The Book of Mormon

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The Book of Mormon: A Satirical Smash on the West End

The Book of Mormon, a musical with book, music, and lyrics by Trey Parker, Matt Stone, and Robert Lopez, premiered at London’s Prince of Wales Theatre in the West End on February 25, 2013, following previews from February 21. Directed by Casey Nicholaw and Parker, this irreverent comedy produced by Anne Garefino and Scott Rudin has run continuously, surpassing 4,000 performances by 2025. After a Tony-sweeping Broadway debut in 2011, it brought its tale of naive missionaries in Uganda to London, earning nine Olivier Awards, including Best New Musical. With hits like “Hasa Diga Eebowai” and a cast led by KJ Hippensteel and Cody Jamison Strand, it remains a West End juggernaut, blending crude humor with unexpected heart.

Origins and West End Arrival

Born from Parker and Stone’s *South Park* ethos and Lopez’s *Avenue Q* wit, the musical took seven years to craft, premiering on Broadway before crossing the Atlantic. Its West End launch followed a sold-out U.S. run, with Nicholaw’s choreography and Scott Pask’s vibrant sets intact. Opening night drew stars like Simon Pegg, fueled by buzz from its nine Tony wins. Nic Rouleau and Gavin Creel debuted as Elders Price and Cunningham, setting a high bar. By March 29, 2025, it’s the 11th longest-running West End musical, its £25 million-plus UK earnings reflecting a fanbase undeterred by its boundary-pushing satire.

The Plot: Faith Meets Farce

Elder Price, a Mormon golden boy, and Elder Cunningham, a bumbling misfit, are sent from Salt Lake City to Uganda to convert villagers. Expecting a heroic mission, they find AIDS, warlords, and skepticism instead. Price’s faith crumbles as Cunningham spins wild lies Star Wars meets scripture to win converts, sparking “Spooky Mormon Hell Dream” and “Baptize Me.” The village girl Nabulungi dreams of “Sal Tlay Ka Siti,” while General Butt-Fucking Naked tests their resolve. Chaos peaks with a makeshift Book of Mormon play, blending blasphemy and redemption in a finale that skewers religion yet finds odd grace in community.

Standout Performances and Staging

Rouleau’s Price and Creel’s Cunningham set the 2013 tone arrogance undone by vulnerability, nerdy charm masking depth earning Oliviers for both. Later stars like Dom Simpson and Tom Xander (2025 cast) keep the energy crackling. Leanne Robinson’s Nabulungi shines with soulful hope, while Pierce Harris’s General terrifies with glee. Nicholaw’s direction pairs Pask’s cartoonish Uganda with Ann Roth’s missionary whites, erupting in dance numbers like “Turn It Off.” The Prince of Wales’s intimacy amps the absurdity think tap-dancing devils and glittery pink vests making every gag land with precision.

Musical Score and Reception

The score a Lopez-Parker-Stone trifecta mixes Broadway polish with *South Park* bite. “Hello!” mocks missionary zeal, “Man Up” channels rock bravado, and “I Believe” skewers dogma with a straight face. Critics raved: *The Guardian* called it “uproariously clever,” *The Times* a “near-perfect musical comedy.” Its 2014 Olivier sweep Best Musical, Actor, Supporting Actor topped *Matilda*. “Joseph Smith American Moses” divides with its crudity, but fans adore its fearless edge. The 2011 cast recording went gold, cementing its earworm status, while grosses near £200 million globally underscore its commercial clout.

Legacy and Ongoing Impact

Beyond its West End perch, *The Book of Mormon* spawned two UK tours (2019-2021, 2023-2025), hitting Manchester, Edinburgh, and beyond, with over 2 million UK attendees by 2025. Its Broadway run nears 15 years, and international stagings like Australia and Oslo thrive. A shelved film plan persists as rumor, but its cultural footprint is vast, from Obama’s White House viewing to Uganda’s wry embrace. Annual “Mormon Day” ticket lotteries and autism-friendly shows broaden its reach. As of 2025, it’s set to run indefinitely at the Prince of Wales, a rare musical defying cancel culture with unapologetic glee.

Why The Book of Mormon Endures

*The Book of Mormon* thrives on its tightrope walk mocking faith, race, and sex with a wink that disarms offense. Its score marries satire with craft, while its missionaries’ journey from hubris to humility sneaks in heart. The West End run proves London craves its brash American humor, tempered by Nicholaw’s slick staging. It’s not just shock; it’s a mirror to belief’s absurdities, resonating in a skeptical age. Over a decade in, its “Hasa Diga” spirit keeps seats packed, a testament to comedy’s power to provoke, unite, and against all odds uplift.