Type – Musical, Comedy, Satire
If you liked – Avenue Q (musical); South Park (TV series); The Producers (musical)
The Book of Mormon: The show that still demonstrates that a well-written show doesn’t always need a ‘headliner performer’ to sell
With its first few weeks already sold out, The Book of Mormon has blessed the stage of Melbourne’s historic Princess Theatre once again after its highly successful run in 2018. It’s refreshing to experience a professional large-scale musical standing on its own merits of success with no famous faces as headliners to promote it. The show itself is the star, and yet this is not for the easily offended.
The Book of Mormon is from the creative brains of South Park and Cannibal (The Musical) Trey Parker and Matt Stone, in collaboration with Robert Lopez, one of the most accomplished songwriters of his generation. Lopez’s amazing talent gave us the award-winning (very) adult puppet show Avenue Q, contrasting strongly with five year olds dancing and singing obsessively with his music from the Frozen franchise. Lopez has an incredible ability to compose music with unforgettable earworms, resulting in repeated successes. The combination of Parker, Stone and Lopez is a match made in heaven. With Parker and Stone’s humour and all three’s willingness to break the chain of what’s acceptable in on stage.
The book, at its heart, is like most musical theatre creations: the circle of relationships and self-discovery. In this case though, it’s not a romance we are invited to invest in, but a friendship and coming-of-age story; navigating cultural and personal differences, recrimination and reconciliation all wrapped up with jazz hands and everything you’ve come to expect from a big musical.
For the uninitiated, The Book of Mormon is the story of two young men – Kevin Price and Arnold Cunningham. Having finished their training to go out into the world as missionaries for the Church of Jesus Christ of Latter-Day Saints (also known as the Mormons), they have been paired together as companions to find, recruit, and baptize new members to the church. The devout and preppy Elder Price is expected to shine in his mission, whilst the dorky and awkward Elder Cunningham just hopes for a friend. The pair unexpectedly get sent to a remote Ugandan village, which they quickly find out is nothing like The Lion King. With their faith tested from the moment they are paired, they learn there has been no success in baptizing the locals, alongside the realities of Uganda, and who they blame for their woes and misfortune.
The story and character traits are extremely irreverent and satirical. With plenty of shock value and some “did they really just say that?” moments that only work in context. Similar to Avenue Q, The Book of Mormon gets away with its crude and controversial themes and delivery because, at its heart, it’s a relatable story of people trying to find their place in a world that doesn’t connect with how they’ve been taught to think or feel. A theme that isn’t just unique to Mormons, but religion and personal acceptance as a whole.
There are so many music highlights that you’ll be bopping along in your seat and humming for days, even if, on occasion, sound levels were overpowering the vocals. The music and song lyrics are all strong in underlining the narrative from the opening number “Hello” highlighting the door-knocking missionaries, to the psychological challenges with religious indoctrination in “Turn It Off”, as well as “Spooky Mormon Hell Dream” that felt like something straight out of a South Park.
In Act 2, Elder Price delivers a powerful song, “I Believe” which is the only piece not taking any artistic license in its content, with Elder Price passionately recalling facts of Mormonism that he truly doesn’t question. Even with audiences laughing, the strength in its delivery reminds us not to dismiss other people’s beliefs and faiths, just because we may not share them. It demonstrates the complexity of balancing satire without crossing the line from the source material and the reality that populations in Africa face.
…deliciously camp, crass, and stereotyped as only Parker and Stone can get away with
Scott Pask’s set design moves cleanly between the blue skies and cool palette of Salt Lake City against the contrasting Ugandan reds, clays, and weather-beaten mud huts. Ann Roth’s costuming helps bring Pask’s set to life. In a show that is embracing mockery, Roth has gone for accuracy, making the production’s irreverence even more pronounced. Together, there is plenty of visual humor to enjoy.
The cast presents a very polished show, with co-director Casey Nicholaw’s choreography highly entertaining. The incredible ensemble, with several professional debuts, commits to every scene and role, which is instrumental in having the controversial and camp humor land beautifully.
Sean Johnston, the confident poster-boy for Mormonism Elder Price, and Nick Cox, the eager-to-please Elder Cunningham have exceptional chemistry together, both taking these roles on with gusto. Meanwhile, Tom Struik brings infectious energy and plenty of laughs to the camp, and sexually repressed Elder McKinley.
Making her professional debut is Paris Leveque as Nabolungi, who brings an endearing warmth to the role, and a heartwarming relationship with Simbarashe Matshe as her father and village leader Mafala Hatimbi.
Is The Book of Mormon Worth Seeing in Melbourne?
The humour is deliciously camp, crass, and stereotyped as only Parker and Stone can get away with. However, I’ll be honest… if you find South Park too vulgar, or you struggled with this show’s content the first time, this show is not for you.
However, look past the jokes, and you’ll find a heartwarming story of friendship and acceptance of others’ differences. One of the funniest shows to hit the stage, go and say “Hello” to the Book of Mormon!
Tickets and Practical Info for The Book of Mormon in Melbourne 🎟️
Playing at Melbourne’s Princess Theatre until 31st May, followed by Brisbane’s Glasshouse Theatre, QPAC from July 2026.
Tickets: https://thebookofmormonmusical.com.au/
CAST
Sean Johnston Elder Price
Nick Cox Elder Cunningham
Paris Leveque Nabulungi
Tom Struik Elder McKinley
Simbarashe Matshe Mafala Hatimbi
Augie Tchantcho The General
Matthew Hamilton Mission President
Malachi Alexander Swing
Connor Banks Griffith Ensemble
Hayden Baum Swing
Jade Baynes Swing
John Rex Berry Ensemble
Oscar Bridges Ensemble
Kemari Bryant Ensemble
Chloe Davison Ensemble
Deja Simone Swing
Blake Douglas Ensemble
Bayley John Edmends Ensemble
Josh Gardiner Standby Elder Cunningham
Luke Haberecht Swing / Co-Dance Captain
Prophecy Mudzingwa Ensemble
Josh Mulheran Ensemble
Sekou Salah Nance Ensemble
Mickey Nixon Ensemble
Alexis Ijeoma Nwokoji Ensemble
Justin Phillips Ensemble
Reynel Reynaldo Swing / Co-Dance Captain
Callum Rigg Standby Elder Price
Liam Robertson Ensemble
Chelsea Smith Ensemble
Jasmine Vaughns Ensemble
