For example, the show opens with a short "Prelude" from the band mimicking the neo-baroque overture of Kurt Weill's The Threepenny Opera (complete with soprano sax!). We then segues directly into the opening title number, which gives a clear nod to Marc Blitzstein's infamous The Cradle Will Rock, a highly satirical and controversial musical about the unions, labor movement, and art. "The Cop Song", with its jeering harmonies and driving rhythmic vamp, gives another nod to Weill's early musicals, while the Act I Finale parodies not only the epic quality of the the through-sung mega-musical Les Miserables, but even includes a nod to the original staging of their ubiquitous and anthemic Act I Finale "One Day More".
Early in Act II we hear "Snuff That Girl" with its 1950s cool jazz parody of Leonard Bernstein's "Cool Fugue" from West Side Story, followed by a rousing gospel number "Run, Freedom, Run". The score is carefully crafted and makes the satire all the more effective. Urinetown's music creates a cohesion between book, music, lyrics, and orchestration not often found in musical theater. This kind of satire not only allows the show to not take itself too seriously (a common problem in contemporary musical theater), but allows us to still examine the serious and still-prevalent issues at hand.