'The Book of Mormon' review: Still outrageous, still hilarious, and still unstoppable

Courtesy of Broadway in Detroit

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Since its premiere in 2013, Trey Parker, Robert Lopez, and Matt Stone’s “The Book of Mormon” has not lost its edge. After my fifth time seeing the production, I’m convinced it never will. This send-up of the notorious religion remains the best ticket in town—clever, nuanced, and, surprisingly, sweet in ways newcomers might not expect. The key to any good satire is making fun of everyone; otherwise, it risks becoming mean-spirited. The creators—especially Parker and Stone, who have skewered celebrities, organized religion, and just about every major controversy imaginable on “South Park”—understand this better than anyone. They take theatergoers on an unforgettable journey in what is, without question, one of the funniest and most outrageous shows on Broadway and across the country today.

The story follows the misadventures of two unlikely allies: Elder Price (played in my performance by Vance Klassen) and Elder Cunningham (Diego Enrico). As is customary in the Mormon faith, they are sent on a mandated mission trip—except, instead of Elder Price’s dream destination, Orlando, they’re assigned to, well, Uganda, where warlords, poverty, and famine run rampant. Their mission? Convert as many locals as possible to the Church of Jesus Christ of Latter-day Saints. But that proves to be a tall order when they arrive to find the townspeople singing the gut-busting anthem “Hasa Diga Eebowai,” a song that—let’s just say—doesn’t hold God in the highest regard.

Like much of the show, the humor is outrageously raunchy, and Parker and company are unafraid to push boundaries. These are the same guys who made “Team America: World Police,” after all. The bulk of the production rests on the shoulders of Elder Price and Elder Cunningham—the latter of whom has a habit of, well, making things up, a tendency that becomes a major focal point later in the show. The two couldn’t be more opposite. Elder Price is the quintessential upstanding Mormon, always doing what’s expected of him and believing he’ll be rewarded accordingly. Elder Cunningham, on the other hand, is the John Candy to Price’s Steve Martin—awkward, overeager, and delightfully unpredictable. Both Klassen and Enrico make a fantastic duo, injecting fresh energy into a production that has seen countless iterations and tours. Enrico, in particular, brings delightful nuances to his performance, from his animated expressions to his affectionate, endearing body language.

Each time I see this show, I look for the subtle tweaks and adjustments that make each production stand apart. Klassen and Enrico did not disappoint. Likewise, Lamont J. Whitaker shines as Mafala Hatimbi, the leader of a small Ugandan village who is fiercely protective of his daughter, Nabulungi (played wonderfully by Keke Nesbitt), one of the only “pure” villagers left. I’ll let you figure out what that means.

Directed on this tour by Jennifer Werner, “The Book of Mormon” remains unapologetically itself. Even 12 years later, it still resonates and feels far from dated. The production design remains flawless—one of Broadway’s most brilliant sight gags still occurs when the Elders first arrive in Uganda, and a villager hurls a dead animal carcass across the stage. And Klassen’s rendition of the Act II powerhouse “I Believe” brings the house down.

By now, you probably already know if this is the show for you. If you haven’t seen it—run, don’t walk. And if you have, considering the state of the world right now, there may be no better time to “turn it off” and just enjoy the ride.

THE BOOK OF MORMON continues its short run at The Fisher Theater in Detroit through Sunday April 6th. Ticket quantities are extremely limited. They can be purchased here.