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In an article called "Population, Resources, and Human Idealism", Richard Heinberg wrote:
Urinetown is a funny, smart, Tony Award-winning musical. Its action takes place in a city of the future where, as the result of severe and ongoing water shortages, private toilets have been banned. A giant corporation, the Urine Good Company (UGC for short), is in charge of all pay-per-pee services. The gradually escalating price is still affordable to a well-off few, but teeming masses of poor have to scrape together piles of spare change every day in order to take care of their private business. This, announces policeman-narrator Officer Lockstock, is “the central conceit of the show.”
The cast (Carie Millard, Daniel Gordh, Daniel Thomas, Felix Sotelo, Emily Melton, Sam Cavanaugh, John Downey III, Natalie Kollar , Dayna Price, Alpha Takahashi, Michael Heatherton, Brian Chapman, Kenny Taylor, Tristan Nieto, Elizabeth Tarantino, Rhiannon Franck-Thompson, Kaitlyn Tice, Elena Muslar, and Mercie Maes) includes a greedy villain (Caldwell B. Cladwell, the CEO of UGC), a courageous hero (Bobby Strong, a poor lad who works for UGC collecting fees at a down-scale public toilet), and a big-hearted heroine (Hope, Cladwell’s daughter). Bobby and Hope fall in love; Strong leads a rebellion against UGC; the “terrorists” take Hope hostage. She sings the uplifting “Follow Your Heart,” assuring herself and everyone else that love will win the day, but every line is tongue-in-cheek. Though Bobby is soon killed by UGC minions, Hope manages to gain ultimate power, disposing of her father and telling her followers that the time of deprivation is over. In the last scene, she sings the fervent anthem “I See a River,” envisioning a new era when all can pee as much as they like, whenever they like, wherever they like. However, by the end of the scene the entire cast—excepting the narrator—has perished in an ecological catastrophe. Officer Lockstock’s epilogue tells the sorry tale:
Of course, it wasn’t long before the water became silty, brackish, and then dried up altogether. Cruel as Caldwell B. Cladwell was, his measures effectively regulated water consumption. ... Hope, however, chose to ignore the warning signs, choosing instead to bask in the people’s love as long as it lasted. Hope eventually joined her father in a manner not quite so gentle. As for the people of this town? Well, they did the best they could. But they were prepared for the world they inherited ... For when the water dried up, they recognized their town for the first time for what it really was. What it was always waiting to be ...
The Chorus sings: “This is Urinetown! Always it’s been Urinetown! This place it’s called Urinetown!” And with their unison cry of “Hail Malthus!”, the curtain falls.
The entire play is a send-up of the musical comedy genre, and the audience goes home laughing at gags and humming memorable tunes. Many reviewers have emphasized the infectious zaniness of the play, seemingly missing its explicit message (that idealism and good intentions are insufficient responses to problems of population pressure and resource depletion). Maybe that’s just as well: Urinetown succeeds so well as comedy and theater that even people utterly immune to its insights still have a good time; thus more people are drawn to see it, including those who do “get it.”
So what’s the significance of the play’s last line, “Hail Malthus”?
Thomas Malthus (1766–1834) was a British political economist who theorized that unchecked population growth must eventually outstrip increases in food production. His most famous writing was the Essay on Population (1798), in which he explained in simple terms the connection between population pressure and human misery. The following passage from “The History of Economic Thought” website () summarizes his ideas succinctly:
Actual (checked) population growth is kept in line with food supply growth by “positive checks” (starvation, disease and the like, elevating the death rate) and “preventive checks” (i.e. postponement of marriage, etc. that keep down the birthrate), both of which are characterized by “misery and vice.” Malthus’s hypothesis implied that actual population always has a tendency to push above the food supply. Because of this tendency, any attempt to ameliorate the condition of the lower classes by increasing their incomes or improving agricultural productivity would be fruitless, as the extra means of subsistence would be completely absorbed by an induced boost in population. As long as this tendency remains, Malthus argued, the “perfectibility” of society will always be out of reach.
No wonder the term Malthusian almost always has negative connotations. Indeed, Malthus became anathema to utopians of the left and right, who envision a world with no limits. He has been reviled as a “hard-hearted monster,” a “prophet of doom,” and an “enemy of the working class.”
The summary goes on: In his much-expanded and revised 1803 edition of the Essay, Malthus concentrated on bringing empirical evidence to bear (much of it acquired on his extensive travels to Germany, Russia and Scandinavia). He also introduced the possibility of “moral restraint” (voluntary abstinence which leads to neither misery nor vice) bringing the unchecked population growth rate down to a point where the tendency is gone. In practical policy terms, this meant inculcating the lower classes with middle-class virtues. He believed this could be done with the introduction of universal suffrage, state-run education for the poor and, more controversially, the elimination of the Poor Laws and the establishment of an unfettered nation-wide labor market. He also argued that once the poor had a taste for luxury, then they would demand a higher standard of living for themselves before starting a family. Thus ... Malthus is suggesting the possibility of “demographic transition,” i.e. that sufficiently high incomes may be enough by themselves to reduce fertility.
Malthus believed that a general famine would occur in the near future unless his policies were implemented; in this he was clearly wrong. There have indeed been localized famines in the decades since his death (e.g., in Ireland, the Soviet Union, China, North Korea, and Ethiopia), but these have provided only a minor brake on global population—which has surged by over 500 percent in the interim. This failure of prediction is the main cudgel wielded by generations of Malthus-bashers, who attribute the growth of world food production over the past century-and-a-half primarily to human ingenuity. As knowledge expands, so does our ability to sustain more people.
But increased knowledge and cleverness can account for only a portion of the added global human carrying capacity. The main factor has been the use of fossil fuels for clearing land, pumping irrigation water, fueling tractors and other farm equipment, fertilizing soils, killing pests, and transporting produce ever further distances to support people in remote urban centers.
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About The Relevant Stage
The Relevant Stage is a new, non-profit theatre company performing in residence at The Warner Grand Theatre in San Pedro, CA. The Warner Grand Theatre is a facility of the City of Los Angeles Department of Cultural Affairs. TRS' mission is to produce plays, musicals, operas, and mixed media productions that challenge hearts, engage minds and expose truths. TRS tells stories about the world we live in with the goal of stimulating discussion of socially relevant topics through entertainment.
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