News

The Farce of ‘The Book Of Mormon’

0 1233
Words by Fin Murphy 


3 out of 10
Over the years it was in the making; The Book Of Mormon simmered with attention as the brainchild of Trey Parker and Matt Stone. Religion, warlords and imperialism examined by two of the most irreverent voices in pop culture through the flamboyance of musicals; a promising blend of Juvenal, Brecht and Triumph, The Insult Comic Dog. In the end, the musical has been a runaway success, garneringrave reviews, sell-out performances and an astounding nine Tony Awards. Most interestingly, though, is the lack of furore; this is no Jerry Springer: The Musical, or even The Producers. Now, The Book Of Mormon has travelled to London’s plush Prince of Wales Theatre, where tickets are rarer than a whistleblower in the BBC. Surprisingly, the main problem is inoffensiveness, belying creators Parker and Stone (plus Avenue Q co-creator, Robert Lopez).

Unlike cynical children or action hero-cliché puppets, our protagonists here are Elder Kevin Price, an ideal Mormon, plus cohort, Elder Arnold Cunningham, an archetypal nerd. As characters they lack depth; their Herculean flaws are, respectively, egomania and lying, which end up being the crutches of the plot. Price, played by Gavin Creel, progresses somewhat over the course of the musical, his cosmetic sheen chipped away by his predicament. Cunningham, played by original understudy Jared Gertner is a substantially weaker character. He is continuously relied upon to chuck out a funny reference to Star Wars or simply to mispronounce a name foreign to himself. The second act is weaker as he is the focus. 

On a larger scale, the foundations of the Church are poked at by 2D representations, with Jesus and others voiced similarly to South Park. Church elders come across as 1950’s dads, only without the Mad-Menian underbelly. Real sins by the Church, such as its tumultuous past with civil rights, are carted away in the forgettable songs, like a yodelling EDL. Main antagonist, General Butt-Fucking-Naked, is represented farcically in comparison to his real life equivalent, the real horrors diluted down to bibles being shoved up rectums. He is given relatively little time on stage whilst the way he is dealt with is truly ludicrous, even for a musical. Price and Cunningham’s fixer, Mafala Hatimbi, is pure Uncle Tom, whilst his impassioned daughter, Nabulungi, is undermined by her earnest belief in Cunningham’s mock-religion.

Imperialism is laughed at tepidly, as when the white Mormon missionaries sing ‘we are Africa.’ However, the temptation to assign right-wing beliefs to the work of Parker and Stone, their worldview helping spawn the South Park Conservative after all, is overwhelming. It seems that in their fascination with Mormonism, Parker and Stone have taken a shine to the happiness of its adherents and wish to spread it to others in a rather dubious way. This is reflected in their representation of the villagers. All too often the unwashed denizens are nameless and faceless, assigned to being shot in the face by General Butt-Fucking-Naked — and living amongst an infant rapist — until the plucky American lead comes along. In short, the musical doesn’t look or sound like it belongs in the 21st century.

Overall, The Book Of Mormon is Spamalot with reduced fat. It tells us little we didn’t know already about Mormonism or its adherents. The portrayal of Uganda and its citizens is hackneyed, whilst the political inclinations are uncomfortably preachy. Having set cartoons and puppetry alight in the past, Parker and Stone have fallen short in their attempt to roughen up musicals. If anything, the piece is a love letter. It says a lot that by curtains, many of the well-heeled audience were on their feet in applause; lefties happy enough with the fly-bitten portrayal of the Dark Continent, conservatives tickled pink by the jovial Jesus. For the two hours it consumes, little new is said in The Book Of Mormon.

About the author / 

aAh!

aAh! Magazine is Manchester Metropolitan University's arts and culture magazine.

Leave a reply

Your email address will not be published. Required fields are marked *

More News Stories:

  • Rainbow Kitten Surprise @ O2 Apollo review – enthralling and magnetic

    Featured image and gallery: Sub Khan It’s no surprise that Rainbow Kitten Surprise have made a name for themselves in recent years, their genre-merging approach and deeply introspective lyrics piquing the curiosity of thousands. Formed in 2013, the band have long surpassed their humble roots of playing their dorm rooms in North Carolina. From establishing…

  • Drums as bins and enamel pins: The ‘punk-ish passion of Open Fly

    Featured image: Ella Venn and Nicola Cutts Manchester’s Open Fly talk new music, performance mishaps and men. Bassist Lily Rose believes that women have better things to say than men when it comes to song lyrics, especially in the world of indie bands. She says this with a sheepish smile as her bandmate and frontwoman…

  • Five analogue hobbies to refresh your mind

    Featured image: Nicola Cutts & Olivia Taberner Watching a movie, scrolling through social media and playing video games can be fun, but sometimes, you just want to slow down and disconnect from a screen. Where better to begin than with a magazine that you’re holding? Here are five analogue hobbies that will kick off a…

  • Album review: Kyle Alessandro – Aura – Alessandro’s a winner

    Featured image: Aura Album artwork Kyle Alessandro’s journey these last few years has been nothing short of impressive. Previous album, Evig & Alltid, recorded in Norwegian and released in 2023, had a more conventional pop sound but latest record Aura swerves this and sees Alessandro go searching for a different sound altogether. With Aura, there is…