What follows is a Q&A Interview with Ceris Thomas, producer of London Community Players’ production of Urinetown: The Musical, playing at the Palace Theatre from February 19 to March 1.
Q. The description of Urinetown: The Musical found on the Palace Theatre website reads: “In a dystopia ruled by drought and corporate greed, public toilets are the law— and rebellion smells suspiciously like revolution. Equal parts absurd, poignant, and laugh-out-loud funny, Urinetown skewers capitalism, power, and musical theatre itself.” Could you break that down for our readers?
(Pictured: Ceris Thomas, Producer of Urinetown: The Musical.)
Urinetown: The Musical is notoriously hard to describe, which is probably why so many explanations feel incomplete or confusing. Honestly, if it had a different title, people might find it easier to just shrug and say, “Sure—let’s go see this thing.”
At its core, Urinetown is a dystopian satire that imagines a world so devastated by water shortages that bathrooms no longer exist in private homes. To manage the crisis, business and government join forces and arrive at a “solution”: the public must pay to pee. It’s an intentionally oversimplified take on a massive environmental issue, designed to get the audience quickly and clearly into the world of the show.
As with many well-meaning systems in a capitalist society, the opportunity to profit from an unavoidable human need quickly curdles into greed and manipulation. That’s where we meet the people of Urinetown—some desperate to survive, others perfectly comfortable in their assumed wealth and eager to raise the fees even higher.
Pictured: Urinetown’s Officer Lockstock (Kate Sepi), accompanied by Officer Barrel (Luke Bainbridge). Photo Credit: Ross Davidson.)
The absurdity, poignancy, and laugh-out-loud comedy come from how the story is told. One of the creators’ most delightful choices is the musical’s constant tribute to classic Broadway shows. One song clearly channels Fiddler on the Roof; the next explodes with unmistakable West Side Story energy. The first time I heard it, I actually laughed out loud in my car.
If you’ve ever seen a musical—any musical—you’ll catch the references and giggle along. And if you’re someone who doesn’t usually like musicals? This show lovingly invites you to laugh at all the ones your mom dragged you to see.
Q. It also reads: “No one is safe. Not even the audience. Bring your sense of humour — and your spare change,” implying audience members will be expected to participate in some way. Will they?
The fourth wall is very much broken in this production. Officer Lockstock serves as the show’s narrator, frequently conversing with Little Sally, a member of the “poor” who isn’t afraid to challenge Lockstock’s interpretation of events. Beyond that, the audience needs only to bring a sense of humour and a willingness to laugh out loud at the shenanigans of the players.
(Pictured: Urinetown Les Misérables parody poster.)
Q. Can you provide a brief Synopsis of the play?
Our parody poster series—riffing on Les Misérables, West Side Story, The Producers, Wicked, and more—wasn’t just a marketing gimmick. It was a visual clue to the DNA of Urinetown itself. The show gleefully borrows familiar musical theatre tropes and iconic structures, reshaping them to tell its own absurd and pointed story.
At its heart, Urinetown gives us all the classics: a villain who controls the money, the police, and the government; a hero who controls nothing but works hard and dreams of a better future; and a beautiful daughter of the villain who becomes the catalyst for change when our hero falls instantly in love. His life is upended, his resolve hardens, and he sets out to fix a broken world—for love, for justice, and for the people he cares about.
What follows are the choices made by the citizens of Urinetown, and the consequences that come with them. It’s familiar, it’s twisted, it’s self-aware—and all of it is driven by music that is relentlessly fun.
(Pictured: Urinetown West Side Story parody poster.)
Q. Do any of the play’s satirical situations and themes have local relevance?
Yes—and the relevance is immediate and unavoidable. The neighbourhood surrounding our theatre is routinely ignored by municipal leadership. The parking lot outside our doors has no public bathroom, and as a result, it becomes the only option for people who have nowhere else to go. That reality mirrors Urinetown so closely that it feels less like satire and more like lived experience.
In Urinetown, the poor are criminalized for existing. They are punished for meeting basic human needs, while those in power remain insulated from the consequences of their decisions. That dynamic is playing out here as well. When audiences say they are “afraid” to come to this area, that fear reflects the same distance and neglect that allow these conditions to persist.
We believe that is exactly why it is important to come. Showing up matters. Being present in this neighbourhood matters. Urinetown asks us to look at who we ignore, who we punish, and who we choose to care about—and invites audiences to step into a space that deserves attention, investment, and humanity.
Coming to this neighbourhood—choosing to be present, to witness, to engage—is not something to be afraid of. It’s something that matters. Urinetown asks us who we ignore, who we punish, and who we decide is worth showing up for. In this case, the question doesn’t end when the curtain comes down.
Q. Will the audience recognize any of the play’s musical numbers?
Even if audiences don’t know the specific musical numbers themselves, they will absolutely recognize what those songs are paying homage to. Urinetown is filled with stylistic tributes to iconic musicals—there are clear nods to Fiddler on the Roof and West Side Story, as well as The Fantasticks, among others. The familiarity isn’t about recognizing a tune, but about recognizing the style, which makes the jokes land and the storytelling even richer for theatre-literate audiences—while still being fun and accessible for everyone else.
