THE BOOK OF MORMON MUSICAL, EDINBURGH PLAYHOUSE
★★★★
Few smash hit musicals come with the tag ‘Not for the easily offended’ but if ever one deserved such a trigger warning, it’s The Book of Mormon, especially if you are of a religious bent. South Park creators Trey Parker and Matt Stone with Avenue Q co-creator Robert Lopez’ outrageous and arguably blasphemous retelling of the holy book of the Church of Latter Day Saints has very little off limits as it mines its dark themes for laughs.
Off to fulfil the missionary duties often expected of young Mormon men, Elder Price and Elder Cunningham head to Uganda with the aim of bringing the ‘natives’ to the light, something their contemporaries already in Africa have so far failed to do. Can they succeed where others have been found lacking?
Laden with innuendo, chokingly funny lyrics and brutal one-liners that bring gasps of disbelief before, during and after the laughter they spark, The Book of Mormon satirises not just the Salt Lake City religion, but shines a less than complimentary on organised religion in general as well as taking many a wry poke at the world of musical theatre itself, not least that other Broadway and West End best-seller set on the African plains, The Lion King.
As spectacles go, however, The Book of Mormon is a gorgeous looking production; Scott Pask’s scenic design clever and eye-catching and exquisitely lit by Brian MacDevitt. Visually and musically it’s a lush piece of theatre.
The eight piece orchestra, under musical director Danny Belton, are tight while the onstage company are directed with forensic precision by Casey Nicholaw and the aforementioned Parker. Nicholaw must also takes credit for the well drilled choreography, which is never more effective than during a trip to spooky Mormon hell – a devilish Busby Berkeley pastiche that is brilliantly layered and laugh out loud funny. Other dance highlights include an old-school ‘razzle-dazzle em’ tap extravaganza and the odd set-piece in which the missionaries prove camper than the Village People.
Contrastingly, the shows darker themes – ‘AIDS’, female genital mutilation, loneliness and self-discovery – along with characters with names such as General Butt F**kin Naked, not to mention guest appearances by everyone from Star Trek’s Lieutenant Uhuru to serial killer Jeffrey Dahmer, Genghis Khan and Darth Vader ensure the irreverent imaginations of the show’s creators are never far from the surface.
Taking centre stage, Adam Bailey, all ego and hubris, plays nicely to the superior nature of his arrogantly smooth Elder Price, while Sam Glen makes for a likeable Elder Cunningham, a nerdy fantasist. Glen’s comic timing and Bailey’s impressive vocals are complimentary, in truth, however, this is an ensemble piece and both are supported by a strong company and ensemble. A special shout out must go to Nayah Nish who quickly wins the hearts of the audience as an outstanding Nabulungi.
If the piece outstays its welcome slightly, stretching it basic joke to its very limit, it realises in time and quickly wraps up in typically disrespectful fashion. That said, The Book of Mormon is one of those shows at which you find yourself laughing a little harder with each viewing… unless of course you’re offended. You have been warned, it’s devilishly funny.
The Book of Mormon runs at the Edinburgh Playhouse until 2 November. Tickets here.
Full tour dates and tickets can be found here.
