Urinetown is a funny, smart, Tony Award-winning musical. Its action takes place in a city of the future where, as the result of severe and ongoing water shortages, private toilets have been banned. A giant corporation, the Urine Good Company (UGC for short), is in charge of all pay-per-pee services. The gradually escalating price is still affordable to a well-off few, but teeming masses of poor have to scrape together piles of spare change every day in order to take care of their private business. This, announces policeman-narrator Officer Lockstock, is “the central conceit of the show.”

The entire play is a send-up of the musical comedy genre, and the audience goes home laughing at gags and humming memorable tunes. Many reviewers have emphasized the infectious zaniness of the play, seemingly missing its explicit message (that idealism and good intentions are insufficient responses to problems of population pressure and resource depletion). Maybe that’s just as well: Urinetown succeeds so well as comedy and theater that even people utterly immune to its insights still have a good time; thus more people are drawn to see it, including those who do “get it.”

Director Michelle Breedlove (Songs for A New World, Footloose) plans to produce the show with “environmentally friendly and recycled materials”. “This will be RCT’s first Green production.”