Urinetown: The Musical

By Mark Hollmann and Greg Kotis. Pulteney Grammar School. Futures Theatre, Paradise. May 29 – 31, 2025

It is said, “It takes a village to raise a child”, maybe it should say “It takes a school to foster students to create a memorable musical!” This is exactly what Pulteney Grammar school has done in their latest production of Urinetown: The Musical.

Urinetown: The Musical is a satirical comedy musical that premiered in 2001, with music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and book by Kotis.

Greg Kotis had the idea for Urinetown while traveling in Europe. A traveling student on a budget, he encountered a pay toilet and began writing shortly thereafter, joining with Mark Hollmann for the journey to Broadway.

The musical takes place in an dystopian city. For decades, a serious drought has inflicted on society with vast poverty, although callous business tycoons such as the main antagonist Cladwell B. Cladwell, have made a fortune through bribery and the monopolization of restrooms. All toilets have become property of his corporation "Urine Good Company." A brutal police force maintains order, sending violators of the law to a place called "Urinetown." Of course, thanks to the overly ambitious narrator, the audience soon learns that Urinetown doesn't exist; anyone who is sent to Urinetown is simply thrown from a tall building, falling to their death.

You would be forgiven for thinking this musical was tragic, but it’s not, in fact it is a riotous comedy, punctuated by true love, greed, hope and most of all ‘the right to pee’!

Pulteney Grammar School’s production features over 120 students and 20 staff involved onstage and offstage, a logistical feat to say the least. Under the helm of director Jo Casson, the show runs like a dream. Casson has used every inch of her imaginatively designed two storey set (featuring Richard Austin’s digital media) and created a memorable production. Under her direction the characters are vibrant, real and the humour is paramount.

Jonathon Rice’s orchestra is tight and tuneful. There are times when the music overpowers the vocals, but this is more a miking issue and should resolve itself as the show continues its run.

One of the highlights of this production is Rosanna Dobre and Jo Casson’s innovative, quirky choreography. The precision and energy of the cast is impressive, and each cast member dances to their ability thanks to the differing levels of dance ability choreographed for each number.

The lighting and sound designed and operated by Mark Oakley highlighted the action perfectly while giving moody shadows for characters to hide.

Jo Casson’s costume design coordinated by Madi Schubert gives us the correct degree of grime required for the townspeople, nicely contrasted with the police and the members of Cladwell’s office.

The secret to Urinetown: The Musical is energy, the ability of overplay (in the melodramatic sense) and fun. With nods to West Side Story, Fiddler on the Roof, Les Miserables, Dirty Dancing, Afro-American spirituals, Elvis Presley and more, this production oozes talent and commitment. Every cast and crew member are fully invested ensuring a show that is as much fun to watch as it must be for the cast to perform.

It would be lovely to mention the whole cast, but there is not enough room in this review. Suffice to say that this production is a real team effort with everyone contributing to make it a success.

Patrick Longden’s hero Bobby Strong has everything a leading man needs, a powerful tenor voice, good looks and a brooding expression that would melt ice. He works the audience well making us feel part of the show. ‘Run Freedom, Run’ and ‘Look at the Sky’ are highlights.

Polly Schubert’s Hope Cladwell is sweetness and purity personified until she realises at the end of the musical it is up to her to lead the revolution. Her ‘Follow Your Heart’ with Bobby is the perfect love duet.

Henry Green’s Officer Lockstock is a lesson on how to relate to an audience as the Narrator. He is the glue that keeps the production flowing and has excellent comic timing. His stage presence is masterful, and he uses his rich baritone voice to advantage playing the cop with a heart.

Maggie Bridges’ Penelope Pennywise is a true rebel with a powerhouse voice. Her rendition of ‘It’s a Privilege to Pee’ is a highlight.

Emily Puah’s Little Sally is sassy and can more than hold her own with the ‘older’ cast members. She is the ‘heart’ of the people always giving but can give back when necessary.

Billy Rowan’s Caldwell B. Calwell is stuffy, self-centred and a joy to watch! Rowan gives a full-on performance. For me, the highlight is ‘Don’t be a Bunny’ which highlights the more vulnerable side of her character.

A musical is nothing without an ensemble. This ensemble ranges from Year 7 to 12, they work tirelessly in many roles and add depth the narrative.