The Book of Mormon

Because it was the "must-see" Broadway show of 2011, winning a total of 9 Tony Awards, I dutifully paid through the nose for tickets to see "The Book Of Mormon" on my first-ever visit to New York in March 2012, and, as it so often goes when the hype surrounding a production is that extreme, I was slightly disappointed.

Whether it was a culture or language barrier -- having just moved from the UK -- or the fact that I had never in my life met a Mormon before, while the rest of the audience cackled and guffawed their way through the performance, the jokes simply didn't land for me.

So it was with apprehension and carefully reigned anticipation that I visited the beautiful Ziff Ballet Opera House at Miami's Adrienne Arsht Center to see the touring production of the hit show, "The Book Of Mormon" and for whatever reason, this time I just got it.

Following the story of two young Mormon missionaries, the upstanding Elder Price and the socially inept Elder Cunningham, as they are sent on their first mission to Uganda, Africa, "The Book Of Mormon" goes where few preceding musicals have dared, and is consequently not for the faint of heart or those who are easily offended.

Opening with a heavenly backdrop and the sound of Angels heralding, a very "South Park"-ish voice-over set the premise of the history of the Mormon religion in "ancient America," and it became immediately apparent that this was a very ballsy, blunt spoof of what is often a rather touchy subject: religion. However the audience was instantly on board with the wittily comedic writings of Trey Parker and Matt Stone in partnership with Robert Lopez, (co-writer of the popular musical "Avenue Q,") and the opening number "Hello" rang that bell of familiarity for so many, making it all the more hilarious.

Portraying Mormons as the ultimate dorks, the unrelenting enthusiasm of the ensemble was catching in the numbers "Two By Two" and "Turn It Off" which featured an entirely unexpected tap dancing break and clever costume change, putting the audience in hysterics.

The two leads, Elders Price and Cunningham were cleverly cast, with Elder Price played by Robert Colvin, on loan from the UK thanks to an Equity exchange program. Colvin was born for this role and embraced the silliness with exuberance whilst still managing to play it straight, his charisma enhancing the believability of his character and his vocals spot on throughout the challenging score. He sang the climactic solo "I Believe" with ease, carrying the difficult "ee" vowel without the tension so often heard in Musical Theater, and what's more, the number directly followed his most energetic song "Spooky Mormon Hell Dream" showcasing his extreme stamina both physically and vocally. Needless to say, I was impressed.

Connor Pierson was likewise perfect for his role, capturing the loneliness and low self-esteem of Elder Cunningham in a way that was also buoyant and incredibly endearing. The role was initially played on Broadway by breakout star Josh Gad who then went on to play Olaf in "Frozen," but Pierson more than filled those shoes both vocally and with the same sort of precision comic timing. Outstanding throughout, he really came into his own in the Act One finale "Man Up," a well-placed rock anthem, complete with dancing Darth Vader.

The introduction of the Ugandan villagers provided a stark contrast to the Mormon ensemble, and the number "Hasa Diga Eebowai" -- I won't tell you what that means -- made light of serious issues such as AIDS and female circumcision among other things, singing witty vulgarities in such divine harmonies that it was difficult for me to decide whether to be shocked or impressed, and in the end I settled for both.

Kim Exum, as the delightfully na�ve Nabulungi, was a breath of fresh air as the only female lead, and her solo "Sal Tlay Ka Siti" did justice to the ingenious writing, her impeccable diction despite the heavy African accent meaning we didn't miss a thing.

With sets that moved like magic between destinations from one side of the world to the other, and lighting that was consistently appropriate so as to never detract from the scene the technical aspects of the performance were completely on point throughout.

Undoubtedly, however, one of the absolute highlights of the show was the incredible choreography, which ranged in style from African tribal moves to Broadway tap, to Fosse and everything in between. I couldn't help but think as I watched, that choreographer Casey Nicholaw must have had so much fun while creating the extraordinarily inventive choreography for this show, and the passion in every move was evident as it transferred through the talented cast members and into the audience.

It is exactly this quality, this dedication that takes a great show and makes it exceptional, and it cannot succeed without the unconditional commitment of every person involved, from the writers and directors to the complete cast and crew, to the audience themselves, with everyone needing to buy in. "The Book Of Mormon" is a show that lends itself to that, and what's more, it demands it of its audience.

Without the willingness to let go of preconceived ideas and prejudices, this show will simply be what it was for me the first time I saw it, a mildly funny but mostly crass presentation of Broadway talent. But by allowing yourself to find humor rather than offense in the outrageously politically incorrect comedy, you will join the chorus of raving fans around the world, and laugh until your sides split.

Sometimes we all need to cut through the bull-poop and just enjoy life. Amen.

"The Book Of Mormon" runs through December 3 at the Adrienne Arsht Center for the Performing Arts, 1300 Biscayne Boulevard, Miami. For information or tickets, call 305-949-6722 or visit http://www.arshtcenter.org