The Book of Mormon – Review – Bradford Alhambra
By Sue Dean, November 2024
From the opening seconds, The Book of Mormon at Bradford Alhambra proves itself a grand-scale production, setting the tone with a church-like stage adorned with stained glass windows. With its irreverent humour and sharp satire, this multi-award-winning musical has plenty to say—and it doesn’t hold back, poking fun at religion, societal norms, and cultural stereotypes with a gleeful abandon that only South Park creators Trey Parker and Matt Stone, alongside songwriter Robert Lopez, could pull off.
Launching with an upbeat doorbell-ringing routine, the Mormon missionaries burst onto the stage with infectious energy and a well-crafted original song that immediately immerses the audience in their world. Adam Bailey as Elder Price and Sam Glen as Elder Cunningham anchor the production, bringing an endearing mix of earnestness and comic timing. Both actors excel in their roles, navigating the absurdity of their characters’ journey with remarkable vocal and dance performances, balancing comedic naivety with glimpses of genuine emotion.
The plot follows these two young missionaries as they leave the familiarity of Salt Lake City to preach in a Ugandan village plagued by war, poverty, and disease. Elder Price is the ambitious, straight-laced missionary hoping to prove his worth, while his partner, the bumbling but big-hearted Elder Cunningham, is eager for acceptance. Their dynamic quickly shifts upon arrival, as Price’s confidence clashes with the harsh realities of the villagers’ lives, while Cunningham finds an unexpected connection with the locals—albeit through wildly inaccurate teachings.
“Outlandish”
The production’s sharp wit targets everything from consumerism and faith to political apathy, blending outrageous humour with serious undertones. Yet, as biting as the satire is, it’s never one-sided. Oh no, The Book of Mormon mocks everyone and everything equally, leaving no sacred cows untouched. Nyah Nish shines as Nabulungi, the hopeful Ugandan girl who dreams of escape, bringing both warmth and sincerity to a role that adds an emotional core to the show. Her powerful voice resonates in each musical number, and she conveys both vulnerability and resilience beautifully.
The set design and lighting add even more polish, transforming seamlessly from an airport to the African village, and even an outlandish nightmare sequence that must be seen to be believed. The show’s visual creativity, especially in moments like these, is a testament to the high production value, with the absurdly surreal fitting naturally into the satire. A particular highlight comes in the uproarious number “Hasa Diga Eebowai,” a hilariously profane anthem that, like much of the musical, shocks the audience just enough to keep them in stitches.
“Unexpected”
Much of the show’s success also lies in its impeccable ensemble cast. The group of ten Mormon missionaries are perfectly synchronised, nailing each choreography sequence with precision, leaving the audience wanting more each time they exit. Equally, the Ugandan villagers match their comedic timing, using explicit language in unexpected ways that amplify the shock value without ever feeling gratuitous. The orchestra is also in top form, delivering each score with a perfect mix of whimsy and intensity.
In the end, The Book of Mormon achieves what few satires can—it’s gut-bustingly funny, heartfelt, and unafraid to challenge the audience. From the energetic curtain-up to the final bow, the show is as much a commentary on belief and culture as it is a laugh-out-loud musical. For those unafraid of irreverence, The Book of Mormon is a masterclass in combining comedy with theatrical brilliance.
‘The Book of Mormon’ is at Bradford Alhambra until 23rd November
