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The Book of Mormon on Broadway: Tickets, reviews and video

God may be dead, but the Broadway musical is alive and kicking in New York, as proven by the revelatory Book of Mormon.

Photograph: Joan Marcus
Photograph: Joan Marcus
Photograph: Joan Marcus
Photograph: Joan Marcus

The Book of Mormon on Broadway tickets

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The Book of Mormon on Broadway show information

Eugene O'Neill Theatre. Book, Music and Lyrics by Trey Parker, Robert Lopez, and Matt Stone. Dir. Trey Parker and Casey Nicholaw. With Nic Rouleau, Ben Platt, Nikki Renée Daniels. 2hrs 35mins. One intermission.

Although hindsight is 20/20, was there any doubt that the creators of South Park and the songwriter behind Avenue Q would bring the funny to the Broadway stage? We already know that Trey Parker and Matt Stone are devotees of the form. South Park: Bigger, Longer & Uncut was one of the best movie musicals of the last 20 years or more. And Avenue Q, for which Robert Lopez wrote a hilarious series of raunchy, irreverent tunes, won the Tony on Broadway and is still running Off Broadway. And yet, these guys’ comedy-crammed CVs didn’t prepare critics or audiences for the blasphemous hilarity and zestful vulgarity of The Book of Mormon. On paper, the show is a classic fish-out-of-water and buddy tale of cultural exchange: Two squeaky-clean missionaries from the Church of Latter-Day Saints are sent from Utah to proselytize in Uganda. Set down in a beleaguered village terrorized by a local warlord and suffering from disease and other horrors, our Mormon boys find their work cut out for them. The villagers bitterly curse God, other local missionaries have given up, and only a miracle will save the day, if not the African soul. That Parker, Stone and Lopez gleefully lampoon Mormonism as well as African stereotypes is a given, but they do so in the framework of a traditional book musical that references a host of canonical shows, from The Lion King to The King and I. Smart, vicious but surprisingly sweet at its center, The Book of Mormon is New York theater lovers’ heaven. Winner of nine 2011 Tony Awards, including Best New Musical.—David Cote

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Eugene O'Neill Theatre: Information and map

Eugene O'Neill Theatre
230 W 49th St
Midtown West
New York

Cross street
between Broadway and Eighth Ave



Subway: C, E to 50th St; N, Q, R, 42nd St S, 1, 2, 3, 7 to 42nd St–Times Sq; N, R to 49th St
How to get to the Eugene O'Neill Theatre

The Book of Mormon review

If theater is your religion and the Broadway musical your sect, you've been woefully faith-challenged of late. Venturesome, boundary-pushing works such as Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal closed too soon. American Idiot was shamefully ignored at the Tonys and will be gone in three weeks. Meanwhile, that airborne infection Spider-Man: Turn Off the Darkdominates headlines and rakes in millions, without even opening. Celebrities and corporate brands sell poor material, innovation gets shown the door, and crap floats to the top. It's enough to turn you heretic, to sing along with The Book of Mormon's Ugandan villagers: "Fuck you God in the ass, mouth and cunt-a, fuck you in the eye."

Such deeply penetrating lyrics offer a smidgen of the manifold scato-theological joys to be had at this viciously hilarious treat crafted by Trey Parker and Matt Stone, of South Park fame, and composer-lyricist Robert Lopez, who cowrote Avenue Q. As you laugh your head off at perky Latter-day Saints tap-dancing while fiercely repressing gay tendencies deep in the African bush, you will be transported back ten years, when The Producers and Urinetown resurrected American musical comedy, imbuing time-tested conventions with metatheatrical irreverence and a healthy dose of bad-taste humor. Brimming with cheerful obscenity, sharp satire and catchy tunes, The Book of Mormon is a sick mystic revelation, the most exuberantly entertaining Broadway musical in years.

The high quality of the writing, design and direction (the latter duty shared by Parker and the seasoned Casey Nicholaw) should surprise no one: Parker and Stone have been honing their musical-theater chops for nearly two decades. The team's student film, Cannibal! The Musical, was made in 1993, and in 1999, South Park: Bigger, Longer and Uncut was aptly (if cheekily) hailed as the year's best new musical. More recently, Team America: World Police paid snarky homage to Rent with the parody ballad "Everyone Has AIDS." As for Lopez, his long-running puppets-behaving-badly hit speaks for itself. These song-and-dance pranksters were destined to one day mock the Church of Latter-day Saints, an institution that, like the Broadway musical, is a singularly American invention.

