Unlike the traditional American musicals of the 40s, 50s, and 60s, Urinetown is a satire that not only laughs at the sappiness of traditional musicals, but also makes fun of the more recent musicals like Les Miz and Rent, which took the traditional musical into a new direction focusing on realism and tragedy.
The German director and writer Bertolt Brecht once wrote, "Nothing is more revolting than when an actor pretends not to notice that he has left the level of plain speech and started to sing." Brecht’s critique of the Rodgers and Hammerstein's era of musical theater was cynical but also as valid as any other opinion. Urintown The Musical is infused with a Brechtian sentiment with regard to its self awareness and the constant reminder to the audience of the contrived nature of storytelling. In some ways it is satirizing the satirist, Brecht.
As a director, the greatest challenge and the most gratifying part about Urinetown The Musical has been working with the cast to create characters that pushed the actors past any limitations that they thought they had. There’s a fine line between overacting and overacting so much that being hit over the head with an idea is recognized, in itself, as satire and... also funny. All good comedy is based in realism, and to hold onto the method of staying connected to a real emotion while transcending into the absurdity of the situations of this play is harder than one would assume.
I’m always pleasantly surprised by our students and their ability to apply the acting concepts that they have learned, and adapt to the diverse selection of shows that we produce. “It’s a privilege to”... yes, pee, but also to have the freedom to make the artistic choices we make here at Hamden Hall and work with such dedicated students.
Karl Gasteyer
Director
