Urinetown: The Musical (BottledSnail Productions), at Gasworks

A dystopian future is the setting for BottledSnail’s production of Urinetown.

Twenty years of drought has taken its toll.

Citizens must pay to use public facilities – operated by a ruthless private organisation known as Urine Good Company – to pee.

Anyone who breaks the law is sent to their demise in a mysterious place known as Urinetown, from which none have returned.

Photos by Tongue & Groove Entertainment

Amenity #9 is overseen by Penelope Pennywise, who doesn’t want to hear any excuses from those who can’t stump up the money.

Her offsider is Bobby Strong, who must stand by and watch his father, Joseph, being denied free entry.

And then, when Joseph is simply busting, the old man lets loose, only to be confronted by the constabulary – with purgatory awaiting.

This is the regime presided over with an iron fist by Caldwell B. Cladwell, who has become filthy rich in the process.

In his pocket is a corrupt senator and the police.

Cladwell’s beautiful daughter, Hope, has just finished university and arrives home to work in her father’s business.

With a kind heart, Hope is unprepared for what she witnesses and immediately warms to Bobby Strong, inspiring him.

So it is that Bobby rises up against the authoritarian dictates of Caldwell B. Cladwell and the Urine Good Company.

But in instigating a rebellion, he gets more than he bargained for, as this tale is set to take a few more ugly turns.

With music and lyrics by Mark Hollman, and book and lyrics by Greg Kotis, the engaging parody that is Urinetown debuted off Broadway in June 2001.

Sending up political and economic power, and the management of climate change, it opened on Broadway in September the same year.

The barbs come thick and fast, as it is also a show poking good natured fun at the essence of musical theatre, while at the same time paying homage to several shows. 

Importantly (spoiler), it doesn’t have a happily ever after ending.

BottledSnail has done a fine job with Urinetown, crafting a delightful, acerbic production under the watchful eyes of director David Miles.

The real-world situation we are facing, being the cost-of-living crisis and governments forever looking at new ways to tax us, gives the musical extra bite.

The 19 cast members are in good form, with several stand outs.

Foremost amongst them is Alexandra Sutherland as Pennywise. She has a superb, strong and assured singing voice that would be quite a home on any of Australia’s finest stages. I was mightily impressed.

Adam Wojcik excels in his representation of the authoritative Officer Lockstock (who patrols amenity #9 with his partner Officer Barrel, played by Declan McGavin).

He looks and acts the part with distinction. I wouldn’t want to cross swords with Officer Lockstock.

And then there is Tara Cunneen, who is a knockout as street urchin Little Sally. Her delivery (whether spoken or sung), together with her facial expressions, showcase what a big future she has in musical theatre.

Wojcik and Cunneen also serve as narrators.

For those old enough to remember the animated TV series The Rocky and Bullwinkle Show, the main antagonist in the Dudley Do-Right of the Mounties segments was a dastardly, moustachioed character named Snidely Whiplash.

Sam Pearce succeeds in bringing that level of devilishness to his portrayal of the villain of Urinetown, Caldwell B. Cladwell.

It is a necessarily pointed contrast to the purer than driven snow characterisation attained so brightly by Elise Kurvink as Hope.

Mackinnley Bowden brings warmth and charm to the pivotal role of Bobby Strong. 

Well-choreographed by Lena-Jean Lamshed, with strong musical direction of a terrific band from Charlotte Black, I particularly enjoyed the rousing chorus numbers.

Steve Cooke’s sound design is spot on; projections add a nice touch to Josh Trippett’s lightning design and costuming from Clare Hampson is imaginative.

Two and a half hours, including interval, Urinetown: The Musical delivers a salutary message about appreciating and not misusing the natural resources we have.

BottledSnail’s production, which is part of the Melbourne International Comedy Festival, is on at Gasworks until 28^th March, 2026.