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Urinetown: The Musical

a Musical Comedy
by music and lyrics by Mark Hollmann and book and lyrics by Greg Kotis

COMPANY : Onstage Atlanta, Inc. [WEBSITE]
VENUE : Onstage Atlanta, Inc. (Decatur) [WEBSITE]
ID# 2783

SHOWING : June 06, 2008 - July 20, 2008



OnStage Atlanta is presenting a revival of URINETOWN: The Musical, the SMASH HIT from its 2005-06 season. It is a fun, satirical musical comedy with some keen insights into corporate greed and the power of the people to rise against oppression. Many actors in the cast from the original show are returning for this special show along with some great new talent.

Choreographer Ricardo Aponte
Musical Director Clay Causey
Director Barbara Cole Uterhardt
Assistant Stage Manager Emma Goidel
Lighting Designer Harley Gould
Costume Designer Toni Sunseri
Percussionist L. Gerard Reid
us for McQueen Michael Baum
Soupy Sue Leslie Bellair
Little Becky 2 Shoes Laine Binder
Dirty Little Debbie Lindsay Creedon
Ensemble Andy Danh
Fipp Scott Shelton Ebert
Litte Sally Jenna Edmonds
Barrel Joey Ellington
Ensemble Imari Hardon
Hope Sims Lamason
Robby the Stockfish John Markowski
Old Man Strong/ Hot Blades Harry Charlie Miller
Tiny Tom Stephen Alan Odom
Bobby Strong Clint Pridgen
Josephine Strong Ami Rosen
Pennywise Allison Simpson
McQueen Jay Tryall
Lockstock Geoff Uterhardt
Cladwell Robert Wayne
Click to Submit Cast & Crew Info for this production


Flushed With Pee-er Acclaim
by Dedalus
Thursday, July 31, 2008
If this were a review of a musical called “Urinetown,” it would probably start with a tacky toilet-humor title, and acknowledge the almost universal acclaim it’s been receiving from the theatrical community, not to mention the good B.O. that will no doubt pay for Onstage Atlanta’s entire 2008/2009 season.

It would also acknowledge my previous work (and, I trust, friendship with) director Barbara Cole Uterhardt, with a by-now clichéd protestation of no-bias, which, in and of itself, would drip with bias for this can-do-no-wrong director.

It would downplay the Overcome-a-Small Budget constraints that were overcome with a top-notch cast, a wonderfully talented band, a clever and evocative set and light design, and costume plot that successfully facilitates multiple characterizations and quick-change scene shifts. And it would acknowledge the change buckets left by the in-house amenities.

If this were a review of a musical called “Urinetown,” it would display my regrets for a late-in-the-run viewing, an after-the-close posting, and a (by now) typical too-little too-late recommendation to trek Decaturward for the best musical experience of the week (a week which included a by-me well-received touring company at the Fox).

It would embarrassingly admit that this critic dragged along his seven-year-old child because he was too lazy to book a sitter, and even more embarrassingly admit she enjoyed the show more than a children’s play we had seen earlier in the day. I can’t wait for those phone calls from her new teacher complaining about her rendition of “Privilege to Pee,” though, thankfully, “Don’t Be the Bunny” is her favorite song. Today.

It would take a digression to apologize to an actress (who shall remain nameless) I’ve praised all summer, yet with whom I chatted in the lobby thinking she were someone else (who shall also remain nameless).

If this were a review of a musical called “Urinetown,” it would praise to the seven seas and seventy sewers the work of leads Clint Pridgen, Sims Lamason, Jenna Edmonds, Alli Simpson, Robert Wayne, and especially Googie Uterhardt (without mentioning the obvious favoritism inherent in his casting. I, after all, only seem to get roles if and only if it’s my spouse doing the directing).

It would also acknowledge the strong and singularly excellent supporting work by everyone else. Or, more accurately the plurally excellent work, since most play multiple roles, rich and poor, relieved and backed-up.

