Urinetown

[Footlooser]

Posted: 7/30/05 at 4:44pm

Hey, I'm auditioning for Uninetown in August for a new theater but I don't know anything about this show. Can yall halp me?

[BobbyBubby]

Posted: 7/30/05 at 4:52pm

www.google.com. You'll find lots if you type in Urinetown.

[Liz_Bennet]

Posted: 7/30/05 at 5:03pm

If you know a little about Brecht, you'll understand parts of Urinetown a lot better (unfortunately, I can't recommend any books in English). Listen to Threepenny Opera.

[Jon]

Posted: 7/30/05 at 6:24pm

Here's a really good idea: BUY THE FREAKIN' CD!

If you live in some podunk town without a decent record store, there's a little something called AMAZON.COM!

In fact, at Amazon, you can actually LISTEN TO CLIPS OF THE SONGS!

[Footlooser]

Posted: 7/30/05 at 6:38pm

Wow, bitter much

[mywonderwa11]

Posted: 7/30/05 at 6:48pm

wow Jon...you're incredibly rude.

Urinetown is a musical with a rather weird story. A water shortage forces a company to start charging a fee for the simple act of urination and so the townspeople ban together to fight against it. And there's a love story in the midst of that. It's a rather interesting musical with great music. I love the show! I'm auditioning for it later this fall in Dallas.

Break a leg!

Updated On: 7/30/05 at 06:48 PM

[Jon]

Posted: 7/30/05 at 7:39pm

Even if you don't understand the concept of "Googling", you might try this:

www.urinetown.com

Updated On: 7/30/05 at 07:39 PM

[Ourtime992]

Posted: 7/31/05 at 9:52pm

I still recommend the CD, as Greg Kotis discusses the genesis of the idea. I also offer the following quotes from a research paper I wrote on it (and self-reflexivity in postmodern musicals in general) 3 or so years ago. Greg was gracious enough to correspond with me about it, so there are a few comments you might find here that you wouldn't bump into elsewhere.

___________________________________________________

The latter two are composer and librettist behind the recently opened Urinetown, a show that might best be described as an exercise in defying virtually every theory about what makes a good musical. For example, while breaking the fourth wall with the show’s first sentence, the narrator not only exposes the show’s central conceit (that a horrendous drought has caused the government to outlaw private toilets and charge the public for the use of public amenities), but he also cautions another character named Little Sally that, “Nothing can kill a show like too much exposition.”

“How about bad subject matter?” she retorts, “Or a bad title, even? That could kill a show pretty good.”

The fact that such absurd subject matter and a title that must make even potty-mouthed eighth graders squirm haven’t killed this show says something about its tight construction and open acknowledgment of the foundation it builds on. Had there been no West Side Story or The Cradle Will Rock, there would be no Urinetown, but that doesn’t mean that the authors intend to apotheosize them. Like any good satire, Urinetown succeeds because it points to history reverently one minute and then laughs in its face the next.

______________________________________________

More extreme in its approach than the Brooksian comedy is the current hit of the 2001-2001 season, Greg Kotis and Mark Hollman’s Urinetown. Fashioned from “the worst idea for a musical, ever” (Feldberg, 2), Urinetown tells the story of a city devastated by a twenty-year drought which has caused the government to prohibit private toilets in favor of centrally-controlled facilities. Those who violate this law are sent to the mysterious Urinetown, supposedly a place, but in reality a euphemism for being thrown off the top of a building. In Brechtian fashion, the characters of this poor city revolt against the power of the Urine Good Company, in the process killing its president and passing control of the company to a more benevolent leader, his daughter. Ironically, the citizens take advantage of her benevolence, driving the city in further ruin by the end of the show. It is a premise beyond absurd, “a story that refuses to let you take it even a little bit seriously” (Singer, 2), so why is it so immensely popular?

Book writer Greg Kotis, in an interview with the author, shed light on the show’s appeal in his own description of the show’s genesis.

After a trip to Paris in which I found myself in considerable pain because I had no spare change to pay for the use of a restroom at a botanical garden, I came upon this hideous notion for a storyline. Initially we wanted to write a deliberately bad musical because we thought that would be fun, then we spent too much time working on it to let it just be bad so we endeavored to make it as well crafted as we were able, then we began to see that the play was about more than we expected and served that, then we realized that selling this show on audiences was probably not possible so we allowed the characters to condemn the show in full view of the audience with the hope that they might discard their scorn for the show if they saw us scorning it first.

