“I Believe” it’s Divine, Damned, and Hilarious: The Book of Mormon - Jed Stahlback

What do you get when you mix Broadway, religion, and irreverence? The Book of Mormon. Created by Trey Parker, Matt Stone, and Robert Lopez, the musical blends fearless humor with heartfelt moments for an unforgettable experience. From the first notes of "Hello!", the audience was hooked, following Elder Price and Elder Cunningham on their mission to Uganda. The story mixes fish-out-of-water comedy with surprising emotional depth, but its reliance on shock value and stereotypes sometimes undercuts its themes of faith and personal growth. While the irreverence often pushes boundaries, the 2020 revision added updates to address cultural sensitivities, offering a more thoughtful approach without losing the show’s signature humor. With the revisions, the show remains a must-see, with much to love despite a few missteps.

Sam McLellan’s Elder Price brought charm and charisma to the stage. His performance of “I Believe” had the crowd laughing and cheering, but also cringing during the high notes, which stretched beyond his reach. Similarly, “You and Me (But Mostly Me)”—a parody of aspirational duets like Wicked’s “Defying Gravity”—revealed vocal strain that made the ambitious number less impactful. These challenges stem from the role’s origins: Andrew Rannells, who first played Elder Price on Broadway, famously requested higher keys because of his fear that he would be replaced as the lead, unwittingly creating a hurdle for future performers. McLellan’s comedic timing and swagger shone through, but the vocal demands left room for improvement. 

By contrast, Diego Enrico’s Elder Cunningham was a comedic whirlwind. His awkward sincerity, especially in numbers like “Man Up,” captured the essence of a character who, despite his bumbling nature, has a heart of gold. Enrico’s chemistry with McLellan added depth to their odd-couple dynamic, creating a genuine emotional anchor amid the chaos.

The choreography, helmed by Casey Nicholaw (who also directed), sparkled with energy and wit. Numbers like “Turn It Off,” featuring tap-dancing missionaries, were showstoppers that balanced humor with impeccable technique. Nicholaw’s signature style—also seen in Some Like It Hot, which recently played at the Orpheum—demonstrates his knack for marrying classic Broadway pizzazz with sharp comedic storytelling.

Musically, the production hit most of the right notes. Under Mason Moss’s direction, the orchestra brought Robert Lopez’s playful and poignant score to life. Lopez’s ability to blend heartfelt melodies with biting satire left a lasting impact. However, occasional sound mix issues muddled some of the sharp lyrics, particularly in “Sal Tlay Ka Siti,” where I missed many of the jokes due to sound problems. Despite this, the score was still a standout element, adding depth and humor to the production.

As someone who thrives on sharp satire, I found The Book of Mormon uproariously funny, but I couldn’t ignore that its irreverence might alienate more devout audiences. The humor—bold, unapologetic, and occasionally crass—walks a tightrope, and some jokes might feel more abrasive than amusing depending on your perspective. It’s this audacity, though, that makes the show so compelling, challenging audiences to laugh while grappling with uncomfortable truths. The 2020 revisions reflect how times have changed since the show’s 2011 debut, addressing cultural sensitivities and updating certain portrayals to resonate with today’s more inclusive conversations. While the core satire remains intact, the adjustments acknowledge evolving perspectives and invite a more thoughtful dialogue alongside the laughter.

Despite a few faltered notes and moments that toe the line between satire and insensitivity, The Book of Mormon remains a must-see for lovers of musical theater who crave humor with a side of contemplation. It’s a wild ride of bold comedy and biting commentary—just make sure you’re ready to laugh, think, and embrace the irreverence without holding back.