Religious satire is over-hyped fun
Great cast, script and choreography save musical
The Book of Mormon
To April 12 | Queen Elizabeth Theatre Tickets: $40 and up via Ticketmaster
Given The Book of Mormon’s authors are South Park creators Trey Parker and Matt Stone with Avenue Q co-creator Robert Lopez, it wouldn’t be surprising if the 2011 Broadway hit might offend.
Two full-page advertisements in the program proclaiming “I’ve read the book” for the actual Book of Mormon make it clear that the real Mormon church isn’t boycotting the musical.
While satire of the religion’s tenets is key to the narrative for the nine-time Tony Awardwinning show — and Act II’s I Believe is certainly a highlight at the expense of the good book — it would be difficult to be too upset. The real cutting jibes in the book are reserved for the feel-good blockbusters that rule the Great White Way, particularly anything related to Disney.
Trust me, you’ll never see The Lion King the same way after you hear Hasa Diga Eeobowai. The writers’ take on the whole Hakuna Matata feel-good number is spot-on.
In a classic buddy story built around two Mormon missionaries heading out to a posting in a hellish cartoon version of Northern Uganda, Ken doll character Elder Price (played by Billy Harrigan Tighe) and misfit Star Wars backpack nerd Elder Cunningham (played by A.J. Holmes on Wednesday night) appear set for success in introducing Africans to their religion.
But the “real” world has a way of obstructing conversion or belief of any kind and the fellas find their faith tested when confronted with AIDS, warlords, female genital mutilation and more.
There will be plenty of payback for such behaviour. And, no, don’t bring the kids to this one unless you are cool with aforementioned topics humorously handled and a lot of language this paper can’t print.
Yet Act I of the Book of Mormon frequently drags and through no fault of what is — top to bottom — a superbly fine cast.
The problem lies with the writers’ need to couch the better jokes in ensemble numbers that go on too long, apparently hoping to hammer home the funny. Yes, Broadway shows have a tendency toward this sort of delivery, but there were far too many here. Plus, the group songs often got muddled in the mix
When the marvellous Alexandra Ncube (as Nabulungi) got to belt out the tender ballad Sal Tlay Ka Siti, you really got a taste of what a powerful singer she was. Earlier, she was lost in the crowd along with the lyrics.
To be sure, there is a lot of story-building in the first act, but if not for Casey Nicholaw’s inspired choreography, it could have been worse. Due to Nicholaw’s near-constant send-ups of every imaginable classic hoofer routine, from tap dance and top hats to raunchy bump ’n’ grind, if the music wasn’t working chances are the movement was. Tighe, in particular, could really dance.
Act II did everything right. The first four tunes are all knockouts with equally gut-splitting sets and costuming. Until you’ve been terrorized by a damned skeletal soul bearing mapleglazed doughnuts, you haven’t had a Mormon nightmare. Then there is the retelling of Act I’s church history to wicked effects.
Ultimately, the highly anticipated Book of Mormon is overhyped. It’s a good romp, nothing more.
To be sure, there is a lot of story-building in the first act, but if not for Casey Nicholaw’s inspired choreography, it could have been worse.