Urinetown as presented by Malahide Musical & Dramatic Society

Malahide Musical and Dramatic Society 

Urinetown – The Musical 

Tuesday 18th February 2025 

PUBLIC REVIEW 

“What kind of musical is this?!” exclaimed Little Sally as ‘Urinetown - The Musical’… (not the place)…allowed its audience a rare moment of much-needed calm as they sat in the intimate surroundings of the Malahide Community School hall, contemplating that very same question.

The answer, of course, is that it was an utterly bonkers and beautifully bizarre musical, dripping with delicious satire, which had us laughing until we burst. Needless to say, there wasn’t a dry seat in the house as the cast and crew of Malahide Musical Society brought us on quite the dystopian journey to a place where corporate greed, leading to regulation of urination, is a perfectly plausible premise. It was a thoroughly entertaining rollercoaster of a show with a very talented cast led by an excellent production team. 

Front of house personnel were most friendly and efficient, looking after myself and the mammy very well. The delicious irony of the toilets being some distance away in a different building made me giggle at the interval but I did feel that a fundraising trick had been missed in not charging patrons for the privilege to pee! 

Emma Jane Reilly’s considerable talents could be seen all over this production. She directed with considerable flair and a wonderful eye for comedic detail, balancing outrageous humour with the more thought-provoking messages of the show. Attention to visual detail was very strong and it was no surprise to see that Ms. Reilly was involved in the clever design of the very effective set. There was great use of this multi-level set, giving many options for staging. I loved all of the clever touches throughout the show, particularly the visual comedy. Miss Reilly had a great understanding of the absurd, which really added to the style of comedy in this show. Her work with the ensemble was exceptional, drawing out superb individual characterisations from all. 

Musical director Dave McGauran really entered into the spirit of things in his ‘costume.’ He had assembled a five-piece band of some of the top musicians in the country and they brought the eclectic score of varying musical styles to life with wonderful balance and top notch musicianship. The opening ‘Urinetown’ number had a superb ensemble choral sound and that continued to be a highlight right through the show. ‘Act One Finale’ was outstanding chorally and there were exceptional ensemble vocals, including an incredible a cappella section, in ‘Run Freedom Run.’ Principal singing was of a really high standard across the board. Underscored dialogue was sensitively handled, with every word being heard clearly. 

Julianne McNamara's choreography was an absolute joy and completely in keeping with the crazy tone of the show. Routines were very slick, precise, and excellently performed by a very committed ensemble. ‘Cop Song’ was excellent and I loved the torch sequence which was so cleverly creative and effective. ‘Look At the Sky’ was a fantastic number, so precise, so energetic and again with such great performance levels. ‘Don't Be the Bunny’ was quite insane, but totally in tune with the madcap humour of the piece. I loved ‘What Is Urinetown?’ with its quirky ‘Fiddleresque’ sequence and brilliant frozen pictures. ‘Snuff That Girl’ was everything that choreography should be in a musical. It was precise, brilliantly performed and had wonderful individual characterisation from all of the ensemble. ‘Run Freedom Run’ was another brilliant number performed with such great precision and wonderful performance levels. A superb job by Ms. McNamara. 

Gavin Molony gave an excellent performance in the role of Bobby Strong, the charismatic assistant custodian of Public Amenity no. 9. He was a fabulously natural performer and a very clever actor who so in tune with the narrative and tone of the show. His rebellious characterisation was underpinned by an idealism and charisma that was most uplifting. He played Bobby's internal struggle so well. His vocal performance was stunning, delivering powerful, rousing renditions of the anthemic ‘Run, Freedom, Run’ and the powerful ‘Look at the Sky’ with effortless ease. 

Hope Cladwell, the ingenue and Bobby's love interest, was played by the very talented Nicole Kennedy. Ms. Kennedy got the gig. Her performance was so knowing and in tune with the show’s comedic style and crazy premise. Her innocence and optimism endeared her to the audience and her very cleverly judged transformation to rebellious heroine was beautifully depicted. ‘Follow Your Heart’ was a vocal highlight, beautifully expressive, and I loved her duet with Bobby, ‘Tell Her I Love Her.’ 