Finally, if this were a review of a musical called “Urinetown,” it would end with a protestation of my own tastefulness, after evoking the self-referential tone of the work in question.

However, this not a review of a musical called “Urinetown.” After all, I have far too much good taste to even see such a play.

-- Brad Rudy (

Hey Dead-A-Louse by BenAround
Love all that dish you are slinging for a non-review ... And on top of all of that, I heard that Googie is sleeping with the director. ;o)
Shocking! by Dedalus
I am Shocked, SHOCKED, to learn this. I mean what kind of world is this when too much talent and too tight an actor/character fit is not enough to get you cast! Oh, the Humanity!!!
Hey Dead Louse, WTF?? by BenAround
What you bin smoking Dude? I did not try out for no pee show, so I could not have been passed over in favor of someone else as you suggested. Hey, I could mention the same about why you weren't cast as well. Glass houses, my friend...

I actually like SOME of your reviews and you do seem to get around to most of the shows in town, good and bad. You sure don't mind saying so when something is good or bad and who doesn't love that, Mr. MASTER REVIEWER?

I was just commenting about the casting couch still being open over at OSA. Good to know that! There's hope for us all. Thank God! ;0)


P.S. Read this quick before it gets deleted. I'm sure I have ruffled more than one feather here. Speaking of which, How Ya' Doin' Feather? Long time, no hear from you.
Sorry D.Louse by BenAround
Age is not my friend. In the great words of Emily Litella "Never mind." I think you meant to say that you were shocked that GOOGIE got cast only on the basis of his talent and great fit (not going to go there on the double entendre of that phrase "great fit") for the part. I took your statement to mean that I, (Ben) was not cast even though I have talent and was a great fit for the part (which is very true and would have been so nice of you to say, had you said it).

Literacy be hard. Let's kiss and makeup (that word is good to use since it puts us back on-topic for theatre).

You're all right Mr. Louse... I actually know you and have seen your "work" on stage. You will be glad to know that you did not stink.

Luv ya more than Cats,
Idiot by Richard Long
Ben, you twit. Dedalus reviews are far more intelligent than you apparently have the capacity to absorb. Do us a favor and go back to playing your Dungeons and Dragons games and save us the wasted time of having to read your idiocy.
Thanks DICK by BenAround
Just what we expect from you.

What a tangled web we weave... by Dedalus
... when our tongues get stuck so far into our cheeks they lose their taste for parody.

Thank you for your strident defense Mr. Long, but I am (or at least WAS) certain Mr. Around was just playing with me. I have no idea who he is, but now that he admits he's seen me on stage, it's a much MUCH smaller pool of candidates.

Have a great weekend everyone!

Hail Malthus! (And Darwin!)
Right you are, Brad by BenAround
I thought you knew what I was up to. Dude you are 2 legit to quit. Another clue for you Deadylouse ... I met you at NP when you were in Nightingale and Babs COLE was directing. That was also the first time I met Babs. I have been friends with George and Jane U. for many years.
P.S. Dick, you lose, no washer and dryer for you, go back and play in the traffic. I am way too old for the D&D crowd. LOL
Urinetown-The Musical-Onstage Atlanta!-fabulous!!!!!
by ambers_vineyard
Monday, July 21, 2008
I went to see the show on Saturday night and had no idea what to expect. I have seen many mediocre productions on the local/small company scale. Usually I see a talented few with a lot of average others. However, with this production-everyone was a star. Every single cast member shined, no matter how small the part. Every cast member remained engaged and in character through out-never losing intensity. Every cast member gave their all, which made the show outstanding! The musical numbers were stupendous, the choreography was great, the acting was awesome. Every line was the way it should be, convincing, real and on time. The entire audience was laughing nearly the entire time and were fixed on the show. There was never a dull, slow moment, the show never dragged. It was a very entertaining show, with a very talented cast. 2 thunbs up and jazz hands to a wonderful cast pulling off a wonderful show!!!!!!!!! [POST A COMMENT REGARDING THIS REVIEW]
Damn ... come see my show anytime by BenAround
Well, ... tell us what you really think, why don'tcha?? Actually I saw the show too and enjoyed it very much. I would bet that you are a fun person to have in the audience. As a performer, thank you for sharing your enthusiam. I am sure the cast of Urinetown appreciates your very postive review. (I do not believe I have ever seen the word "stupendous" in a theatre review before.)
by theguru
Friday, July 18, 2008
Every now and then a show changes your mind. I never really liked musicals. After seeing this show, I now have a love for humorous, well-performed, and exciting musicals. This show also changed my mind about OnStage Atlanta. I was scared to go after seeing many bad productions there years ago. I almost hate saying that because OnStage seems to be on a wonderful new track. Now, I am a fan!
Privilege to See
by Mama Alma
Friday, June 27, 2008
Several years ago Geoff Uterhardt tried to drag me to see Urinetown. As I recall, my reaction was "why would I want to see a musical about bodily fluids?" I am afraid, though, I have to pile on in what seems to be unanimous praise for this production, which I liked so much I immediately went back and saw again.

