The Book of Mormon returns to Melbourne in peak form, its irresistible confection of comedy, song, and dance performed with razor sharp precision and raise-the-roof energy. 

A huge hit in its 2017-2019 Australian premiere tour, this revival is something of a victory lap, albeit with a fresh new cast. Opening night had the ambience of a rock concert, with the Mormon chorus boys cheered like superstars as they took to the stage to say “Hello!”.

The pristine quality of the revival is another terrific exemplar of the superior model in Australian commercial musical theatre that sees hit shows return rather than wither away playing endless years as in New York and London. The current Broadway season of The Book of Mormon is celebrating its 15th anniversary but it is hard to imagine that their current performances would be as sharply performed and enthusiastically received as this production.

Alpha Mormon recruit Elder Price may dream of serving his mission in the magical kingdom of Orlando but comes crashing down to earth when sent to Uganda, paired with supremely awkward companion Elder Cunningham. Price pays a high toll for his rampant pride before ultimately learning a true lesson from the of guileless success of Cunningham. While the musical relentlessly mocks Mormonism, it deftly slips in a last minute message about the true power of story telling and the strength in community. 

This new season brings the chance to see the subtle changes made to the show during lockdown, when the creators examined the show in light of the Black Lives Matter movement. The wholly irreverent tone remains, and still packs a hefty punch, but the African villagers have somewhat greater agency; for example, Nabalungi is excited to send text messages on an iPad rather than a typewriter. The white saviour trope is sidestepped when it is Nabalungi who finally sends off General B-F-N rather than the two Mormon boys.

The killer comedy of The Book of Mormon is the result of a unique collaboration between Trey Parker and Matt Stone (of South Park fame) and Robert Lopez (Avenue Q). The musical nattily replicates the same success-making trick of The Producers in that it simultaneously pokes fun at the form whilst also serving as something of a love letter to Broadway. Younger theatregoers may not be aware that the opening of “I Believe” is based on “I Have Confidence” (The Sound of Music) or that the climatic “Joseph Smith American Moses” sequence is a pastiche of “Small House of Uncle Thomas” (The King & I) but true fans will thrill at these and many other nods to the Golden Age of Broadway.

The Book of Mormon benefits from the input of hit-maker Casey Nicholaw, who serves as co-director, with Parker, and choreographer. Full credit to resident director Eric Giancola and associate choreographer Emma Delmenico-Smith for the thrilling energy levels and finely honed performances. Dance numbers are particularly tight, with special mention to camptastic tap number “Turn It Off,” which remains an utter delight.

Staged before the current trend towards LCD panels, The Book of Mormon looks gorgeous on stage, a fabulous fit for the Princess Theatre. The scenic design of Scott Pask and costume design of Ann Roth make their own witty contributions to the cavalcade of laughs throughout the show. 

On keys, music director Hayden Barltrop conducts eight fellow musicians through the perky, catchy score. Stay around for the playout, when Tim Hartwig (guitar) and Craig Newman (bass) really cut loose.

The current tour is blessed with a sensational pair of leading men in Sean Johnston (Elder Price) and Nick Cox (Elder Cunningham). Tall and handsome, Johnston readily commands the stage as Price expounds his confidence in “You and Me (But Mostly Me)” and “I Believe”. Johnston commits to portraying the unlikeable aspect of Price’s near-sighted arrogance, making the character’s journey to enlightenment all the more involving. 

Cox wins audience affection with his turbo-adorkable portrayal of Cunningham, a winning combination of geeky vocal expression and prodigious physical comedy. Johnston and Jones enjoy strong chemistry, their depiction of friendship as involving as a traditional romance. 

Making her professional stage debut, Paris Leveque effortlessly captures the wide-eyed sweetness of Nabalungi. Leveque does not match her fellow performers in regard to diction in songs, with act one ballad “Sal Tlay Ka Siti” lacking punch. Nonetheless, Leveque is a charming actor, and brings full commitment to the more serious final moments of the story. 

As Mafala Hatimbi, loving father of Nabalungi, Simbarashe Matshe brings a gentle twinkle and a tender dignity. 

Tom Struik gives a breakout performance as Elder McKinley, leader of the Uganda mission, his dance steps as sharp and crisp as his comic timing. 

The triple threat ensemble members shine in a range of roles, singing and dancing with a heady blend of discipline and sheer talent.  

Guaranteed to leave audiences beaming, the return of The Book of Mormon will delight its existing legion fans and easily win a slew of new ones.

The Book of Mormon plays at Princess Theatre, Melbourne. For tickets, click here. 

The Book of Mormon plays at Glasshouse Theatre, QPAC from 31 July 2026. For tickets, click here. 

Photos: Daniel Boud