Satire, Sincerity and Show-Stopping Performances in The 5 & Dime's 'Urinetown'

In a grim future where water is worth its weight in gold, The 5 & Dime’s production of Urinetown throws you into a world where paying to pee is the norm, and defiance comes with steep consequences. This Tony Award-winning musical is a satirical take on corporate greed, environmental issues and social justice, blending humor and biting commentary in a dystopian setting that is as thought-provoking as it is absolutely ridiculous.

In a city devastated by drought, the government bans private bathrooms and forces citizens to use pay-per-use public amenities controlled by a malevolent company, the Urine Good Company. The plot thickens as the protagonist, Bobby Strong, inspired by love and a sense of justice, ignites a revolution against this tyrannical regime. If the premise of this musical seems absurd, that’s precisely the point, and both the show and several members of the cast are in on the joke.

Tom Cassaro brings a delightful sense of humor to the role of Officer Lockstock, delivering his lines with impeccable comedic timing and a hilarious deadpan. Cassaro immediately endears himself with the audience, drawing them in with his engaging performance and keeping them on the edge of their seats with his witty banter. Josh Katzman is equally humorous as Officer Barrel, his slapstick comedy and bumbling demeanor being the perfect foil to Lockstock’s dry wit.

As Old Man Strong, Matt Barnes delivers a hilariously memorable performance, keeping the audience in stitches. His energetic portrayal and quick-witted humor turn each of his scenes into a comedic gem.

In the role of Penelope Pennywise, Emily Charleton delivers a vocal performance that is staggeringly impressive, particularly her flawless execution of high notes that resonate beautifully and thrill the audience. Charleton deftly explores Pennywise’s transition from a life hardened by ruthlessness to moments of genuine fear and vulnerability.

Commanding the stage with an electrifying presence, Chris Robertson channels both pure, hilarious absurdity and a steadfast spirit of rebellion into his portrayal of Bobby Strong. Robertson delivers his lines with an earnestness that anchors the show’s satirical tone, making even the corniest lines resonate with profound sincerity, while simultaneously making them all the more hilarious. Robertson’s voice fills the venue with impeccable clarity and melodious richness, making each musical number a captivating auditory experience.

Aly Blakewell shines in her portrayal of Hope Cladwell, capturing the character’s naivety with a deliberately cultivated Transatlantic accent and an earnest sincerity that is both endearing and relatable. Her duets with Robertson are a highlight of the show, masterfully blending their voices to create a harmonious and emotionally resonant sound.

David Sacks delivers an incredibly outstanding performance as Caldwell B. Cladwell, his voice rich with complexity and impressive range. He transforms the villainous character into one that is simultaneously fear-inducing and detestable, yet also oddly sympathetic, thanks to Sacks’ nuanced performance that peeled back layers of emotion beneath the tough exterior.

Similarly, Neal Thorburn’s portrayal of Senator Fipp is perfect cartoon villainy, his performance dripping with slimy charm and a southern drawl that is both repulsive and amusing.

Shauna Clark’s portrayal of Little Sally is nothing short of delightful. Her performance seamlessly blends adorable innocence with a sharp wit, captivating audiences with her impeccable comedic timing. Clark’s ability to maintain a small, almost fragile presence and sound while simultaneously expertly projecting her voice across the theater is truly remarkable.

Erin Barnes’ adept music direction orchestrates an auditory spectacle, deftly leading an incredible band that masterfully navigates the diverse musical genres embedded within the production and coaching the cast to deliver brilliant individual and ensemble performances that resonate with both emotional depth and musical precision. Barnes’ touch is evident in the show’s standout numbers, such as “Run, Freedom, Run!” and “I See a River,” but especially during “Too Much Exposition,” where the ensemble and band blend seamlessly to create a perfectly balanced music bed for Lockstock’s narration.

Bradley Akers’ direction of Urinetown brilliantly amplifies its satirical essence, blending sharp self-mockery with a serious commitment to the performance. This approach allows the production to transcend traditional musical theater tropes, striking a delicate balance between absurdity and depth. Under Akers’ guidance, Urinetown becomes both a critique and a celebration of the genre.

This overwhelmingly positive review concedes that Urinetown isn’t completely without any blemishes. However, none are worth mentioning. The genius of Urinetown lies in its deliberate imperfections which outshine any minor imperfections. In a show that literally has a cast member check the actual script to find out what happens next, any unintended minor misstep becomes another masterstroke that melds flaw with feature, enhancing the show’s comedic and heartfelt moments alike.

Urinetown at The 5 & Dime is fantastically absurd, a thrilling farsical ride through musical theatre that is as intellectually stimulating as it is mindlessly entertaining. A definite must-watch for musical theatre lovers.

Urinetown runs Friday, July 12 through Saturday, July 27 at The Florida Ballet.

For more information, full cast and crew credits and links to tickets, visit the Urinetown page here on JaxPlays.