The Book of Mormon tour delivers sharp satire and timeless Broadway charm
By Vama Saini, December 8 2024—
Theatrical satire can age poorly, but not so for The Book of Mormon. Over a decade after its Broadway debut, this gleefully irreverent musical remains a sharp, hilariously crafted jab at cultural arrogance, organized religion and the conventions of musical theatre itself. The latest touring production played at Calgary’s Jubilee Auditorium from Nov. 26 to Dec. 1 and proved that its blend of wit and Broadway pizzazz is as potent as ever.
From the first note, it’s clear that the show’s creators — Trey Parker and Matt Stone of South Park fame and Robert Lopez of Avenue Q — have mastered the art of balancing satire with undeniable charm. Their Mormon missionaries are the perfect comedic foils: Elder Price embodies the overachieving poster child of faith, while Elder Cunningham is a lovable misfit with a talent for bending the truth. Together, they venture into a Ugandan village where their saccharine optimism crashes hilariously against the harsh realities of local life.
What elevates this production is its self-awareness, both in its storytelling and its evolution. In response to modern cultural critiques, the creators have subtly retooled the narrative to give the Ugandan villagers more agency and complexity. Nabulungi shines in this revision, her character imbued with intelligence and warmth. Her solo moments radiate with a sweetness that contrasts beautifully with the missionaries’ clueless exuberance.
The tweaks have added layers to the satire without dulling its comedic edge. The gleeful absurdity of a missionary chorus proclaiming “We Are Africa” remains a showstopper, its over-the-top delivery amplifying the critique of cultural appropriation.
Musically, the show hits all the right notes. From the outrageously cheerful “Turn It Off” to the soaring “I Believe,” each song is both a parody of musical theatre tropes and an irresistibly catchy earworm. The choreography brims with energy and comic timing, with numbers like “Hasa Diga Eebowai” blending sharp humour with raucous ensemble work.
Visually, the production dazzles with its inventive staging and vibrant costumes, using Broadway’s gloss to heighten the satire. The missionaries’ crisp white shirts juxtaposed with the colourful Ugandan village creates a visual metaphor for the culture clash at the heart of the show.
Perhaps most impressive is how The Book of Mormon retains its relevance. While its humour is unflinching, it never feels mean-spirited. Instead, it invites audiences to laugh at the absurdities of human belief and behaviour while holding a mirror to their own assumptions. In a world increasingly aware of the complexities of cultural interactions, the show’s self-reflection and updates feel both timely and necessary.
At its heart, this musical isn’t just a send-up of religion — it’s a love letter to the escapism and exuberance of Broadway itself. And in a world that could always use a good laugh, The Book of Mormon still knows how to knock, ring the doorbell and deliver.