When The Book of Mormon premiered on Broadway in 2011, the Matt Stone and Trey Parker driven musical was unlike any other concepts on stage. Bringing the pair’s signature humor, the double entendres, and the unlikely subject matter had many audience members in hysterics. Others were slightly more off put by the audacious humor. As The Book of Mormon National Tour continues to play to packed audiences, the timeless subject matter seems to provide even more social commentary.
For those unfamiliar with The Book of Mormon, the story follows two Mormon young men who set off to go on their mission. While Elder Price dreams of going to the most magical city of Orlando, his perfect goal takes an extreme detour. Along with Elder Cunningham, they are sent to Uganda.
As the pair attempt to bring the teachings of the Latter Day Saints to local villagers, the crusade is not what it seems. Whether it is Elder Cunningham’s creative liberties with the Mormon story to the locales actually teaching the valuable lessons, the laughter reveals more truths than fiction.
In today’s current political climate, the ideas of “converting” others to a particular point of view, way of life, or lifestyle is more than just simply controversy. The divide between us and them grows deeper.
Unlike the song in the musical, there is no “light switch” to “just turn it off.” Putting it down, becoming what someone else wants, or otherwise modifying a person’s true self only leads to an unfilled life. Granted, no one should ever overlook maggots in their scrotum, but refusing to accept who you are is never a wise choice.
The National Tour of The Book of Mormon is played by an amazing ensemble. Sam McLellan, as Elder Price, has the poise and the underlying vulnerability that the character needs. Even though he might seem the picture-perfect follower, his reasoning is more about self-promotion than necessarily the needs of the church. In songs like “I Believe,” that juxtaposition comes across beautifully.
With Elder Cunningham, played by Diego Enrico, he is the heart of the musical. Of course, he shapes the stories to make them more engaging and he might not always choose the right path, but his heart is in the right place. From the bravado in "Man Up" to the humility in trying to encourage others to have a “latter day,” he endears himself to the audience. Plus, a well-played impression in the First Act has the audience applauding.
Playing Nabulungi, Keke Nesbit shows the journey of a slightly naïve young girl to a woman who is ready to come into her own. While her emotional pleas to journey to Salt Lake City make everyone feel her desperation, she finds a way to take off the blinders and make changes to her own world.
Having seen The Book of Mormon previously, the story felt different this time around. From the pop culture influences of shows like The Real Housewives of Salt Lake City or The Secret Lives of Mormon Wives shows that this religious sect is not just about a pious lifestyle and sending people on their missions. They are flawed, just like everyone else.
More importantly, The Book of Mormon proves that a humorous, sometimes off-color musical can have longevity. It might not be as sweeping as Wicked or a iconic as Phantom of the Opera, but there needs to be more broader based shows that welcome all audiences.
Jukebox musicals might turn into a sing along and revivals can appeal to the Broadway nerd. But, funny, even hallows humor needs to shine on the stage. Stone and Parker might never write another musical, but someone needs to follow in their footsteps. Just like their South Park show, there is a place to have spirited, yet funny, commentary on making America great again or the absurdity of celebrity influence.
For a night of laughter, with a side of thoughtfulness, open the door to seeing The Book of Mormon on its National Tour. No one has to read a book about Jesus, but they will be treated to some amazing performances and be left with a smile on their face.
Currently, The Book of Mormon National Tour is playing Dr. Phillips Center in Orlando, Florida.