'The Book of Mormon' returns to the Benedum Center with nonstop laughs

Even after 13 years on Broadway and multiple national tours, the gleefully obscene musical comedy “The Book of Mormon” is still an undeniable crowd-pleaser. On opening night Tuesday at the Benedum Center, a buzzing audience whooped, laughed and cheered with each hilarious beat.

“The Book of Mormon” is the delightfully twisted brainchild of “South Park” creators Trey Parker and Matt Stone, along with Robert Lopez, who wrote music and lyrics for Broadway’s “Avenue Q” (and Disney’s “Frozen”). The show opened in 2011 at the Eugene O’Neill Theatre and is still rocking that stage today. It netted nine Tony Awards, including the award for Best Musical, and is currently the 12th longest-running Broadway show in history.

The current run at the Benedum, presented by the Pittsburgh Cultural Trust as part of the 2023-2024 PNC Broadway in Pittsburgh Series, is the first time since 2019 that “The Book of Mormon” has made a local appearance.

The unique buddy comedy follows the unlikely duo of straight-laced Elder Price (Sam McLellan) and eccentric Elder Cunningham (Sam Nackman) as they are thrown together and embark on their Mormon mission to Uganda. As they witness the very real challenges in the village where they are assigned, the two leads can either doubt their faith or rise to the occasion. Naturally, many hijinks ensue.

Be warned — this is not a musical for kids, even if it will have the kid at the heart of any adult giggling with every swear word.

Besides the plethora of blue humor throughout “The Book of Mormon,” the jokes mostly spring from the interactions between the more sheltered American Mormon leads and the Ugandan supporting cast they are trying to convert. One of the most surprising aspects of the show’s plot is how earnest and hopeful it can be — fans of Parker and Stone’s body of work would be justified in assuming a musical written by the pair would have a cynical edge. Instead, “The Book of Mormon” elects to humanize its wide variety of characters, even as they deliver line after line of off-color jokes designed to shock.

Musicals should mainly be judged by their music, and this show has no shortage of catchy tunes. Drawing mostly from typical musical theater styles, with some humorous homages to shows like “The Sound of Music” and “The Lion King,” the songs — and staging — also feature fun nods to ’80s hair metal and power ballads. The opener (appropriately titled “Hello!”) is a bouncy introduction to the two leads.

The first act features examples of big, sparkly dance numbers like “Turn It Off” and earnestly funny solo songs like “Sal Tlay Ka Siti.” By the last song before intermission, the training montage-worthy “Man Up,” the show has offered something to get even the most stubborn toe tapping.

Act two brings in the demented “Spooky Mormon Hell Dream,” a show highlight where Elder Price finds himself in the midst of a particularly troubling nightmare. He later gets to belt out perhaps the most sincere song of all, “I Believe,” and McLellan sells his convictions with determination.

Nackman, as Elder Cunningham, gets to have his own fun, becoming the unexpected prophet that the village needs in numbers like the wacky “Making Things Up Again” and the double-entendre-laden “Baptize Me.” The show ends with a united, spirited company singing about how “tomorrow is a latter day.”

It’s impossible to leave the theater without a smile on your face at least one of the tunes stuck in your head.

Onstage, McLellan and Nackman have developed a convincing chemistry as unlikely mission partners-turned-friends. McLellan plays the straight man with panache, especially with well-placed annoyed facial expressions. Nackman fills the role of the awkward and larger-than-life Elder Arnold Cunningham with gusto. His physical comedy is top notch and he sings every bar with everything he’s got.

The standout performance of this tour may well be Keke Nesbitt, who plays Nabulungi, the most prominent female character and first villager to convert. She uses her voice masterfully, at times with great power and often with even greater sweetness, to convey the hope and desire of her character. The supporting cast delivers plenty of memorable moments, too, and the whole company works together to put on a fantastically entertaining show. The choreography and direction, both by Jennifer Werner, also highlight the talents of every performer.

Visually, “The Book of Mormon” is also pure entertainment. The costumes, the sets and even the lighting get comedic moments throughout. A series of stained glass windows border the curtain, and the stage backdrops are colorful, depicting a variety of skies, buildings and even dreamscapes. Stadium rock lighting, mirrorballs and smoke are used during some numbers to set a more ’80s mood. And who knew a joke about The Clapper could still be funny in 2024?

This is a great show for anyone with a wicked sense of humor and a soft spot for (mostly) happy endings. It’s theatrical comfort food that is at times uncomfortable, an ideal musical comedy that perhaps shouldn’t be watched with parents.

“The Book of Mormon” is running through Sunday, March 3, at the Benedum Center, and tickets can be purchased at TrustArts.org, by calling 412-456-4800, or in person at the Theater Square Box Office, 655 Penn Ave., Cultural District.