Urinetown: The Musical

Principal's Perspective

Rebecca Cody

The caution of never judging a book by its cover resonates in the context of not judging a musical by its title! Perhaps curiosity is an effective antidote in these situations. Why might a producer select a specific artwork, and why set a musical in a town focused on urine are indeed important questions.

Perhaps it is also an act of civility to look beyond what may be read as a confronting cover or title and extend the courtesy of an open mind. With all great theatre, it is the combination of appealing to open hearts and minds that truly elevates humanity. Activating both invites our moral and intellectual virtues to ponder profoundly enduring ideas: namely, the shadow side of power and privilege, and the nature of freedom itself. In 2026, the contemplation of such ideas feels timely and poignant.

With its arresting setting, Urinetown is sensationally satirical. The musical challenges us to connect courageously and compassionately with difficult ideas about power, responsibility, and rebellion, as we consider what it truly takes to shape a world worth living in.

To our students and my colleagues, I am indebted for the gift of this experience and commend your artistry.

Yours in courage, curiosity, compassion, civility, and connection.

Director's Notes

Nick Waxman and Katherine Barton

Ever since I first saw Urinetown at the Melbourne Theatre Company in 2004, starring Lisa McCune and Garry Ginivan, it has remained one of my favourite musicals of all time. In the 22 years since, I’ve had the chance to see the show performed in schools, universities and theatres around the world, and every single production has felt fresh, surprising and completely bonkers. Tell anyone from the biz you’re doing Urinetown and watch them light up; there’s nothing quite like this Tony Award-winning triumph.

So many musicals preach a clear agenda, but that is nothing new. Art has always been a vehicle for protest or propaganda – depending on who you ask – and Urinetown cleverly sits somewhere outside of certainty. Every audience member walks away with a different interpretation. Is freedom really free? Is it better to live under the system you know, no matter how flawed? Are revolutions doomed to repeat the mistakes they overthrow? And perhaps most importantly… why does Little Sally get so many lines? The brilliance of Urinetown is that it asks enormous political and philosophical questions while also not doing that at all and being quite silly.

The great thing about Urinetown is… everything.

The title itself is provocative—a beacon for pearl-clutchers—but once you see the show, you understand that even the title is part of the joke. It is lampooned within the world of the musical itself: a deliberately unappealing title designed as meta-theatrical commentary on the nature of musical theatre and the tendency to criticise art without context. The writers, Greg Kotis and Mark Hollmann, knew exactly what they were doing.

This is a musical pastiche, a tribute and a mockery all at once. You can hear references throughout the score to musicals such as Les Misérables, Annie, Chicago and Sweet Charity, and in our production we’ve added our own nods to Hamilton and Wicked. Every song plays with the conventions of musical theatre while simultaneously celebrating them.

One of the reasons I love directing Urinetown is that it invites reinvention. I’ve engaged with this work throughout my career as a director, actor and teacher, and each time I return to it, the show reveals something new. It constantly evolves with the performers and audiences who bring it to life.

I feel incredibly lucky to work alongside these terrific young people, who have dedicated enormous amounts of time, energy and passion to this production. The entire creative team is deeply grateful for their commitment, creativity and willingness to embrace the absurdity of this world. We asked them to trust their gut, make bold offers and help establish the buffoonery and heart at every rehearsal.

I’m excited for live audiences to experience all the wonderfully ridiculous elements of the show – from spoken stage directions and script-checking to audience interaction and theatrical chaos. Enjoy the show… and I hope never to see you in Urinetown.

Choreographer's Notes

Emma Waxman

In choreographing Urinetown, I wanted to capture the playfully self-aware humour and unique quirk of the piece while showcasing the sparkle and spirit of this fabulous cast.

Paying homage to some brilliant historical choreographers and music theatre works was a delight – Jerome Robbins’ West Side Story, Bob Fosse’s Chicago, Les Miserables, Threepenny Opera and Fiddler on the Roof to name just a few.

My aim in choreographing school productions is to build kinaesthetic awareness, skill and confidence in our students.

This cast, many of who are dancing for the first time in this production, have showed up with consistent creativity, determination and commitment to silliness and storytelling when learning this choreography. Singing, dancing and acting simultaneously takes a huge amount of focus and practise. I couldn’t be more proud of their fantastic efforts in the rehearsal room and on stage.

My sincerest thanks to our wonderful student Dance Captain Lexi Taylor, who has expertly supported the teaching of choreography and been a great leader. Alongside Lexi, I’d like to thank Georgie ‘Dobbo’ Dobson, Charisse Chan and Ms Laura Frew, who helped me workshop a number of choreographic moments.

