Licensed to pee… Urinetown isn’t afraid to piss of it’s audience.

Urinetown is a light fare satirical comedy musical, though it remains demanding musically. The premise of this Tony Award-winning production is set in a world where water is at a premium and citizens are charged to use public toilets; Privately owned urinals controlled by the Urine Good Company which are the only spots to relieve oneself. The world is full of harsh laws that guarantee the citizens pay to pee or be forcibly sent to the penal colony: Urinetown where they disappear forever.

Although the premise on the surface is ridiculous, the songs are pure musical theatre and very well written. Urinetown is not so much a parody as it is an homage to musicals. The more you love musicals, and the more you know about them, the more you'll enjoy Urinetown. Poking fun at capitalism, socialism, bureaucracy, corporate mismanagement, and petty small town politics, Urinetown rejects musical theatre convention. Then in reverse pantomime style, the unconventional plot line shatters audience expectations of a pleasant ending when the poor revolt and they perform an Evita-style song which grows into a mock finale from Les Miserables.

Most will recognize references to such classics as: The Three Penny Opera, Fiddler on the Roof, and West Side Story; it would also help if you're familiar with Showboat, Oliver!, Sweeney Todd, How to Succeed in Business Without Really Trying, Godspell, Guys and Dolls. Though, you don't need to know all these references to enjoy the show, the music, the choreography and vibrant performances delivered by the talented cast. The actors portray their circus like characters larger than life, sometimes with cartoon flare that panders well with the very youthful crowd seated in the audience.

The corrupt tycoon, who has a monopoly on public toilets and just keeps raising the rates named Caldwell B. Cladwell is played brilliantly by the very enjoyable Michael Summerville.

Bobby Strong played by the lanky yet energetic Brendan Doherty, is a pauper with a revolutionary's heart who falls in love with the mogul's daughter Hope Cladwell portrayed by Lexy Campbell (a perfect stage name if ever there was one).

The urinal mistress inspired by the character Mrs. Lovett from Sweeney Todd, Penelope Pennywise, is played by Corine Baker with powerhouse vocals and bravado.

Also deserving mention is the deliberately dry deadpan yet subtly comical interpretation of Officer Lockstock by Mark Piggott.

Directors (Kara Fletcher & Jessica Kostuck) retained the original script and the musical score; Their seamless direction is to be commendable for such an ambitions production and large cast (18). Costume designer Kaleigh Briggs dresses the cast in 1930s costumes which gave the production a well textured feel and more classical look, but the venture was unbalanced and distracting when the actors weren’t outfitted consistently in the same period. Finally worthy of note are the lighting design of Erik Koopmans and musical direction of Jennifer Yang which married well with the space and the piece.

The Musical was presented by McGill University's community theatre, the Arts Underground Theatre Society. It ran from Jan. 23 – 26 2008 at the Moyse Hall McGill University Arts Building. With tickets priced at only 10 for students and $12 for adults this was great entertainment for our rising loony.