THEATER REVIEW: 'Urinetown'

“Urinetown: The Musical” fearlessly confronts the issue of global water shortage while satirizing left wing allegories of the 1930s and, for that matter, every musical since the dawn of time. Seriously, folks. I just saw it at The Players. Greg Kotis wrote the script; Mark Hollmann composed the music and co-wrote the lyrics with Kotis. It won some Tony Awards in 2002. I’m not making this up.

It’s a happy musical about some unhappy stuff.

Imagine a world, sometime in the future. A world where water is as scare as a Hollywood agent who returns your calls. In an unnamed dystopian city, a ruthless Boss (aka Caldwell B. Cladwell, played by Robert Turoff) holds a monopoly on pay toilets and has made free urination a crime. Violators are sent to a penal colony called “Urinetown,” which, based on the name, probably stinks. The people are pissed off. It’s time for a working-class hero. It’s time for Bobby Strong (Jason Ellis).

You get the idea. To paraphrase Popeye, Strong’s had all he can stand and he can’t stands no more. Strong starts a revolution — after falling in love with the boss’s daughter, Hope Cladwell (Sarah Cassidy). She goes from love interest to hostage before you can say, “Climactic scene before first act break.”

This is all served up in a dead-on parody of Fritz Lang’s “Metropolis,” Berthold Brecht’s “Threepenny Opera” and Marc Blitzstein’s “The Cradle Will Rock.” You know, all those old plays and movies making earnest, big statements against ruthless Capitalist villains in top hats — who always had names like “Mister Mister.” It’s theatrical inside baseball, but, don’t worry. It’s hilarious, whether you dig the references.

And, like two bored hit men, the creators quickly shift their satiric sniper scopes to “West Side Story,” “Fiddler on the Roof,” “Chicago,” “Les Miserables” and other targets. You laugh, because each spoof is right on target. Perfect parody demands perfect pitch.

And Director Kyle Ennis Turoff has a good ear. At heart, every musical is an exercise in emotional manipulation. She plays it like a full-on assault. We’re not talking about toilets; we’re talking about justice. Turoff goes straight for your heart — and never winks. Her comic rhythms are flawless and never predictable.

She keeps you off-guard and howling with laughter.

Musical Director Rick Bogner plays the song parodies like the anthems they’re supposed to be. (We’re talking about the people’s right to pee, remember.) In his hands, the improbable song-and-dance numbers come off like they’re straight out of “Jesus Christ Superstar.”

It’s a star comic cast, too. The gangly Ellis brings a Jim Carrey-style physicality to his strong Strong performance. (Think double-takes, hyperactive reaction time and rubbery poses.) Robert Turoff (the director’s dad, whom we all remember from Golden Apple days) plays Caldwell B. Cladwell (the monstrous mogul) like Mr. Nice Guy — and sweetly sings of killing bunnies. As his daughter, Hope, Cassidy is all sweetness and light — then gets all Patty Hearst on us. When he’s not bashing heads, Officer Lockstock (Chris Caswell) functions as narrator and all-purpose explainer man. (Dryly and nicely underplayed.) He’s sometimes assisted by Little Sally (Ashley Jai), a doll-clutching waif with big eyes and big questions about hydraulics. (Small role, big comedy. That kid’s going places.) Penelope Pennywise (Alana Opie) evokes a Carol Burns comic presence to her mercurial role as toilet manager/mom/lover/fink/revolutionary. Kudos also to J.D. Carter, Berry Ayers, Philip Alexander and everyone involved. Hilarious performers all.

Set Designer Michael Newton-Brown and Costume Designer Kaylene McCaw also create a suitably Brechtian ambience for the dark hilarity that goes down.

“Urinetown” will make you laugh. Let me stress that point. Comedy defies formula because it’s all about surprise. This musical constantly shifts gears, gets you off guard and throws you curve balls from left field. Don’t be surprised if you’re busting a gut.

And, speaking of surprises, why is everybody singing about Malthus at the end? Oh, I get it. Thomas Robert Malthus. Remember him? The original Jeremiah of overpopulation. Or, as Scrooge put it, “surplus population.”

Fair warning: Although “Urinetown” is a satire of message plays, it cunningly has it both ways and gives you a message anyway. Stop wasting water, or we’re all in the toilet.

Helpful hint: Use the restroom before you see the play. It’s free.

IF YOU GO
“Urinetown: The Musical” runs through April 27, at The Players Theatre, 838 N. Tamiami Trail, Sarasota. For more information, call 365-2494 or visit theplayers.org