The Book of Mormon Musical

When The Book of Mormon musical premiered on Broadway in 2011, I was still a devout member of the LDS Church. At the time, the very idea of the musical felt offensive—a blatant attack on God’s chosen people. Growing up Mormon, we’re taught that the world is against us and that criticism of the Church isn’t about finding truth but about persecuting the faithful.

When that criticism comes, it’s seen as proof that our leaders were right, making avoidance seem like the righteous choice. So when I heard about The Book of Mormon musical, I wanted nothing to do with it.

The fact that one of the musical’s creators was reportedly an ex-mormon only made it worse. The Church frequently warns members about so-called apostates, portraying them as spiritually dangerous. In the Book of Mormon itself, cautionary tales like that of Korihor—who sought to lead others astray—serve as stark warnings against dissidents.

After I decided to leave the church, I left Utah and moved to New York. I still remember seeing The Book of Mormon musical for the first time. It felt like a rite of passage in shedding my old identity. And you know what? It was cathartic. Laughing at the same organization that had caused me so much confusion and pain felt like reclaiming something.

What is The Book of Mormon musical?

For those who don’t know, The Book of Mormon is a satirical Broadway musical that debuted in 2011. It’s named after a book of scripture central to the Mormon faith (The Church of Jesus Christ of Latter-day Saints). Created by Trey Parker and Matt Stone (South Park) and Robert Lopez (Avenue Q), it tells the story of two young Mormon missionaries sent to Uganda. Elder Price is the picture-perfect example of what a missionary should be, while his companion, Elder Cunningham, is… let’s just say, less than ideal.

The show isn’t just a comedy—it’s packed with sharp social commentary. Through humor, it explores the absurdities of faith, cultural misunderstandings, and the resilience of people trying to make sense of the world. It became an instant hit, winning nine Tony Awards, including Best Musical. Critics praised it for being both hilarious and surprisingly thought-provoking, and it has since grossed over $500 million worldwide.

Songs like Spooky Mormon Hell Dream, Turn It Off, and I Believe bring the incredibly unique experience of Mormon missionary work to life on stage. The musical captures the optimism and naivety of missionaries while delving into their deeper struggles. It examines how they reconcile their beliefs with the real-world challenges they face. For outsiders, it offers a fascinating look at the pressures, indoctrination, and emotional highs and lows of a missionary’s life—all while being laugh-out-loud funny.

How Did the LDS Church React?

The LDS Church responded to the musical with what seemed like calculated calm. They placed ads in the playbills, saying, “You’ve seen the play, now read the book,” encouraging audiences to explore the actual Book of Mormon and supposedly even posted missionaries outside the theater at times to proselytize. During the musical’s opening run, the Church spent a staggering $6.1 million in ad campaigns like I’m a Mormon and the Meet the Mormons movie.

Their reaction seems strategic until you consider that only a few years later the church declared the term “Mormon” to be a victory for Satan under the current president, Russell M. Nelson. Nelson made a first attempt to discourage the usage of the nickname “Mormon” in 1990 but his efforts were undercut later that year when then-President Gordon B. Hinckley reaffirmed that Mormon could be a positive nickname. It almost feels like Nelson waited nearly 30 years to get his way, making it seem as though previous Church leaders, including Hinckley and Thomas S. Monson, had led the Church astray with these misguided advertising efforts. Frankly, it sounds more like the moves of a corporation than a divinely guided institution.

Members of the Church generally view the musical as sacrilegious and disrespectful, seeing it as yet another instance of persecution against God’s chosen people. Those who’ve seen the show often focus on nitpicking small inaccuracies rather than engaging with its broader critique. For example, many criticize the song I Believe for claiming that “God lives on a planet named Kolob,” arguing that it’s incorrect. What they fail to mention is that Kolob is taught to be the name of the star near where God lives, making their argument feel unnecessarily pedantic.

Ex-Mormon Reactions: Laughter and Healing

For ex-Mormons like me, the musical is more than just entertainment—it’s validation. The satire feels personal, almost as if the creators wrote it with us in mind. Beneath the broad jokes meant for everyone, there’s another layer of subtle, inside humor that serves as Easter eggs for those who grew up in Mormonism. For example, I immediately noticed how the stage design incorporated elements and styles often seen in Mormon temples. These intentional choices add a deeper layer of meaning for ex-Mormons, making the experience feel uniquely special.

Songs like Spooky Mormon Hell Dream were embarrassingly relatable, highlighting the fear-driven guilt that permeates Mormon culture. It’s not just about avoiding sin—it’s about the constant dread of not being good enough. Turn It Off perfectly captures the Church’s thought-stopping techniques, teaching members to suppress doubts or uncomfortable emotions. And All-American Prophet critiques the Church’s origin story and its problematic implications for American exceptionalism.

Beyond the humor, the musical shines a light on the harm the Church can cause—illustrating how the church’s strict guidelines and emphasis on appearing perfect lead its members to distort reality to fit their narrative. It’s a critique that’s hard to communicate to outsiders, but the musical does it brilliantly.

How Do Non-Mormons See It?

For people who’ve never been Mormon, The Book of Mormon musical is mostly just a hilarious Broadway show. The humor is sharp, and the absurdity of the missionaries’ beliefs and optimism often steals the spotlight. Non-Mormons may not pick up on all the inside jokes, but they don’t need to.

Aside from the humor, it shows how out of touch the Church can be, how missionaries are trained to ignore reality, and how faith can lead to bizarre, sometimes harmful outcomes. For non-Mormons, it’s a glimpse into a world that’s as strange as it is tightly controlled—and it’s no surprise they walk away entertained, if not a little curious whether Mormons actually believe God lives somewhere named Kolob.

Conclusion

The Book of Mormon musical is more than just a Broadway hit—it’s a sharp, funny, and surprisingly insightful critique of faith and the human experience. For ex-Mormons like me, it’s cathartic and validating, offering humor and reflection on a world we know intimately. For others, it’s an entertaining glimpse into a culture that’s as peculiar as it is controlled. Whether you’re laughing at Spooky Mormon Hell Dream or questioning the Church’s origins during All-American Prophet, the musical leaves a lasting impression that’s both thought-provoking and unforgettable.