Book of Mormon Review

Comparing the London Price of Wales Production and the Los Angeles Pantages Theatre Production

A musical about Mormons isn’t exactly what would get people rushing out of their doors to the theatre. It may sound a little off-putting to watch a play of overly perky Mormons preaching the Word of God in song and dance but…you can never judge a book by its cover. As soon as I heard the narrator’s voice and caught on to the random cameo appearances of Darth Vader, Gandolf, and Hitler, I noticed that there was so much semblance to one of my favorite shows, South Park. I was right.

The Book of Mormon, written and produced by South Park creators Trey Park, Matt Stone, and Robert Lopez, is the perfect execution of comedy and satire that can poke fun at themes of colonialism, the white savior complex, and Christian egotism without downplaying the reality of the setting placed in Africa. In other words, it’s social commentary, so don’t take it seriously.

I became such a huge fan of the production that I was stoked to watch the tour AGAIN in Hollywood’s Pantages Theatre.

The Book of Mormon made its first Broadway debut in 2012, but truth be told, I didn’t get the chance to finally watch the play until the summer of 2016 in London’s Prince Wales’ Theatre. One might criticize me for not doing my research but on the contrary, coming in with no expectations was what made my theatre-going experience extremely memorable.

“The Book of Mormon is far, far cleverer, far kinder, far more nuanced than that, and one of its many surprises is that it sent an enraptured, ecstatic audience home with an odd sense of having come, somehow, to really like Mormons.” — Euan Ferguson, The Guardian (U.K.)

An overly ambitious and self-righteous nineteen year old, Kevin Price, (KJ Hippensteel — Prince Wales Theatre; Gavin Creel — Pantages Theatre) is exteremly eager to fulfill his mission trip. It is a required duty of every young Mormon adult to spread the word of Joseph Smith, to a far-off community devoid of Western influence. Elder Price’s faith is put to the test when he is paired with a clumsy and socially awkward partner, Elder Arnold Cunningham, and both are assigned to an impoverished village in Uganda stricken with AIDS. As a story that mocks the nature of organized religion, The Book of Mormon is genius as it is a hilarious, chastising the way religious followers feel entitled to their religious beliefs not because it is out of God’s desire but rather their brownie points to get to heaven.

I couldn’t wait for The Pantages production to sing along to my favorite show tunes and relive the moments that had me gasping for air. It was a satisfied craving to be entertained, but regarding the show’s execution, I didn’t think that the Pantages production lived up to the Prince Wales production in London, England.

The Prince Wales actors exerted a contagious wave of energy that never failed to amuse every member of the audience with their improvisations. Filled with cultural nuances and left-leaning political satire, The Book of Mormon put on by the Prince Wales cast was able to improvise the script to relate to the present day sentiment towards Brexit, a decisive and partisan vote by the British people that voted the United Kingdom out of the European Union.

One reference that I vividly remember was about Nigel Farage, a British politician, broadcaster, and political analyst, who I assume is not favored by the Brits.

Once the doorbell rings and a boy in a standard white blouse and black tie waves a Bible with a dozen other Elders, the iconic opening number Hello mimics the door to door solicitation that we all try to avoid by hiding in our living rooms.

An everyday experience turned into a musical number proves how the producers of the musical were brave enough to speak out what we are were thinking.

The directors/producers have an unmatched talent of speaking out on what’s on everyone’s minds.

Brian Sears portrayed the naive and aloof Arnold Cunningham, one of my favorite characters whose awkwardness and oblivious disposition serves as the comedic relief. His over-the-top hand gestures and spazzy excitement truly ingrained a better Cunningham than the less jittery version at the Pantages Theatre in Los Angeles played by Jared Gertner.

Sears’s characterization was overly quirky but extremely enjoyable. I couldn’t wait to see him in the next scenes. Elder Arnold Cunningham represents those moments when spazz or nerd out over our fandoms.

The music and ensemble are acts that I’ve never seen before but thought that it was crucial in characterizing just how powerful the show executed all the undertones of religious egotism and colonialism where one believes he can “save” people for the will of his own, not God. The Prince Wales ensemble was vibrant, dynamic, and highly-spirited in all aspects of acting, song, and dance. Most importantly, in sync. I didn’t get that feeling with Pantages. I noticed that the ensemble during Turn it Off wasn’t exactly together in rhythm. I was expecting a tap-dancing number to Turn it Off at the Pantages production but rather saw an uncoordinated cast where some members were a step or two offbeats. The Pantages production ended up feeling too rushed while the actors in the Prince Wales production took the time to accentuate every eccentricity of their character.

All in all, I highly value The Book of Mormon as one of the most creative and cathartic experiences that light-heartedly exposes religious hypocrisy and the extremes that many Christians go through to tailor their religious beliefs at their convenience.

You have to have an understanding humor for appreciating some of the underlying truths that satire can bring. The play itself does not necessarily characterize all Mormons as self-righteous, conceited, and entitled but just like any other comedy, it’s not supposed to be taken literally. Take for instance this review: link. The author condemns that lack of understanding of the charity that Mormon missionaries bring to impoverished African villages. Yes, some communities help the greater good, but the main thing that the play is attacking is how Christians believe they are entitled to saving people’s lives so that they can boost their egos.

You don’t need to be Mormon to watch the play and no, you will not be forced to convert to the faith. Instead, you’ll find yourself as a part of the fandom. When The Book of Mormon is in town, don’t hesitate to bring yourself to the box office door. Buy your tickets, bring a friend or a date, and listen to the words of Elder Price and Elder Cunningham.

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