SUBMIT ABOUT FAQ
PEOPLE COMPANIES VENUES
LOGIN NEW USER PRODUCTIONS
REVIEWERS SIX DEGREES
A User-Driven Site for Theater in Atlanta, Georgia
SomeThingsAreMeantToBe [ALL REVIEWERS]
Companies Reviewed#
Onstage Atlanta, Inc.1
Average Rating Given : 5.00000
Reviews in Last 6 months :
REVIEWS

Urinetown: The Musical, by music and lyrics by Mark Hollmann and book and lyrics by Greg Kotis
A Must See. . .
Thursday, June 12, 2008
5.0
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.

OPENING SOON
Outside Mullingar
by John Patrick Shanley
Live Arts Theatre
CLOSING SOON
Harvest 10-10-10
by Jordan Richards, Bruce Karp, Robin Doupe, Brad Sytsma, Joe Starzyk, Lindsey Brown, Matthew Fowler, Jenny Mead, Emily McClain, Emily Hageman
Onion Man Productions
Julius Caesar
by William Shakespeare
The New American Shakespeare Tavern
Mac | Beth
by Erica Schmidt, adapted from William Shakespeare
Synchronicity Performance Group
Small Mouth Sounds
by Bess Wohl
Alliance Theatre Company
Spring Awakening
by Duncan Sheik (music), Steven Sater (words)
Oglethorpe University Theatre Department
The 39 Steps
by Patrick Barlow
Theatre Buford
NOW PLAYING
Almost, Maine
by John Cariani
Centerstage North Theatre
BattleActs Fall 2019
Laughing Matters
Daddy Long Legs
by John Caird (book) and Paul Gordon (songs)
The Legacy Theatre
Harvest 10-10-10
by Jordan Richards, Bruce Karp, Robin Doupe, Brad Sytsma, Joe Starzyk, Lindsey Brown, Matthew Fowler, Jenny Mead, Emily McClain, Emily Hageman
Onion Man Productions
Julius Caesar
by William Shakespeare
The New American Shakespeare Tavern
Mac | Beth
by Erica Schmidt, adapted from William Shakespeare
Synchronicity Performance Group
Midnight at the Masquerade
by The Murder Mystery Company
The Murder Mystery Company in Atlanta
Ridiculous Beasts and Where to Kill Them
by Ryan Girard
Agathas: A Taste of Mystery
Safety Net
by Daryl Lisa Fazio
Theatrical Outfit
Small Mouth Sounds
by Bess Wohl
Alliance Theatre Company
Spring Awakening
by Duncan Sheik (music), Steven Sater (words)
Oglethorpe University Theatre Department
The 39 Steps
by Patrick Barlow
Theatre Buford

©2012 TheaterReview.com. All rights reserved.