Kevin Hartnett was very strong as Officer Lockstock, the narrator and primary enforcer of the law in Urinetown. He had excellent presence and was well able to handle the difficult task of balancing authority with hilarity. A very skilled comedian, Mr. Hartnett had impeccable timing 

and a wonderful range of comical facial expressions. Comic timing was particularly sharp in scenes with Little Sally and there was great chemistry too with his sidekick Barrel. Mr. Hartnett is an excellent singer but I felt that he needed additional support from the sound department in the lower register of ‘Urinetown’ as he competed against the band. The very wordy and challenging ‘Cop Song’ was brilliantly performed. 

The tyrannical CEO of ‘Urine Good Company,’Caldwell B. Cladwell, was played with great flair by Brian O’Gorman, who brought an almost comic book villainy to the role without being overly menacing. Mr. O’Gorman’s greed, manipulation and arrogance were balanced with a quirky, comedic touch that ensured he had just a touch of redeeming quality. His vocal performance was strong, adding to his malevolent charm. He was wonderful in the bizarrely surreal ‘Don't Be the Bunny,’ commanding the stage with such gleeful energy. A very strong performance. 

Rebecca Gamble gave a very funny performance as Penelope Pennywise, the tough as nails custodian of Public Amenity no. 9. This was a very gritty and determined portrayal, balancing the struggle between loyalty to her employers and her more compassionate instincts in a cleverly nuanced way. Ms. Gamble was an excellent comedienne with razor sharp timing. Her vocal performance was very strong, particularly in ‘Privilege to Pee’ and the superb ‘Why Did I Listen to That Man?’ 

Yasmine Missaoui delivered an incredibly knowing and hilarious performance as Little Sally. She played the role with an incredible awareness of self and the audience, skilfully navigating tongue-in-cheek references to the style of show and sharing just the right amount of exposition with a darkly humorous touch. There was an hilarious balance between childlike curiosity and intelligent self-awareness. She knew exactly what her function was in the show and boy did she fulfil it. Focus and intent were always so strong and we could see every thought process. Every movement and every facial expression was meaningful, as Ms. Missaoui lived every moment on stage. She didn’t have too many opportunities to show her vocal prowess but, when she did, she grabbed it with both hands. ‘Tell Her I Love Her’ was brilliantly sung and masterful in its subtle, comedic delivery. 

Ben Cole’s gormlessly comical Officer Barrel was very different to any interpretation I have ever seen. He made it his own and it really worked as Mr. Cole squeezed every last ounce of comedy out of the role. Mr. Cole’s eyes, brilliantly expressive and occasionally psychotic, were worthy of their own standing ovation! Mr. Cole was very physically aware and his solo dance and impressive splits in ‘What is Urinetown?’ were executed with hilarity. 

Colin Graham did very well in the role of Senator Fipp, the unscrupulous, corrupt politician who aids and abets Cladwell in his draconian efforts. Mr. Graham handled the duplicitous nature of Fipp very well. I did feel that a sleazier demeanour in his dealings with Hope might have gotten more comic nuance out of the role. He had a great voice, which was showcased perfectly in ‘Why Did I Listen to That Man?’ 

Darren O’Reilly was a very camp and flamboyant McQueen, Cladwell’s subordinate, consumed with self-interest. Mr. O’Reilly’s focus and excellent stagecraft were notable as he never once dropped character. Comic timing was very strong and his ‘bunny business’ during ‘Don’t Be the Bunny’ was quite hilarious. 

Kirstin Smith was very impressive as Little Becky Two Shoes. Hilarious at times, psychotic at others, her top notch, bonkers performance was a highlight of this top notch, bonkers show. Her water breaking moment was…well…disturbingly entertaining, as was her plunger induced childbirth (you had to be there…). Her performance in all musical numbers, whether she was the focus or not, was excellent but she really came into her own during the superbly performed ‘Snuff That Girl,’ embracing every last second of dark humour she could muster. 

