Studio 58 flows talent in Broadway satire "Urinetown"

Imagine living in a place where private toilets are an unthinkable luxury. Following twenty years of horrific drought, the mega-corporation known as “Urine Good Company,” controls access to public restrooms by placing a fee to enter. This is the setting of the satirical Broadway musical Urinetown, presented by Vancouver’s Studio 58 January 30 to February 16.

The narrative of the show is steeped with commentary on corporations’ control over human biology, our legal system, capitalism, and bureaucracy. Urinetown has a cheeky and witty tone throughout, constantly playing on words, and nipping at its own form. There is no shying away from its excessive satire. 

“The names inform a lot about the characters in this piece,” says Caleb Dyks, who plays lead character Bobby Strong. “Obviously, looking at me, Bobby’s character isn’t about physical strength, but his name really speaks to his spirit throughout the show.”

Similarly, the leading female character, Hope Cladwell, is a hyper-ingénue role for actor Emma Ross. 

Liam Stewart-Kanigan and Emma Ross; photo and art work by Emily Cooper

“Hope is drawn from characters like Dorothy from The Wizard of Oz, and Sandy from Grease. It’s been challenging to totally embody those characteristics,” Ross says. “Hope is a stereotype of those tropes, but she also has the pure full heart and truly believes the best in everyone.”

The parody presents an interesting process for the actors involved, since the script constantly reminds performers and audience members alike that it’s a comedic critique on our society.  

 “Obviously, the title itself is a joke, and there are references to it in the show,” says Dyks. “But once we unravelled all the layers, the heart of the show really starts to create this massive story about all of these themes.” 

Ross hopes the audience can take away some of the more human elements of the show. “This piece is about so many things, but it is also about new love, about meeting someone for the first time and about family.”

Photo by David Cooper

The cast of Studio 58 masterfully kept up the momentum and energy written into the script and soundtrack of Urinetown. Musically and choreographically, the show avoids taking the easy route. Due to its parody of the musical form itself, there are constant references to other works—be it the themes of oppression shared by Les Miserables or Three Penny Opera, or a Cossack ensemble dance reminiscent of Fiddler on the Roof. This piece exhibits an impressive display of variety through the genre-crossing plot lines and character tropes, which Studio 58 tackled in a seemingly effortless yet vibrant manner. 

From the beginning, it is clear that audiences aren’t invited to simply lean back and get lost in a fantastical world, dreamily charmed by romantic song and dance. This wacky mutation of our current society is meant to beg the question: How far off are we from having to pay to pee?