Sweetness eases shocks
The shock value of The Book of Mormon is bound to fade, but the sweetness in its satire could last as long as any cross-cultural classic from Rodgers and Hammerstein.
Devilishly funny but also very human, the coming-of-age musical is what one would expect from South Park creators Trey Parker and Matt Stone, and Avenue Q co-creator Robert Lopez — except this dream team is so clever that you don’t see some of the best plot twists and sight gags coming.
Briskly directed by Casey Nicholaw and Parker with impish pokes at propriety, the two-act show charts the ups and downs of faith, hope, disappointment and redemption.
At the opening on Wednesday night in the Ohio Theatre, one could detect beneath the gleeful excesses a compassionate optimism about the difference that sincerity and decency can
The Book of Mormon make in a fallen world.
If any show must be recommended for mature audiences only, however, this is it — for its extreme profanity and raunchy sexuality.
Yet the 2011 Tony winner for best musical balances outrageous lows with life-affirming highs.
Mark Evans and Chris O’Neill lead a terrific ensemble cast that brings to life ancient biblical figures, modern Mormon elders, African villagers and even a few figures from modern mythology.
The pair of Mormon missionaries sent from Utah to Uganda are a classic odd couple.
As short, dumpy and needy sidekick Elder Cunningham, O’Neill becomes the impulsive, unleashed id to the controlling super-egotist of Evans’ tall, thin and narcissistic Elder Price.
Alexandra Ncube adds poignant depths as Nabulungi, a young African seduced and betrayed by naive promises and embroidered visions.
The best song-anddance number by choreographer Nicholaw is Turn It Off, led by Grey Henson’s jerky Elder McKinley as a brilliant ode to sexual repression.
To its credit, The Book of Mormon ventures beyond cheap shots at the seemingly silliest ideas of one religion to explore the power of belief (amid doubt), the trials of innocence (and experience), the fertility of imagination (and brute necessity) and the healing magic of laughter (amid suffering).
Some shocks start to wear off on a second viewing. Yet the underlying themes and affectionate tone of the latterday hit should linger.