ABOUT THE SHOW

Truth, Hope and Love are more than a just a pipe-dream.

Greg Kotis conceived the original idea for URINETOWN after encountering a pay-per-use toilet whilst travelling in Europe. He began writing the award-winning Book shortly after, joining with Mark Hollmann, composer and lyricist. URINETOWN was nominated for 10 Tony awards, winning for best book, score and direction.

URINETOWN is a social and political satire set in a fictional future where a terrible 20-year drought has crippled the city’s water supplies. Water is so scarce that the government enforces a ban on all private toilets in an effort to control water consumption.

The citizens must now use the public, pay-per-use amenities owned and operated by Urine Good Company (UGC) – a private malevolent corporation run by the corrupt Caldwell B. Cladwell. Citizens who try to circumvent the peeing-fee by relieving themselves in the bushes risk being taken away to “Urinetown”, a mysterious place where many have been sent but no one ever returns.

The oppressed masses huddle in line at the poorest, filthiest urinal in town, Public Amenity #9, which is run by the rigid, harshly authoritarian Penelope Pennywise and her assistant, dashing young rebel Bobby Strong. With fee increases in the pipeline, the poor rise up under the leadership of Bobby to fight the tyrannical regime for the right to make the public amenities free for all to use.

URINETOWN is a hilarious and resonating tale of greed, corruption, love, and revolution in a time when water is worth its weight in gold.

“A declaration of the power of theatre!” (The New York Times, 2001) “Everything fits together in the creation of something that feels entirely original. The show’s glorious message is: Hey, it’s only theatre, but isn’t it wonderful? And did I mention it’s hilarious? Simply the most galvanizing theatre experience in town.”

The New York Observer called it “fresh, unique, impudent, colourful, irreverent, exciting and wonderful!”

“[Urinetown] engages in a highly pertinent, political conversation [whilst] keeping its tongue in its cheek and a beating heart at its centre” – Jamie Lloyd, Director

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