Wheaton College, Norton, Massachusetts
Dorothy Littlefield Weber Theatre
LAND ACKNOWLEDGEMENT
As a step toward honoring the truth and achieving healing and reconciliation, we are opening our program with an acknowledgement that we are on the traditional territory of the Wampanoag.
We practice this acknowledgement to recognize and respect the Indigenous Peoples as traditional stewards and owners of this land. They existed before colonization and are still here. Indigenous peoples continue to experience forced removal, genocide, theft of their ancestral lands, and other atrocities connected to colonization. Our acknowledgement is one action we can take to correct the stories and practices that erase Indigenous people’s history and culture. It is a step towards being more equitable and inclusive on our campus.
PLEASE BE ADVISED
The aisles in the theater will be used by the cast throughout the performance.
The videotaping or other video or audio recording of this production is strictly prohibited
Music and Lyrics by
MARK HOLLMANN
Directed by TEDDY LYTLE
Book and Lyrics by
GREG KOTIS
musical direction by ALEXANDRA LUTKEVICH
choreography by VICTORIA MATTIE ’22
costume design by CLINTON O’DELL
scenic design & technical direction by MAX PONTICELLI
lighting design by BENJAMIN ZABORSKI ’26
properties design by SARAH LEAVITT ’26
live video & projection design by NOAH BOUDREAU-FAIRA ’26
stage management by JILL BROWN ’26
This production was made possible by the Debra Glidden ‘68 Fund for Musical Theatre
URINETOWN was produced on Broadway in September, 2001 by the Araca Group and Dodger Theatricals in association with TheaterDreams, Inc., and Lauren Mitchell
URINETOWN is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.mtishows.com
DIRECTOR’S NOTE
What is Urinetown? Is it a joke? A threat? A warning? Is it even a place? Where did it come from and why is it here? How did it come to be?…maybe even… who? I suppose it’s really up to you to decide what Urinetown is, but before it was Urinetown: The Musical, or even Urinetown the metaphysical, metaphorical place; it was… an idea.
So Urinetown: The Musical… An Idea came to be in 1995 when Greg Kotis encountered pay-per-use public toilets while backpacking through Europe. This left him perplexed and deeply dismayed as a strapped-for-cash theatre artist, and an idea for a show began to take form. It took several years of development and several theatre companies dismissing the project before The Araca Group noticed it in the 1999 NYC Fringe Festival and took it on in earnest. After a successful Off-Broadway run, it was scheduled to make its Broadway debut on the Henry Miller Stage September 13, 2001; however, an unprecedented historic event just two days prior forced them to postpone the debut.
The world changed that day, and in light of that national tragedy, the play changed as well, the producers choosing to remove a scene that involved blowing up a building before re-opening the show. When it did re-open a couple weeks later, it immediately took off like a rocket. It was by far the most critically acclaimed show of the year.
Somehow this was the play that penetrated the seemingly all consuming gloom of a grieving nation. The play is humorous, I’ll grant you that, it’s incredibly funny; however, it’s not a light fluffy uplifting life affirming Hallmark card.
As I read the script I find myself asking profound questions, existential questions, critically important questions; questions about current ideologies of resource management; class disparity; money and corruption in government; intrinsic rights vs. privileges; performative activism vs. active activism; it challenges our ideas of heroism and hypocrisy; it poses the very real daunting notion that meaningful change is possible, but at what cost?
The year this play finally saw the light of day, 2001, was a dark year. It was a turning point for our nation, a coming of age of sorts; while we were in desperate need of a good laugh, we were no longer willing to turn away, or to escape. In the face of such a daunting tragedy, we were willing to take our medicine provided we had a spoon full of sugar.
The year of this production, this year, 2025, we face a different daunting national gloom. The broken promise of the internet, social media, and 24-hour news media bringing the world together; the American dream becoming subscription based while institutions of higher education, centers of science and activism being oppressed; families being torn apart. All the while, a pervasive and ongoing campaign of misinformation, disinformation, overwhelm, and psychological warfare; celebrating the most ignorant and pettiest among us. The challenges we faced in 2001 are only made exponentially worse in 2025 because no one can tell what the hell is going on! Can we trust anything we see?
That brings us to this production at this school with these people. I’m not just here to be a director, but an educator, so in that regard you can think of me more of an architect or a referee; I built the playground and I stay to make sure everyone plays safely and knows the rules. In doing so, I have had the distinct pleasure of watching them ultimately own the creation of this piece. with enthusiasm, warmth, honesty, integrity, and kindness. They have earned the show you are about to see. They have left their indelible mark on it, however small it may seem. In a word; I’m proud of each and every one of them.
