversial 24-year-old satire strangely feels as relevant as today’s headlines. Danny Kapinos’ playful and powerful production will make audiences laugh at the preposterous plot while pondering how this futuristic fantasy potently portrays the politics and ecological concerns of today. But for now, however, just realize that It’s still “A Privilege to Pee.” 

Highly Recommended

Reviewed by Colin Douglas

Presented November 7-January 4 (extended by popular demand) by Theo Ubique Cabaret Theatre in the newly named Fred Anzevino Theatre, 721 Howard Street, Evanston, IL.

Tickets are available in person at the box office, by calling 800-595-4849 or by going to www.Theo-u.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.