Starting off in (where else?) Salt Lake City, Utah, The Book of Mormon follows a mismatched pair of proselytizers, Elders Price (Rannells) and Cunningham (Gad). The former is the clean-cut ideal of a Mormon doorbell-pusher: white-bread, well-groomed and safely asexual. Cunningham, however, is a fat, slovenly manchild who tends to lie. Despite Price's callow wish to be assigned missionary work in Orlando, Florida, the two are sent to save souls in war-torn, AIDS-ravaged, poverty-stricken Uganda. The dawning horror on Rannells's face and the spastic, gleeful incomprehension on Gad's upon hearing the news is priceless. The evolving friendship between their two characters lays the emotional foundation for the show, and gives even the cruelest jokes about disease, racism and homophobic self-loathing a sweetish, innocent finish. That human dimension reminds you that the long-lived comic genius of South Park (heading into its 15th year) relies on children blinded by navet, but who can see through society's lies.

Likewise, by smashing together two disparate worlds—prim, über-Caucasoid Mormons and long-suffering, hope-starved Africans—the creators can lampoon Western illusions about that complex, troubled continent (the anthem "I Am Africa" is sung by distinctly pale cast members), while scoring laughs off the sort of horrors that should never be put on a Broadway stage ("I have maggots in my scrotum" is a recurring lament). We chortle disgustedly at an African man who thinks raping a baby will cure his AIDS (a documented crime), but truly grotesque is the notion that a couple of Bible-toting white boys can be of any real help.

In fact, the uses and abuses of faith, the strange persistence of these ancient (or in the case of Mormonism, not so ancient) bedtime stories, is a central theme. Religion, the creators firmly point out, is showbiz, and the satire bites into both the absurdities of Joseph Smith and his angel Moroni, and the intoxicating frivolity of musicals. Of the dozen or so classics referenced by musical pastiche, sight gag or laugh line, there's Wicked, Pacific Overtures, Jesus Christ Superstar, The Music Man, The Lion King(naturally) and The Producers.

Such a magpie aesthetic makes perfect sense for a show that examines, with impressive insight, cultural transmission, adaptation and assimilation. "It was a bunch of stuff you made up," Price says to comfort Cunningham, who fabricates a wildly blasphemous version of Mormonism for the natives. "But it pointed to something bigger." Just so, The Book of Mormon is more than a collection of offensive jokes about female genital mutilation, bestiality and Mormon kitsch; it's about our ineradicable hunger for narrative and mystery—no matter how weird, sick or damnably fake.—David Cote

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The Book of Mormon original cast & crew

Josh Gad as Elder Cunningham
Andrew Rannells as Elder Price
Nikki M. James as Nabulungi
Rory O'Malley as Elder McKinley, Moroni
Michael Potts as Mafala Hatimbi
Lewis Cleale as Price's Dad, Mission President
Kevin Duda as Cunningham's Dad, Ensemble
Brian Tyree Henry as General, Ensemble
Michael James Scott as Doctor, Ensemble
Rema Webb as Mrs. Brown, Ensemble
Casey Nicholaw and Trey Parker - Directors
Trey Parker, Robert Lopez, and Matt Stone - Book, Music, and Lyrics
Casey Nicholaw - Choreographer
Scott Pask - Scenic Design
Ann Roth - Costume Design
Brian MacDevitt - Lighting Design
Brian Ronan - Sound Design
Anne Garefino, Scott Rudin, Roger Berlind, Scott M. Delman, Jean Doumanian, Sonia Friedman Productions, Roy Furman, Important Musicals, Stephanie P. McClelland, Kevin Morris, Jon B. Platt, Stuart Thompson - Producers

The Book of Mormon awards

2011 Tony Awards
  • Best Musical
  • Best Book of a Musical - Trey Parker, Robert Lopez, and Matt Stone
  • Best Original Score - Trey Parker, Robert Lopez, and Matt Stone
  • Best Performance by a Featured Actress in a Musical - Nikki M. James
  • Best Direction of a Musical - Casey Nicholaw and Trey Parker
  • Best Orchestrations - Larry Hochman and Stephen Oremus
  • Best Scenic Design - Scott Pask
  • Best Lighting Design - Brian MacDevitt
  • Best Sound Design - Brian Ronan

2011 Drama Desk Awards
  • Outstanding Musical
  • Outstanding Lyrics - Trey Parker, Robert Lopez, and Matt Stone
  • Outstanding Music - Trey Parker, Robert Lopez, and Matt Stone
  • Outstanding Director of a Musical - Casey Nicholaw and Trey Parker
  • Outstanding Orchestrations - Larry Hochman and Stephen Oremus

2012 Grammy Awards
  • Best Musical Theater Album - Original Broadway Cast

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bookmusic d
bookmusic d

That does not mean that technique is not important, but technique is much more than "fingers" , as we all know. technique must help us render the mood, phrasing, etc. Liszt did not like it when people played terribly. He would say: do your laundry at home.. thanks