The name of the show, "Urinetown," is bad enough. But then there's the tagline for the upcoming production by Schenectady Light Opera: "It's a privilege to pee."

"The first time I heard the title, I thought, 'That's disgusting,'" admits director Marc Christopher. "But then you see the show, and it's so much fun. It's a comedy about love in the world of politics, business and corruption."

A brief synopsis explains that title. An American town has been under severe drought conditions for some 20 years. In order to discourage the consumption of water, private restrooms have been outlawed. When people have to do what people have to do, they're at the mercy of a big corporation that holds the monopoly on public amenities. Taking a leak anywhere else means imprisonment or worse.

"The poor get poorer, and the rich get richer," explains Christopher. "In the midst of all that, there's a kind of 'Romeo and Juliet' tale."

Once again Schenectady Light Opera is working with a generous-sized cast. According to Christopher, "Urinetown" is often performed by a cast of 10 to 12 people, but the new production has 23 performers. Many of them perform multiple roles on both sides of the great economic divide.

The division of populations is visually reinforced by the colors used in the new production. The poor are seen wearing gray colors against a black-and-white set. Christopher, who also painted the sets, describes the feel as "grungy" and akin to the look of a political cartoon. Contrast that to the corporate headquarters of the Urine Good Co., which is depicted in brilliant tones of gold and yellow. If that seems a little obvious, then you're catching on to how "Urinetown" works.

"It's written like a melodrama where everything is played to the extreme," says Christopher. "The jokes are very campy, with actors facing the audience and mugging."

Greg Kotis, who wrote the book and lyrics, got the idea for the script while traveling in Europe and encountering one pay toilet after another. "Urinetown" debuted in the New York International Fringe Festival in June 2001 and opened on Broadway less than two weeks after 9/11. It went on to win three Tony Awards, including best original score for composer Mark Hollmann.

The theme of rich versus poor has brought comparisons to the agitprop works of the early 20th century, namely Kurt Weill's "Threepenny Opera" (1928) and Marc Blitzstein's "The Cradle Will Rock" (1938), which is being revived by Opera Saratoga in July.

Numerous other Broadway shows of more recent vintage are both spoofed and honored throughout "Urinetown." From midcentury there's "Guys and Dolls," "West Side Story" and "Fiddler on the Roof," and from more recently there's "Evita" and "Chicago." The references come through the nature of the material, such as plot and situations, but also in overt borrowing or lifting of specific material that's redeployed in the book and the score. Finally, new productions of "Urinetown" tend to build on this rather postmodern device, with directors and choreographers adding in layers of still more shows.

"Our Act I finale plays on 'Les Miserables,' 'Dirty Dancing' and 'Jesus Christ Superstar,'" says Christopher. "Our choreographer Trish Dembling pays homage to 'West Side Story' during 'Snuff that Girl,' which is a great dance number. There are so many shows that I just can't think of them all."

If this is starting to sound like an evening-long feast for musical theater lovers, then you're again tuning in to at least part of the appeal of "Urinetown." But the material definitely stands on its own, while sometimes evoking moments of déja vu.

"The way it's delivered by the cast, you'll enjoy it even if you don't know all the references," says Christopher. "It's such a funny show."

Joseph Dalton is a freelance writer based in Troy.

More Information

If you go


When: Opens 8 p.m. Friday, Jan. 20, and runs for six more performances through Jan. 29.

Where: Schenectady Light Opera Company, 427 Franklin St., Schenectady.

Tickets: $22-$28.

Info: (877) 350-7378;