Tomorrow Is a Latter Day

The Book of Mormon

“Hello! My name is Elder Price, and I would like to share with you the most amazing book…” Thus begins the catchy, hilarious opening number from what is decidedly one of the most successful shows in Broadway history. A group of grinning, clean-cut, singing and dancing young missionaries from The Church of Jesus Christ of Latter-Day Saints open this musical by ringing your doorbell. When audiences first meet these optimistic Mormon teens their earnest appeal, their collective enthusiasm and their sweet innocence will immediately captivate you and never release you until after the curtain call. After all, as Elder Cunningham continually reminds us, “Tomorrow is a Latter Day!” 

But be warned, audiences who are easily offended may also be shocked by much of the language and subject matter found in this paradoxical new musical. The nine-time Tony Award-winning show is the collaborative work of Trey Parker and Matt Stone (the creators of TV’s “South Park”), with music and lyrics by “Avenue Q” composer Robert Lopez, Parker and Stone. Since the show opened on Broadway in 2011, only closing during the pandemic shut-down, the musical has going strong, continuously selling out to enthusiastic audiences. In doing so, the musical recouped its initial investment within a record nine months. With multiple National Tours and international productions playing to packed houses, Chicago became home to the show’s first out-of-town sit-down production in 2012. This current non-equity National Tour has returned to Chicago for a welcomed three weeks and, as demonstrated by the sold-out opening night audience, this show is still something special.

And it surely is. The musical both pokes fun at organized religion (Mormon beliefs, in particular) while it embraces its innocence and optimism. It demonstrates that, as with all religions, the power of the Mormon faith comes from acknowledging and appreciating the metaphors found in its stories and doctrines. The show also satirizes, while still paying homage, to many of the classic musicals from Broadway’s Golden Age. Parker and Stone imitate the masters, like Rodgers & Hammerstein, as they copy the construction of their shows and replicate familiar Broadway musical styles.

The show’s opening number, for instance, reminds the savvy theatergoer of “The Telephone Hour” from “Bye Bye Birdie.” The humorous ballad, “Sal Tiay Ka Siti,” reminds us of the ballad from “Little Shop of Horror,” “Somewhere That’s Green.” The hilarious, but irreverent, “Hasa Diga Eebowai” has the rhythm and jubilance of “Hakuna Matata” from “The Lion King.” And perhaps the most obvious tribute comes in Act II with “Joseph Smith, American Moses,” which brilliantly mimics “Small House of Uncle Thomas,” from “The King and I,” not only in its construction and sound, but in the way it’s staged and costumed. Even the style of much of the show’s choreography is an homage to other musicals, like “A Chorus Line” and “Chicago.”

This production, originally co-directed by Casey Nicholaw and Trey Parker and and choreographed by Nicholaw, is directed and choreographed for this Tour by Jennifer Werner. Musically directed by Mason Moss, the score is just as sharp, sassy, spirited and well-sung as ever. Eternally enthusiastic, this production is as infectious as it is sheer fun. Winning Tonys for their work, the Tour features a remarkable Set Design by Scott Pask and ethereal Lighting by Brian MacDevitt. Ann Roth’s costumes are colorful and fantastic, especially as they allow the cast to make lightning fast changes.

The cast for this Tour, played by an ensemble of truly talented young actor/singer/dancers, is so charismatic and likable that the audience will cherish the time spent getting to know them. Handsome Sam McLellan is simply superb as leading character, Elder Kevin Price. His gorgeous voice soars in numbers like “I Believe” and “Orlando,” and the young actor radiates so much charm and a truly infectious smile—a characteristic necessary for any successful missionary. This, plus his skill as a dancer make him a winning leading man. He shares the stage with Evan Lennon, a gifted comedian and singer, making his National Tour debut. He plays McLellan’s geeky, naive and eager-to-please sidekick, Elder Arnold Cunningham. Mr. Lennon is strong, talented and likable and makes this role all his own. The young Thespian has excellent comic instincts and terrific timing and knows how to deliver a line, not to mention his gift as a singer and dancer. Evan Lennon effortlessly brings his own nerdy quirks, a dorky smile and lovable charisma to this role.  

Lovely actress Berlande is bubbly, warm and simply irresistible as Nabulungi, the daughter of Mafala Hatimbi, the Ugandan village chief (played with sharp wit and broad humor by Lamont Joel Whitaker). Her gentle vulnerability and innocence, combined with the character’s natural wisdom, make her portrayal of Nabulungi an absolute delight. And Sean Casey Flanagan brings a unique hilarity and special appeal to his portrayal of Elder McKinley. He’s the leader of the eight Mormon missionaries already stationed in East Africa and, as a gay teenager, is still fighting his own personal demons. The entire ensemble, from the terrifying, one-eyed Ugandan General to religious founder Joseph Smith, are all played with unbridled humor and affability. Every actor is a triple-threat in this magnificent cast, that boasts top-notch acting, vocal and dancing skills. 

If you’re a tad conservative in your theatrical tastes, and are offended by sexual humor and F-bombs being tossed around fast and furiously, maybe this isn’t the show for you. But for liberal-minded adult audiences looking for one of the funniest, most irreverent musical comedies since Mel Brooks‘ “The Producers,” this show is a definite must-see. Despite this being the Mormons’ return visit to Chicago, here is an excellent opportunity to revisit this hilarious show and laugh your head off. And for new audiences, who enjoy “South Park’s” irreverent brand of humor, this is their opportunity to savor the show’s wonderful wit and welcoming warmth. So if you hear the doorbell being rung by a group of smiling young men in white shirts and black neckties, don’t wait. This energetic, effervescent production of musical is back for a short stay, in a highly recommended and worthwhile production of the show of the decade. But don’t wait to get your tickets. Remember, Tomorrow is a Latter Day!          

By Colin Douglas

Highly Recommended

Presented March 28-April 16 by Broadway in Chicago at the Cadillac Palace Theatre, 151 W. Randolph St., Chicago.

Tickets available at all BIC box offices, by calling 312-977-1710  or by going to www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.