Presented by: Pulteney Grammar School
Reviewed: 29 May, 2025
Back in the Dark Ages, when this reviewer went to high school, there was no such discipline as Performing Arts and the shows we performed were either Gilbert & Sullivan shows or had been big hits in the Forties and Fifties (the present time being the Seventies); the lighting design was basically ‘lights on, lights off’ and no microphones (what were those strange things?). It is so pleasing to see that times have changed and schools are not only doing modern shows but aiming high and performing them at high, fairly professional levels. Pulteney Grammar is certainly top of the heap when it comes to presenting highly polished and excellent musical productions. Their latest offering, Urinetown The Musical, is stunning in every aspect. I had heard nothing but good comments about their productions, but this show surpassed my expectations by miles.
The show, with music and lyrics by Mark Hollmann and book and lyrics by Greg Kotis ran on Broadway from 2001 to 2004 receiving 10 Tony nominations and being awarded 3 of them including Best Book of a Musical and Best Original Score. The story is set in a not-too-far dystopian future where the water table has dropped so drastically that to save water only the rich are allowed to have their own private toilets – everyone else must use public amenities and “pay for the privilege to pee”. Believe it or not, the show is not as dire as it sounds. It is in fact a satire on power, corruption, politics and a parody of most things musical. In breaking the fourth wall and sending up musical theatre tropes, Urinetown was ahead of such shows as Monty Python’s Spamalot, The Producers, and The Book Of Mormon.
This production is about as perfect and professional in its presentation as it can get, without the audience having to pay exorbitant prices. Jo Casson’s direction brings out the humour well whilst keeping the show’s melodramatic feel flowing brilliantly and capturing some nice musical theatre salutes to such shows as Les Miserables, West Side Story and Fiddler on the Roof. She has her cast delivering finely honed melodramatic tropes beautifully. Casson also combines with Rosanna Dobre in producing some stunning, highly effective dance routines bringing out the best in their 63 strong cast, especially when it comes to tightness, timing and physicality. One routine is so daring and impressive that on Opening Night it received a huge round of applause whilst it was still happening -almost unheard of. Mark Oakley’ lighting design is flawless and wonderfully spectacular whilst still maintaining a suitable ‘dingy’ feel when required. Add an unseen orchestra that includes 5 Pulteney students under the excellent musical direction of Jonathon Rice along with vocal direction by Katia Labozzetta and choral coaching by Annie Kwok and this production just sings.
Of the 63 cast members, there is not one weak link! If I named them all it would probably take you a week to read this review. With talent and energy exuding from every single person on the stage, it was basically impossible to differentiate this school production from a professional version (and I saw Sydney Theatre Company perform it with such talent as David Campbell, Lisa McCune, Shane Bourne and Rhonda Burchmore – very comparable everyone).
Making it very hard for me to realise that they are Year 11 students and not fully trained professionals are the two male leads: Patrick Longden and Henry Green. Longden as Bobby Strong parodied the typical “Hero” type wonderfully – there wasn’t a subtle facial expression or physical stance that was out of place. His comedy was nicely handled and that voice – WOW!!! It certainly lives up to his character’s name of Strong. Displaying incredible power beyond his years, Longden impressed wildly. Green also displayed a performance maturity that belied his young age as Officer Lockstock. Another with a powerful voice and fantastic facials, he had the audience chomping at the bit for his next entrance.
Polly Schubert made a lovely Hope Cladwell; Maggie Bridges was a powerhouse as Penelope Pennywise; and Emily Puah was a delightful Little Sally. Billy Rowan as Caldwell B. Cladwell made a wonderful villain, never overdoing the nastiness and reminding one of a sinister Bond villain. Young Sebastian Gollan was great as Officer Barrel and worked well with Green. Dash Heffernan-Lucic was a very toady Mr McQueen (nice touch with the green jacket) and Keira Wubbolts did well as Senator Fipp.
Of the Rebels, Henry Tran (Hot Blades Harry) and Alexander Smith (Tiny Tom) were particular stand outs, but that’s not to take anything away from Nektaria Mavragelos (Little Becky Two Shoes), Sophie Haarsma (Josephine ‘Old Ma’ Strong), Michaela Lazarevic (Soupy Sue), Siena Pagnozzi (Robby The Stock Fish), Scarlett Lamb (Billy Boy Bill) and Quinn Sage-Hoff (Joseph ‘Old Man’ Strong), who along with Zara Pagnozzi (Mrs Millenium) and Scarlett McCall (Dr Billeaux) carried out their roles wonderfully.
I cannot rave too highly about this marvelous production. It certainly deserved the standing ovation it received on Opening Night. It was also a great gesture to get the young stage crew to lead the curtain call.
Well done, all!!!
Reviewed by Brian Godfrey
Photo credit: Stagelit Studios
Venue: Futures Theatre, Paradise (57 Darley Road, Paradise)
Season: Until 31 May 2025
Duration: 2hr 30min including a 20 min interval
Tickets: $30 – $45
Bookings: https://events.humanitix.com/urinetown-presented-by-pulteney-grammar-school/tickets
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