Urinetown - The Musical (Birmingham Crescent)

So this is a review of Urinetown, not the place of course, the musical but, you’d probably gathered that, a strange and not particularly appealing title for a show from the combined pens of Mark Hollmann and Greg Kotis, set in a future world where water is rationed and there is a fee to pee (perhaps those with climate change on their mind might think we are heading for something not dissimilar in reality).

From the opening exchange between Brendan Stanley’s authoritative Officer Lockstock and Charlotte Upton’s appealingly hyperactive Little Sally, there is want to play with the audience perception of what they might witness and whether the storyline is really acceptable for the musical genre but, as Lockstock states not all musicals have to be happy.

Bobby Strong played with understated brilliance and a rich vocal by Nicholas Brady is the hero of the piece taking on both his slightly psychotic employer, Miss Pennywise (an exquisite piece of character acting from Helen Parsons) manager of Amenity (Public Toilet under any other name) #9 and megalomaniac boss of the delightfully titled ‘Urine Good Hands’ controlling company Caldwell B. Cladwell played as if always on the edge of something quite nasty by Mark Horne.

Love interest and adding a subtle level of  charm and innocence to the whole proceedings along with an impressive singing voice, is Laura Poyner as Cladwell’s daughter Hope, not really in the same mould as her father and very quickly falling for Bobby which will only puts further strain on the family relationship.

Cladwell is supported in his nefarious aims by fawning assistant McQueen (Luke Plimmer), the obligatory corrupt official Senator Fipp (Chris Connolly), aspiring secretary Mrs Millenium (Linda Arrowsmith and scientist Dr Billeaux (Annie Hall) all in it for nothing but, their personal gratification.

Losing his father Old Man Strong (Francis Mallon) to the fictitious ‘Urinetown’ a cover for the death penalty provides Bobby and his mother Josephine (Wanda Raven) with the strength to coordinate the rebel uprising and defeat Cladwell but, not before Bobby himself is sent to Urinetown without achieving the girl.

There is much of the Romeo & Juliet and West Side Story to this piece and with a fine supporting cast and some keen direction from Alan K. Marshall (who along with Tiffany Cawthorne has also developed some inventive choreography for the intimate surroundings of the Ron Barber Studio Theatre) this offers a great night of entertainment.

Don’t let the ‘stink years’ return and follow your heart by grabbing some tickets at the Crescent Theatre in Birmingham before the run ends on Saturday 2nd June 2018.

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