I'd like, if I may, to introduce you to the best show I have seen in London so far. Urinetown, which premiered on Broadway in 2001, is a darkly comedic, meta-theatrical gem of a musical. I should mention that this is the first production of Urinetown in the UK! The show takes place in a drought-stricken, post-apocalyptic world where society is ruled by the corporation that charges exorbitant prices for the "privilege to pee." Public urination is illegal, and infractors are punished with a permanent trip to "Urinetown." When UGC (Urine Good Company....punny, right?) raises the price of a trip to the restroom, riots break out and the plot starts. I can't explain much more without giving too much away, but this musical is absolutely brilliant.
Cat, Bridgette, and I saw the show on March 17 and got to attend a Q&A session with two of the actors (including Jenna Russell), the designer, and the resident director afterward. It is really inspiring to hear other people talk about theatre and the work that they put in to such an incredible production. I kind of can't believe Jamie Lloyd, the director, is only 33 years old. The show has such a specific vision behind it, and while the show feels easy, you can feel the gears churning beneath the surface. It is, also, the most individualized ensemble I have ever seen. Each member of the chorus has an extremely specific, neurotic character, suffering uniquely in the strange circumstances of the show. It's a good day when the ensemble members can pull as much attention as the principals.
I loved it so much that I ended up getting tickets to see it again alone. The second time, Jenna Russell was out sick, but her understudy was adequate. Also, it turns out that I had seen an understudy as Hope, the lead ingenue, the first time and was glad to see the actual actress play the part.
I'm only completely obsessed with this show. I have never seen anything like it. The music styles range from typical musical theatre style to jazz to gospel, and it never feels disjointed or inappropriate. I still can't stop thinking about one woman in the ensemble whose costume includes old fashioned leg braces. It affects her gait and her ability to perform the choreography, but adds to the texture of the scene rather than detracting from an ensemble of shiny dancing clones. Details like this abound and make the show constantly compelling. The musical has a terribly unhappy ending, but you still leave the theatre feeling conflicted about how great you feel about it!
P.S. I got to sit in the second row for both shows and it was fantastic. Even from that close, all of the entrances and exits are brilliantly covered with the use of a turn table which makes it look as if people are magically whisked on and off the stage.
I loved it so much that I ended up getting tickets to see it again alone. The second time, Jenna Russell was out sick, but her understudy was adequate. Also, it turns out that I had seen an understudy as Hope, the lead ingenue, the first time and was glad to see the actual actress play the part.
I'm only completely obsessed with this show. I have never seen anything like it. The music styles range from typical musical theatre style to jazz to gospel, and it never feels disjointed or inappropriate. I still can't stop thinking about one woman in the ensemble whose costume includes old fashioned leg braces. It affects her gait and her ability to perform the choreography, but adds to the texture of the scene rather than detracting from an ensemble of shiny dancing clones. Details like this abound and make the show constantly compelling. The musical has a terribly unhappy ending, but you still leave the theatre feeling conflicted about how great you feel about it!
P.S. I got to sit in the second row for both shows and it was fantastic. Even from that close, all of the entrances and exits are brilliantly covered with the use of a turn table which makes it look as if people are magically whisked on and off the stage.