By Michael Drapa
Photo by Lloyd DeGrane
“ They talk a lot about how writing is just making your buddy laugh. You keep on writing and writing until you get to the part that makes your friend laugh.”
When alumni Mark Hollmann and Greg Kotis created Urinetown: The Musical, they challenged theater convention by drawing on their interests while at the University, and the improvisational skills they honed at Jimmy’s Woodlawn Tap.
With its toilet-centric setting, a plot where the downtrodden do not triumph, a score with allusions to everything from Kurt Weill to Marc Blitzstein’s The Cradle will Rock, the quirky Urinetown was a smash hit, earning three Tony Awards in 2002.
The witty musical has been performed from Broadway to London to Tokyo. For 10 days in March, it was the University’s Theatre and Performance Studies’ main stage production.
Hollmann, AB’85, and Kotis, AB’88, spoke with students before attending the Friday, March 13 show. Among their advice: Embrace your inner egghead, and don’t be afraid to make it up as you go along.
“What we had, and what you have, was this goofy, off-beat, reference-level mind,”Kotis says. “Urinetown exists because we’re products of this school. There’s a special thing in the water here … something we can bring to our material that someone from a conservatory or a strict theater writing program can’t bring.
“That’s your ace in the hole.”
The idea for Urinetown came to Kotis in 1995 following a European tour with the Neo-Futurists, a theater group based on the city’s North Side. Nearly broke, he struggled to justify using Paris’ pay toilets, and began envisioning a world in which private toilets are banned.
Later that year, when Kotis moved to New York, he reconnected with Hollmann, whom he first met through the Cardiff Giant Theater Company, a Chicago improv group.
Hollmann was working as a word processor while moonlighting as an organist for a Lutheran church. “With nothing better to do,” the duo went to work on the script and score, with the grand sanctuary of Hollmann’s church providing a perfect rehearsal space.
The two writers never expected the play to have much success. One of the play’s characters, Little Sally, pokes fun at the author’s low expectations, saying, “I don’t think too many people are going to come see this musical.”
When Urinetown struggled to make it to the stage, Hollmann and Kotis decided to produce it. The first show to open on Broadway after Sept. 11, Urinetown eventually earned Tony Awards for best score, best book, and best direction for a musical.
“I could only keep it together to talk because of years of high school debate and speech,”Hollmann says of the night he received the award. “It was like an out-of-body experience.”
Heidi Coleman, Director of the University’s TAPS Program, says the visit “demonstrated to students that they are part of an amazing theater program. It is a source of pride to have Tony Award-winning alums recognize your work.”
One of the goals of the program is to engage students with professional dramatists. During recent months, Chicago graduates from Scott Sherman, AB’04, who helped write the sketch show, “Important Things with Demetri Martin” to Bernie Sahlins, AB’43, co-founder of Second City, have met with students.
Fourth-year Augie Praley, who played Caldwell B. Cladwell in the TAPS production, says Kotis’ description of the writing process—like getting a couch up a flight of stairs—resonated with him, as did his experience as a first-generation player in the improv group Off-Off Campus.
“They talk a lot about how writing is just making your buddy laugh. You keep on writing and writing until you get to the part that makes your friend laugh.”
Sitting on the stage he once called home was “humbling and exciting” to Hollmann, whose first musical (Kabooooom!) was performed in Mandel Hall in 1987.
“I don’t think Urinetown would exist if Greg and I hadn’t found each other through this comedy group that started at the University of Chicago and that was populated mostly by other U of C alumni,” says Hollman. “That shared experience made us click as collaborators.”
As a young Political Science major, Kotis once contemplated giving up theater, so to see Urinetown on the University stage is “bizarre and surreal.”
“I got a sense that a life in the arts would be one full of folly and doom and sort of destitution. My hope coming to the University was that I would rid myself of that childish desire. I would put it aside and become a serious person and have a real degree and get a real job,” says Kotis. “And at some point, I just sort of admitted that I like doing this too much.”
He loves the unpredictable nature of theater. “I think half the time you’re convinced the worst is coming, and half the time the best is coming.
“So something like this completely confounds expectations.”