Today, when I look around these dark times, when I feel the gloom, when hopelessness threatens to be inevitable, my thoughts fall upon this school with these artists, and I think to myself: Tomorrow’s looking bright.
—Teddy Lytle Director
ASSISTANT DIRECTOR’S NOTE
Hello, and welcome to Urinetown!
Tonight is a display of conviction. For the last two months I have been making radical choices with confidence and scrapping them with vigor. Musicals do not direct themselves, this is a lesson that is simple in theory and incredibly challenging in practice. The construction of this show is a product of my brain, shitty pencil drawings in my notebook, and actors who trust me. In part, this is frightening. To make a choice; to put your name onto a production and say “Here’s my heart, in total. I hope you hold it tender and love it how I want you to.” does, in a way, make me want to vomit. But! I am still sitting among you in the audience tonight because of my conviction. Conviction is a skill, one I own thanks to the people who’ve embodied it on my journey.
I want to tell you about these people. This note is sort of a thanks to them, I guess I’m feeling sentimental. I get gushy at musicals, what can I say?
I think of Stephanie Burlington Daniels, who executes every idea with specificity, precision, and never backs off from a challenge. You know this, but you’ve taught me everything I know. Your name really should be on all of my posters, I hope you can make your peace with that.
I think of Izzi King and Tori Mattie the joys of my musical experiences. Kindness and passion follow them into every room they enter. They’re my favorite collaborators, we’ve made some of my favorite stage pictures together—hand in hand.
I think of my entire cohort at the National Theater Institute; the love and admiration I have for all of you is almost unnameable. It’s too big for words, plus we were never really ones to take time for ourselves. Risk, fail, risk again or whatever the totes say.
I think of everyone in this cast; some of whom I’ve only just met; others who have wrapped themselves around my soul; all of which have pushed through every challenge we’ve faced, opened mindedly with vulnerability, and most importantly, a drive to be better. You’re all different artists than who you were before, certainly.
And of course I think of Teddy Lytle. My dear friend and asshole boss. I’ve charged into battle both with and against him and come out better for it. This show is our collective psyche, I’m not sure exactly what that says about either of us but I think we’re having a pretty good time.
These artists are my soul mosaic, I’m nothing if not a pair of patched up jeans, wellworn and holding strong.
This is my final mainstage at Wheaton College. I hope you enjoy our show. I personally couldn’t be prouder of it and of all of the artists you’ll see on stage tonight; as well as the artists behind the scene making it all happen. Keep creating, keep making, and look to those who inspire you: They’ll hold you together, with conviction.
Thank you for being here.
—Colin Bourget ‘26 Assistant Director of Urinetown
OFFICER LOCKSTOCK Lucas Caron ’28
PENELOPE PENNYWISE Arianna Jimenez-Laurent ’29
BOBBY STRONG Reagan Jensen ’26
LITTLE SALLY Carolyn Stevenson ‘27
MR. MCQUEEN/OLD MAN STRONG John O’Meara ‘26
SENATOR FIPP Eli Jarsky ’27
OFFICER BARREL Declan Kennedy ’26
HOPE Briana Frietas ’27
TINY TOM Alayna Ellis ’29
SOUPY SUE Rose Gifford ‘28
LITTLE BECKY TWO SHOES Sydney Esper ‘28
CALDWELL B. CALDWELL Jacob Packard ‘27
JOSEPHINE STRONG Hannah Balaam ‘26
HOT BLADES HARRY Layla Dasilva-Askew ’28
ENSEMBLE
Maggie Mercadante ’29
Atlas Curran-Barker ’27
Gabby Fernandes ’29
Stella Mercado ’29
VOICES Pierce Connolly ’27
KEYBOARD /CONDUCTOR Alexandra Lutkevich
PERCUSSION Thomas Bleakney ’26
BASS Noah Denzer
REEDS Mike Crowley
TROMBONE Andy Bell
MUSICAL NUMBERS
Act 1
1. Prelude
2. Urinetown
3. It’s a Privilege to Pee Intro
3a. It’s a Privilege to Pee
4. It’s a Privilege to Pee (Lockstock’s Reprise)
4a. Intro Act 1, Scene 2
4b. Staff Entrance
5. Mr. Cladwell
5a. Privilege to Pee Playoff
6. Cop Song
6a. Apparitions
7. Follow Your Heart
7a. After Follow Your Heart
8. Look At the Sky
8a. Sky Playoff
8b. Love Sting
9. Don’t Be A Bunny
9a. Sky Utility
10. Act One Finale
Act 2
11. What Is Urinetown?
12. Snuff That Girl
13. Run, Freedom, Run
13a. Freedom Playoff
14. Follow Your Heart Reprise
14a. Follow Your Heart Scene Change
15. Why Did I Listen To That Man?
15a. After Bobby’s Death
16. Tell Her I Love Her
17. We’re Not Sorry
18. I’m Not Sorry Reprise
19. I See A River
20. Bows
20a. After “Bows” (What Is Urinetown?)