To be fair, the cast boasts several of my favorites other than Googie: Jenna Edmonds (whom I have a big girl crush on), Sims Lamason (a triple threat of beauty, grace and great pipes), and Charlie Miller (whose Paul Ruebens delivery cracks me up no end). I also discovered new treasures to love: Leslie Bellair, whose crisp dance steps and brilliant comedic timing delightfully inform the ensemble, and bring unexpected punch to her understudy of Hope; Joey Ellington as Officer Barrel, who manages to bond several generations of theater goers with his Pat Butram homage (someone once described Butram's voice as sounding like a turkey being strangled – listen to Ellington and see if you don't agree); and Robert Wayne, who I have often found a little tentative, but who here attacks the role of Caldwell B. Cladwell with ferocious gusto. The only downside to my newfound appreciation for Wayne is that I cannot get his surreal rendition of "Don't Be the Bunny" out of my head!!! As Cladwell's tan, suave and richly oiled counterpart, Senator Fipp, Scott Ebert is marvelous. His short solo left me panting for more.

The ensemble sounds and looks terrific. They just flat out blew me away. Kudos to Clay Causey, the Musical Director. Flawlessly energetic dance execution. Ricardo Aponte's choreography, always impressive, just seems to get infinitely better and better. Anthony Owen (who also did the fantastically intricate set) is superbly punk and John Markowski, blue eyes blazing personifies lost innocence. Lindsay Creedon hurt her ankle in the beginning of the second act, but the ensemble covered beautifully. I just assumed she'd show up eventually with some piece of stage business. It wasn't until my second viewing that I realized just how cleverly the cast had covered because she has a LOT of stage "business," including a finale gag, all of which made the experience just that much richer. This brings up a salient point about this production: every character has been fleshed out in great detail, so the show can be seen multiple times and still deliver surprises. Yet I never got the feeling the primary action was being "upstaged." Character driven blocking and business (even in the dance numbers) created an excellent balance and sometimes insight (notice how often Officer Lockstock, an omniscient narrator, is paired with Little Sally, the innocent waif, even in fight scenes).

The musical numbers themselves are a delightful pastiche of Stomp and Music Man (Cop Song), Evita (Urinetown), Big River (Run Freedom Run), Les Mis (Tell Her I Love Her), and even West Side Story (Snuff that Girl). I'm sure I've missed other clever attributions in this unusual production. The structure itself is a sly wink, in that Officer Lockstock, from the very beginning, breaks the fourth wall and speaks very candidly to the audience about this being a strange sort of Musical, and not a very happy one at that. Musical and societal conventions are lampooned, while at the same time the very serious issue of increasing demand for diminishing resources and the rich and privileged few's exploitation of that demand is examined. Current, much? Have you watered your grass this year? Or managed to fill up your gas tank today? Urinetown's revolution of the poor seems fanciful, but Bobby Strong's refusal to collect the new facility tax is mirrored in today's news by Philadelphia Sheriff John Green's refusal to evict homeowners facing foreclosure. Sheriff Green told the mortgage companies (aka Urinetown's rich), the people are hurting: find another way. I found Urinetown spookily on point.

