Photo credit: Liz Stenholt Photography
Until last Sunday, I don’t think I truly understood that Urinetown: The Musical is a cult classic. I’ve adored it since its 2002 Tony performance and always assumed I was part of a small group who knew it inside and out. But sitting inside the intimate Theo Ubique Theatre, immersed in Eleanor Kahn’s dark and slightly claustrophobic set, I realized I was surrounded by fellow devotees. Audience members mouthed the lyrics, whispered about past productions, and hummed along during transitions as I myself fought the urge to sing out loud. And that’s when it hit me: Urinetown is a full-blown cult phenomenon.
Written by Mark Hollmann and Greg Kotis, Urinetown is a dark, satirical musical set in a dystopian city where a decades-long drought has made private toilets illegal. Urine Good Company (UGC), a heartless mega-corporation, controls all public amenities and profits at the public’s expense. Those who can’t pay the ever-rising fee are carted away to the mysterious and ominous “Urinetown,” never to return. When Bobby Strong (Luke Nowakowski) watches his own father hauled off, he reluctantly starts a revolution among the poor. He finds an unlikely ally in Hope Cladwell (Amanda Rodriguez), the bright-eyed daughter of UGC’s ruthlessly charming CEO, Caldwell B. Cladwell (Drew Longo).
Photo credit: Liz Stenholt Photography
If you’re wondering how a plot like this could possibly work, then you’ve landed squarely on why it’s a cult classic. The premise is gloriously absurd, as pointed out by the narrators, Officer Lockstock (Ryan Stajmiger) and Little Sally (Maya Tanaka Allwardt). Stajmiger and Allwardt narrate the story with meta-theatrical glee, breaking the fourth wall and holding the show together. Nowakowski as Bobby and Rodriguez as Hope shine as the earnest hero and the unexpectedly rebellious ingénue, their acting only outshone by their powerful vocals. Longo’s Caldwell is a perfectly charming villain and the rest of the ensemble, necessarily small due to the cozy nature of the space, fills the place with personality and sound. It was fun to watch the ensemble seamlessly transition between 2 and even 3 roles, sometimes mid-scene. (I watched Matt Frye switch between two characters while hiding behind my son’s seat!)
One of Urinetown’s great strengths is its adaptability, and Theo’s production, cleverly directed by Danny Kapinos, embraces that fully. The storefront venue allows each show to reinvent the space, and here, thanks to the clever design of Kahn, the actors flow in and around the audience like part of the environment itself. They dart between tables, emerge from shadows, and appear inches away without ever breaking the heightened absurdity. It made for an intimate, chaotic and unique experience that brought a new appreciation to an old favorite. A special treat was being able to watch the small band, under the direction of Kevin Zhou, perform throughout the dark show.
If you’ve never seen Urinetown, you absolutely should. It’s sharp, weird, unsettling, and somehow timeless. Its commentary on greed, scarcity and class conflict feels painfully relevant, even as the show quietly hints that the corporation’s grim logic isn’t entirely wrong either. In the end, Urinetown’s message is intentionally uncomfortable: nobody wins in a world where resources run out. What isn’t uncertain or uncomfortable is the brilliance of this production. Grab your ticket to Urinetown: The Musical while you still can. And I sincerely hope you return.
Urinetown: the Musical is now playing at Theo Ubique, 721 Howard Street, Evanston, now extended through January 4. Performance times vary; check the website at Theo. Find more information about current plays on our Current Shows page and at theatreinchicago.com.