Urinetown: The Musical
Willamette University Theatre
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Director: Joellen Sweeney
Asst. Director: Megan Swanson
Scenic Designer: Rob Vaughn
Sound Designer: Savanna Starks
Lighting Designer: Chester Loeffle-Bell
Costume Designer: Bobby Brewer-Wallin
Music Director: Chris Meade
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Stage Manager: Alex Sims
Asst. Stage Managers: Grae Sienbenaler-Ransom, Quincy Giessen
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Artist Statement
Electrocution
Flush
In Urinetown, the sound design plays a pivotal role in shaping the tone of the show and amplifying the unique balance between dark dystopia and comedic absurdity. Set against the backdrop of a society crippled by climate crisis and corporate greed, the world is grim—yet the sound refuses to take itself seriously. Rather than simply amplifying the bleakness, the sound design acts as a playful counterpoint, helping to transform dire situations into moments of farce.
The exaggerated sounds—cartoonish in their quality—perfectly complement the physical comedy that the actors bring to the stage. The world may be crumbling under the weight of drought, social injustice, and environmental collapse, but the sound reminds us that absurdity often lies at the heart of humanity’s darkest moments. The playful, often exaggerated audio cues underscore the ridiculousness of the circumstances, turning potential tragedy into laughter and, in turn, asking the audience to reflect on the real-world parallels without becoming overwhelmed by them.
Ultimately, the sound in Urinetown is a tool for both levity and critique, providing a constant reminder that, even in the face of crisis, laughter can offer us a moment of clarity. Through the playful soundscape, we are invited to reflect on the absurdity of our own world, to laugh at ourselves, and perhaps to consider how we might unclog the pipes of progress. This is not just a show about dystopia—it’s a show that asks us to laugh at its very idea.