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The Book of Mormon

  • The Book of Mormon
  • The Book of Mormon
  • The Book of Mormon
  • The Book of Mormon
  • The Book of Mormon
  • The Book of Mormon

“So good it makes me angry.” - Jon Stewart, The Daily Show
“The best musical of the century.” - Ben Brantley, The New York Times
“The Book of Mormon manages to offend, provoke laughter, trigger eye-rolling, satirize conventions and warm hearts, all at the same time. Inventive and subversive. A tight, visually popping, roof-raising show. Amen to that. Consider us converted.” - AP/Mark Kennedy
“Screamingly funny yet sharply insightful. Blisteringly boisterous. A barbed-wired-laced Broadway bombshell.” - BACKSTAGE/David Sheward
“Exuberantly over-the-top. A highly populated delirium of singing and dancing.” - BLOOMBERG/Jeremy Gerard
“The Book of Mormon surely goes further than any other musical in Broadway history. Shrewd, hilariously profane, remarkably well-crafted and wholly hilarious. A night more emotional than many will expect.” - CHICAGO TRIBUNE/Chris Jones
“A Broadway hit of Biblical proportions.” - DENVER POST/John Moore
“Behold The Book of Mormon. An exhilarating Broadway musical at once revolutionary and classic, hilarious and humane, funny and obscene, uncompromising in production standards and unafraid of just about anything. A spectacular, rather perfect Broadway musical not only grounded in a serious love and understanding of the traditions that make a Broadway musical great but also filled with love for the very flawed, mortal characters who populate this romp. This is what 21st-century Broadway can be. If Broadway has the balls. Lord knows, The Book of Mormon does. I’m sold; I believe in The Book of Mormon. Grade: A.” - ENTERTAINMENT WEEKLY/Lisa Schwarzbaum
“Phenomenally blasphemous.”
“The most scandalous show on Broadway!”
“Could it be the most offensive show ever to hit the Great White Way?” - ENTERTAINMENT WEEKLY/Adam Markovitz
“The funniest musical of all time”
“Musical theatre salvation eight times a week.” - ENTERTAINMENT WEEKLY/Jeff Cagle
“A classic. One of the freshest original musicals in recent memory. Hugely entertaining. Explosive laughs. Number after number hits a bulls-eye. Packs plenty of blissful profanity. The Book of Mormon is irresistible.” - HOLLYWOOD REPORTER/David Rooney
“A roller-coaster ride. All wild and anarchic and yet so fundamentally sweet it hurts. The Book of Mormon is about to become a phenomenon.” - HOLLYWOOD REPORTER/Stephen Galloway
“Hilarious. Bless their iconoclastic hearts.” - HUFFINGTON POST/David Finkle

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Orchestra Center rows A-P $150 $150 $150 $150
Orchestra Sides/ Tier 1 Boxes $99 $99 $109 $109
Orchestra Circle/Tier 2 $84 $84 $94 $94
Tier 3 $59 $59 $59 $59
Tier 4 rows A-J $39 $39  $49 $49
Tier 4 rows K-M $39 $39  $39 $39

Full payment is due within two weeks of reservation.

Answered by Trey Parker, Robert Lopez and Matt Stone

Q: How did you come up with the idea for The Book of Mormon?

Trey Parker: Matt and I went to see Avenue Q when it opened in 2003, and we were like, "Wow, this is actually really good." When it was over I was thinking, "This is exactly the kind of thing I’ve always dreamed about doing."

Matt Stone: During intermission, we saw that we were thanked in the Playbill. "Well," we thought,
"that's weird."

Bobby Lopez: That's because I saw the South Park movie when it open in 1999, and I just thought, "Oh my God, this is exactly what I want to be doing." A week after that, the idea came to me for Avenue Q.

Trey Parker: It happened purely by coincidence that Bobby showed up that night, he introduced
himself and we went across the street for a drink.

Matt Stone: Bobby is younger than Trey and me, so he looked at us like elder statesman and asked what he should do next. We asked, “What did he want to do?” And he said, "I want to write
something about Joseph Smith and the Mormons."

Bobby Lopez: When I said Joseph Smith, they were like, "We’ve wanted to do that, too!" They had it in their heads to do some kind of Joseph Smith musical, but never did. I said, "If you guys want to do that, that’s fine, because I’d really love to see what you do, more than what I would do."

Trey Parker: It just became ridiculously obvious that we should team up and do something about
Mormons. So we said, "No, let’s do it together."

Q: What came first, the story or the score? Can you tell us about some of the songs?

Trey Parker: "Hello" was literally the first thing we wrote. As soon as we figured out the show was
going to be about missionaries, we realized that it would be a great introduction to just ring a massive amount of doorbells and somehow work them into a musical number. This symphony of doorbells and white boys with good haircuts and white shirts and black ties ‐‐ saying "hello" and offering you a free book ‐‐ seemed very much an opening number to us. It is totally Disney in sensibility, and totally Mormon in attack.

