With the Federal government shutdown stretching into its second month, with SNAP benefits cut to an estimated 42 million Americans, with the president of the United States tearing down the East Wing of the White House to build a ballroom just a few miles downtown, Rockville Musical Theatre gave a rousing performance at the F. Scott Fitzgerald Theatre of the satirical musical comedy Urinetown: The Musical, which felt much more on the nose, or of the moment, than any other show I’ve seen this year.
This musical comedy, directed and choreographed by Kristina Friedgen, is, as she shares in her Director’s Note, more relevant now than when it first opened on Broadway in 2001. “Its outrageous humor and biting commentary reflect the pressing political and social tensions of our time: corporate overreach, political corruption, environmental crisis, and the ongoing struggle over who has access to basic human rights.”
Of course, in Urinetown: The Musical, the central crisis is absurdly (we can only hope) the privilege and cost to pee. Created by Mark Hollmann (music and lyrics) and Greg Kotis (book and lyrics), this musical has won numerous awards, including two Tony Awards for Kotis.
Throughout the Rockville Musical Theatre production, the director smartly leans into the humor, especially the meta humor, of the lead police officer and show narrator, Officer Lockstock. He’s played with smart-aleck charm by Thomas Stratton, who is making his debut with Rockville Musical Theatre.
Stratton’s big song and dance number, “Cop Song,” in the middle of Act I, is an absolute delight, even with the National Guard in Washington, DC, making it hit close to home. His interactions throughout the musical with Faith Wang, playing the too-smart-for-her-own-good Little Sally to the hilt, are also a highlight.
Another high point is in the absurdly wonderful “Don’t Be the Bunny” number. It’s led by the cluelessly insensitive and contagiously evil corporate titan of Urinetown, Cladwell B. Cladwell, played with charismatic, long-legged charm by Scott Napier.
However, it’s the commanding presence of Iris Dewitt as Miss Penelope Pennywise that almost steals the show. She runs the only toilet-for-profit in the worst part of Urinetown. Her emphatic rendition of “It’s a Privilege to Pee” fights against tender-heartedness and gives us a window into how the rich dupe the poor into believing poverty is their fault, rather than the result of unjust policies and crooked corporate leaders who have the politicians on their payroll. It’s a top-notch performance.
On the other hand, it’s the last number, “I See a River,” that gives Alexandra Lagos, playing poor-little-rich-girl-turned-rebel Hope Cladwell, a moment to shine in an otherwise mismatched, often awkward, pairing with the show’s love interest, Bobby Strong, played by Charlie William. Centerstage, Lagos’s voice and presence steal the last number, though in the spirit of those learning to speak up and fight back, the full company also delivers a showstopper.
Ultimately, what caps this production is the energy of that ensemble, the choreography, which also bends into humor in the most stylized of ways, and the glorious grunge set design by Noah Beye.
Bravo to the Rockville Musical Theatre for staging this all-too-relevant yet immensely enjoyable production of Urinetown: The Musical.
Running Time: Two hours and 30 minutes, including one 15-minute intermission.
Urinetown: The Musical plays through November 16, 2025, presented by the Rockville Musical Theatre, performing at the F. Scott Fitzgerald Theatre, Rockville Civic Center Park, 603 Edmonston Drive, Rockville, MD. Purchase tickets ($26; $23 for students and seniors) online, by calling the Box Office (240-314-8690), or by email (boxoffice@rockvillemd.gov).
The program is online here.
