“Hellloooo!”
Fifteen years after its Broadway premiere, the opening night crowd at DC’s National Theatre leaped to their feet in approval at the end of Trey Parker, Robert Lopez and Matt Stone’s Book of Mormon.
Why?
Book of Mormon has never had extraordinary acting; original leads Josh Gad and Andrew Rannells leveraged the popularity of the show itself into major careers. Its sets are rather rote, especially in the touring production, shifting in and out to show hyper-fictionalized versions of Utah and Uganda. The lighting design, credited to Brian MacDevitt, does little to either enhance or detract from the show. There is no projection design, and costumes, by Ann Roth, are both frequently changing and uncomplicated. The music is not exactly Hamilton or Rent; there are no songs, like “525,600 Minutes” or “Dear Theodosia,” that will stick in your head for years afterward.
It is also racist and xenophobic in its over-the-top depiction of Uganda, which features local residents played with exaggerated stereotypes. It also makes fun of Mormons, throughout the show, including “Turn It Off,” a piece about repressing feelings thought of as negative (including homosexuality). It has a bizarre dance number (“Spooky Mormon Hell Dream”), which features dancing skeletons and devil-like characters.
And did I mention the warlord General, whose full name is too vulgar (and funny) to print?
Why, in a society that is more anxious, stressed, and polarized than ever before, does this show — which won nine Tony awards way back in 2011, mid-way through Barack Obama’s first term as President – still resonate?
It’s the pace. And the lyrics.
Parker, Lopez, and Stone crafted songs and a script that is at once biting, satirical, and fast-paced; it is an extraordinary balance between entertainment and provocation, vulgarity and parody, making audiences laugh and also squirm in their seats.
There were undoubtedly some in the National Theatre audience who had not seen Mormon; they all appeared to love it. The story, for those unfamiliar, revolves around Mormons Elder Price (Ethan Davenport) and Elder Cunningham (Jacob Aune), who are sent to Uganda for their mission, the coming-of-age tradition in which Mormons travel to far-flung reaches of the globe to bring converts into their fold. The sub-Saharan African country challenges Price, while the more flexible Cunningham (liberal in his words and actions) connects with the local residents by creatively embellishing Mormon tales. In these lead roles, both Davenport and Aune lead this spirited cast with vigor, hitting all the right notes — in tune and in timing — as the audience travels with their characters across continents.
Writing a sharp, satirical Broadway comedy is no simple task. The most successful ones — a list often led by Mormon — also include standout hits like Avenue Q and The Producers.
Mormon is perhaps funnier than both of those. It also succeeds, in its 28 songs, through the rapid pace of its show; sets change quickly and most songs have a fast beat, aided by a talented orchestra (and drummer Tanner Schut in this production), and are often back-to-back with little dialogue and filler.
Songs, like “Hasa Diga Ebowai,” advance the plot and set the stage for what comes next. This particular song explains the young Mormons’ discomfort with Uganda while literally cursing their heavenly father. That is no easy task; and it is really funny. The same goes for “Two by Two,” earlier in the show, where members of the graduating class of Mormons are provided their country assignments; while other Mormons sing with glee of assignments to Norway and Orlando, Price and Cunningham are gleefully unaware of what awaits them in Uganda.
It all works. Stone and Parker, who long ago honed their comedy chops writing South Park, cemented their legacy with the brilliance of this show. Songs throughout — like “Joseph Smith American Moses,” in which local Ugandan villagers (led by the talented Charity Arianna) present their version of Mormon teachings — result in uproarious laughter from the crowd. “Baptize Me,” both a religious ritual and comedic duet, is undeniably hilarious. This production even throws in a few modern updates: the aforementioned “Spooky Mormon Hell Dream” swaps out the original references of ultimate evil (Hitler and Jeffrey Dahmer) for the current occupant of the White House and Jeffrey Epstein.If you haven’t seen The Book of Mormon, go see it. We are all a little stressed out these days. Gas prices are really high. Antisemitism and gun violence are still all too common. And Mormon, thousands of performances in, is still really funny. Thank goodness.
Running Time: Two hours and 30 minutes, including one 15-minute intermission.
The Book of Mormon plays through May 3, 2026, at The National Theatre, 1321 Pennsylvania Ave NW, Washington, DC. Purchase tickets online or at the National Theatre box office. The national tour cast and creative credits are online here.
SEE ALSO:
Holy Joseph Smith! Lessons from ‘The Book of Mormon’
(from the DCTA archives: a Magic Time! column by John Stoltenberg, July 31, 2013)
