Avenue Q

This is a show which comes with a warning about its content – it’s a bit rude, politically incorrect with adult themes – but for all that it offers a very entertaining evening. “Now for something completely different” says the Company’s advertising and that was certainly true.

For a start, we’re watching puppets representing most, but not all, of the residents of the eponymous street in New York. These are controlled by actors who are perfectly visible and for that reason must remain in sympathy with their character rather than simply controlling their puppet, challenging though that alone must be, particularly when the pair had only a few days to become acquainted.  Indeed, whilst it was unusual to see physiotherapists credited as part of the backstage crew, you could appreciate the reasons. The cast here made an excellent job of it all, delivering their lines and songs with their usual expertise and forging their puppet/puppeteer link with great confidence and manual dexterity.  I particularly enjoyed Alexa Chaplin as Kate Monster and the way in which her own stance reflected the somewhat downtrodden nature of her character.  Nor must we forget those who are simply themselves (i.e puppetless) and who are just as important to the story.  Lauren Charlton-Mathews made the most of her role as the buildings supervisor as did Rachael Wilkinson as the Japanese immigrant rejoicing in the name of Christmas Eve, complete with a wedding dress with fairy lights. The six-piece band concealed backstage provided sympathetic accompaniment which never drowned the singers.

Whilst it is possible that the warning about the show’s content might put off some otherwise regular but less broad-minded supporters, there was also evidence that others were attracted by a more up-to-date show. But there are other factors worthy of consideration by those contemplating their own production. It is a demanding show for those involved, many of whom are seldom off stage. The music contains some difficult harmonies so that all 13 principals (a further problem for the superstitious!) need to be singers capable of holding their line.  This was not a problem here.  There is no chorus and so those members of a Society who are unsuccessful at audition must be prepared to work backstage or take a break, thereby perhaps making this an unpopular choice with some members.  Be warned! 

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