Overview
Synopsis
The hit Broadway musical The Book of Mormon, written by “South Park”’s Trey Stone and Matt Smith and Frozen’s Robert Lopez, is an irreverent, hysterical, and surprisingly sweet send-up of religion, culture shock, and classic musical theatre. In The Book of Mormon, two very different young LDS missionaries --the talented, eager Elder Price and the nerdy, pathologically lying Elder Cunningham-- are paired together and sent to Uganda to perform their two-year mission. To the missionaries’ disappointment, the local population seems to be more focused on the poverty, famine, AIDS epidemic, and despotic warlord in their midst than on religion. It’s going to be a fight for salvation. While Elder Price combats his own expectations and doubts, Elder Cunningham battles his inability to remember scripture or tell the truth, fellow missionary Elder McKinley crushes his homosexual urges, and the beautiful Ugandan Nabalungi fights to keep her hopes and dreams alive in the midst of great terror and uncertainty. It will take a little inventiveness, a lot of teamwork, and perhaps an excommunication or two for the Elders to succeed in their mission.
Show Information
Context
In the summer of 2003, successful “South Park” duo Trey Parker and Matt Stone flew to New York City, and on the recommendation of producer Scott Rudin, saw Avenue Q, a raunchy puppet musical that was written and composed by Robert Lopez and Jeff Marx. The quartet struck up a quick friendship, which soon developed into a collaborative partnership after they realized that they were all interested in creatively exploring the Church of Jesus Christ of Latter Day Saints and its prophet Joseph
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Act One
At the Latter Day Saints (LDS) Missionary Training Center in Provo, Utah, the bright, handsome, and popular young Elder Price is leading his colleagues (including the nerdy, insecure pathological liar Elder Cunningham in a practice run of their door-to-door conversion speech (“Hello”). Elder Price is enthusiastic about his two-year mission -- he has prayed very hard and is sure he’ll be assigned to his favorite place on earth: Orlando, Florida. Much to his dismay, however, Elder
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Character Portrayals
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Songs
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A song with an asterisk (*) before the title indicates a dance number.
Themes, Symbols & Motifs
THEMES
Religious Zeal and the Illusion of Faith
The Book of Mormon presents an incisive exploration of religious zeal, examining how blind devotion to dogma can obscure personal reality and hinder genuine emotional connection. The musical centers on young Mormon missionaries sent to Uganda to convert local villagers, armed with strict doctrines and an idealized view of their spiritual mission. Elder Price embodies an unyielding faith driven by personal ambition and an expectation of
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“I believe that God lives on a planet called Kolob.” — Elder Price (Act 2, Scene 6: I Believe)
This lyric crystallizes the show’s satirical treatment of Mormon doctrine. On one hand, it is sung with complete sincerity, set to an inspiring Broadway melody that mirrors traditional musical theatre anthems. On the other, the outlandishness of the statement underscores how unusual certain religious beliefs may sound outside their faith contexts. The humor arises from this juxtaposition, but the
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Directorial Vision
Staging The Book of Mormon requires a delicate and seemingly contradictory balancing act: directors must manage aggressively profane satire while maintaining a core of absolute, unironic sweetness. The central conceit of the show is that it utilizes the sunniest, most traditional musical comedy tropes to explore deeply cynical and mature subject matter.
Directors often find the most success when they treat the piece not merely as a shock-comedy, but as a genuine buddy-comedy and a love letter to musical theatre. The humor only lands if the characters’ convictions are entirely sincere. If the actors wink at the audience or play the comedy too broadly, the satire flattens into mere vulgarity. Your overall production philosophy should be grounded in earnestness. The Mormons must genuinely believe they are saving the world, and the Ugandan villagers must genuinely
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Big Question
Can a story or belief system still be meaningful and valuable if the literal details behind it aren't true?
Discussion Questions
- Elder Price enters his mission with precise expectations about where he wants to go and what he will achieve. How do his initial expectations shape his view of his purpose, and what causes that vision to collapse as the story unfolds?
