Urinetown
at E.L. Crossley Secondary School

Reviewed on April 24, 2010

Katie Klassen
Eden High School
Submitted for publication to

Which is worse – a looming environmental crisis or a punishing tax on emissions? From this unpromising dilemma flows E.L. Crossley's hilarious production of Mark Hollman and Greg Kotis' musical, Urinetown.

In a small, poverty-stricken town, a long drought has put a premium on water. The political response to this crisis has been to make the desperate townspeople pay for the privilege of using a public amenity while the dastardly Caldwell Cladwell (Ryan Forneri) and his associates at Urine Good Company reap the benefits. With the policemen, Officer Lockstock (Michael Naundorf) and Officer Barrel (Stuart Black) as his henchmen, Cladwell controls the town's bladders, but not his daughter's heart. Hope Cladwell (Brianna Gilmore) unwittingly starts a revolution when she inspires poor boy Bobby Strong (Shane Vanhell) to listen to his heart.

The set was very versatile in representing both the town's grimy public amenity and its rapacious private corporation. Abstract blue geometric shapes protruded from the stage to form a building-like structure. Stairs led to the stage's multiple levels. A door on the main stage served as the entrance to Amenity #9, a gateway to freedom for those living in the town. Warm lighting and colours enveloped the poor townspeople and added to their sense of community, while harsh bright lights and cool colours illuminated the profiteering corporation.

But it was the strength of the actors that flooded the stage with life and laughter. Officer Lockstock (Naundorf) and his partner Officer Barrel (Black) created a comical duo of self-important bumblers. Naundorf's vocals were nothing short of spectacular, with powerful range and precise pitch. Lockstock also served as the omniscient narrator of the show, whose side-bar conversations with mis-fortunate townsperson Little Sally (Courtney McIntee), generated much of the show's satirical current.

Ryan Forneri presented an amusing caricature of the tyrannical corporate boss, Caldwell Cladwell, as did Kiersten Hay, who played a character a rung or two down the corporate ladder, and Penelope Pennywise, the rugged regulator of Amenity 9. Hope Cladwell (Brianna Gilmore) and Bobby Strong (Shane Vanhell) gave touching performances as naive lovers with hearts of gold. Ciara Falewski and the remaining rebel ensemble sang euphonious harmonies, perfectly accompanied by the Pit Band.

The technical crew dealt effectively with the occasional crackle of static from the microphones.

Director Jennifer Benson added several creative and surprising elements to the production. For example, actors responded to the music by using the percussion of rhythmic stopping, snapping, and stair-walking to create an effect which was pleasing both to the ears and to the eyes. Similarly, Officer Lockstock unexpectedly played a clarinet solo that was, given his character, highly entertaining. Having police officers pop up from the audience sporadically with flashlights waving in search of suspects was great fun as well.

Escapist and silly? Sure. As every school child knows, the world overflows with pressing problems. E.L. Crossley's production of Urinetown is a timely reminder that neither fear nor greed can provide us with relief.

Gaelan Martin-Timms
Ridley College
Submitted for publication to

"Welcome to Urinetown, not the place but the musical."
Set in a time when it's a privilege to pee, E.L. Crossley's performance of Urinetown had the audience chuckling from start to finish. Michael Naundorf definitely stole the show as the audience-friendly, narrating Officer Lockstock, who really brought the show to life by embracing the cheesy stereotypes of musicals and opening up the plot with the naïve but clever Little Sally, performed forcefully by Courtney McIntee.

A 20-year drought has resulted in a tyrannical rule of the water-regulating,"Urine Good Company". Fee hikes for use of toilets are on the horizon, and the already desperately poor are hopeless. When the daughter of the Company President accidentally convinces a big-hearted Bobby Strong to follow his heart, a revolution unfolds that she had never dreamed would ruin their love, mid-bloom. With twists in the knickers, and in the plot, Urinetown was surprisingly un-pee-dictable.

