Show returns to T.O. as smart and naughtily hilarious as ever
The Book of Mormon (out of 4) Book, music and lyrics by Trey Parker, Robert Lopez and Matt Stone. Directed by Casey Nicholaw and Trey Parker. At the Princess of Wales Theatre until April 16. mirvish.com or 416-872-1212 No, as Elder Price notes ruefully, it’s “nothing like The Lion King.”
The Book of Mormon is musical comedy with very, very bad attitude (as in very, very good) and the Broadway national tour production at the Princess of Wales Theatre is impeccably staged, wonderfully cast and uproariously funny.
The show is back for a return engagement after getting raves when it came to Toronto in 2013. But if you’re a first-timer, be warned: it’s a work that mercilessly lampoons Mormonism (and all creeds and cultural beliefs for that matter) in the most outrageous and scatological of ways.
The plot is straightforward Elder Price (Gabe Gibbs) and Elder Cun- ningham (Conner Peirson) are sent to a motley Ugandan village for their two-year missionary assignment where they encounter a dispirited citizenry being menaced by a local warlord, General Butt-F---ing Naked.
Gibbs is splendid as the vainglorious Price right down to his unctuous smile and facial expressions, and the tiny curl on his forehead. He’s wellmatched by Peirson, who’s sublime and sympathetic as his dumpy companion Cunningham, who has difficulty making friends and curbing his vivid imagination. It is to their credit that we sense real transformation in their flawed characters.
They are ably supported by a uniformly solid cast of two ensembles, one of white, supersquare missionaries, the other of African villagers.
Among the missionaries, PJ Adzima stands out as someone struggling between faith and sexuality, making the song “Turn It Off” a particular highlight.
Leanne Robinson brings spirit to the role of Nabulungi with a voice that is infused with honey and poignancy.
The stage is framed by a broad rectangular arch that blends religiosity with Las Vegas showmanship. There’s a fine attention to detail throughout, right down to the dead horse dragged across the stage just as the hapless missionaries arrive.
Designer Scott Pask’s sets are wonderfully evocative, particularly his vision of the underworld in the number “Spooky Mormon Hell Dream.” Some of the scene changes are a little distracting, but it’s a minor issue.
The musical dance numbers are letter perfect in every respect, suffused with energy and a great sense of fun.
Written by South Park creators Trey Parker and Matt Stone, along with Avenue Q creator Robert Lopez, there’s plenty to offend, including lacerating satire, f-bombs galore and references to bestiality.
But there’s also an unexpectedly redemptive message about personal faith and friendship that shines through in this well-executed production.