Book of Mormon reopens for a second run in Spanish capital

Lots of laughs, good catchy music and a strong critique of serious problems laced with doses of dark humour, ‘The Book of Mormon’ is a musical revelation that has conquered audiences in Madrid, the world’s third biggest stage for musical theatre.

The Book of Mormon’, the acclaimed Broadway musical awarded nine Tony’s from the creators of “South Park”, is about to premiere its second season in Spain at the Teatro Calderón in Madrid.
If you haven’t seen it, the musical is an explosive mix of dark humour, irreverence and social critique peppered with a frenetic rhythm of sketches and a well-crafted musical line. Last season it wowed critics and fans alike to become the great surprise sensation of musical theatre in the Spanish capital, the third most important showcase for musicals after New York and London.
The play follows the misadventures of two young Mormon missionaries sent to Uganda. Elder Price is a successful young man who has to adapt to reality while Elder Cunningham is a dreamer with little social success who ends up succeeding in the style of ‘Don Quixote and Sancho Panza’.
It is worth noting the infinity of external references that are sprinkled throughout the work by the latter character. Africa is a setting that serves as a catalyst to address controversial issues such as colonialism, poverty, as well as religious beliefs.
The musical numbers and choreography bring colour and life to the adventures of the missionary Elders, with up to 20 people on stage, including singers and dancers, depending on the number. The musical interpretation is superb, with live music perfectly directed by Joan Miquel Pérez and a series of nods to Disney songs.
The melodies of ‘Aladdin’, ‘Beauty and the Beast’ or ‘The Lion King’ can be heard in the musical arrangements to show off the voices of the main characters such as Elder Price (Jan Buxaderas) or Nabulungi (Aisha Fay), the daughter of the Elder’s guide once in Uganda.
The Elders’ polyphony in the opening scenes, with chords clearly defined by their voices, is noteworthy on a musical level. It is not surprising that the music is so good, as one of its composers is Robert López, the creator of the soundtrack for ‘Frozen’.
Deep and serious issues such as AIDS, homosexuality, violence in Africa or female genital mutilation are tackled with light-hearted humour, ‘running gags’ that work throughout the show but do not detract from the importance of these delicate issues.
If there is one thing that distinguishes ‘The Book of Mormon’ from other musicals, it is that it has a great balance between sharp criticism and humour driven mainly by Elder Cunningham (Alejandro Mesa) who, with his quips and outside references, keeps the comedic pace very high.
Although this musical was the revelation of last season, its style of humour may not be to the liking of all audiences. This musical should be enjoyed without prejudice and with an open mind ready to have fun without judgement. It is a work that might not be to the liking of people who are very religious or with a certain inclination towards the defence of other people’s causes.
This musical seeks irreverence and transgression to make the audience think and question many of the pre-established trends in society. One thing is clear, ‘The Book of Mormon’ will leave no one indifferent.