E.L. Crossely put a great spin on the show with amazing choreography in every single song, thanks to student choreographer, Mel Ulch. Highlights such as the Cop Song, Don't Be The Bunny, Snuff that Girl, and Run Freedom Run, were dynamic, clear, witty (if that's possible in dance), amusing and beautifully executed - no easy in such large groups. The poor-turned-rebels worked well together as a group; always in character, and always a little wacky, and their harmonies were the best of the night, including a sweet, yet spunky, surprise in the voice of Ciara Falewski.

Shane Vanhell (Bob Strong) and Brianna Gilmore (Hope Cladwell) as the lead characters had moving chemistry on stage and, although they had some trouble hitting the high notes, they both pulled through with some great Gospel-style songs in the second half. The corporate group had some stars as well. The big, bad president himself, played by Ryan Forneri, had a good, deep voice, and the eyebrows of a real politician.

But the real humour of the play was taken to the top by two: Mr. McQueen, the over-enthusiastic and comically pitiful sidekick was embodied in Matt Hennessy's performance, and, taking the cake for best slap stick laughs of the night, Stuart Black, the one-man army of the town and Officer Locktstock's right-hand man in force, friendship, dance and song.

Highschool musicals always have a special place in the heart. Young singers and young actors always face their obstacles, but the curtain closed on E.L. Crossely with nothing to regret but some mic static, leaving the audience peeing their pants.

Kacie Cruise
Welland Centennial Secondary School
Submitted for publication to

Urinetown: a positively phantasmagorical performance! A peculiar portrayal of a preposterous yet pleasing populace of poor people, pompous politicians, and priceless police. Students of E. L. Crossley Secondary School proudly "PEEsented" their first major musical in 10 years at Ridley College, and it was a crowd "PEEser"!

Among the generation of more recently-produced musicals depicting social conscience, Tony award winning Urinetown began off-Broadway and ended just after 2 years on-Broadway, with a total of 965 performances during its Broadway run. The show is a satirical version of a world where people must pay in order to use the private facilities, the ensuing rebellion, and the environmental themes and imageries that clearly shows that nobody, in or out of the musical, is above leaving an environmental footprint. It is a robust comedy depicting the lengths a town will go to in the event of a water shortage.

In a world where the general public is squirming with full bladders, the movement shown by these actors was phenomenal. The choreography, designed by Mel Ulch, was a primary element that defined the show. Music and singing in this show was diminished, but not overshadowed, by feedback issues with the microphones, which could be attributed to an unfamiliar environment. The stunning harmony and astounding musical numbers throughout the performance made the audience thunder with unlimited applause.

Whether it was the comedic timing and movement of Bobby Strong (played by Shane Vanhell), the beautiful voice and presence of Hope Cladwell (Brianna Gilmore), or the existence of their strong on-stage chemistry, these lead actors set the bar for their fellow cast. One particular character that spiced up the flavour of the play was Officer Lockstock (Michael Naundorf), a beacon of talent on stage and in the aisles. The play would be tempered without his ongoing diatribe, a creative spin on the narrative role.

The talented miss, Little Sally (Courtney McIntee) had a powerful and supported voice, and her own comedic moments which she relished and incorporated in her performance. The ensemble of the Rebel Poor, with vivid dance numbers and unique character work, energized the crowd like a gospel revival.

If there is one thing that is never honoured enough, it's the work of a stage crew. This crew showed their diligence and talent with calling numerous lighting and sound cues, as well as set changes and clearing the stage debris. Stage managers Kelly Nori and Colin Robertson were experts in managing the chaotic technical elements of this show. The running crew and backstage help, Eden Anderson, Brittany Ellsworth, Joanna Lucas and Julia Smallman put their best foot forward.

Urinetown was a predominant success, and was a particularly paramount performance. It leaves one with the provocative picture of an environment in peril. Will we one day have to resort to pocketing our pennies when nature calls?