It’s the first scene of the musical and there are several characters on stage dressed in rags, holding their bladder… Okay, so maybe this won’t be your average musical.

Urinetown is a daring, energetic show that boldly challenges your expectations and explores questions of power, freedom, and the right to pee. Crossing boundaries, it is at once a story of romance, revolution, and corruption, incorporating elements that are both farcical and sinister. You may rightly ask, as do many of the characters, what is Urinetown? Well…that answer might give away some major plot twists. So instead, let’s ask: where does this musical take place? The answer to that question is: in a town where people have to pay money to pee. In this futuristic time of water shortage, the society — and the public bathrooms — are controlled by the “Urine Good Company,” or UGC. The company is run by the manipulative (and well-clad) Mr. Cladwell, whose daughter Hope falls in love with Bobby Strong, the hero of the musical and the only one “strong” enough to stand up to Mr. Cladwell.

The talented students of the Professional Performing Arts School did an excellent job bringing this show to life. In the first act, the UGC employees took center stage; in the second act, it was the enthusiastic townspeople who stole the show. The choreography throughout was vibrant and dance numbers such as “Snuff That Girl” and “What is Urinetown?” pulsated with energy. The set design and costumes succeeded in transforming the high school auditorium into the contrasting worlds of the poor townsfolk and wealthy UGC workers. Condemned to beg for “pennies for a pee” in tattered clothing, the townspeople appeared against a backdrop of industrial-looking pipes that snaked over the walls, while in the brightly lit UGC office, company workers in sharp business attire came to attention in a line, each with a dazzling smile plastered to his or her face. Each actor, from the beaming, money-hungry UGC employees, to the agile pregnant pauper, possessed an individuality that strengthened the group dynamic as a whole and created an intricate and engaging ensemble.

Yet despite the moments of slapstick, the upbeat dance numbers, and the lively music — this is not a happy musical. It is just as concerned with questioning the sustainability of our way of life as it is with entertaining the audience. This twofold purpose, to both teach and amuse, is conveyed by the narrator, Officer Lockstock, and his friend, Little Sally, who directly address the audience, commenting on everything from the show’s title to what’s about to happen. At times this device of breaking the fourth wall can be distracting. On the other hand, this Brechtian style of reminding audiences “It’s just a show,” demonstrates Urinetown‘s ability to laugh at itself. What makes Urinetown unique is the contrast between its silly demeanor and its dark satire. PPAS does this inspiring musical justice: its production of Urinetown is just as full of energy and spirit as the characters’ bladders are full of… (well, you know).
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Check out footage of Hunter Foster and the cast of Urinetown at the Tony Awards: