Having already seen the show on Broadway, there were few surprises this time. Comedy is much like magic—once you know the trick, it rarely makes you laugh in quite the same way. Instead, this visit became an opportunity to notice different interpretations by the cast, the audience's reactions, and many small details I had overlooked the first time.

The story begins with Mormon missionaries being assigned in pairs to different parts of the world. Cunningham, who cheerfully admits that he lacks social skills, is paired with Price, who has always expected to come first in everything. Their assignment to Uganda sets the story in motion. Cunningham is simply delighted, while Price, who has dreamed of going to Orlando, can only ask, "Uganda? Where?" That brief exchange immediately establishes the contrast between the two characters.

For Price, Orlando is more than just a city. It is the place he visited as a child, home to Walt Disney World and SeaWorld, and the ideal destination he hopes to return to after becoming a successful missionary. Being sent to Uganda instead becomes the starting point of his disappointment and the driving force of the story.

The staging was almost identical to the Broadway production, but the performances gave the characters noticeably different personalities.

Callum Henderson's Elder Price felt less cocky than the Broadway actor and instead played the role with complete sincerity, as someone genuinely convinced that he was always right. Although playing an American, traces of a British accent remained—for example, his pronunciation of impossible. Rather than sounding distracting, it felt natural because he never seemed to force an American accent. His singing in I Believe, All-American Prophet, and Orlando was consistently strong, and he captured Price's earnest yet slightly nerdy personality well. His relationship with Cunningham also felt different, as he seemed a little more patient and accepting than his Broadway counterpart.

Conner Peirson's Elder Cunningham once again carried much of the show's comedy. Fortunately, I had forgotten more scenes than I expected, making the second viewing rewarding in its own way. One moment that stood out this time was Cunningham's parents. They clearly understand how eccentric their son is, yet they are genuinely pleased that he has been paired with Elder Price, repeatedly telling him to "just do whatever Elder Price does.“

The scenes in which Cunningham improvised increasingly absurd stories while trying to explain the Book of Mormon to the Ugandans were just as funny the second time. His running joke of repeatedly calling Nabulungi by names such as Nutella, Nintendo, Nostradamus, and Nefertiti, along with ridiculous references like General Butt-F*ing Naked, continued to draw laughter from the audience. Another joke I had completely missed on my first visit was Nabulungi dreaming of Sal Tlay Ka Siti and referring to "a village called Ootah." It is a play on Utah, treating it as though it were the name of a small village.

I remembered the Broadway Elder McKinley as being slightly more comedic, but Tom Bales still received a tremendous response during Turn It Off. As the song introduced increasingly absurd and serious situations, only to solve everything with the words "turn it off," the audience laughed louder and louder. During my first visit I simply laughed along. This time, I found it more interesting to watch exactly where the audience reacted.

The Broadway Nabulungi had left a strong impression with her rich voice and expressive phrasing. Regan Bailey-Walker took a different approach, bringing a brighter and clearer vocal quality to the role. Her pronunciation of Sal Tlay Ka Siti, sounding closer to "Sal Terlay Ka Siti," drew another round of laughter. Baptize Me was equally lively and playful. The Ugandan English accent also reminded me of the Caribbean accents I had heard in the television series Death in Paradise, making it feel unexpectedly familiar.

While "I'm Africa" still felt self-important, I also sensed a sincere desire to help that I had overlooked on my first visit.

The orchestra remained mostly hidden beneath the stage, but the conductor, alternating between conducting and playing keyboards, brought constant energy to the performance. One staging detail that caught my attention this time was the large Orlando banner disappearing almost instantly into a small circular trap in the stage floor.

By the time the X-ray scene revealed the Book of Mormon inside Elder Price's body, I had finally stopped comparing this production with Broadway and was simply enjoying the show again. The first viewing had been about discovering what would happen next. The second was about appreciating different interpretations, watching the audience, and rediscovering jokes I had forgotten.

Among the ten musicals I saw during this London trip, The Book of Mormon was the only production that prohibited curtain call photography. The ushers actively patrolled the auditorium after the performance to prevent curtain call photos, although photographs of the empty stage were allowed.