Avenue Q

I approached “Avenue Q” knowing very little about it. Yet, like every Noda rep, I had of course conducted my research into the musical and was expecting something extraordinary. Disappointment did not haunt my dreams. Seven human characters are played by puppets and three others are not. Why this apparently random split we are never told. The basis of the story concerns itself with the sometimes alarming difference between expectations of life versus actual reality. Being educated to a degree does not automatically hand you a meal ticket for instance. Prejudices about all kinds of everyday occurrences, attitudes and lifestyles are all waiting to trip you up in the great wild world. That is a way of saying “Avenue Q” is not about anything in particular or paradoxically it is about everything.  It seeks to engage and capture the attention of audiences by its originality, its in your face presentation, its dynamism and innovative delivery. Some may say it is offensive in part. It certainly sets out to make you think. Most of the people who have seen productions are blown away with enthusiasm.  Director Daren Brierley asked me on the way in if I knew what to expect and then grinned knowingly when I said in truth I did not. Did I enjoy it? Yes I did. 

 So on to the review proper.  After about forty minutes I had got into the swing of things. My reaction at that point was to greatly admire the utterly amazing dexterity of the puppeteers. I wondered how they had become so adept in controlling  inanimate pieces of cloth. After that I did become somewhat less drawn in. I would have liked to have been surrounded by inebriated Americans in a small venue I think to get the most out of it. All the songs, which cover a wide variety of topics to put it mildly, were delivered with panache and fearsome attack. Not every word was clear however. This is a great shame.

With songs so “right on” it is crucial to hear the wit of all the lyrics. Choreography by Rachael O’Hara was clever. Set designs at this theatre are superb. Stephen Woods and Paul Ashworth did it again.  Musical direction was excellent too in the hands of Alasdair Gordon. Lighting was appropriate. Some actors failed to find their pools at times though. The projections were amusing yet set too high for me to see all of the screen from where I was sitting on the third row of the balcony. This was a pity. Consideration of sight lines for every seat in the theatre is a basic of production.

I do not intend to name every actor. Every one of them performed well. One could choose to look at either the puppet or the actor, they were both, somehow miraculously, conveying the same mood. I will single out Kate Monster for individual praise. Kate had persuaded her handler, Jade Schofield, to be especially skillful in manipulating her. I was drawn to her even in the moments when she was not holding centre stage. It was a joy to watch. In fact I am going to ask Andy, our regional councilor if I can institute an award for the most talented puppet. 

I take my hat off to Stephen Woods for producing such a thrilling and challenging musical. And of course to Darren for putting it all together so well.

More relevant than any comments I make though is the reaction of the predominantly young audience. They whooped, clapped and applauded throughout. A true benchmark of a successful show. 

PRM

 

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