Avenue Q

This funny and often moving musical tells the tale of a recent college grad named Princeton moving to a shabby New York apartment on Avenue Q, without a job, friends or even a purpose in life. This is not your ordinary neighbourhood and although he makes friends, they share the same struggles and some of life’s common issues that are thrown at us all. Its uniqueness is captured by many of the cast controlling and being played by puppets.

‘Princeton’ is endearingly and warmly played by Jake Jones who explains ‘It sucks to be me’ and sets out to seek his own personal purpose in life. He meets ‘Kate Monster’ superbly played by Holly Christian-Brookes who handled her puppet with great expression and had a strong tuneful voice. Their scenes and songs together were captivating and Holly’s final Act 1 song ‘There’s a Fine, Fine Line’ particularly moving.

Throughout, those with puppets portrayed their characters with great puppet style movement and voices, not least ‘Rod’ (Sam Jeffrey) and ‘Nicky’ (Tom Paine) whose friendship ebbed and flowed with great feeling.  Other ‘puppets’ included ‘Trekkie Monster’ (Luke Mills) a reclusive creature obsessed with the internet (very funny), ‘Lucy the Slut’ (Lydia Padbury) a suitably tempting but dangerous vamp, ‘Bad Idea Bears’ Sophie Vick and Bella Cook played with good fun and the overbearing ‘Mrs. Thistletwat’ played with suitable crabbiness by Glynis Smith. Other proficient support was provided by Melanie Brown (‘Ricky / Purpose Box’), Matthew Jeffrey (‘Newcomer/ Purpose Box’) and Vivienne Bull (Mrs T 2nd Puppeteer / Purpose Box’)

Blending in well amongst the puppets were 3 adult characters including ‘Brian’ a laid back guy played with ease by Simon Axon, who was engaged to ‘Christmas Eve’ a therapist from Japan played with style and a great accent by Jennifer Chow. Completing the adult line up was Rachel Bloomer as the superintendent ‘Gary Coleman’ who sang and moved very well.

The solid set based on the Avenue depicting neighbouring front doors and an upstairs level, was very effective, as were the lighting and sound and the occasional use of side stage video monitors. The clothes for the puppeteers were understandably black and those for the adults natural and in-keeping. Music throughout the show was catchy and toe-tapping, although I felt slightly too ‘full on’ for one or two of the solo numbers.

This was a great first time directorship by Kirsty Jane Bull who with the cast and production team should be congratulated on an excellent evening of entertainment.

© NODA CIO. All rights reserved.