Topicality aside, I now have to turn to the four people who are the absolute standouts in this production. Alli Simpson, as Ms. Pennywise, has got a drop dead song, Privilege to Pee, less than ten minutes into Urinetown, which she delivers with a powerhouse voice. If you are fifteen minutes late and you miss this song, you should be beaten with a stout stick and forced to come back another day. If it weren't for the necessity of continuity, I'm sure the audience would have given her a Standing O right there. Sims Lamason, as Hope, and Clint Pridgen, as Bobby, not only have great chemistry, but their voices blend so prettily in a song like Follow Your Heart. [As an aside, when I saw Leslie Bellair as Hope, I was more impressed with the comedic aspects of the song, and not so much its lyricism, which is an excellent reason to see several actors put their own unique stamp on a role.] Pridgen and Lamason both get their own moments to shine in the rousing Run Freedom Run and I See a River. Lastly, Jenna Edmonds' rendition of Tell Her I love Her (with, admittedly, comic undertones) rivals any rendition of On My Own I've ever heard. Her sweet clear voice seems to have wings as it sweeps over the audience, banishing sorrow.

As Lockstock, Geoff Uterhardt is not a "standout." What Geoff is, at his heart, is Googie. He is an entertainer. He has that sixth sense a performer develops that allows him to know what the audience is feeling, when their attention is wandering, and how and where to "point" his performance to get them back. [I've seen him do this, sometimes with an ad lib, in character.] He personifies what Thorton Wilder called the collaboration between player and audience. As such, he is the perfect choice for Lockstock, the audience's "window" into Urinetown, and reminds me of no one so much as Guy de Liberte, the founder of Cirque Du Soleil. Let's play!

Holding all these great talents together is Barbara Uterhardt, who proves yet again she is an actor's director (everyone gets their moment in the sun), but only to the extent it serves the play (or Ms. Barbara's vision). Rock on guys. This one's a hit! Or as said more eloquently in another review: don't be the bunny. See this show.
by theatrepal
Tuesday, June 24, 2008
I know there is a bunch going on...but really? THis show is absolutely amazing! So why are you waiting to see it?
Yes, I am seeing Hedwig next weekend too...but this show is too good and too surprising to be missed!!
Alright, you may want to wait because you have seen this show done well before...but I am here to tell you that this show is better than you can hope for!
I have seen Urinetown in three different versions (none of which were OSA's previous production which people speak so highly of) and this exceeds all expectation. Not only is the script and music better than I remember but the acting, direction, and design of the entire show is absolutely amazing and breathtaking.
I walked in the theater already wowed by the amount of changes already done to the lobby and bathrooms since I attended a show in March and then walked inside the actual performance space to see the set. WOW! Major OMG must be given to Anthony Owen and his brilliant set which conveys fear, size, depth, and so many other words I can't think of right now! Great job to him. Then the band entered, the curtain speech was given (mentioning the 08-09 season which thoroughly excited me too), and the show began.
From that point on I was completely engrossed for more than two hours. I did not even leave my seat during intermission to go to the bathroom (sure that I would need to find 25 cents to do so!)
The cast was brilliant. Some of the best work I have seen Robert Wayne and Laine Binder do!
So, let me speak about the smart choice for the director to cast her husband in the storytelling/narrator role. I have seen spouses cast by spouses many times to terrible outcome. But this one is a no brainer! Googie Uterhardt is a true force and a true entertainer. You cannot keep your eyes off of him and once he twirls his hat you are hooked to try and catch him do it again! Wonderful casting of the narrator!
I disagree with the reviewers who have said that some actors were over the top... I think this is where the people of the city of "whatever it is called" have been driven to. In a futuristic society where people are overrun with poverty, capitalism, socialism, whatever... you might go a little bit crazy and become larger than life! I loved it!! So, this is again, a testament to the great casting involved here. I wouldn't think it would be easy to stand next to some of these lead actors and grab my focus (not for upstaging, but for an awesome and hysterical moment) and totally turn my focus on so that I want to come back and watch ONLY the ensemble actors!!
And I will be seeing it again... especially if an extension is in the cards this time...check your local listings for info on that!! Fingers crossed!!
Again, this production is a surprise. Not because it is great and that wasn't expected. But because it is greater than I expected. The equation of Barbara plus anything equals good... add Googie and you get great. Apparently BARBARA + GOOGIE + OSA = ABSOLUTELY AMAZING [POST A COMMENT REGARDING THIS REVIEW]
See this show!
by feather
Monday, June 23, 2008
I had a terrific time watching Urinetown this weekend. I highly recommend this gem . In particular, the performances of Bobby Strong and McQueen should not be missed. I am so impressed with the production values and quality of performance, Onstage has really improved since my last visit. My only issue is some of the actors get carried away with their energy that in such a small space it becomes a little over the top. But I squabble for its also this energy which makes this Urinetown such a joy to witness. Come one, come all, see this show! Yaay!!! [POST A COMMENT REGARDING THIS REVIEW]
i love u feather!!! by g8grrl
diky by feather
maybe by g8grrl
maybe not

