Not even a decade-plus of ever-evolving cultural norms and standards could turn “The Book of Mormon” off.
The ultra-raunchy musical co-written by “South Park” masterminds Trey Parker and Matt Stone is still going strong 13 years after premiering at New York City’s Eugene O'Neill Theatre. Former Carnegie Mellon University roommates Josh Gad and Rory O’Malley played major roles in the show’s original Broadway production that emerged victorious in nine categories — including best musical — at the 2011 Tony Awards.
Its latest national tour will take over Downtown’s Benedum Center from Feb. 27-March 3. Tickets for the sixth show in the Pittsburgh Cultural Trust’s 2023-24 PNC Broadway in Pittsburgh season are available for $40-$145 at trustarts.org.
This “Book of Mormon” tour is fairly similar to previous iterations, which its stars believe is due to the inherent sweetness underscoring this gleefully gonzo musical.
“I believe it’s one of the funniest, most warm-hearted shows out there,” said Matt Cosco, a Pittsburgh native and swing performer involved in most songs featuring members of the Mormon ensemble.
“It’s just a good time to come have ... a good laugh, leave any stresses you have at the door and let us help you have a good night.”
“The Book of Mormon” follows Elder Kevin Price (Sam McLellan), a seemingly perfect Mormon teenager who is dismayed to learn he will be spending his two-year mission trip in Uganda with adorably awkward Elder Arnold Cunningham (Sam Nackman). The duo quickly realize that converting residents of a small Ugandan village to the Church of Jesus Christ of Latter-day Saints may be a borderline impossible task.
At its core, “The Book of Mormon” is a biting satire of modern religion and the dangers of blind faith that advocates setting aside differences so, as Elder Price puts it, “we can still all work together and make this our paradise planet.”
“It’s so universal an idea,” Nackman told the Post-Gazette. “It didn’t really need to change over the course of time. It still rings true.”
The show mines comedy by juxtaposing stodgy Mormon missionaries with native Africans who are more concerned with basic survival than what awaits them after death. There’s a lot of crass humor, and McLellan still regularly clocks the same “laughs, gasps and tears” he witnessed during his first “Book of Mormon” experience 11 years ago in Chicago.
“There has to be a true commitment,” McLellan said. “It has to feel real, honest and grounded for the comedy to work. The second you’re aware of the comedy you’re delivering as an actor is the second the jokes fall flat.”
It’s worth noting that “The Book of Mormon” creative team opted to make a few revisions in 2020 following renewed scrutiny of how its Black characters were depicted by Broadway cast members and McCandless native Griffin Matthews, who told the Post-Gazette in 2021 that he felt it was time for theater to move away from “putting out ‘humor’ at the expense of people who don’t have a voice.”
The alterations inspired by those criticisms were designed to give the show’s African characters more agency. Outside of those changes, Nackman said the show “has remained pretty consistent” since its inception and still “has such a deep heart.”
He has always wanted to play Elder Cunningham and was constantly being told throughout high school that it would be a perfect part for him. Nackman would like to believe that he has “a bit more social grace” than the well-meaning but misguided Elder Cunningham, but he did admit to identifying with the character’s commitment to finding joy and spreading love even under the bleakest circumstances.
“I don’t think there’s a single malicious bone in his body,” Nackman said. “I think it’s just a lack of awareness.”
While Nackman’s character rises to the occasion when faced with unexpected obstacles, McLellan’s Elder Price wilts under pressure and only sheds his initial hubris after being thoroughly humbled. He gets to bring the house down every performance with “I Believe,” a soaring power ballad in which Elder Price hilariously rededicates himself to every tenet of Mormon scripture.
Nackman always enjoys performing the cute yet cringey “Making Things Up Again” and “Baptize Me,” a song replete with innuendos that finds Elder Cunningham finally going “all the way” with Ugandan villager Nabulungi (Keke Nesbitt).
Cosco’s favorite numbers are generally “Man Up,” Elder Cunningham’s energetic pre-intermission anthem, and “Turn If Off,” a tap-heavy ode to repressing incongruous feelings.
McLellan would be surprised if “Book of Mormon” audiences in Pittsburgh can’t find “something that’ll speak to you in some way.”
“It’s just one of those shows, man,” McLellan continued. “It’s one of those things that people leave feeling really impacted. I behoove anyone who may be skeptical to come see it, and we can prove to them it’s worth their time.”
Cosco still can’t believe he’s touring with “a show that’s as wild as this” less than a year after graduating from the Shenandoah Conservatory in Winchester, Virginia. He couldn’t be more excited about being less than a week away from making his Benedum debut.
“It’s very overwhelming, in a good way,” Cosco said. “The first show I ever saw there was ‘Wicked’ when I was in seventh grade. I remember being like, ‘This is what I want to do with my life.’
“It’s very cool that I get to accomplish a dream like that so quickly out of school.”
Joshua Axelrod: jaxelrod@post-gazette.com and Twitter @jaxelburgh.
First Published: February 22, 2024, 10:30 a.m.
Updated: February 22, 2024, 2:16 p.m.
