The Book of Mormon Is an Irreverent Good Time

Religion can be a touchy topic to talk about among friends, much less a suitable theme for a musical comedy. And, yet, that’s exactly what Trey Parker, Robert Lopez and Matt Stone have done with the The Book of Mormon, a musical that’s less condemnation and more irreverent skewering with an uptempo beat. The popular musical returns to the Fabulous Fox Theatre in a slightly updated version that remains surprisingly warm and accepting at heart.

Upon completion of their missionary training, Elder Price and Elder Cunningham are paired together and sent to Uganda to minister to and convert its citizens. They soon learn that this task is going to be significantly more difficult than expected. Price, overachieving, stereotypically attractive and dogmatic, is certain there’s been a mistake. Cunningham, socially awkward, eager to please and prone to fabrication, is simply glad to have a new “best friend.” Their first few days don’t go as planned and, in a surprising turn of events, Price flees the small village where they’re working while Cunningham remains determined to complete their mission. Surprisingly, he attracts the attention of the beautiful Nabulungi and wins the locals over with an inventive reinterpretation of scripture. Impressed by the duo’s apparent success, church leaders show up and are greeted with a play that illustrates Cunningham’s version of Mormonism in hilarious detail.

Sam McLellan and Sam Nackman are perfectly cast as the charismatic Elder Price and clumsy Elder Cunningham. A tall, athletic baritone unquestionably committed to the church, McLellan is the ideal missionary, with just the right touch of self-absorbed ambition. Shorter and more stoutly built, Nackman is convincingly inept. He deftly cracks and flattens his notes to humorous effect and his pratfalls are a lesson in physical comedy. Keke Nesbitt has a natural grace and gorgeous voice as Nabulungi; she and Nackman play off each other well, creating a genuine sense of emerging affection.

The supporting cast is top notch and the songs are catchy, clever and frequently familiar. Most notably, “You and Me, But Mostly Me” references both “The Wizard and I” and “Defying Gravity” from Wicked, “Orlando” touches on “Tomorrow” from Annie and the laugh-out-loud funny “Hasa Diga Eebowai,” reminiscent of The Lion King’s “Hakuna Matata,” is perhaps the most direct parody. These songs as well as “Hello,” “Tomorrow is a Latter Day,” “Turn It Off,” “Sal Tlay Ka Siti,” “I Am Here for You,” and “Spooky Mormon Dream” are big hits.

Creators Parker and Stone are perhaps best known for South Park, the long-running cartoon for adult audiences. Combine those sensibilities with the upbeat songs of a Rodgers and Hammerstein musical and it’s easy to see the genesis (and genius) of The Book of Mormon. While the musical outrageously questions the history of the church, its message is not as anti-religious as may first appear. Price learns important, humbling lessons that reveal and reaffirm his humanity and the true nature of friendship. Cunningham is successful in reaching the Ugandans with the most important aspects of religion — moral guidance, helping each other and the value of lifting our spirits with faith and hope. If you are comfortable poking fun at the institution of religion, The Book of Mormon proves its worth as a hilariously good-hearted and entertaining musical.

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