i <3 u !!!
Forget the Former, I prefer the bladder!
by EKFricke
Saturday, June 14, 2008
It's sometimes hard to con the friends into going to see a show with me - the two easiest ways to convince them are either by scoring a decent price discount (we love bargains, my friends and I) or by picking a local venue. Since OSA is very conveniently located to all of us - rustling up a crew to see Urinetown was pretty darn easy. Toss in a proposal to check out the Chocolate Bar in Decatur and you've got a night out on the town that would rival any seen by Carrie Bradshaw and co.

Because of its proximity and proclivity for choosing challenging material, I've actually seen quite a number of shows at Onstage. For all of those shows, I have always been struck by the caliber of acting on stage. But to my mind Onstage had always seemed a bit too ambitious for its means. For example: "Angels In America" suffered from what appeared to be budgetary and logisitic limitations and "M. Butterfly" was nicely done, but could've been better with actual Asian actors.

So I was excited about Urinetown but also a little nervous - since I had never seen any iteration of this musical before - I worried that my first experience with it might be crippled by similar limitations. I had seen "Cabarat" for the first time locally, and while I enjoyed it - I did leave wishing I had seen another version first.

I'd love to be the unique voice among all the reviewers, but I must say that Onstage truly hit the nail on the head with this one. For the first time that I've seen, they were able to combine the acting chops with the necessary production values to put together a show that has rivaled any that I have seen. Very nice costuming - very energetic cast - excellent set design. Really well done.

I had a few criticisms, but honestly they were minor. I sat in the front row and at first was a bit off-put but the extravagant facial and body expressions - which to me seemed too big for such a small venue. But then I lightened up - honestly it's been a while since I've been to a musical of such energy and when I relaxed about it all - I realized that all of the physicality was entirely appropriate for musical theater.

There was some emotional intensity lacking in the second act especially after a pivotal plot turn (I don't want to give away any secrets) - the characters' reactions felt very 'surface level' to me. I am a softie - I cry easily but I had dry eyes here, which was a tiny bit disappointing - coz I do love a good cry.

But honestly - this is one of the best shows that I've seen in Atlanta in a while. I have always been a big Actor's Express fan, but now I think I might have to re-consider Onstage. If the rest of their season can sustain the same level of quality then they have, in my humble opinion, brought the place up by its bootstraps. It was good before, no doubt - but with this production I see true potential for becoming of of the greatest theaters in town.

Well done to all involved.