The scorn he mentions refers to the running conversation between the musical’s narrator Officer Lockstock and the street urchin Little Sally, regarding which aspects of the story make for a good musical and which don’t. In addition to Lockstock’s early admonition that “nothing can kill a show like too much exposition,” he further explains that “Sometimes, in a musical, it's better to concentrate on one big thing, rather than a lot of little things. It tends to make the audience a lot happier that way, and it's easier to write." Lines such as the following further make the point.

"What's it like, Officer Lockstock?"
"What's what like, Little Sally?"
"Urinetown."
“I can't tell you that."
"Why not?"
"Well because it's a secret, that's why not. It's power depends on mystery...I can't just blurt it out like 'There is no Urinetown-we just kill people!' Oh, no. The information must be oozed out slowly, until it all bursts forth in one mighty cathartic moment. Somewhere in Act II with everyone singing and dancing, something like that."
"Oh, I get it."

"Little Sally, dreams only come true in happy musicals and a few Hollywood movies. This certainly isn't either one of those. No, dreams are meant to be crushed; it's nature's way.”
"This may not be a happy musical Officer Lockstock, but it's still a musical. And when a little girl has been given as many lines as I have, there's still hope for dreams!"

Dialogue such as this reflects the author’s and audience’s sensitivity to the uniquely Postmodern notion of self-reflexivity. Officer Lockstock, for example, is not a prototypical narrator. Where tradition would have the narrator communicating with the audience about points of plot or character motivations, Lockstock continually comments on the play itself. His character not only makes points amounting to criticism to the audience, he explains musical construction to other characters as well, most notably Little Sally.

There is more to the musical than such self-reflexivity, however. While its libretto parodies The Cradle Will Rock, and its score parodies Kurt Weill, its staging parodies musicals as diverse as West Side Story, Les Miserable, 42nd Street, and The Lion King. Together, these elements make a very direct statement about what the show is trying to say. Like Jerry Seinfeld, Kotis and Hollman are questioning what makes a good show. Can it really be confined to “good” topics? Does it really have to adhere to certain conventions?

Nancy Franklin of The New Yorker describes the show’s humor as appealing to “older audiences who have endured some pretty bad serious musicals on Broadway in recent years and for younger audiences who may be more inclined to spend their money on software or shoes than on a Broadway show.” What is it about the show that appeals to them? “It's a clever cartoon,” she asserts, “in the Warner Bros. vein; and it can provide kids with their first, thrilling taste of a certain kind of show-biz tradition, much as kids of an earlier age heard their first Shakespeare and Mendelssohn while watching Bugs Bunny” (2). While statements such as Ms. Franklin’s may capture one essence of the show, a broader statement by Mr. Kotis indicates that the humor in Urinetown has everything to with the audience. In other words, it is not West Side Story the audience is laughing at but themselves, for suspending their disbelief enough to buy into so many of the conventions of musical theatre. “Theater is all about suspension of disbelief,” he says, “and the joy that comes with that. That this show calls attention to that truth is part of the fun, because you find that drawing attention to this truth doesn't ruin the illusion.”

Urinetown’s targets transcend the confines of typical book musicals. While the excesses of American life are certainly one target of the production’s satire, it also reflects on its theatrical foundation. Pushing its luck a little farther, it reflects on its own audience. The audience, in turn, enjoys being part of the joke.

[miss pennywise]

Posted: 8/1/05 at 1:42am

The book for Urinetown also has some interesting commentary besides the libretto itself. (I'd give you the publisher and all that, but it's at home and I'm on vacation. Sorry.)

If I were going to perform in ANY show, this is the one I, myself, would most like to do. Even the minor characters are delicious. I hope you get it!

