The Book of Mormon Musical Review | Nic Tuxford

The Book of Mormon – Review

To be honest, I almost didn’t go. I work remotely, and the day had been non-stop – back-to-back calls, last-minute deadlines, and the kind of screen fatigue that makes the idea of leaving the house feel impossible. I was already cutting it fine, but then the bus didn’t turn up. Classic. We ended up in the most dangerously driven Uber of my life – speeding, swerving, the lot. By the time we got to the Theatre Royal, I was stressed, hungry, and wondering why I hadn’t just stayed home.

But I’m so glad I didn’t.

I’ve always liked The Book of Mormon soundtrack. It’s sharp, silly, and properly catchy. But seeing it on stage? That sealed it. The timing, the energy, the delivery – everything just landed. It was hilarious from start to finish.

Even the Theatre Royal in Nottingham couldn’t ruin it. And I say that as someone who usually finds the seats too cramped and the wine overpriced (and not in a fun, “treat yourself” kind of way – just genuinely bad).

It was exactly the kind of night I didn’t know I needed.

What The Book of Mormon Is Actually About

If you’ve somehow missed the hype, The Book of Mormon is a musical comedy that follows two young Mormon missionaries, Elder Price and Elder Cunningham, as they’re sent to Uganda to preach the faith. One’s confident and polished. The other is socially awkward and prone to making things up. Predictably, things don’t go to plan.

It’s the kind of show that’s definitely not for everyone. The humour is dark, rude, and intentionally offensive. But it’s also clever. The script leans hard into satire, poking at organised religion, Western idealism, and the gap between belief and reality—while still managing to feel weirdly hopeful.

It was written by Trey Parker and Matt Stone (the creators of South Park) and Robert Lopez (who co-wrote Frozen and Avenue Q), which explains a lot. It opened on Broadway in 2011, won nine Tony Awards, and has been running in the West End for over a decade. Basically, it’s got serious comedy credentials.

If you’re easily offended, it’s not for you. But if you’re into musical theatre that makes you laugh out loud while also muttering “Oh my god, they did not just say that”—you’ll probably love it.

The Cast: Strong Voices, Sharply Drawn Characters

This cast was one of the best things about the show, and not just because the comic timing was tight. There was real vocal and emotional depth, too.

Nyah Ayoade as Nabulungi was a standout for me. Her vocals were genuinely stunning – tonal, controlled, and full of texture. None of that overly poppy belt you sometimes get in musical theatre lately. She had proper range, and every note felt like it belonged to the character, not a vocal coach’s checklist.

Adam Bailey was equally strong as Elder Price. He really leaned into the narcissism of the classic Mormon “hero” figure – confident to the point of delusion, but still just likeable enough that you didn’t want him to fail. It made the character’s unravelling all the more satisfying.

Obviously Will Carey was brilliant as Elder Cunningham. It’s a great comic role to begin with, but he brought a lot of warmth and unpredictability to it. His chemistry with Adam was spot-on – the two of them bounced off each other in a way that felt natural and well-rehearsed, without being too slick.

Tom Bales gave a hilarious performance as Elder McKinley. It’s a smaller role, but he absolutely made the most of it – especially in his big number, which had the whole theatre howling. That mix of upbeat repression and barely-contained panic was played to perfection.

Both ensembles were exceptional. The Ugandan ensemble had some of the most beautiful vocals of the night – rich, layered harmonies that gave the show some much-needed balance against the constant humour. The Mormon ensemble was just as tight, with precision choreography and comic timing that never missed a beat.

Kirk Patterson managed to steal every moment he was in with sheer ridiculousness, and Rodney Earl Clarke brought real presence to the General – booming voice, deadpan delivery, and a total refusal to wink at the audience, which made it even funnier. The female ensemble members also really held their own in what’s a heavily male-dominated cast—every entrance felt strong, grounded, and deliberate.

It was one of those casts where no one felt out of place. Everyone brought something to the table.

