Review by Suzanne Tate
First staged in 2011, The Book of Mormon, written by Trey Parker, Robert Lopez and Matt Stone, has earned a reputation as a chaotically funny and bitingly satirical musical that pushes the limits of language, taste and theatrical convention. The story follows two young Mormon missionaries sent from Salt Lake City to Uganda, where their carefully rehearsed faith collides with harsh reality. Although I saw the production during its first Melbourne season in 2017, I had forgotten just how confronting and inflammatory the content is. This is not a show for the faint-hearted or easily offended.
From the first number, the audience response was strong and sustained. The opening song, ‘Hello’, sets the tone immediately, introducing the bright, earnest world of the missionaries while establishing the show’s irreverent humour. It starts the ball rolling at speed, and the pace rarely slows. The production is fast-moving, with rapid dialogue, seamless set changes and energetic musical numbers that keep the action flowing and leave little room for mental downtime.
Sean Johnston’s Elder Price begins as the model missionary: confident, obedient and certain of his spiritual destiny. Johnston charts Price’s shift from assured ‘golden child’ to disillusioned and defeated young man with clarity, before arriving at a more pragmatic version of belief – one who uses religion as a tool rather than an unquestioned truth. His vocal performance was flexible and strong throughout. Evaluating vocal quality in this production is complicated by the exaggerated, nasal American characterisation required of the missionaries, yet Johnston demonstrated vocal flexibility, control and presence.
Nick Cox’s Elder Cunningham provided much of the evening’s physical comedy. Cunningham’s awkwardness and insecurity are expressed clearly through movement and gesture, and Cox capitalised on these moments with precise comic timing. His transformation is gradual but significant. The number ‘Man Up’ marks the beginning of this shift, as Cunningham attempts to reshape himself into the confident missionary he is not. His increasingly imaginative storytelling first leads to unexpected success, before spiralling into chaos and consequences. Cox navigates this arc with conviction.
Paris Leveque’s Nabulungi was portrayed with endearing naivety and warmth. Her optimism and openness provide contrast to the missionaries’ rigid worldview. Leveque demonstrated impressive vocal strength and control in her featured moments, balancing sweetness with power. Tom Struik’s Elder McKinley was another standout. ‘Turn It Off’, which playfully presents the Elders’ strategy of shutting down doubt and ‘inappropriate’ thoughts like flicking a light switch, is a clear musical theatre highlight. It is structured like a classic Broadway tap number and is one of the few songs that lingers after the curtain falls. Struik’s facial expression and physical precision made the number particularly effective, supported by a confident vocal performance.
The ensemble work was tight and disciplined, with choreography by Casey Nicholaw executed cleanly and energetically. Large-scale numbers were sharp and cohesive, reinforcing the show’s pace. ‘Spooky Mormon Hell Dream’ was both hilarious and shocking, filled with visual action and layered humour. It is an impressive theatrical sequence, though it did feel slightly longer than necessary.
Scott Pask’s set design supported the production’s momentum, with dramatic, immersive environments that shifted smoothly between locations. Scene changes were efficient and unobtrusive, maintaining rhythm rather than interrupting it. Ann Roth’s costumes were equally important in telling the story. The uniform appearance of the missionaries contrasted sharply with that of the villagers, visually reinforcing cultural differences and expectations, and an amusing swap in the final number. Costume details across the ensemble helped quickly and effectively define the characters.
Musically, the score is lively and entertaining. While not every song remains fixed in the memory, perhaps just as well given some of the lyrics, the music serves the narrative well and sustains the show’s comic energy.
Ultimately, The Book of Mormon remains bold, provocative and unapologetically irreverent. This opening night performance delivered a polished, fast-paced production, supported by strong principal performances, disciplined ensemble work, and effective visual design. Its content will definitely not appeal to everyone, but judging by the immediate standing ovation, Melbourne audiences continue to embrace its biting satirical humour, dramatic presentation and lively musicality.
The Book of Mormon is now playing at the Princess Theatre in Melbourne’s East End Theatre District.
For more information: https://thebookofmormonmusical.com.au/