A Must See. . .
by SomeThingsAreMeantToBe
Thursday, June 12, 2008
I wrote this before logging in, and now I see how familiar my review is to the other's on this page, which should create a stronger testament to the truth of our reviews.

Urinetown is a show that can either be unbelievably entertaining or a complete wreck, with varying levels of success in between. Onstage Atlanta’s revival of Urinetown proved not only to be incredibly entertaining but also technically sound. I saw the show twice during its original run, and I loved it then so I didn’t think it would be any better. My expectations, however, were proved wrong. Not only was the revival of Urinetown just as much if not more entertaining, but the technical aspects of the show were fine-tuned. There is absolutely no comparison between the sets of the two shows. The set in the revival not only created the atmosphere for the story, but it also aided the smooth flow of the production from scene to scene. The choreography of the revival appeared much more challenging, and the blocking truly accomplished its purpose in helping to further communicate the story. A particular favorite scene where I was intrigued by the staging was the Act One Finale.

But a musical can’t be impressive based on the technical aspects alone. The sound of the chorus as well as individual singers is absolutely astounding. I have no doubt in my mind that each individual cast member has a powerhouse of a voice, or else their sound as a whole could not possibly be so overwhelming(in a good way!). Particular favorites of mine were “Privilege to Pee,” with Ms. Pennywise literally blowing the house away with impeccably strong vocals, “Urinetown” (honestly, I’ve never felt the vigor and intensity in this song in any other show I’ve seen-and this cast doesn’t even have microphones!), "Look at the Sky," which has never been one of my favorites until I heard this Bobby Strong's ridiculously amazing voice, and “Run Freedom Run,” during which the cast maintained incredible energy that made the audience want to get up and dance with them(although we couldn't possibly keep up because of the challenging choreography)! I also enjoyed the fact that each character was distinct in his/her role. No two characters were alike, which takes both individuals working alone and closely together as a cast.

I think it’s pretty clear that I believe this to be an incredible show, but what distinguishes it as such is not just their mastery of the basics. What impresses me is when someone takes a smaller role and makes it memorable. Mr. McQueen takes his one solo in “Mr. Cladwell” and made me think, wow, that guy can sing. A solo I never noticed in the million times I’ve listened to the song, or the times I’ve seen the show and here I was, remembering it and discussing it with a fellow audience member. I appreciate that; I appreciate the thought and effort each individual places in his/her character. It’s clear that each cast member is “following his heart” by creating what he loves, and that is, great art.
What kind of musical is this?
by Majestic123
Monday, June 9, 2008
A fantastic one!

I’ve been a long time reader of Theaterreview and a long time Atlanta theater patron. I just hadn’t seen a show that really made me want to register and type a review …… this show did.

Urinetown has been one of my favorite shows for quite a while now. I saw the show on Broadway shortly before it closed and I saw the national tour cast at the Fox a few years ago. I can say without hesitation that this production is every bit as good as those two casts and in some ways I felt that it surpassed them. I felt that the choreography was the strongest I’ve seen in any production of Urinetown. I’ve seen a few shows choreographed by Mr. Aponte, I feel that he really outdid himself with this production. The first 15 minutes of Act Two just left me in awe. I turned to my wife after “Run Freedom Run” and whispered: “Now that’s great theatre.” Act two opens with “What is Urinetown,” followed immediately by “Snuff that Girl” and then right into “Run Freedom Run.” All three of those songs were just amazing and Mr. Pridgen’s vocals on “Run Freedom Run” were spot on. I almost leapt out of my seat to cheer after that number, but I decided to contain myself!

I’ve seen a few shows at OnStage Atlanta (regrettably I missed the first mounting of Urinetown), and a lot of the shows are hit-or-miss. You never know what quality you are going to get when you walk into the theater. But this production is every bit as good as any show I’ve seen at the Lyric, Aurora, Dad’s Garage, or even the Alliance. Every single member of this cast deserves accolades. Every person on that stage is completely in character 100 % of the time. I really admire how every person in the ensemble had a distinct character and each one of them was portrayed brilliantly. Laine Binder, Lindsay Creedon, Stephen Odom, and John Markowski, are just a few that stood out to me. The whole ensemble was just so powerful, the best I’ve seen in a show in quite a while.

