‘Book of Mormon’ laughs its way back to Playhouse Square

Terrific talent onstage helps smooth over all that profanity, blasphemy

Opening on Broadway in 2011 and touring since 2012, the nine-time Tony Awardwinning “The Book of Mormon” — which follows the misadventures of a mismatched pair of wide-eyed Latter Day Saint missionaries sent to Uganda — has returned to Playhouse Square with its irreverence and outlandishness intact.

The thing that sets this show apart from all other touring musicals coming to town is it astutely embraces the structural template, stylistic conventions and familiar tropes of a classic Broadway musical while simultaneously and ruthlessly satirizing them.

And because the show was created by Trey Parker and Matt Stone of TV’s “South Park” fame and Robert Lopez (“Avenue Q”), it unabashedly incorporates a steady stream of blasphemy, profanity and the sophomoric treatment of anything remotely sacred, spiritual or serious.

As with most old-fashioned musicals, the score in “The Book of Mormon” soars to incredible heights (“I Believe”) and provides vehicles for spectacular belting (“Baptize Me”). But then it serves up “Hasa Diga Eebowai” — a playful parody of “The Lion King’s” “Hakuna Matata,” which means “no worries” — that has a significantly more vulgar and un-Disney meaning.

Production numbers are big, colorful and exuberant affairs, filled with all sorts of delightful Great White Way choreography (Casey Nicholaw), clever costuming (Ann Roth) and brilliant scenic design (Scott Pask). But they, too, are widely impertinent. The huge ensemble number “Spooky Mormon Hell Dream” features dancing demons with cameo appearances by Jeffrey Dahmer and Satan.

Clearly, “The Book of Mormon” is not your Grandfather’s musical.

The show would be appalling if it weren’t so brilliantly and joyously executed by an exceptionally talented cast. They are accompanied by a stellar touring — and locally enhanced — orchestra under Alan Bukowiecki’s direction.

All the actors portraying the wide-eyed, toothy missionaries from Salt Lake City are wonderful, with stand-out performances delivered by Gabe Gibbs as zealous overachiever Elder Price, the hilarious Conner Peirson as the habitual ne’er-do-well Elder Cunningham and triple-threat P.J. Adzima as the stalwart Elder McKinley.

They are matched by a wonderful ensemble of performers portraying Ugandans, particularly Sterling Jarvis as the tribal chief Mafala and the adorable and vocally gifted Myha’la Herrold as the tribal chief’s daughter Nabulungi. Her gorgeous rendition of “Sal Tlay Ka Siti” is one of the show’s highlights.

Parker, Stone and Lopez are men on a mission but, unlike the characters in their play, it is clearly not a mission from God. They are purposefully pushing the acceptable boundaries of musical theater and having a great time doing it. Realizing this is the core requirement for appreciating “The Book of Mormon” and enjoying the remarkable work being done on the KeyBankState Theatre stage.

Parker, Stone and Lopez are men on a mission but, unlike the characters in their play, it is clearly not a mission from God.

JOAN MARCUS The Mormons are on a mission in a touring production of “The Book of Mormon.”