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: The Squirrels at Trustus Theatre by Clayton King

As the lights went down on The Squirrels, currently on stage at Trustus Theatre, I turned to the person sitting next to me and said, “I need to process what I just saw.” The play’s message is simple, but the plot is challenging to explain, in the same way that our current socio-political situation is simple, but deceptive and convoluted. Still, it is easy to recommend this show as a must-see for Columbia audiences.

Rather than attempting to explain the entire plot, suffice it to say Robert Askins’ script seems to invite questioning. The play offers a rich, comedic view of a darker understory in which small animals exist in a civilization (‘squirld’) that mimics the ‘world’ at large. The strong parallels between this heretofore unknown society of mammals and our current climate are unmistakable. And all while, the audience is entertained with fast-paced dialogue and action.

The Scientist, played by Jonathan Monk, opens the show with a combination pre-show speech and educational primer on the world of squirrels. The slide show includes Trustus’ season flyer, and the audience is thanked for its open-mindedness in coming to see this show. In his “lesson,” the Scientist remarks:

“And you’re like musical. Okay. Thinky play about thinky things all the way from New York. Sure. Duh. Then what’s this? Squirrels? Other people might go, ‘BAWHA? A play about squirrels? What?’ Not you. You said, ‘Okay.’ You said, ‘I’m curious.’ You said, ‘Give me some.’ And some you shall have. Buckle up, you discerning patron of the arts. Because we are going to get scientifical, because SQUIRRELS ARE FASCINATING.

From this moment on, the basic tenet of theatre that audiences are invited to “suspend disbelief” becomes the top order, as one often forgets these are actual humans on the stage portraying actual squirrels. The absurdity of it all wraps itself around you while constantly pulling you into the world of these animals.

Jonathan Monk’s comedic timing and ability are in full force and alone are worth the price of admission.

Director Martha Hearn has assembled a wonderful cast to tell this story, and the production quality is outstanding. The audience is aptly and elegantly transported into this ‘squirld,’ with the cast adopting the behavior, mannerisms, and sounds of squirrels so completely that “suspending disbelief” was easy. Each actor dons an absurd, enormously fluffy tail as a means of self-identification, which only furthers the premise of both ridiculousness and creative genius.

Jonathan Monk’s comedic timing and ability are in full force and alone are worth the price of admission. This is rivaled only by his sinister and Machiavellian portrayal later as Scuridae. Add to that Terrance Henderson’s masterful performance as Sciurus, the aging head of an established, wealthy family of grey squirrels. He is both funny and appalling as he struggles to keep his sanity, family, and large cache of nuts. He has the power, and as the top squirrel in his tree, Sciurus resists sharing his hoard with the hungry, fox squirrels.

In a sort of “rebel with a cause” flair, Patrick Dodds (Carolinensis) earnestly leads his squirrels in an insurrection and quest to secure nuts for his group's basic needs. His forbidden love interest, Chordata, is Sciurus’ daughter and the heart of the play. Courtney Sims’ portrayal of the character is sympathetic and guides the audience through the play, embodying a character who struggles to find balance and fairness with a strong will and full heart.

A standout as Rodentia, Abigail Lee McNeely loves her adopted father, Scurius, with an impure adoration that antagonizes her adopted mother’s status as the tree matriarch. Rodentia’s wantonness is a pathological cover for her loneliness and need for affection, as she is an outsider living on the inside of a dynasty. In the role of Mammalia, the matriarch of the Scurius clan, Erin Wilson offers both a caring, warm-hearted mother figure and a hard, brutal side on full display as the play closes -- think of an iron fist wrapped in a velvet glove. The audience experienced a euphoric moment, reminiscent of King Joffrey’s dramatic death (non-sequitur reference to Game of Thrones), as she struck the killing blow. It was jubilant and met with thunderous applause!

 Rounding out the cast are ensemble players Olivia Wamai and Nicole Perez, who serve as members of the insurrection and help move the action along with fluidity.

Everyone on stage so expertly embodied what one would consider “typical” squirrel behavior; it was uncanny and highly entertaining. The cast had a wonderful play space to work with on Corey Langley’s imaginative and effective sets. The scale of all the spaces on stage reminds us that we are watching squirrels (human-sized ones) in places like tree-top lairs, underground havens, and bird houses. Costume designer Rachel Turner creatively meets the challenge of providing character-appropriate garb for each player. And did I mention the tails? Character makeup suggests an animalistic appearance without becoming a caricature in motion. Light and Sound Design by Laura Anthony Robbie and Jacob Olano, respectively, were perfect for the task of enhancing the production.

One must also give a huge nod to Kathleen Pennyway, who serves as the production’s Intimacy Coordinator. The prolific world of squirrels includes a great deal of mating (“mukking”), and this idea was evident, daring, and sensitively handled. Likewise, Patrick Michael Kelly’s fight choreography effectively captured what one would envision with squirrels fighting over nuts and dominance.

While there is a lot of information and machination to try to describe in The Squirrels, I can only say “go see it!” It is thought-provoking, comical, emotional, and ultimately, hopeful. The show’s runtime is two hours and 40 minutes, with a 15-minute intermission, yet the performances, individual and collective, are where the experience soars. In fact, after the show ended to an immediate standing ovation, I glanced at my watch and was surprised at the time; I had no idea how much time had passed and never felt a lull.

If Southern Gothic and theatre of the absurd had a love child, it would be The Squirrels. The telling of prejudice, inequality, and basic needs is the main point that resonates with most people today. The show runs April 17-May 3, and tickets are available online at trustus.org.