It shouldn't have worked. Seriously. When you take the creators of South Park, mix in the guy who co-wrote the songs for Avenue Q and Frozen, and then try to sell a story about two teenage missionaries in war-torn Uganda to a high-society New York audience, you’re usually asking for a massive flop. Instead, we got The Book of Mormon Broadway, a show that didn't just win nine Tony Awards but basically redefined what a modern musical could actually be. It’s been running since 2011, and honestly, the theater is still packed every single night at the Eugene O’Neill Theatre.
People come for the shock value. They stay for the heart. That’s the secret sauce nobody talks about enough. Trey Parker and Matt Stone have this reputation for being these nihilistic agents of chaos who just want to offend everyone, but if you look at their track record, they actually have a weirdly deep respect for the concept of faith, even if they think the specific dogmas are hilarious. Along with Robert Lopez, they crafted a show that is technically a "perfect" musical in the most traditional sense. It follows the rules of Rodgers and Hammerstein while simultaneously lighting them on fire.
The Weird History of How This Thing Got Made
Back in 2003, Parker and Stone were in New York working on Team America: World Police. They ended up at a performance of Avenue Q and met Robert Lopez. As the story goes, they went out for drinks afterward and realized they all wanted to write something about Joseph Smith and the origins of the LDS Church. It wasn't a quick process. It took seven years of workshops, rewrites, and developmental readings to get it right. They were obsessed with making sure the music wasn't just "funny" but actually good.
You can hear that effort in every note. Take a song like "Hello!"—it’s an opening number that establishes the rhythm, the tone, and the relentless optimism of the characters in under four minutes. It’s catchy. It’s annoying. It’s perfect.
Then you have the characters. Elder Price is the "golden boy" who thinks he’s destined for Orlando (because of course he is) and Elder Cunningham is the insecure, "science-fiction-loving" sidekick who just wants to be liked. It’s a classic buddy-comedy trope, but it works because the stakes feel real to them. When they get sent to Uganda instead of Florida, the culture shock isn't just a joke; it’s the catalyst for the entire plot.
Is It Actually Offensive?
That’s the big question, right?
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If you ask the Church of Jesus Christ of Latter-day Saints, they’ve been surprisingly chill about the whole thing. Instead of protesting, they famously took out ads in the playbill that said, "You've seen the play, now read the book." It was a brilliant PR move. They leaned into the joke.
But the show doesn't just poke fun at Mormons. It’s a brutal satire of American exceptionalism and the way Westerners often view "developing" nations as props for their own personal growth. The villagers in the show—led by the character Nabulungi—aren't just victims; they’re people dealing with systemic violence and an AIDS epidemic who are understandably skeptical of two white kids showing up to talk about a "Third Testament" written on gold plates in upstate New York.
The humor is profane. There’s no getting around that. If you’re sensitive to language or religious satire, The Book of Mormon Broadway is going to make you cringe. Hard. But beneath the jokes about frogs and "Hasa Diga Eebowai" (don't translate that if you're at work), there is a genuine exploration of what it means to help people. Is the "truth" of a story more important than the comfort or community it provides? The show argues that maybe it isn't.
Why the Cast Matters So Much
The original cast was lightning in a bottle. Andrew Rannells and Josh Gad were perfect foils for each other. Rannells had that uncanny, plastic-molded-hair energy that defined Elder Price, while Gad brought a chaotic, improvisational vibe to Elder Cunningham.
But here is the thing: the show has survived long after they left.
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That’s the hallmark of a truly great production. Whether you're seeing it in London’s West End, on a national tour in Des Moines, or back on Broadway, the script is tight enough that it doesn't rely on a single star. The ensemble is the backbone. The choreography by Casey Nicholaw—who also co-directed—is athletic and precise. It’s a high-energy marathon that leaves the audience exhausted just from watching.
The Musicality of the Absurd
Let's talk about the songs for a second. Robert Lopez is a genius at "earworm" construction.
- "I Believe": This is the show's "Defying Gravity." It’s a soaring, inspirational anthem that happens to contain lyrics about the Garden of Eden being in Jackson County, Missouri.
- "Turn It Off": A tap-dancing masterpiece about suppressing unwanted emotions. It’s dark, hilarious, and technically impressive.
- "Baptize Me": A song that uses religious metaphors to describe... well, something else entirely. It’s a masterclass in double entendre.
What to Know Before You Go
If you’re planning to snag tickets, there are a few things to keep in mind. First, don't bring your kids. Seriously. I’ve seen people bring ten-year-olds, and by the middle of Act One, they are covering the kid's ears while reconsidering their life choices. This is a hard-R rated show.
Second, the Eugene O’Neill Theatre is intimate. There really isn't a "bad" seat in the house, but the mezzanine offers a better view of the choreography, which is half the fun.
Prices? They aren't cheap. It’s Broadway. Expect to pay anywhere from $99 for "partial view" seats to $300+ for premium orchestra. If you’re feeling lucky, there’s a digital lottery. You can enter on the official website for a chance to get $45 tickets. It’s a long shot, but people do win.
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Acknowledging the Criticism
It’s worth noting that the show hasn't existed in a vacuum for fifteen years. Since 2011, the conversation around representation in media has changed significantly. Some critics have pointed out that the portrayal of Ugandan villagers relies on tired tropes of "the dark continent" to make its points.
During the 2020 theater shutdown, the creators and cast actually got together to discuss these issues. When the show reopened in 2021, they had made subtle tweaks to the script. They didn't change the plot, but they adjusted the power dynamics to give the Ugandan characters more agency and "wink" more at the audience regarding the absurdity of the missionaries' perspective. It was a necessary evolution. It shows that even a "juggernaut" show can listen and adapt.
The Long-Term Impact
The Book of Mormon Broadway paved the way for more "edgy" content to find a home on the Great White Way. It proved that you could be vulgar and commercially successful at the same time, provided the craft was top-tier. It also boosted the careers of dozens of performers who have gone on to become household names.
It remains one of the highest-grossing shows in history. Why? Because it’s a "safe" kind of dangerous. It pushes boundaries, but it ends on a note of community and hope. It’s a celebration of the human ability to tell stories—even the weird ones—to get through the day.
If you’re looking for a profound theological debate, go to a seminary. If you want to laugh until your ribs hurt while watching a line of tap-dancing Mormons in white button-downs, this is your show.
Actionable Next Steps for Your Trip
- Enter the Lottery Early: The digital lottery usually opens the day before the performance. Set a reminder on your phone for 10:00 AM.
- Listen to the Soundtrack First: Unlike some shows where you want to be surprised, knowing the lyrics to Mormon actually makes the experience better because the jokes fly so fast you might miss them in person.
- Check the Runtime: The show is about 2 hours and 30 minutes, including one 15-minute intermission. Plan your dinner reservations accordingly; the theater district gets crowded fast.
- Explore the Area: The Eugene O’Neill is on 49th Street. Grab a drink at one of the nearby spots like Glass House Tavern before the show to soak in the atmosphere.
- Keep an Eye on Cast Changes: While the show is great regardless of the leads, check sites like Playbill or BroadwayWorld to see if there are any special guest performers or notable understudies during your visit.
The show isn't going anywhere. It’s a modern classic. Whether you love it or find it totally "wrong," you can't deny the sheer craft that went into making a musical about a small religious group one of the biggest cultural touchstones of the 21st century.