THEATER of Lockstock a sturdy, pleasant warmth. Kasnetz’s only moment of outright excess comes when he milks the finale of a song, and actually has the effect of demonstrating the restraint he’s maintained up until then. The banter between Lockstock and squeakily cute Little Sally (a delightful Kaitie Bessette) never fails to entertain even as it deconstructs the show. When Lockstock confronts Little Sally with the harsh reality of the musical’s grim subject matter, she has the bright side at the ready. “When a little girl’s been given as many lines as I have, there’s still hope for dreams!” As Bobby Strong, Andrew Fusco is every inch the hero: handsome, humble and energetic. He has a special knack for distilling movement to its essence, with no wasted effort. His winning combination of comic and vocal skills is showcased in his scenes
with Hope, played with great wit by Ceara Ledwith. In the pair’s duet, the beauty of their harmony contrasts hilariously with the absurdity of the lyrics. But they go right on to sell the number, commendably immersed in the idiocy. Ledwith’s expressive face is a highlight; later in the story, even a gag over her mouth fails to dim it. Broadway veteran Craig Wells joins the company to play Cladwell with uptempo glee. Wells is wonderful, and it’s a credit to the student ensemble that he doesn’t eclipse this talented cast but works beautifully with them. A bilevel set by Jeff Modereger has clever signage and well-chosen projections. Its anchor is the tired tile of the public bathroom, and it’s a high compliment to note that you can almost smell it. Martin Thaler’s costumes are outstanding. From Cladwell’s spats to woeful Little
The musical idiom is unambiguous abouT
pusHing EmoTion To THE HigHEsT piTcH, And THis cAsT Holds noTHing bAck.
Sally’s grimy plaid pinafore, his choices and the costume crew’s execution provide each character with depth. The decision to use the styles of the 1930s, invoking left-wing causes and the Depression, accentuates the impossibility of social progress, in keeping with the show’s tongue-in-cheek political message. Taryn Noelle’s smart, lively choreography moves the large cast around to reveal its glee or despair, in unison or in melée. Her clever ideas include building a dance number around the file folders that Cladwell’s employees carry. The folders are red, matching the boss’ carnation, and when they’re held in outstretched arms, fluttering or diving through the air, Noelle turns a humdrum artifact into an expression of joyous veneration of the corporate leader. The musical ensemble, led by music director Nate Venet, brings the show’s songs to life with a cabaret feel. No individual tune is especially memorable, but that’s because even the melodies and arrangements are references to other musicals. The stupendous Act One finale is a jumble of musical conventions, with Les Misérables coming out on top. An insane anthem called
“Run, Freedom, Run” skewers gospel by way of “Sit Down, You’re Rockin’ the Boat” from Guys and Dolls, while “What Is Urinetown?” has eerie melodic parallels to Fiddler on the Roof’s “To Life,” a song about the very opposite ideas. It’s the presentation more than the tune that links “Snuff That Girl” with West Side Story’s “Cool,” but the finger snaps seal the deal. You need not spend the show hunting down the references. It’s better to surrender to the humor and irreverence. The musical idiom is unambiguous about pushing emotion to the highest pitch, and this cast holds nothing back, even as they demonstrate the sheer silliness of it all. m
INFo
Urinetown: The Musical, music and lyrics by Mark Hollmann, book and lyrics by Greg Kotis, directed by Gregory Ramos, produced by the University of Vermont Department of Theatre. March 20 through 22, 7:30 p.m.; March 23, 2 p.m., at the Royall Tyler Theatre, UVM, in Burlington. $18-21; UVM students $10. Info, 656-2094. uvm.edu/theatre
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