REVIEW: Trustus Theatre's URINETOWN - THE MUSICAL

by Beth DeHart

If Saturday Night Live’s effete city correspondent Stefon Meyers reviewed Trustus Theatre’s production of Urinetown: The Musical, which opened last weekend, he might say something like, “This show has everything! A flawless live band, cartoon-level physical comedy, eye-rolling puns, an adorable unparented little girl, a strangely parented big girl, and a set that is both dirty and clean at the same time… You don’t want to miss it!”

And he’d be right!

Urinetown: The Musical – a name that is already intriguing – is a Tony award winning musical written by Greg Kotis with music by Mark Hollman. It debuted on Broadway in 2001 and is set in a dystopian fictional town severely impacted by a 20-year draught. The antagonist is the for-profit business, “Urine Good Company,” whose tagline is, “We care where you go.”  The primary conflict of the story is that in response to the oppressive draught conditions, “Urine Good Company” established public restrooms which require payment – tariffs – for community members to use the amenities. The story is a cautionary Eat-the-Rich revolutionary tale about overuse of critical resources like water. But for the punsters out there, the puns alone are a good enough reason to see the show.

The play is directed by Dewey Scott-Wiley whose fingerprint is notable throughout – slow motion moments, consistent meaningful business, believable and entertaining characterizations – all bring this satirical story to life. The audience is engaged throughout by the visual, musical, and physical presentation of the creative script. Kudos also to Sheldon Paschal for her additions to the show as Assistant Director.

The cast features 21 actors who use the space of the set quite effectively - a credit to Ashley Jensen, Scenic Designer, who establishes both horizontal and vertical interest on the stage. The set is not fussy; it’s built to depict the desperation of the moment and to make scene changes happen as efficiently as possible. Kudos to Marc Hurst for lighting design that supports this minimalist set. Hurst’s Lighting, alongside Sound Design by Jacob Olano with Sound Engineer Matt Pound, were all excellent. “The Band,” conducted by Ayush Joshi, is hidden in the rafters, allowing tiny glimpses of movement which is fun for the audience.

Cast members Jonathan Monk, Kevin Bush, Lauren Roberts, and Dayna Arnett made the audience look particularly forward to their characters’ distinct moments in the spotlight. A younger cast member who also carried the story along beautifully was Te’Jah Beaton as Little Sally.

Several Urinetown team members are currently in the process of studying various theater-related skills, including acting, musical theater, stage management, and theater technology and design. The energy these cast and crew members bring to the production is notable. Olan Domer as Bobby Strong and River Dively as Hope Cladwell also add believability and heart to the performance. In the dance department, Daniel Mason, in the role of Hot Blades Harry, is a stand-out!

A couple of elements that detracted a bit from the otherwise excellent quality of the show included some questionable casting choices and dance performances. Some of the older character roles are played by much younger actors, which requires the audience to work much harder to suspend their disbelief and fully engage in the show. While most of the performances remain completely believable throughout, a few were, sadly, unconvincing.

Overall, Trustus Theatre’s production of Urinetown is well worth the price of the ticket. The production is yet another example of the excellent quality of local theater available in Columbia, SC.

Grab your tickets and empty your bladders… You’ll be happy about both!

~~~

(One recommendation: It could be argued that an opportunity was missed by not charging audience members a fee to “pay to pee.” Not only would this have reinforced the message of the play, it also could have served as a real-time fundraiser for Food Not Bombs, the non-profit being supported by the show.) 

Urinetown: The Musical runs June 19 - July 19, 2026. Tickets are available at Trustus.org or the number on the poster above.

REVIEW: You’ll Leave Churched - Choir Boy Shines at Trustus Theatre By Jane Turner Peterson

I’ve been churched—and I loved it. That’s the only way to describe Trustus Theatre’s electrifying production of Choir Boy, a play with music that bursts with life, laughter, conflict, and harmony. Directed and choreographed by Terrance Henderson, this production is a moving, joyful, and thought-provoking journey that should not be missed.

The play begins at the Charles R. Drew Prep School for Boys, an elite all-Black academy. It’s graduation day, and Pharus (John Ballard), a flamboyant and gifted junior, is chosen to sing a solo. When his performance is disrupted by Bobby Marrow (Jlynn Montgomery) and his sidekick Junior (Jamal Davis), who sling racial and homophobic slurs, Pharus falters. But in a dazzling recovery—equal parts comedic and defiant—he riffs his way through the interruption, instantly capturing the audience’s admiration. Ballard’s performance sets the tone for the evening: witty, vulnerable, and utterly captivating.

As the new school year begins, Pharus is named leader of the choir, sparking conflict with Bobby. Their battle of wills plays out against the larger expectations of Headmaster Marrow (William Paul Brown), who struggles to discipline his nephew Bobby while remaining fair to Pharus. Brown brings both authority and humanity to the role, portraying a man who is equal parts stern administrator and conflicted guardian.

The student ensemble is a highlight of the show. Montgomery gives Bobby a fiery intensity, making him more than just a bully—his commanding vocals and emotional depth reveal the layers beneath the bravado. Davis, as Junior, captures the hesitancy of a follower caught between loyalty and conscience. Jonathan Adriel’s AJ, Pharus’s loyal roommate, is portrayed with warmth and sensitivity; his friendship with Pharus is one of the production’s most touching threads. Daniel Mason shines as David, the deeply religious student torn between faith and desire. Mason’s vocals are rich and heartfelt, and his emotional honesty gives his performance a memorable weight.

Adding depth and humor to the mix is Larry Hembree as Mr. Pendleton, a guest professor who challenges the boys to think critically and independently. Hembree’s performance is a welcome blend of charm and gravitas, bringing levity to tense moments while grounding the story in its themes of growth and change.

The music of Choir Boy is its heartbeat, and under the musical direction of Kristin Claiborne with arrangements by Katrina Garvin, it soars. The cast delivers rousing renditions of spirituals like Eyes on the Prize and Sometimes I Feel Like a Motherless Child, alongside modern selections like New Edition’s Can You Stand the Rain. The harmonies are powerful and deeply moving—sometimes jubilant, sometimes haunting, always resonant. The music is not just accompaniment but storytelling in its own right, carrying the history, faith, and struggles of the characters.

Henderson’s direction and choreography tie it all together with artistry and precision. His infusion of prayer dance and stylized movement elevates the production, turning moments of conflict and celebration into something almost transcendent. The staging is fluid and alive, reinforcing the themes of identity, resilience, and community.

At nearly three hours, the production is a full evening of theatre, yet it never feels long. The pacing is sharp, the performances captivating, and the music unforgettable. By the curtain call, the audience is left exhilarated, reflective, and deeply moved.

Trustus Theatre has delivered a production that is both entertaining and meaningful. Choir Boy doesn’t just tell a story—it invites its audience to feel, to question, and to celebrate. In the end, you don’t just watch the show—you experience it. And when it’s over, you too will feel that you’ve been churched.

Choir Boy runs through October 12 at Trustus Theatre. Tickets are available at trustus.org or by calling 803-254-9732. Don’t miss the chance to be part of this extraordinary experience.