Huge appreciation to the entire creative team – in a show where choreography, blocking, music and design weave throughout, it has been a cohesive and collaborative joy.

Music Director's Notes

John Shawcross

Urinetown composer Mark Hollmann’s score is highly eclectic, drawing upon a broad range of musical styles including traditional Broadway musical theatre, jazz, gospel, blues and light opera, while also parodying famous musicals and theatrical conventions. While Urinetown is orchestrated for a relatively small band, the instrumentation and orchestration enable a high level of versatility to navigate and support the broad stylistic, emotional and thematic shifts within the musical.

It has been a “privilege to see” the staff and students of the Urinetown band unite over the rehearsal and production period. Participating in the band for a musical is a full-time job in itself, and it is with great admiration and respect that I have witnessed my colleagues and students demonstrate at each rehearsal an exceptional level of dedication and care towards the music and one another. I am justifiably proud of the connection, civility, collegiality and good fun that the band has exhibited, and I look forward to sharing their wonderful musicianship with you in the theatre for the run of the show.

Vocal Director's Notes

Holly Sharpe

Urinetown is a gloriously farcical, ridiculous musical that invites us to laugh out loud while asking surprisingly pointed questions about power, privilege, and responsibility. Its sharp wit, inventive lyrics, and larger-than-life characters have been a joy to explore with our brilliant and hard-working cast.

Vocally, Urinetown presents an exciting challenge. It demands that performers shift effortlessly between styles, embrace complex and layered ensemble singing, and navigate a score driven as much by character as by melody. The cast must sing with commitment, precision, and sincerity because the comedy lands best when every performer plays their moment with absolute conviction. The result is a show that is both hilariously absurd and unexpectedly genuine.

One of the greatest joys of this year’s production has been watching our fabulous cast grow as an ensemble. The strength of Urinetown lies in its collective storytelling, with every voice contributing to the energy, atmosphere, and heart of the piece. Whether leading a solo moment, supporting from within the chorus, or bringing life to one of the show’s wonderfully peculiar characters, our students have worked tirelessly to develop their skills and support one another throughout the process.

From Bobby Strong’s idealistic determination and Hope Cladwell’s optimism to the formidable Penelope Pennywise and the theatrical flair of Officer Lockstock, every role offers opportunities for creativity, character, and musical storytelling. It has been an honour to watch these young performers rise to the challenge with enthusiasm, courage, and a genuine sense of camaraderie.

I am immensely proud of what the cast and crew of Urinetown have achieved and grateful for the positivity, commitment, and community they have brought to every rehearsal. We hope you enjoy this imaginative, irreverent, and surprisingly heartfelt production as much as we have enjoyed bringing it to life.

Design Notes

Steve Annis and Emma Waxman

Stepping into the David Darling Play House should feel like a trip down into the sewer system. In designing the set and costumes for Urinetown, we wanted to create two contrasting visual worlds: the grungy, dilapidated landscape inhabited by the poor, and the glitzy, glamorous world of Urine Good Company (UGC), who control the amenities and, by extension, the people who depend upon them.

The set establishes this contrast immediately. The grey concrete sewer system, imposing tunnels and towering scaffolding evoke a world of decay, oppression and surveillance, while the golden opulence of Cladwell’s world sits in stark contrast above it. Amenity Number 9, the toilet block at the centre of this community, is designed to be reminiscent of the outdoor public toilets found around Melbourne — indeed, its colour is quite literally ‘Brunswick Green’.

This same contrast extends into the costumes. Inspired by Gregg Barnes’ stunning costume design for the Broadway production of BOOP!, and its transition from a black-and-white cartoon world into technicolour New York, our poor characters are clad predominantly in monochrome tones. Yet, while they may be without colour, they are anything but dull: bold patterns, textures and quirky mismatched layers reveal the vibrancy and individuality of the people beneath their circumstances.

By contrast, the members of UGC inhabit a world of brilliant, rich colour. Their costumes use strong, flatter tones, visually affluent and polished, but deliberately more one-dimensional, suggesting a world rich in wealth but lacking in heart. The cops’ bold yellow, cutting through a sea of black, white and grey, serves as a constant visual reminder of Cladwell’s presence and control. Their flak vests bring a more contemporary edge to the production, evoking the imagery of modern authority. Together, the set and costumes play with our expectations of poverty and prosperity, asking us to look beyond appearances. After all, in Urinetown, sometimes things aren’t so black and white…

A huge thank you to Judy Ford for her exceptional contribution to costume creation, and to our backstage crew, especially Year 12 students Chloe Fitzgerald and Mizuki Akazawa, for their extraordinary work in bringing the world of Urinetown to life.