Early in Sodom: The Musical, Abraham reports to God that there are "2,000 acts of depravity an hour" in that wicked city, and as the show clanks on, it could be feared there might be a song about each and every one of them.
Luckily, though, as Abraham, to save the city from heavenly wrath, searches for one good person among the populace, the show concentrates on the Ten Commandments and how individual Sodomites are breaking them in their own ways. For example, a slavering shoe salesman with a foot fetish sings about how he breaks the First Commandment against bowing down before idols by worshipping feet.
As for the commandment to honor your parents, a young girl tells how she has come to enjoy being abused by her father to the point of murdering her mother. Concerning murder, a troubled fellow sings about his compulsion to kill young girls. All of this is embedded in a frolicsome mood that quickly makes for uncomfortable viewing. In the show's agenda of any perversion or profanity for a laugh, even the good Lot, after being saved from Sodom's destruction, suggests sex with his two daughters as a pastime.
Some obvious talent is misspent on this misconceived effort. Randy Jones, the original Village People cowboy, makes an amusingly smarmy deity, and the 14-member company, under Ben Rimalower's direction, includes several agreeable musical-theatre voices, among them Lucia Giannetta, Galit Sperling, and Justin Schultz as various Sodomites. Accompanied by music director Marcus Baker's electronic keyboard, they plunge courageously into Adam David Cohen's overly complex score, which verges on sounding atonal. It also sounds difficult to sing and, stretched over 90 minutes, becomes difficult to listen to. Kevin Laub, whose credit reads merely "Words by," demonstrates a knack for piquant rhymes, but he certainly doesn't score any points for taste.