Masque set to perform Urinetown

By Nate Adams
Collegian Editor
November 7, 2007

After the darkness of Jekyll and Hyde and the prestige of Philadelphia Story, The Masque will be relieving themselves with the dry humor and social commentary of Urinetown, which is running in the Dan Rodden Theatre Nov. 9, 10 and 11 and Nov. 15, 16 and 17.

Originally written by Greg Kotis and Mark Hollman,Urinetown maintains a balance of well-written lampooning and basic referential comedy. The play, which is set in a nameless town so wracked with drought that bathroom privileges must be regulated and paid for, is a far cry from more conventional musicals La Salle has attempted recently, partly due to its tongue-in-cheek attitude toward the genre.

“There’s a Les Miserable number, and there is a West Side Story song and there is a Phantom of the Opera song,” senior communication major and assistant director Sara Allen said. “It really pokes fun at traditional musical numbers.”

Still, students unfamiliar with theater need not be turned off by the self-referencing. As junior chemistry/ bio-chem major Pam Woodward points out, part of the charm of the show is the universal humor: “It’s a really funny satire; I think the average student can really relate to the jokes.”

Woodward isn’t the only one who thinks so. Heralding Urinetown’s unique comic edge, sophomore psychology major Stephan Clanton says, “It’s got a crude energy that someone might not expect from a La Salle play.”

The plot unfolds around Bobby Strong (Clanton), a good-hearted everyman working at the town’s most rundown public restroom. Public urination is outlawed, and restroom privileges require the payment of steep fees. The law is enforced by a strict police force led by Officer Lockstock (senior English major Mark Costello).

Eventually, Bobby decides to start a revolution against the UrineGood Corporation, the company in charge of the public toilets.

Run by the evil and miserly business man Caldwell B. Cladwell (junior biology major Doug Phelan), the company is robbing the citizens blind, and is in love with Cladwell's strong-willed daughter Hope (Woodward).

A common thread throughout the cast and crew is how well everyone has been able to keep up with the break-neck pace of the production, not to mention the long hours leading up to opening night.

“We’ve been rehearsing constantly,” Costello said. “It’s physically draining, but we know our stuff. There is never a panic moment.”

“The show is a marathon,” Woodward added. “It’s very high energy, but everyone has pulled together to keep it up for the entire show. I’m really impressed with everyone.”

All indications are that the hard work may be needed. With an elusive theme and a difficult tone, the play, which Costello dubs “the Dr. Strangelove of musicals,” might be difficult for even the most experienced troupe. Adding to that, the Masque’s cast and crew has been unable to come to an agreement as to what the play actually stands for.

Sophomore English major Megan Henderson, the show’s stage manager, says the play has a “universal message about freedom being a basic right, but [warns] against abusing those rights.”

Meanwhile, Michael Borton, the play’s music director, offers a slightly different interpretation of the production.

“It’s a well-written satire that makes a great statement about politics and how they affect the world,” he said, pausing before adding, “It’s like South Park but not as crude.”

Despite the difficult tone, those close to the production have a high level of confidence in the abilities of the cast.

“We don’t have off nights,” Allen said. “The play is being done very professionally. Both the actors and the crew have done wonders with this production.”

Both Henderson and Borton seem to agree.

“Everyone has come together really well,” Henderson said. “There have been no big problems. We all knew our duties going in, and it hasn’t been too difficult.”

“This play features some very difficult vocal writing,” Borton added. “It can be hard–working with non-music majors, but this cast has been so opened minded and spirited that it’s been really fun. They’ve been chomping at the bit the whole time.”

Urinetown does feature a good amount of musical numbers, but according to Borton almost no cuts have been made from the original score.

Thought–provoking and intriguing, Urinetown is a musical full of dry wit and social commentary for a modern audience, a production that Henderson notes “Really speaks to our generation.”

Oh yeah, its got some pee jokes, too.

adamsn1@lasalle.edu