[miss pennywise]

Posted: 8/1/05 at 2:08am

Footlooser, One more thing: I don't know where you live, but the Signature Theatre right outside Washington DC is doing a production of Urinetown starting mid August. It's a very reputable theatre. Eric Schaeffer is artistic director. I saw a production of Company there years ago, and it was great (Megan Lawrence was in it...one of the original cast of Urinetown on Broadway). I also saw an excellent production of Side Show, I mean first-rate. Lots of the actors fromthat particular production have moved on to Broadway (e.g., Matt Bogart, Ryan Duncan).

Anyway, my point is, if you can see it, do so. That's all.

[lovettespies]

Posted: 8/1/05 at 8:57am

I love Signature. If any of you are ever in DC and feel like some theater I strongly reccomend it. Their production of Urinetown has made me excited beyond comprehension.

[rainbow high]

Posted: 8/1/06 at 10:24am

Does anyone know the quote about "This is a musical" that's somewhere in the dialogue between Little Sally & Officer Lockstock about hydrolics? Too funny, & I wish I could remember it verbatim. Anyone have the libretto lyring around? Someone borrowed mine & I haven't seen it since

[MrSweetNAwful]

Posted: 8/1/06 at 10:52am

I did the show at the beginning of the summer. (You'll love it, Footlooser)
Here's the scene you we're talking about, I still have the script lyring around my house:

Little Sally: Say, Officer Lockstock, I was thinkin'. We don't spend much time on hydraulics, do we?

Lockstock: Hydraulics, Little Sally?

Little Sally: You know, hydraulics. Hydration. Irrigation. Or just plain laundry. Seems to me that with all the talk of the water shortage and drought and whatnot, we might spend some time on those things too. After all, a dry spell would affect hydraulics, too, you know.

Lockstock: Why sure it would, Little Sally. But...how shall I put it? Sometimes- in a musical- it's better to focus on one big thing rather than a lot of little things. The audience tends to be much happier that way. And it's easier to write

Little Sally: One big thing, huh?

Lockstock: That's right, Little Sally.

Little Sally: Oh
(pause)
Then why not hydraulics?

[JamesMacon]

Posted: 8/1/06 at 12:12pm

Buying the CD would be an excellent idea because most of the plot is explained in the songs. Urinetown does have a very very weird story but the music is truly wonderful. Good luck.

[Fiction Writer]

Posted: 8/1/06 at 12:21pm

I hope you get it!

Run, Freedom, Run is, in my opinion, is one of the best songs.

[millie_dillmount]

Posted: 8/1/06 at 12:27pm

FAQ, anyone?

I tried to be nice to those who didn't use the search function. I'm sorry though. You've been here a year and a half and have reached Broadway Star status. I don't understand why you didn't just do a search or research on Google. And I'm sorry, I have to agree with Jon.

[millie_dillmount]

Posted: 8/1/06 at 12:29pm

P.S. There's also a book available of the script...read that.

[Footlooser]

Posted: 8/1/06 at 1:45pm

P.S. This thread is almost exactly a year old.

[Marguerite Chauvelin]

Posted: 8/1/06 at 1:50pm

Happy Birthday Urinetown thread! BTW, Footlooser, what part did you get?

Updated On: 8/1/06 at 01:50 PM

[Footlooser]

Posted: 8/1/06 at 3:30pm

I didn't get cast, but I got a part in Cabaret right after I didn't get that show so I wasn't too disappointed. I played Cliff in Cabaret.

[MrSweetNAwful]

Posted: 8/1/06 at 4:33pm

rainbow high really dug this thread out of it's tomb a year after the last post?
...wow

[broadwayjavajunkie]

Posted: 8/1/06 at 5:44pm

I'm sure the reasoning behind that was to not get yelled at for not using the search!

[rainbow high]

Posted: 8/1/06 at 9:52pm

jajajunkie's right.. I searched google with a quote from the show hoping to find a quote site or something... I really didn't pay attention to the year, just where I could ask my question & not be shunned to FAQ-hell.

Thanks SweetNAwful for the quote! I appreciate it.

One of my favorite shows, I wish they'd revive it soon since it was basically forced to close on Broadway.

[MrSweetNAwful]

Posted: 8/1/06 at 10:14pm

I thought it would be cool if ten years from now they did it for Encores!

[millie_dillmount]

Posted: 8/4/06 at 2:19am

HAHAHA Oh wow I feel like an idiot now. I didn't even look at the dates.