- Elder Cunningham frequently invents stories by combining Mormon scripture with pop culture elements like Star Wars and The Lord of the Rings. Why do these embellished stories resonate so strongly with the villagers of the Ugandan outpost?
- Nabulungi interprets the idea of "Sal Tlay Ka Siti" as a literal paradise free from suffering. How does her idealization of this distant place drive her character's hope, and how does her understanding of it evolve by the end of the show?
- In what ways do Elder Price and Elder Cunningham serve as character foils for one another? How do their differing personalities, approaches to faith, and ways of handling failure influence each other's growth throughout their shared journey?
- How does the song "Turn It Off" illustrate the missionaries' approach to dealing with difficult, uncomfortable, or forbidden feelings? What are the consequences—both humorous and tragic—of suppressing emotions in this way?
- The show contrasts the rigid rules of the Mission President with the immediate, real-world survival challenges faced by the local villagers. How does this clash of priorities highlight the disconnect between abstract ideals and practical human needs?
- General Butt-F@cking-Naked represents a severe, oppressive threat to the villagers. How does the community use storytelling, community solidarity, and belief as mechanisms to cope with and resist extreme fear and violence?
- Early in the show, the song "Hasa Diga Eebowai" subverts a typical, optimistic theatrical trope. How does this song set up the stark reality of the villagers' lives compared to the naive optimism of the newly arrived missionaries?
- By the final act, the villagers create their own theatrical representation of the stories Elder Cunningham taught them. What does this performance reveal about how culture adapts, reinterprets, and claims ownership over outside narratives?
- The musical satirizes traditional "savior complex" narratives, where well-meaning outsiders attempt to solve complex global problems. How effectively does the show critique this trope while still maintaining empathy for its main characters?
- What message does the musical ultimately convey about the nature of faith, organized religion, and human connection? Is the show purely satirical, or does it offer a sincere defense of the positive power of community and hope?
- Think about a time when a belief, expectation, or plan you held firmly turned out to be completely different from reality. How did you handle that realization, and how did it change your perspective moving forward?
Key Terms
Acquired Immune Deficiency Syndrome (AIDS) is a medical condition caused by the HIV virus that weakens the immune system. It has had a profound impact on the performing arts community, particularly in the late 20th century, as many artists and organizations have addressed its social and personal effects through theatre.
A recurring character type or symbol representing universal patterns in storytelling, often used in classical and contemporary theatre.
A musical with a well-structured narrative that integrates songs, dialogue, and dance to advance plot and character development.
An “I Want Song” is a number, usually placed early in a musical, where a main character expresses their deepest desire or ambition. This song sets the character’s journey in motion and gives the audience a clear emotional stake in the story. It has become one of the most recognizable and enduring conventions of musical theatre structure.
Short for 'legitimate theatre,' referring to traditional stage drama as opposed to musical or commercial performance. The term is also used to describe a classical vocal tone suitable for operatic or legit musical theatre roles.
A recurring musical theme associated with a particular character, idea, or emotion. Frequently used in opera and musical theatre, leitmotifs help reinforce narrative continuity and emotional cues for the audience.
The complete text of an opera, musical, or other extended vocal work, including all spoken dialogue and lyrics. The libretto provides the dramatic structure and narrative arc, serving as a guide for both performers and directors to align story and music.
What a character wants to achieve in a scene or play. Defining objectives helps actors clarify intention and emotional stakes.
A force or condition that prevents a character from achieving their objective. Recognizing obstacles helps define conflict and dramatic tension.
A work imitating styles or genres from various sources, often used in postmodern theatre for satire or homage.
An introductory speech or scene that sets up the context or themes of a play. Prologues are commonly used in classical drama to prepare the audience for what follows.
Satire is a dramatic style that uses humor, irony, and exaggeration to criticize human behavior, social institutions, or political systems. In theatre, it highlights flaws and hypocrisies through wit and parody, encouraging audiences to laugh while also reflecting on serious issues. Satire can range from lighthearted comedy to biting social commentary, making it both entertaining and thought-provoking.
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