Urinetown became a civic machine at the University of Missouri: industrial, compressed, and deliberately stratified. Layered levels and visible circulation paths kept hierarchy present as scenes shifted between public spectacle and private confrontation.

Distressed infrastructure, steel framing, elevated offices, and containment logic made the world feel governed, policed, and monetized. The environment was not neutral; it was an apparatus of control.

The set needed to support satire, ensemble traffic, musical energy, and abrupt status changes while keeping the political warning visible underneath the absurdity. The architecture gave the comedy pressure.

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