Music and Lyrics: Robert Lopez and Jeff Marx
Director: Cressida Carre
Reviewer: Dominic Corr
We’re back on Avenue Q, running for fifteen years the street is still offering up an evening of filth, wickedness and yet holds a mirror up to its audience more than ever. Just when you thought bright colours and puppets were for kids, Avenue Q proves that nothing is as it seems.
Just what can you do with a BA in English? It’s a question I’ve been asking myself for the past three years… For Princeton, a fresh-faced and bushy-tailed graduate, he wanders into Avenue Q in search of his purpose. It’s a peculiar street with friendly faces, some furry and other childhood stars. Meeting Kate Monster, Princeton finds his goals in life share a track with love. Unable to balance the two, a pair of bad idea bears drive him down the wrong path.
An issue with ‘edgy’ humour is that with age It tends to dull. Namely with references to childhood stars of the 80s such as Gary Coleman, who worked as a gag in the 2000s but a current audience has a weaker connection with the actor. In steps Nicholas McLean who portrays Gary in a more energetic performance than past touring productions. It offers rejuvenation to an otherwise tired character. Who does seem to suffer is Brain, a jobless aspiring comedian. Oliver Stanley is perfectly adequate, Brian is already the weakest written part, but he just lacks an oomph required.
There is no doubt that Avenue Q’s crucial selling points are still as impressive as they were 16 years ago. First, it’s slapped up and intoxicated version of Sesame Street puppets. They wouldn’t look out of place on a Saturday morning, through Rick Lyon’s design, they all have an individual personality. In particular the Bad Idea Bears. Those fuzzy inner voices who harmlessly tell us to have one more drink or to treat ourselves. Megan Armstrong and Tom Steedon do a sinfully wonderous job of breathing life to these imaginary tempters.
Besides its puppets, what gives Avenue Q longevity is its soundtrack by Robert Lopez and Jeff Marx. Covering power ballads, catchy tunes and perverted showstoppers. The touring cast does an admirable job delivering the numbers, with Steedon and McLean bringing their A-game as Trekkie and Gary Coleman. The Internet is For Porn and Everyone’s a Little Bit Racist still bringing grins to the crowd’s eyes years later. It is Cecily Redman as the downhearted Kate Monster with the tragically underrated There’s a Fine Fine Line who moves the audience from laughter to genuine heartache.
With emotions clear, there is an issue with projection. Redman herself being able to belt out Peggy Lee inspired notes from Lucy the Slut but tails off on the bolder notes from Kate Monster. Her voices for the two are enjoyable, particularly for Lucy bringing in a husky sultry vibe. Lawrence Smith has just as grand a time with Princeton and Rod. When on stage with Redman, the two are giving it their all with You Can Be As Loud As The Hell You Want.
Does it still cut as deep? Not really. Is it still deep enough to leave a mark? Definitely. Avenue Q was once the filthiest show in the West End and Broadway, now it’s spreading that muck across the nation. It’s raunchy, still hilarious and contains a few surprise emotional moments with some poignant commentary of racism, purpose and reality.
Runs until 1 June 2019 | Image: Matt Martin