The iconic, irreverent musical The Book of Mormon, the brainchild of Trey Parker, Matt Stone, and Robert Lopez, has landed in Nottingham’s Theatre Royal this month, bringing with it a riot of laughter, showstopping tunes, and a reminder of how thrilling live musical theatre can be. Since its 2011 debut on Broadway – where it swept the Tony Awards – the show has played to millions, and it’s easy to see why.
This touring production, produced by Sonia Friedman Productions and Important Musicals, maintains the slick polish that’s become synonymous with The Book of Mormon, even as it reveals a few signs of age in places.
Leading the cast is Sam Glen who is a fantastic Elder Cunningham, brimming with manic energy and wide-eyed mischief. His portrayal is wonderfully silly yet endearing – he mines every opportunity for comedy but never loses sight of the character’s underlying sweetness. Glen’s comic timing is a real highlight, and he brings a welcome warmth to the role that balances out the satire.
Adam Bailey as Elder Price, whose performance perfectly captures the bright-eyed, slightly egotistical optimism of his character. Bailey’s vocals soar effortlessly through Price’s more demanding numbers, and he brings real charm to the show’s comedic moments.
Nyah Nish’s Nabulungi is another standout, infusing her character with earnest hopefulness and an engaging vulnerability. Her vocals are crystal clear, particularly in the heartfelt “Sal Tlay Ka Siti”, which is delivered with moving sincerity.
The supporting cast is uniformly strong. Tom Bales as Elder McKinley is delightfully flamboyant, leading the show’s big tap number, “Turn It Off”, with aplomb. Kirk Patterson’s Mafala Hatimbi provides a calm, grounded presence and handles the show’s more absurd comedic turns with a knowing wink. Will Barratt and Bertram Okoro offer robust support as Joseph Smith and the General, rounding out a cast that is both versatile and cohesive.
Casey Nicholaw’s choreography remains a highlight of the show, and this cast executes it with precision and panache. From the high-energy “Two by Two” to the tongue-in-cheek “Spooky Mormon Hell Dream”, every number is delivered with verve and style. The ensemble is tireless, seamlessly weaving between characters and costume changes with a fluidity that keeps the show’s brisk pace intact.
The score – a witty pastiche of musical theatre tropes – is in great hands here. The harmonies are crisp and full-bodied, and the orchestrations (by Larry Hochman and Stephen Oremus) give the music a lush, Broadway-worthy feel. Numbers like “I Believe” and “Hasa Diga Eebowai” still pack a punch, showcasing the show’s blend of irreverence and genuine musicality.
Visually, the production is vibrant but shows some signs of its long history. Ann Roth’s costume design is a delight, from the missionaries’ starched shirts to the villagers’ bright and joyful attire. Costume changes are managed seamlessly, and the production’s attention to detail – particularly in the more fantastical numbers – keeps the eye engaged.
However, Scott Pask’s set design, relying on painted backdrops and skrims, feels a little tired. While still serviceable, it doesn’t quite match the polish of the performances and choreography. The set pieces, though cleverly used, sometimes lack the dynamism that newer productions offer – a minor letdown in an otherwise slickly executed show.
One of the production’s greatest strengths is its pacing. Clocking in at just over two hours, the show is lean and taut, with barely a wasted moment. This is a testament to the strength of the writing – the book and lyrics are sharp and consistently funny, rarely letting up in energy or momentum.
The show’s humour – biting, outrageous, and often deliciously shocking – is still largely effective, though it’s undeniable that certain jokes have begun to feel dated. Some of the stereotypes, particularly around race and gender, can jar in 2025 in ways they perhaps didn’t in 2011. While the satire is intentional, it does highlight how quickly social norms evolve. Yet the heart of the show – its send-up of religious earnestness and the power of belief – remains resonant and fresh.
Characterisation in this production is another triumph. Bailey’s Price is more than just a comedic foil; his moments of self-realisation are played with genuine pathos. Glen’s Cunningham, though relentlessly silly, never becomes a caricature – there’s always a core of humanity to him. And Nish’s Nabulungi, in particular, is handled with tenderness that anchors the show’s emotional undercurrents.
Ultimately, this touring production of The Book of Mormon delivers a fast-paced, raucously funny, and musically electrifying experience. The excellent cast – particularly Glen and Nish – infuse every scene with life and humour. While some of the visual elements could do with an update and a few of the jokes may feel dated, these are minor quibbles in a show that still packs a joyous punch.
If you’re looking for a night of high-energy musical theatre, unfiltered laughter, and just a touch of controversy, this Book of Mormon is well worth catching while it’s in town.
The Book of Mormon plays at Nottingham Theatre Royal until Saturday 28th June where it continues its UK tour.
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