Working on Urinetown has always been meaningful. After the pandemic, it felt even more urgent. This was my third time designing the show. After living through a time when “essential” workers risked their lives, the themes of class struggle and corporate greed felt sharper. This time, I wanted to create a world that was darker and more industrial. I aimed to reflect a dystopia that is not too far from our reality.
Inspirations and Collaborations
In collaboration with our director, Dr. Joy Powell, we drew inspiration from:
Blade Runner
Tim Burton’s Gotham City
German Expressionist films like Metropolis
We wanted to build an imposing world, a concrete jungle that dwarfs its inhabitants. This setting holds people captive, both physically and symbolically, in every scene.
Satire Through Familiar Symbols
The satire in Urinetown is powerful. I aimed to bring that tone into every part of the set. One key detail is the UGC (Urine Good Company) logo. We redesigned it to echo Amazon’s smile. This design serves as a subtle nod to corporate monopolies and their control over people’s lives. The logo looms over scenes at Public Amenity #9 , a place where the poor must pay to use the restroom. This constant reminder highlights the absurdity and cruelty of UGC’s control.
Cladwell’s Office: A Symbol of Power and Disconnect
When Bobby Strong storms into Cladwell’s office, he enters a different world. We used this space to amplify Cladwell’s wealth and disconnect from the suffering outside. Key features of the office include:
Rows of water bottles
A live tree
These small luxuries highlight the gap between the rich and poor in Urinetown. For Cladwell, these decorations are a visual declaration of his privilege in a world where water is scarce. This contrast makes Bobby’s fight for justice feel even more significant.
Power Dynamics in a Concrete Jungle
The set’s levels are essential in showing the hierarchy in Urinetown. UGC’s offices sit on the highest level, towering over the lower deck where the poor live and fight to survive. This staging allows for powerful visual storytelling. Characters physically ascend to confront UGC or descend to rally with the people.
Most of the action unfolds around Public Amenity #9, where the poor gather, argue, and begin to resist. Keeping this area on the lower level reinforces the idea of the people being “beneath” UGC. It also makes it the heart of the show’s rebellion. The fight for dignity starts here, in the shadow of the corporate overlords.
The Secret Hideout: A Glimpse of Hope
In scenes where Bobby and the rebels gather in the “Secret Hideout,” we created a shift in scale and atmosphere. An oversized and flashy hideout sign adds a touch of absurdity. Yet, it is also the one place where characters can breathe and dream of a world without UGC. Here, they find the strength to push back. The smaller, more personal space reflects the shift from passive suffering to active resistance.
Lighting, texture, and the concrete reality
Lighting plays a huge role in defining the mood of Urinetown. We initially planned to use LED tape lighting. However, our lighting designer, Vincent Williams, suggested LED strips instead. This change allowed us to enhance the dramatic shifts in tone. It also helped to elevate musical numbers and intensify the oppressive feeling of the city during somber moments.
For the physical look, we used MDF to create walls that appear like concrete. This smooth material helped us achieve an industrial, unforgiving appearance. The concrete jungle became the perfect setting for a story about scarcity, where resources are minimal. Every corner of the set reminds the audience of this harsh reality.
Tying the Design to the Action
One great aspect of Urinetown is how it uses humor to tackle dark subjects. I wanted the set to support that balance. Bobby’s journey from Public Amenity #9 to Cladwell’s office is both literal and symbolic. Each level represents a step up in his rebellion. When he returns to rally the people, the set visually brings him back to their level. This grounding makes the stakes feel real.
In this world, the set is not just a backdrop; it shapes the characters’ movements and decisions. It gives the action a physical presence, showing the weight of oppression on the poor and the arrogance of UGC. With every step, characters confront the structures that define their lives.
Making Urinetown Feel Both Distant and Real
With this design, I aimed to create enough distance for the audience to laugh but with a familiarity that makes them uncomfortable. This world of scarcity, greed, and corporate power is absurd but not far removed from our own reality. I hope that the set supports this duality—entertaining yet thought-provoking.
Urinetown asks us to consider what happens when resources become weapons. It questions when those at the top control basic human needs. The set reminds the audience that this story, though exaggerated, isn’t as fictional as it seems. In the balance between humor and discomfort, there’s a message worth considering long after the show ends.
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