Bobby Lopez: There’s this idea that Mormons are these very naïve, hopeful, smiling, trusting people from the Midwest. In "Hello" and "Two by Two," we used the energy and optimism, and the
relentlessly hopeful and sunny feeling. It’s a great way to start because we go to the opposite in a few scenes.

Q: Did you have any musical theater influences in writing the show?

Trey Parker: There’s a lot of Rodgers and Hammerstein references in the show, because that’s what it feels like to me. When you’re doing this sort of happy‐go‐lucky, optimistic Mormon, it just plays right into it. For the second act pageant, "Joseph Smith American Moses," we always thought it would be so awesome to do our own version of "Uncle Tom’s Cabin" from The King and I. We did this improv where we put on African drum loops and started singing African melodies. We had such a great time doing it, it was ridiculous. But then we realized we should make it a bigger number. We went back and actually watched the "Uncle Tom’s Cabin" sequence. It was really long but it told such a huge story, and our number didn't. So we were like, "Let's follow The King and I, and really make it clear that the story has a much deeper and profound meaning to the Africans."

Bobby Lopez: When we were writing "Making Things Up Again," the first number in the second act, we had just seen Sunday in the Park with George. I think Trey was sort of influenced by it, which is weird because I consider myself the Sondheim freak out of everyone. Trey just sat down and started plunking out this Georges Seurat‐like rhythm, which became the whole motif for "You’re making things up again, Arnold."

Trey Parker: There’s just nothing more perfect in the universe to me than a good musical. And a bad musical makes you want to kill yourself. A good musical is to me so much more moving and powerful than a great movie or a great book, or anything.

Q: The Book of Mormon is provocative, in the same way that South Park is provocative. Are there boundaries?

Matt Stone: There's a catharsis in being able to really laugh at some of the goofier ideas of religion without necessarily laughing at the people practicing them. We never like to make a "point," per se. We want to give you room to feel what the show is saying to you. We don’t want to tell anybody what the point is, or what the politics are. It’s up to you to figure out what it meant.

Q: Are there boundaries in what you can do or say on stage?

Trey Parker: There is a line that you can cross all you want as long as you have a reason for doing it. If it has a point and it has a story and it has genuine, real character and emotion, then you can pretty much do whatever you want as long as you’re being truthful.

Q: How would you describe the show to someone who is a traditional musical theater

Bobby Lopez: The musical is a machine that's designed to bring you down and raise you up, and to give you a positive, uplifting experience. I want the musical to show people the nadir of human experience. For this musical, it's about faith. It's about religious feeling. And I think we show a character that loses his faith, and we give his faith back to him in a better way at the end. And I hope that the experience of the audience mirrors that, whether it's a religious experience or just feeling entertained.

  • Run Time: 2 hours and 30 minutes
  • Intermissions: 1
  • Parental Guide:
    Contains Explicit Language

THE BOOK OF MORMON contains explicit language. For more information, please click here. You can also check out these reviews for more information:

The New York Times
Los Angeles Times
The Denver Post
The Chicago Sun Times
St. Louis Post-Dispatch
Cleveland Plain Dealer

The Adrienne Arsht Center provides this information to help you make informed decisions when bringing young people to performances. These are recommendations – you are the expert in deciding what your children should see and know best how to help them enjoy their theatergoing experience. Every guest, regardless of age, must have a ticket; babies-in-arms are not admitted to any performance.

Tuesday, December 2 - Sunday, December 14


The New York Times calls it “the best musical of this century.” The Washington Post says, “It is the kind of evening that restores your faith in musicals.” And Entertainment Weekly says, “Grade A: the funniest musical of all time.” Jon Stewart of The Daily Show calls it “a crowning achievement. So good it makes me angry.” It’s THE BOOK OF MORMON, the nine-time Tony Award® winning Best Musical from the creators of South Park. Contains explicit language. For more information, visit  Limit 10 tickets per customer.


The producers of THE BOOK OF MORMON are pleased to offer low-priced lottery seats for the Miami engagement. A pre-show lottery will take place at the box office for each performance, making a limited number of tickets available at $25 apiece – cash only. 

Entries will be accepted at the Arsht Center box office beginning two  hours prior to each performance; each person will print their name and the number of tickets (1 or 2) they wish to purchase on a card that is provided. Ninety (90) minutes before curtain, names will be drawn at random for a limited number of tickets priced at $25 each. Only one entry is allowed per person. Cards are checked for duplication prior to drawing. Winners must be present at the time of the drawing and show valid ID to purchase tickets. Limit one entry per person and two tickets per winner. Tickets are subject to availability.

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