On to the leads: I don’t think I could have asked for a better Lockstock than Mr. Googie Uterhardt. His delivery is fresh and exciting and the small glimpses that the audience gets of his singing voice left me wanted more! The connection between Hope (Sims Lamason) and Bobby (Clint Pridgen) was, for a lack of a better word, HOT! I really believed their love scenes and their duet “Follow Your Heart” was beautifully sung! That is the first song that the audience really gets to hear Bobby sing, and when Mr. Pridgen started his verse I knew that “Look at the Sky” and “Run Freedom Run” were going to be GREAT! And they were! Perfectly cast as the show’s villain, Robert Wayne plays Cladwell brilliantly. Other actors that deserve to be commended are Alli Simpson’s power-belting Pennywise, Jenna Edmond’s perfect Little Sally, Jay Tryall’s hilarious Mr. Mcqueen, Scott Ebert’s slick Senator Fipp, and character shifting Charlie Miller as Bobby’s Father and Hot Blades Harry.

Production values were also top notch. The set was incredible and the sound was very clear. The band deserves to be mentioned too, because they played the score with such ease. Great job! If there is something about the show that I forgot to mention, and I’m sure I did, it is not because it was in some way, lacking. This show is a high energy, hilarious show with some truly amazing performers. Great show, guys! My wife and I both loved every second and we will tell our friends about the show and probably even make a trip to see it again. Definitely a great night at the theater!
Second viewing! by Majestic123
Saw the show again yesterday (Sunday Jun 29) and it was again, just incredible. Imari Hardon was on in Jenna Edmonds' place as Little Sally and I was impressed with her interpretation of the character. At times I found her a little hard to understand (I think part of that was because of her character voice.) Ms. Edmonds was outstanding in the role (perfectly cast), and I think it would be hard for anyone to fill her shoes, but Ms. Hardon did a great job. Her Little Sally was much different than Ms. Edmonds' interpretation of the role, but it definitely worked. She definitely has a beautiful voice (which we got a small glimpse of during her solos). Laine Binder was also out, with Lindsay Creedon covering her lines and solos. That was a seamless fix and I applaud Ms. Creedon for handling her absence with such ease. If I had not seen the show before, I would've never known an ensemble member was missing.

Overall I would say the show was even stronger than the first time I saw it. The energy is never lacking and the singing never disappoints. "Run Freedom Run" is worth the ticket price alone. I saw a young man in the front give a standing ovation after that song, and I can't say I blame him, it was just incredible! I've often seen shows late in their run and I sometimes feel that they start to lose steam and get tired .. that is NOT THE CASE with this show. Every actor performed like it was the first time and I really appreciate that.

So, if you haven't gotten a chance to see the show ... what's your excuse?!?! They run for two more weekends and if you miss it, you will regret it! In recent weeks, I've seen Songs of the Living Dead at Dad's Garage, Hedwig at Actor's Express and Some Enchanted Evening at the Lyric. Of course all these shows are VERY different, but all I'm going to say is .. Urinetown is the only show that I feel really warranted a rave review out of all of those. (It's also the only one that I wanted to see again!)

What a great production .. everyone involved deserves such praise!
A Real Thrill
by EricMc
Monday, June 9, 2008
Ok, ok, ok. I debated about writing this commentary for a variety of reasons, not the least of which is the fact that I was in the previous production of this show at Onstage Atlanta (full disclosure!). I will avoid comparisons to that show really wouldn't serve any purpose to do so.

But, ladies and gentlemen, this show is quite terrific and should make it onto your list of things to see this summer.

