Most people have seen them on the street or at their doorstep, but does anyone really know what Mormon missionaries are all about? “The Book of Mormon,” a musical co-written by Trey Parker, Matt Stone (“South Park”) and Robert Lopez (“Avenue Q”), offers a satirical look into the world of the church. Opening on Broadway in 2011, the original cast starred powerhouses Andrew Rannells and Josh Gad, and won nine Tony awards and a Grammy.
It is the tenth-longest-running Broadway show, with more than 5,000 performances, a number that continues to grow as they tour across the country into later this year. From Jan. 2-4, the production made a pit stop at the Hult Center for the Performing Arts in Eugene.
Although a namesake, “The Book of Mormon” isn’t a direct retelling of the religious text, but a story of two Mormon missionaries and their experience trying to proselytize in rural Uganda. It centers Kevin Price (Sam McLellan), a self-important, “great Mormon” who would rather spend his two-year mission in Orlando. He is accompanied by the clumsy Arnold Cunningham (Jacob Aune), a compulsive liar who preferred watching Star Wars over reading the Book of Mormon.
In Uganda, the pair meet the other missionaries, led by Elder McKinley (Craig Franke), who have been unsuccessful in their assignment to baptize any townspeople. We are also introduced to Nabulungi (Charity Arianna), a young woman who dreams of a brighter future for her village amid the threat of a local warlord.
This cast brought both vocal skill and a vibrant acting style to this production. Cunningham was played expertly by Aune, who leaned into the character’s social awkwardness and nerdy obsessions to win laughs from the audience whenever he was on stage. McLellan, though a compelling actor who effectively captured his character’s motivations, seemed to struggle with some of Price’s belted notes, especially in the demanding solo, “I Believe.” Ultimately, it was Arianna’s voice that commanded the theater with Nabulungi’s Act One solo, “Sal Tlay Ka Siti,” where she asserted herself as not a side character, but someone to root for.
The set, brought to life by Scott Pask, features simple props that come together to portray a tattered, simplified representation of a small Ugandan town, which starkly contrasts the bright white attire of the missionaries. The proscenium that framed the stage was inspired by contemporary Mormon temples and features a golden statue of the angel Moroni at its top.
In the number “Spooky Mormon Hell Dream,” where Price is in, you guessed it — hell — the costumes designed by Ann Roth sparkle and captivate the eye while its content shocks the moral conscience.
But the music of “Mormon” is truly what transforms what would have been a silly comedy sketch into a sincere, masterful piece of theater. Parker, Stone and Lopez expertly blend classic showtune-style melodies and “South Park”-esque wit within its lyrics.
“Turn it Off,” for example, is a satirical play on emotionally repressive behaviors, like suppressing one’s own homosexuality, that are often commonplace in Latter-day Saints culture. While contextually depressing, it also features an endearing dance break and a quick change into pink sequin vests.
The show ends with “Tomorrow Is a Latter Day,” a spunky all-cast ending number with the message: People don’t need the rules and restrictions of organized religion, but should simply care for each other and focus on one day at a time.
The content has faced some criticism over the years, mainly on how the Ugandan townspeople were portrayed as unsophisticated and ignorant. After the pandemic, Parker and Stone made several revisions to the script and certain gags. Nabulungi now uses an iPad instead of a typewriter, and there is more of an emphasis on the dangers of online misinformation versus ignorant naivety.
Theater has been in a constant grapple with its future since the 90s, and “The Book of Mormon” serves as a glimmer of hope among the dark uncertainty of the performing arts. With decreased funding and dwindling public interest amid the digital age, theater has taken quite a hit in recent years. Shows like “Mormon” are necessary to keep the heart of performing arts beating — audiences need to see that theater can be funny, moving and even moderately offensive.
