The Book of Mormon: a hilariously colourful tale of black and white missionaries.
The Book of Mormon is a no holds barred tale of a group of young Mormon men who branch out on their inaugural missions to spread the word of God (of the Latter Day Saints). Hyper confident Elder Price (Kevin Clay) has waited his entire self-assured life for this moment when he will be paired up with someone equally magnificent and sent to the promised land of Orlando Florida. When Price is instead scheduled for a dreary corner of Africa with the meek and diffident Elder Cunningham (Conner Peirson), he is utterly flabbergasted. Price’s bewilderment is ebulliently countered by Cunningham’s amusing ardor and the two set off on their fantastical journey into the great unknown.
Our protagonists arrive in war-torn Uganda and settle into a small village that has managed to keep itself under the radar of the neighbouring, female castrating warlord. But it’s not just the locals who are hiding. In a cleverly orchestrated piece called, “Turn It Off” we discover everyone has something they’re keeping under wraps.
The story is a journey of truths. It’s a huge poke at Mormonism, but it is also a clever commentary on the human condition, and no one is safe here. The writers (Trey Parker, Robert Lopez, Matt Stone) unabashedly send pretty much everyone up river paddling a leaky boat. But no one drowns in this story. They’re all sent out a lifeline of some sort and rescued from themselves. And it is themselves they need rescuing from.
The Book of Mormon cradles a social statement blanketed in comedy. What better way to evoke the horrific truths that continue to date when their persistence and familiarity have rendered them blasé? The writers take very serious matters (poverty, female castration, sexual abuse, hopelessness, to name a few) and spin them with comedy, making people laugh out loud only to cover their mouths at the realization of what’s just transpired. Signed, sealed, delivered.
It’s a brilliant and effective methodology to inspiring a dialogue that provides a poignant layer to the otherwise superficial journey of our main characters.
People are people are people. We follow the characters as they trudge through the familiar quagmires of selfishness, desire, and callousness, to emerge on the other side better educated and more compassionate toward one another.
As for the orchestration of the show itself, the X-ray scene was the only scene that fell a little flat but even that got a few laughs once we realized what we were looking at. The set design was great for the most part, especially the spooky Mormon hell dream. But the biggest laughs came from “I Believe.” There is comedy in contrast and the actors milked this to the max for huge laughs. Kaya Pecchioni as the impossibly named Nabulungi steal our hearts with “Salt Lake City,” and her baptism, under the nuanced guidance of Elder Cunningham is worth the price of admission.
Our protagonists arrive in war-torn Uganda and settle into a small village that has managed to keep itself under the radar of the neighbouring, female castrating warlord. But it’s not just the locals who are hiding. In a cleverly orchestrated piece called, “Turn It Off” we discover everyone has something they’re keeping under wraps.
The story is a journey of truths. It’s a huge poke at Mormonism, but it is also a clever commentary on the human condition, and no one is safe here. The writers (Trey Parker, Robert Lopez, Matt Stone) unabashedly send pretty much everyone up river paddling a leaky boat. But no one drowns in this story. They’re all sent out a lifeline of some sort and rescued from themselves. And it is themselves they need rescuing from.
The Book of Mormon cradles a social statement blanketed in comedy. What better way to evoke the horrific truths that continue to date when their persistence and familiarity have rendered them blasé? The writers take very serious matters (poverty, female castration, sexual abuse, hopelessness, to name a few) and spin them with comedy, making people laugh out loud only to cover their mouths at the realization of what’s just transpired. Signed, sealed, delivered.
It’s a brilliant and effective methodology to inspiring a dialogue that provides a poignant layer to the otherwise superficial journey of our main characters.
People are people are people. We follow the characters as they trudge through the familiar quagmires of selfishness, desire, and callousness, to emerge on the other side better educated and more compassionate toward one another.
As for the orchestration of the show itself, the X-ray scene was the only scene that fell a little flat but even that got a few laughs once we realized what we were looking at. The set design was great for the most part, especially the spooky Mormon hell dream. But the biggest laughs came from “I Believe.” There is comedy in contrast and the actors milked this to the max for huge laughs. Kaya Pecchioni as the impossibly named Nabulungi steal our hearts with “Salt Lake City,” and her baptism, under the nuanced guidance of Elder Cunningham is worth the price of admission.
The Book of Mormon is not to be missed. It is a hugely entertaining show that is sure to stay with you for a long time. If you’re wondering whether to bring the children, watch an episode of “South Park” first. This should offer you a pretty good gauge.
Click HERE for a link to tickets.
Click HERE for a link to tickets.
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