Where to begin? Ricardo Aponte's choreography is ebullient and athletic and FUN! Barbara Cole Uterhardt's creative direction has perfectly captured the ridiculousness of the piece. Clay Causey's musical direction is precise and crystal clear. And the design is outstanding! Lights, costumes, set, props - everything. It is a real testament to the skill of the set designer (who is also in the cast) that he was able to put together that set on what I learned was a true shoestring budget. It's amazing how much it contributes to this new version of the show.

And I'm not going to name names, but it is with no sense of misplaced charity that I say that the cast is universally wonderful. Great voices, marvelous characters, and real investment in what's going on in this show. It's refreshing to see a show where everyone is so involved in what they're doing onstage, from start to finish.

Am I a little biased because I like these people so much? Perhaps. But I can suspend that relationship enough to honestly say that I would have enjoyed this show had I not known a single person in the cast. Check it out. [POST A COMMENT REGARDING THIS REVIEW]
I wondered if you were that Eric Mc. by Okely Dokely
I saw OSA's Urinetown 2006 and thought you were fantastic in it. So funny and a wonderful voice.

Why didn't you do it again this year? Do you have something else you're working on that conflicted, or just didn't want to, etc.?

If you don't mind my asking.
conflict by EricMc
Thanks for your nice words, Okely!

Yes, I had a conflict with the show's schedule. I've been given an opportunity to get out of Atlanta this summer, and I just couldn't pass it up.

It should come as no surprise to you to learn that the billy club has been handed over to a MOST worthy new Lockstock (Geoff Uterhardt). What a hoot!
What an amazing show!
by theatreislife
Monday, June 9, 2008
Let me just start of my saying that I saw the show at OnStage a couple of years ago and I was a little bit hesitant about seeing the show again since it was still fresh in my memory. This show is not only a COMPLETELY different production, it is much better than its predecessor. (which I thought was a great show as well).

I don't want to spend a lot of time comparing the two shows, because, like I said, it really is very different. But a couple of things that should be noted:

The set is MUCH improved from the previous production. The set was the one aspect that I found a little bit lacking in the last production, but this set is just great, very professional. Before the show I just spent my time taking it in and looking around at all the details.

Blocking and Choreography is also stronger than the last production. The blocking makes great use of the space and the choreography is just all around tighter and more effective.

I'm not going to compare the past cast members to the new cast members because that's just not fair, so I'll comment on this cast as a whole.

First and foremost, the ensemble is absolutely mesmerizing. The cohesiveness and sheer POWER of the voices are certainly chill-inducing. Every member was strong and I would be hard pressed to name a single standout because they are ALL powerhouses. The energy that they all exude just seems endless!

As far as the principal characters go, a few standouts are Googie Uterhardt as Lockstock (and his hilarious counterpart Joey Ellington as Officer Barrel), Jenna Edmonds as Little Sally (she's so darn cute!), Clint Pridgen as Bobby Strong (with a voice that will leave you in awe), and Robert Wayne as Caldwell B. Cladwell (What a commanding presence). I would also be remiss if I did not mention the powerhouse voice that is All Simpson. Every time she opens her mouth will leave your mouth hanging open.

I was there this past Saturday and I found out after the show that one of the cast members hurt her ankle in the opening of Act II. I was so impressed with how the ensemble handled her absence .. I honestly had no clue that anything was wrong.

As I'm sure you can tell, I just loved this show. I'm definitely going to spread the word about this production, because it deserves to be seen! Congratulations to the cast and crew of this show, they made an amazing production even better! I see a lot of Atlanta theatre and I have to say that this is probably the strongest all around show that I've seen in quite a while.

"Don't be the Bunny" and miss this show!

Sorry theaterislife by theatreislife
As I was browsing this site (I didn't even know it existed until recently), I noticed that someone else has a very similar screenname to mine: theaterislife. Sorry about that, I didn't mean to steal your name! I'll try to change my s/n so people don't get confused!
No Problem by theaterislife
Thanks for the courtesy! I was like huh? When did I go see this show and who hacked my account?


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