Why It Feels Different on Stage

I already knew the soundtrack pretty well. “Hello!” has always been my favourite – I get it stuck in my head at least once a week. It’s catchy, precise, and somehow both over-the-top and deadpan at the same time. But seeing it performed live just took it up a notch. The synchronisation, the forced smiles, the awkward choreography – it was everything I wanted it to be.

“Spooky Mormon Hell Dream” was a real standout. On the soundtrack, it’s clever. On stage, it’s a full spectacle – loud, intense, and brilliantly absurd. The staging and lighting were relentless in the best way, and it had the whole audience properly laughing.

And “Turn It Off”? That one’s never really done much for me in audio, but live, it was a different story. The choreography turned it into one of the funniest and most surprising numbers of the night. The timing, the sudden shift in tone, and the sheer theatricality of it completely won me over.

Then there’s the play-within-the-play. I won’t spoil too much, but it was gloriously unhinged. Over-the-top in all the right ways, and just the kind of no-holds-barred moment the show builds towards. The costumes were ridiculous (including a set of fake willies that nearly tipped me over the edge), and the whole thing was cheeky, fast-paced, and properly funny.

Seeing The Book of Mormon live just brings everything into sharper focus. The humour lands harder, the characters feel bigger, and you really get to appreciate how tight the staging and delivery are.

A Musical That Knows Exactly What It’s Doing

There’s a reason The Book of Mormon has stuck around this long. It walks a very fine line – offensive on purpose, but also incredibly self-aware. It’s not just trying to shock for the sake of it. The humour has a point.

It’s not the first time Trey Parker and Matt Stone have taken aim at Mormonism either. If you’ve seen the South Park episode “All About Mormons,” you’ll already know they’ve been making fun of the religion’s origin story for years. That same mix of over-the-top storytelling and straight-faced delivery is all over this musical. It’s absurd, but very intentionally so.

The Book of Mormon doesn’t just poke fun at faith – it tackles religion, colonialism, white saviourism, and the whole idea of “doing good” without understanding context. It takes all of that and holds it up to the light. And somehow still makes you laugh.

That’s what impressed me most. Beneath the swearing and silliness, there’s actual structure and clarity. The jokes are deliberate. The escalation is planned. The outrageous moments work because they’re built on a foundation of good storytelling and sharp writing.

It’s not a musical for everyone. If you like your theatre polished and polite, this won’t be your thing. But if you’re up for something bold, clever, and not afraid to poke fun at absolutely everything, including itself, it delivers.

And somehow, despite everything, it still ends with a weird kind of hope. It’s cynical, but not bitter. Ridiculous, but not empty. It knows exactly what it’s doing – and that’s why it works.

Would I Recommend It?

Absolutely. As long as you know what you’re getting into.

The Book of Mormon is not subtle, and it’s definitely not family-friendly. But if you’ve got even a slightly dark sense of humour, and you’re open to something a bit irreverent and ridiculous, it’s a brilliant night out. It’s sharp, fast-paced, and actually a lot cleverer than it first appears.

The cast was faultless, the staging was slick, and the whole thing had real momentum – no slow bits, no filler. Even the moments that felt deliberately awkward had purpose.

That said, I wouldn’t recommend it to anyone easily offended or expecting a traditional musical theatre vibe. It leans much closer to South Park than Les Mis. But if that’s your thing? You’ll love it.

Also, it’s worth noting – you’re unlikely to see this one pop up in amateur theatre any time soon (if ever). The licensing is tightly controlled, and let’s be honest, most local societies wouldn’t touch it with a bargepole. So if you get the chance to see the professional tour, take it. There’s nothing else quite like it.

If you’re planning to see it in Nottingham, just a heads up – the Theatre Royal isn’t my favourite venue. The seats are cramped, the wine’s overpriced, and the vibe’s a bit hit-and-miss. But even that couldn’t take away from the experience. I’d still go again. Just maybe skip the bar.