Q. What challenges have you encountered bringing this play to the Palace Theatre stage?
The journey to bringing Urinetown to the Palace Theatre has been both unexpected and incredibly rewarding. London Community Players originally had a different production planned for this slot, but when royalties became unavailable, we had to pivot quickly. That shift led me to reach out to a talented artist I knew from other shows, and I was thrilled when she agreed to join us on the David Long Stage.
Choosing Urinetown turned out to be an inspired fit. There is a deep pool of artists in London who have been eager for the chance to tackle this show, and the auditions reflected that excitement. We welcomed many new performers into the room, which always brings fresh energy to a production. Rehearsals have been collaborative, joyful, and full of discovery.
As with any show, the real problem-solving began once we moved onto the stage. Urinetown asks us to create several locations within a single city, and the David Long Stage offers limited wing space. Rather than seeing that as a limitation, our team embraced it as a creative opportunity—finding smart, imaginative ways to build a complete world that could live in one place. As a first-time set designer, after taking a course in Stratford last summer, I’ve been supported by an incredible crew. I’m learning that a set is never truly finished; it simply reaches the moment where it’s ready to welcome an audience.
Q. Your marketing/social media campaign for Urinetown has been nothing short of brilliant. Could you give a shout-out to those individuals responsible for it?
Thank you! We really appreciate your kind words and that you’ve been following our campaign.
(Pictured: Pets of Urinetown poster.)
The “Pets of Urinetown” came about naturally because so many of our cast members have pets. Sharing stories and photos of their furry friends was a fun, comfortable way for the cast to connect—and I thought it would be a gentle, playful way to spark interest in the show.
The poster campaign, on the other hand, was entirely the brainchild of the brilliant Henry Truong, who also plays Bobby Strong, our hero. Henry came up with the imagery, collaborated with others to bring the visuals to life, and even wrote all the copy. It was a truly inspired creative effort.
Urinetown gives so many ways to engage with the material, from the music to the story to the little touches we’ve created for social media. I think that’s why people who love this show really, really love it—and our team’s creativity has made sharing that love so much fun.
Q. Is there anything else you think our readers should know about LCP’s production of Urinetown?
One thing to know: it’s not here long! Urinetown runs for just eight performances, from Thursday, February 19th through Sunday, March 1st. Both Sunday shows are matinees, and the second Saturday also offers a matinee to give those who might feel less comfortable in the area another chance to attend. That Saturday matinee will also be adjudicated for the WODL festival, with a public adjudication immediately following the performance for anyone who wants to stay and watch.
For peace of mind, LCP provides security at all of our productions, with patrolled entrances and monitored parking. And as a bonus, parking behind the theatre is now free at all times.
Don’t miss it—once it’s gone, it’s gone!
CREATIVE TEAM
Producer – Ceris Thomas
Director – Sydney Brockway
Stage Manager – Amanda Marshall
Musical Director – Steven Morley
Lighting Designer – Indrani Mahadeo
Sound Designer – Quinton Esquega
Costume Designer – Tannis Daoust
Costume Assistant – Chaaya Vy
Costume Assistant – Chloe Scripnick
Sound Operator – Doug Deschenes
Lighting Operator – Jenny Katkov
Assistant Stage Manager – Larissa Bartlett
Assistant Stage Manager – Jess Bohan
CAST
Kate Sepi – Officer Lockstock
Luke Bainbridge – Officer Barrel
Rae Ryder – Little Sally
Henry Truong – Bobby Strong
Jesslyn Hodgson – Hope
Laura Williams – Pennywise
Sean Brennan – Cladwell
Ryan Starkweather – Fipp
David Lu – McQueen
Cassandra “Cass” Allen – Mrs. M/Boy Cop #1
Skyler Gallagher – Dr. B/Cop
Jade Rogers – Secretary/Cop
Nicholas McConnell – Hotblades Harry/Boy Cop #3
Antonia Sidiropoulos – Little Becky Two Shoes/Cop
Matt deKort – Old Man Strong/Ensemble
Allison Gold – Josephine “Ma” Strong/Cop
Jennifer Groulx – Tiny Tom/Boy Cop #2
Christine Varga – Soupy Sue/Cop
Dustin Freeman – Robbie the Stockfish/Cop
Luba Skyba – Billy Boy Bill/Cop
Charlotte “Charlie” Camrass – Rebel Poor/Girl Cop #1
Amelia Armstrong – Ensemble
Leah Exley – Ensemble
IF YOU GO:
What: London Community Players present Urinetown: The Musical
When: February 19 to March 1, 2026
Where: David Long Stage, Palace Theatre, 710 Dundas St., London, ON
Tickets: Adults: $38, Students/Seniors (55+): $36, Youth (under 18): $23, Preview: $28 (fees included). https://mytickets.palacetheatre.ca/eventperformances.asp?evt=514
To learn more about Urinetown: The Musical and the Palace Theatre, visit https://palacetheatre.ca/
Follow the Place Theatre on Facebook https://www.facebook.com/atthepalacetheatre and Instagram https://www.instagram.com/atthepalace/
Q&A Interview with Ceris Thomas conducted by Richard Young
The Beat Magazine 2025 