URINETOWN, Capitol Theatre, through Sunday (355-2787). Running time: 2 1/2 hours (one intermission).
"What kind of musical is this?" asks feisty, street-wise Little Sally.
Well . . . since you may be wondering the same thing . . . "Urinetown" is gutsy, savvy, insightful and packed with political and social commentary, strung together with great music and outrageously hilarious lyrics.
OK, it's not Lerner and Loewe or Rodgers and Hammerstein; it's more akin to Stephen Sondheim and Kurt Weill.
Collaborators Greg Kotis and Mark Hollmann also poke fun at Broadway musicals in general, even turning their own show's title into an ongoing joke.
Director John Rando, who received a Tony Award in 2002 for directing the Broadway version, delivers an energetic production that had the opening-night audience laughing and yelling for more.
"Urinetown" has a dark, somewhat "Les Miserables" look to it, with its story of downtrodden masses of a mythical town — "any town that you might find . . . in a musical," explains Officer Lockstock, a cop who may remind you of the tireless Javert in "Les Miz."
Lockstock and Little Sally intermittently break into the action, explaining various bits about the production and offering their own brand of strange commentary.
This national touring company is packed with talent.
The show's hero, Bobby Strong — a young lad driven to lead a rebellion in the streets after his aging father is exiled to an unspeakable demise in Urinetown — is played by Charlie Pollock, who also performed in the show's final Broadway cast.
His love interest is the somewhat naive Hope Cladwell (beautifully played by Christiane Noll), daughter of the town's most ruthless leader, Caldwell B. Cladwell (operatically trained Ron Holgate), head of the despicable Urine Good Company (UGC), which operates the city's pay toilets.
Hope has returned home (from the most expensive university her father could find) to work her way up in the family business — except she learns just how evil the company really is.
Tom Hewitt practically steals the show as Officer Lockstock, as does Meghan Strange as Little Sally.
And Beth McVey delivers a strong performance as Penelope Pennywise, who collects the fares for those anxious to relieve themselves at the dirtiest facilities in town, Amenity No. 9.
"If you've gotta go, you've gotta go through me!" she tells the ragtag folks lined up at the gate.
There's a flag-waving scene toward the end of Act 2, in which Bobby leads his rebellion into the streets, a sort of poor man's "Les Miserables."
One of the show's best songs is a gospel-influenced number in Act 2, when Bobby and the Rebel Poor sing the energetic "Run Freedom Run" in the secret hideout where they're holding Hope Cladwell hostage. (You know it's a secret hideout, because that's what an arrow-shaped sign says at the back of the stage.)
At the end of the day (or the show), Lockstock's promise that this is not a happy show, comes to fruition. But getting there is such a wild journey, with great songs and segments en route, that audiences are sure to leave feeling happy, even though the ending is not.
Oh, and kudos go to Jason DeBord's "Urinetown" band (his entrance is a hoot).
Don't be afraid of the title, just go and have a terrific time. Then listen to Bobby and Hope's admonition to "Follow Your Heart."
Sensitivity rating: This is a fairly tame show with no profanity or foul language, but it's probably too cynical for youngsters.
E-mail: ivan@desnews.com