Review: Urinetown the Musical at Futures Theatre

Few high school productions have ever come as close to professional-level polish and sophistication as Pulteney Grammar School’s incendiary staging of Urinetown: The Musical.

Skilfully directed with acid-sharp wit and bold energy by Jo Casson, the show was a pro-level success, replete with satirical bite, perceptive performances, and theatrical style that defied belief in a high school production.

No sooner had the houselights faded than the audience was whisked into a dystopian world starkly realised in excellent lighting, set, and sound design. Technical niceties were dealt with to a degree more generally reserved for seasoned companies: striking industrial imagery, spot-on balance in the sound, and evocative lighting effects that authenticated comedy and pathos with equal emphasis.

Henry Green was well-suited to play morally ambiguous and self-aware Officer Lockstock with commendable ease, navigating the show’s meta-theatricality with a dry wit that left one in hysterics. His inquisitive opposite, Emily Puah, brought warmth and humour to Little Sally, with whom she played lustily innocent and on the mark with comedic timing.

Billy Rowan, as evil Caldwell B. Cladwell, brought gravity and theatrics to the role, milking every moment for all it was worth with a strong, corporate villain.

The ensemble, led in part by the charismatic acting of Henry Tran, Sophie Haarsma, and Michaela Lazarevic, danced as a collective, expressive body, bringing the storytelling to life in every step and stomp.

Patrick Longden delivered a standout performance as Bobby Strong, embodying the character’s upbeat enthusiasm with a sparky stage presence and vocal intensity that anchored the show’s emotional core. Equally intriguing was Polly Schubert as Hope Cladwell, whose sunny soprano and comedic timing gave the role sparkle as well as substance.

Maggie Bridges was a force as Penelope Pennywise, ruling the stage with powerhouse vocals and a stern but comedic take on the janitor of the urinals.

At the conductor’s stand of Jonathon Rice, the musical leadership was crisp and energetic. The band turned out a lively, style-bending score that jumped from gospel to jazz to Broadway spoof with no difficulty at all. The ensemble singing was particularly formidable, a testament to Rice’s leadership as much as to the diligence of the students.

Choreography by Rosanna Dobre and Jo Casson was imaginative but controlled. Movement was precisely suited for the style of the show – sharp, stylised, and heightened – with highlight ensemble numbers like “Run, Freedom, Run!” and “Look at the Sky” adds spurts of synchronised energy and visual excitement.

What distinguished this production was its steadfast commitment to the satirical pulse of the show. The cast and crew accepted Urinetown’s ridiculousness without ever sacrificing its humanity or its parody. What resulted was a product that was as captivating as it was intellectually stimulating – a thing that many professional productions are unable to accomplish.

This Urinetown was no ordinary school musical. It was a clever, stylish, and resplendent put-down of the establishment that was partly owed to visionary direction, musical and choreographic virtuosity, and a company whose commitment and talent shone on stage. Remarkable.

4.5 Stars

Lia Loves.