Nathan Durkin was equally strong as a gravelly voiced Hot Blades Harry. This was another super characterisation and Mr. Durkin showed great commitment and understanding of the piece. He was also excellent in ‘Snuff That Girl’ and was a standout member of the very strong ensemble. 

I loved Orla Connolly’s superb characterisation as Soupy Sue. Another standout ensemble member, Ms. Connolly was very funny, was an excellent mover and had great comedic physical awareness. Her dramatic collapse was timed to absolute perfection. 

Jen McGuire Noirant and Matt Jenkins were both very funny as Old Ma Strong and Old Man Strong. They both shone in their ensemble scenes. Initially, I wasn’t entirely sure about Mr. Jenkins’ wig, which was a rather bizarre creation, but it grew on me as quickly as the absurdity of the show did. 

There was great support too from Susan Talbot Towell as Roberta the Stockfish, Sean Lonergan as Tiny Tom, Lesley Nugent as Mrs. Millenium, Luke Watson as Dr. Billeaux and Andre Bukowski, who had a handy number as Bunny. 

The ensemble in this show was excellent. They had a superb choral sound and their commitment and energy in the choreography was excellent also. Staff in the UGC were superb and the Monty crew of down and outs most impressive in their individual characterization. They were incredibly disciplined executing some wonderfully effective freezes and their fantastic reactions lifted the show to another level.

There was a wonderful set, full of exquisite detail with archways and various nooks and crannies and numerous levels to allow for very interesting staging options. The upstage skyscraper cityscape looked very well. The vent in the floor with smoke rising through was a lovely authentic touch. The very well-designed UGC branding and signage really added to the very professional visual. I absolutely loved the ‘Secret Hideout’ sign in lights which was an hilarious touch. 

Stage manager Lynda O’Neill, ably assisted by ASM Jenna Thompson, ran a very tight ship, ensuring slick and efficient changes which, no doubt, tightened up even further as the week went on. 

Sound was generally well operated. Mic levels were excellent, with dialogue being warm and full throughout. Most vocals could be heard clearly and, for the most part, the balance between pit and stage was very well judged, although I felt that more gain was needed on Lockstock at the beginning of the show. All other numbers being brilliantly mixed and vocals, both solo and choral, were very well balanced. Sound effects were well chosen. I particularly liked the hilarious toilet flush which heralded the end of Act One and the beginning of Act Two. 

Lighting was excellent throughout the show. From the opening, hazy preset with its dramatic beams and wonderful set bathed in greens and blues, we knew that this was going to be a very well-lit production. This was a superb design and operation was top notch with well-timed cues and a clear familiarity with scenes and musical numbers as atmospheric and evocative pictures were created time and time again, enhancing the mood and tone of each scene. There was clearly great collaboration between the designer and Ms. Reilly. 

Props were generally well chosen. It wasn't a huge prop show, but what was there was very appropriate and in tune with the piece. The only thing which jarred was the black and white photocopied money which needed more attention to detail. 

Hair and makeup were well presented. This was a visually interesting, madcap show. Hair and makeup design reflected that perfectly. Some of the wigs were quite bizarre looking, but they were in keeping with the outlandish tone of the piece. I loved the UGC staff's hairstyles which were beautifully finished and coordinated. Cladwell's towering red wig was a very strange creation indeed, as was Old Man Strong’s. 

There was great attention to detail in the costumes. It was clear that a lot of work had been put into the overall look of the show. There was great effort to reflect the socio-economic divide and the personalities of each character. Distressed fabrics for the great unwashed contrasted with the more polished costumes of the elite, perfectly reflecting the show’s themes. I loved the green and white palette used for the UGC staff. Police uniforms were sharp and slick. Soupy Sue's pilot hat and steampunk goggles were excellent. Super work from all involved. 

This was an excellent production of a deceptively difficult show to get right. It was a thought provoking production combining sharp satire with some hilariously comic performances. Satire is tricky. It has to be knowingly delivered and every cast member needs to be on the same page of knowingness. Emma Jane Reilly and her talented production team got the tone of this one exactly right. It was a fabulous production and deserved the spontaneous standing ovation from a hugely appreciative audience.

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photos kindly provided by the society; Photography by Darragh Carroll