You’ve probably heard the hype. Maybe you’ve even seen the poster with the two squeaky-clean guys in white shirts and black ties. It’s been over a decade since The Book of Mormon play first crashed into the Eugene O’Neill Theatre, and honestly, it’s still one of the weirdest success stories in Broadway history. People expected it to be a disaster. Or at least a lawsuit waiting to happen. Instead, it became a 9-Tony-winning juggernaut that is still selling out shows in 2026.
But here is the thing: most people think it’s just a two-hour long "South Park" episode with jazz hands.
It’s not. Well, it sorta is, but there’s a lot more under the hood than just shock value and f-bombs directed at the heavens. If you're looking at those ticket prices and wondering if it's still worth it, or if the humor even holds up in today's world, you aren't alone.
Why The Book of Mormon play is more than just "South Park" on stage
Trey Parker and Matt Stone, the minds behind South Park, teamed up with Robert Lopez (the guy who co-wrote the songs for Frozen and Avenue Q) to build this thing. That’s a wild trio. You’ve got the kings of "nothing is sacred" satire working with a guy who knows how to write a Disney earworm.
The result? A show that is technically a "perfect" musical.
👉 See also: Ted Nugent State of Shock: Why This 1979 Album Divides Fans Today
Musically, it follows the "Golden Age" structure. You have the "I Want" song, the big Act 1 finale, and the tap-dancing showstopper. It’s actually incredibly traditional in its bones. This is why it works. If it were just two hours of making fun of Mormons, it would have died in 2011. Instead, it’s a story about two kids—Elder Price and Elder Cunningham—who get sent to a remote village in Uganda. Price is the "golden boy" who wanted to go to Orlando. Cunningham is the pathological liar who hasn't actually read the book he's supposed to be teaching.
The "Turn It Off" effect
One of the most famous songs, "Turn It Off," is a tap-dance number about repressing unwanted thoughts. It’s funny, sure. But it also hits on a very real, very human experience of trying to fit into a mold that doesn't quite work. It’s this weird mix of cynicism and genuine heart that keeps people coming back.
Is it actually offensive? (The short answer: Yes)
Let’s be real. If you are easily offended, this is not your show.
The play tackles some pretty heavy, uncomfortable stuff:
✨ Don't miss: Mike Judge Presents: Tales from the Tour Bus Explained (Simply)
- Warlords and violence: The main antagonist is a guy named General Butt-Fucking-Naked (yes, really).
- The AIDS crisis: It’s used as a backdrop for several jokes that make some audiences squirm.
- Blasphemy: There is a whole song dedicated to cursing God.
In 2020, following the George Floyd protests, several Black cast members actually called for script revisions. They felt the portrayal of the Ugandan villagers relied too heavily on "white savior" tropes and "noble savage" stereotypes. The creators actually listened. They didn't rewrite the whole show, but they tweaked things to give the villagers more agency. They aren't just props for the white missionaries' growth anymore; they’re smarter and more skeptical of the nonsense being fed to them.
It’s a complicated piece of art. Some critics, like those at Arts at Michigan, have pointed out that the satire sometimes feels like it punches down at the African characters to make a point about the American ones. Others argue that the joke is always on the missionaries' ignorance.
What the Mormon Church actually thinks
This is the part everyone gets wrong. You’d think the Church of Jesus Christ of Latter-day Saints (LDS) would be picketing outside with "Burn in Hell" signs.
Nope. They were smarter than that.
🔗 Read more: Big Brother 27 Morgan: What Really Happened Behind the Scenes
Instead of fighting it, they bought ad space in the playbills. Their ads usually said something like: "You've seen the play, now read the book (the book is always better)." It was a genius PR move. They basically leaned into the "nice Mormon" stereotype the play parodies. According to Trey Parker in various interviews, the creators were actually surprised by how chill the response was. They grew up around Mormons in Colorado and knew they were generally "nice people," but the church’s decision to piggyback on the show’s success was a masterclass in marketing.
Can it still sell out in 2026?
As of early 2026, The Book of Mormon is the 12th longest-running musical in West End history and continues to break house records at the Eugene O'Neill on Broadway. It’s grossing over $1.1 million a week on average.
Why? Because it’s a "gateway drug" for people who hate musicals.
It pulls in the crowd that thinks Broadway is just cats and falling chandeliers. It’s edgy. It’s fast. And honestly, it’s just really well-written. Even if you hate the jokes, you’ll probably be humming "Hello!" for three days straight.
Actionable steps for seeing the show
If you’re planning on catching a performance, don't just wing it. Here is how to actually do it right:
- The Lottery is Your Best Friend: Don't pay $300 for a seat if you can help it. Both the Broadway and London productions run digital lotteries. You can often snag front-row or box seats for around $40-$50. Enter every day; your odds are better than you think.
- Do a 5-minute Wiki Search: You don't need to know Mormon theology, but knowing who Joseph Smith and Brigham Young are will make about 30% more of the jokes land.
- Check the Cast: While the original stars (Andrew Rannells and Josh Gad) are long gone, the 2026 Broadway cast features Diego Enrico as Elder Cunningham and Kevin Clay as Elder Price. Enrico, especially, has been getting rave reviews for bringing a fresh, slightly more grounded energy to the role.
- Manage Your Expectations: Remember that this is satire from the creators of South Park. It is designed to make you uncomfortable at times. If you go in expecting a polite Sunday school lesson, you’re going to have a bad time.
- Location Matters: If you’re in London, the Prince of Wales Theatre is currently booking through April 2026. If you're in the US, the national tour is constantly hitting "Tier 1" cities like Chicago, Bloomington, and Washington D.C.
Ultimately, the play isn't really about religion. It’s about the power of storytelling. It’s about how we use myths and legends to make sense of a world that is often cruel and nonsensical. Whether the stories are true doesn't seem to matter to the characters as much as whether the stories help them get through the day. And in 2026, that's a message that still rings pretty loud.