Urinetown is undeniably a twenty-first-century musical with its humorously cynical take on the social effects of late-stage capitalism. Hornsby Musical Society has done a fantastic job taking on the show, which first premiered in New York twenty-three years ago. Now, more than two decades later, Urinetown’s themes around bureaucratic corruption, environmental destruction, corporate greed, and economic inequality have (sadly) become more relevant than ever before.

Act One opens with leather coat-wearing police Officer Lockstock speaking directly to the audience. It becomes clear quickly with this breaking of the fourth wall that Urinetown is unlike most other musicals. We are then introduced to the poor denizens of the unnamed town who, because of corporate-induced water shortages, are forced to pay to urinate. They queue up outside a toilet block with the title Public Amenity #9. Employed to man this particular amenity, Penelope Pennywise, an initially unsympathetic character, shows no mercy to those townspeople who do not have the requisite fee to pee. Her assistant, Bobby Strong, the story’s everyman, is appalled when his ageing father is sent off to the feared Urinetown after relieving himself in the street.

At the same time, a young woman named Hope Cladwell is starting her first day of work at UGC or Urine Good Company, the corporation her father is the CEO of. Hope is idealistic and naive, not realising that the privileged life she has led is far from the reality for most of the deprived citizens of the town that her greedy father’s company controls. In the town square, Hope and Bobby fortuitously meet. An instant attraction is borne out in the duet they share, ‘Follow Your Heart’. Bobby will soon be catalysed into sedition when UGC announces a fee hike for their public amenities. He rebels against Pennywise by opening the doors to Public Amenity #9, thus beginning a revolution. It is the outcome of this rebellion that occupies the action of the second half of the musical.

Samuel Byers is excellent as Officer Lockstock, along with his bumbling sidekick Officer Barrel, played by David Emerson. In a costume reminiscent of wartime worker Rosie the Riveter, Jordan Berry gives a powerful performance as Pennywise. Kate Addison’s turn as Hope, is a highlight of the whole musical; her sweet but powerful voice makes numbers such as ‘Follow Your Heart’, and the gospel inspired ‘I See A River’ resonate with the audience. Nick Hiebl plays Bobby Strong well as the underdog we root for, although, at times, his singing wavers. The ensemble singers are particularly amazing during their rendition of ‘Run, Freedom, Run!’ in Act 2.

Given its postmodern flavour, there are plenty of homages paid to other musicals throughout Urinetown. Choreographer Lauren Oxenham is to be commended for the excellent dance sequences that evoke West Side Story. A dystopian Mad Max theme is evident in the costume design for the clothes worn by the poorer characters. Production designer Jack Goggin has done a fantastic job in creating an industrial, steampunk set that perfectly suits the story’s themes. Lastly, director Emma Young and musical director David Lang must be highly congratulated for producing such an outstanding production. They are a testament to the ongoing strength of the Hornsby Musical Society and a sign that amateur musical theatre in Sydney is in good hands.

Urinetown: The Musical runs from 1-10th Nov at the Pioneer Theatre, but only has four sessions remaining this weekend.

For tickets, please visit https://hornsbymusicalsociety.com.au/november-2024-urinetown/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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