Urinetown, The Musical
Mac-Haydn Theatre in Chatham, New York
Written by Greg Kotis, directed by Trey Compton
“Don’t be the bunny.”
A great many talented people worked their butts off to put across one of the most intelligent and fanciful musicals in the canon at the Mac-Haydn Theatre in Chatham, New York. They worked much harder than they should have had to because they had an ill- prepared tech working the sound booth. He, or she, didn’t ride gain and never punched the voices so that spoken lines and often sung lines could not make it through the orchestration, even of underscore. This show is intelligent; it is unusual; it requires an audience to listen. That said, the under-attended opening night audience seemed to understand how good the work was by the company and they rightfully applauded them for their efforts. I hope that the rest of the run of this show will be better managed and that larger audiences will be able to appreciate the important message the show imparts to our much-tested time.
The script has two principal characters tell the story and appear in the story: Little Sally and Office Lockstock (his partner is Office Barrrel). They work this gimmick throughout the play. Rather than do their work, let me just tell you that Little Sally objects to the title, thinking that it will discourage audiences from attending. In spite of a 963 performance run on Broadway, and three Tony Awards, she may be right. While the story is about what the title suggests, it really isn’t. It’s a much more serious play than that. Still, there are those jokes. But the brilliant writing played in the hands of highly capable actors makes the difference.
George Dvorsky plays the villain and he is marvelous. Caldwell B. Cladwell is the ultimate bad guy, trading humanity for dollars, corrupting the government, abusing his followers and helpers, abandoning his daughter to an uncertain fate, and lying to anyone who will listen to him. For a show written in 2001 this is essentially sentient. Dvorsky’s style and manner in the show is stolen from or even very reminiscent of current politicians, but his work—vocal and otherwise—is divinely derived.
Actor Kylan Ross plays Caldwell’s most bitter enemy, Bobby Strong whose own father has been dragged off to Urinetown as punishment for disobeying the law. Additionally, Bobby loves Caldwell’s daughter, Hope, nicely played by Nina Laing. Ross, like Dvorsky, has a strong voice that carried nicely in spite of the awkward miking situation that plagued the company, and so his many musical numbers made an impact.
The love story in this show is an awkward one, but Laing and Ross carried it off well. This Bertolt Brecht parody play benefitted from the sincerity of their playing as did the faux-Kurt-Weill score which lapsed into period mocking in its rhythms and scoring. In spite of the sound it was well handled by the ensemble of five musicians, well conducted by musical director Eric Shorey.
Director Trey Compton, along with choreographer Elizabeth McGuire, kept the show moving at all times. Compton employed tricks of all sorts to accomplish the play’s motivations including spray cans of smoke, sometimes even handled by the actor playing the moment.
Set designer Erin Kiernan has created a horrible world in which to play the play, while costume designer Bethany Marx has clothed the company in hideous rags and familiar upper class outfits that are just right for this show. Andrew Gmoser’s lighting is among his most moody and appropriate.
Once again actor Gabe Belyeu saves the show with his sincerity and honest portrayal, this time of the ubiquitous Officer Lockstock. Singing, or chatting with Little Sally, a lovely Sarah Chiu, he keeps the play on an even and real keel, and the show stays afloat as it must. I swear to you that there is nothing this actor cannot accomplish. He, Ross, and Dvorsky keep this particular musical active and alive even when the technical odds are against them. If, like me, you admire talent, this is a show you have to see while you can. There’ll be nothing else like it all season anywhere.
“Urinetown” plays at the Mac-Haydn Theatre, Route 203, Chatham, NY through July 17. For tickets and information call 518-392-9292 or visit their website.