21. Exit Music
PRODUCTION TEAM
Director Teddy Lytle
Music Director Alexandra Lutkevich
Production Manager Max Ponticelli
Technical Director Max Ponticelli
Assistant Director Colin Bourget ’26
Assistant Musical Director Pierce Connolly ’27
Assistant Technical Director Noah Boudreau-Faira ’26
Costume Designer Clinton O’Dell
Scenic Designer Max Ponticelli
Lighting Designer Benjamin Zaborski ’26
Assistant Lighting Designer Kassandra Muñoz ’27
Choreographer Victoria Mattie ’22
Properties Designer Sarah Leavitt ’26
Assistant Properties Designer Finn Maizer ’29
Live Video & Projection Design Noah Boudreau-Faria ‘26
Production Stage Manager Jill Brown ’26
Assistant to the Technical Director Eli Cowie ’26
Assistant to the Scenic Designer Cam Talmage ’26
Master Electrician Benjamin Zaborski ’26
Assistant Stage Managers Phoenix Clarke ’27, Liah Swistak ’28 Lili Summers ’28, Ella Summers’28
Brian Brigandi ’29, Serafina Velazquez ’28
Dance Captain Rose Gifford ’28
Dramaturgy Katelyn Spader ’27
TECHNICAL CREW
Scene Shop Technicians
Noah Boudreau-Faria ’26, Sarah Leavitt ’26
Atlas Curran-Barker ’27, Declan Kennedy ’27
Ellie Savino ’26, Cameron Desharnais ’27
Run Crew Angus Larson ’28, Angel Garcia ’28, Menagh Gendreau ’26
Electricians
Owen Dierich ’27, Avery Rose ’26, Stage Craft (THEA205)
Scenic Charge Max Ponticelli
Scenic Artists Stagecraft (THEA205), Cam Talmage ’26
Videographers Addison Black ’29, Fiona Blackburn ’29 Drew Micciantuono ’28
Light Board Operator Kassandra Muñoz ’27
Spot Light Operators Emma McKim ’28, Gianna Angelica ’26
Audio Engineers Andrew Woods, Mark Deluzio
Costume Shop Manager Clinton O’Dell
Costume Technician Nightshade Lilly ’27
Costume Crew Eva Garofano ’28
Hair & Makeup
ARTS AT WHEATON STAFF
Associate Director, Arts Events & Publicity
Ellie Savino ’26
Carrie Black ’28
Jessica F. Kuszaj
Graphic Designer Jessica F. Kuszaj
Technical Coordinator Kristina Kalogeras
Box Office Carmen Almonte ’26, Bessie Reina Figueroa 26
Maggie Gould ’26, Alsan Gustafson ’27
Annkelia Rosario ’27, Rose Gifford ’28
Annalise Layng ’28
SPECIAL THANKS
VAST Live Events
Mockingbird Music
Debra Glidden
Piere Alumnium
Patrick Johnson
Kelly Goff
Office of the Provost
David Rabinow ’96
Bay McCulloch
UPCOMING PRODUCTIONS
Tickets for events requiring them can be purchased online via the Watson Box Office
The Wheaton College Dance Company presents Continuum
Andrea Taylor, Artistic Director
November 20–22, 2025
Weber Theatre, Watson Fine Arts
The Minutes*
written by Tracy Letts, directed by Jacob Packard ’27
Presented by Kresge Theatre Company
December 4 & 5, 2025
Mary Lyon Hall
DanceFest 2025
Featuring: KAOS, Paraíso Latino, Tap Out Loud, TRYBE with guest S.O.LE.
February 12–14, 2025
Weber Theatre, Watson Fine Arts
New Plays Festival 2025
February 21 & 22, 2025
Kresge Experimental Theatre, Watson Fine Arts
Amadeus
written by Peter Shaffer, directed by John O’Mera ’26
Presented by Kresge Theatre Company and the Department of Theatre & Dance
March 26–28, 2025
Kresge Experimental Theatre, Watson Fine Arts
Five Minute Play Festival
April 11, 2025
Kresge Experimental Theatre, Watson Fine Arts
Wheaton College Dance Company
Andrea Taylor, Artistic Director
April 16–18, 2025
Weber Theatre, Watson Fine Arts
*Contact Kresge Theatre Company for ticketing information