It’s been nearly 20 years since I was a freshman in college, and I still remember my first college production. 

I attended a school smaller than Purdue University Fort Wayne, and that first production was George Washington Slept Here. I had the smallest role — no lines — just a bit part with a funny encounter with one of the leads, but it was a positive experience. I remember all of these things very fondly, but also remember the hard work it took to bring that production to the stage.

The cast of PFW’s Urinetown the Musical at Williams Theatre do an excellent job bringing a not-so-cheery production to the stage. 

Urinetown is a satirical musical comedy that is modeled off the plays of Bertolt Brecht and Kurt Weill, who were known for their political and social commentaries. 

Immersive

Urinetown definitely embraces satire. There are many moments where the cast speaks in direct address, or even breaks the fourth wall, while treating the audience as oblivious theatergoers who have wandered into their hardships by mistake. In fact, coming out of intermission, the narrator even comments that he is surprised that we have returned to this miserable place. 

Social commentary isn’t missing from the show either. Urinetown’s plot is heavy with allusions to climate change and political corruption. 

Standing up for what’s right

The musical opens with the entrance of Officer Lockstock (PFW professor Jeff Casazza), a tough-talking beat cop who doubles as one of the play’s narrators with the help of the street urchin Little Sally (Olivia Albertson). 

Together they explain that the story focuses on a time in the not-so-distant future where a 20-year drought and subsequent a terrible water shortage has made water scarce, so scarce in fact that the government has banned private toilets, leading to a proliferation of paid public toilets. 

These public amenities, as they’re known, are run by the evil Urine Good Company headed up by the villainous Caldwell B. Cladwell (Brian Ernsberger). If citizens relieve themselves in public or refuse to pay the fee, they’re sent to the infamous Urinetown.

While few see the benefits of charging citizens for necessities, there are those with a conscience that fight back, unafraid to face the consequences, such as employee Bobby Strong (Ian Capuyan) and Cladwell’s daughter, Hope Cladwell (Mallory Walker).

Strong performances

In spite of the somewhat dire plot, the cast does manage to shine. 

A look at the program reveals the cast is relatively young, with more than half being underclassmen. They all performed admirably. 

Particularly impressive were all of the vocal performances. Under the direction of musical director Holly Knott, the group numbers tackled some difficult harmonies very well, seamlessly blending the voices even amid some tricky choreography.

Brittney T. Coughlin does excellent choreography, capturing and putting into motion the somewhat tongue-in-cheek show. 

There are several musical numbers that feature some very on-the-nose moments, for which Coughlin deserves credit.

Standouts in the cast were seniors Lee Martin and Capuyan, as well as sophomore Albertson. Albertson, often paired with Casazza’s Lockstock, was sickly sweet and unabashedly precocious. Her delivery and physicality were on point for a character that is written as half her age. She and Casazza play off of each other well, and Albertson truly gives as good as she gets.

Playing urinal manager Penelope “Penny” Pennywise, Martin, in her epic solo number “It’s a Privilege to Pee,” brings down the house. Her delivery is bold, brassy, and in charge ­— every bit the character that she inhabits. Later, when Penny is met with conflict, she exhibits the same fire and exacts a certain amount of revenge to a lover who jilted her.

Finally, Capuyan plays the everyman hero Bobby Strong. His delivery is much like the heartthrobs that his character satirizes. He’s vulnerable and sweet and, alternately, determined and heroic. His charmingly cheesy “Run, Freedom, Run” is a true bright spot in the second act.

While Urinetown the Musical is not happy, it is unabashedly smarmy and delivers the laughs.