Avenue Q

Avenue Q arrived on Broadway in 2003 and took the theatre world by storm, winning more awards than Wicked. Using puppets and lots of bright colours, it looked harmless but underneath it packed a punch, focussing on adult problems and bad decisions, completely lacking a filter. As part of Portsmouth Players’ centenary celebrations, it marks quite a departure from their normal style of show and was something the younger members of the group obviously relished getting their teeth into. It was also their first production at the Theatre Royal, whose stage suited the show well.

The set (by Scenic Projects) looked great and stayed in place throughout the show. Large TV screens mounted at the top of the proscenium arch were used to good effect to set each scene and emphasise themes. Darren Smith’s lighting design was colourful and clever. I particularly liked the way it depicted Lucy’s departure and return to the world. The puppets (by Paul Jomain) were splendid, and it was hard to believe the cast had only had practice puppets until the Sunday before the show opened, because they all handled them so proficiently giving them such human reactions and expressions. You quickly forgot there was a human (dressed in black) operating them and you just focussed on the character. The members of cast not handling puppets were all dressed colourfully (Players’ Wardrobe) blending well with the puppets and keeping up the cartoonish appeal of the show.

Adam Fox seemed born to play Princeton, the recent graduate looking for a place and purpose in life. He really brought out the character’s confusion and need to be loved. Rosy Stephens was also spot-on as Kate Monster, keen to fit in and always willing to help others, often to her detriment. They were well paired, both with excellent clear and strong singing voices. Matt Gibbins made a great Nicky and was well paired with Charlie Frame as Rod, the maybe-gay couple, Nicky seeing the obvious attraction while Rod was trying to deny his real personality. Andrew Swallow and Rachel Dean made another great couple, he the budding comedian, Brian, and she the snappy, no-nonsense oriental immigrant Christmas Eve, whose song “The more you ruv someone” was a real showstopper. Beth Evans just oozed sex appeal and temptation as Lucy the Slut as she sashayed across the stage (to a perfect percussion accompaniment) while Chloe Harvey made her mark as Mrs Thistletwat, despite the part being so small. Katie Bosher and Gillie Williams made the Bad Idea Bears believable, and Elizabeth Akinyemi brought to life Gary Coleman, the Superintendent. I must also give credit to the “other arms” Milo Welch, Harrison Fisher and Paris Freeman for blending in so seamlessly, and to Harrison Fisher as Ricky and Kirk Tiller as the Newcomer, appearing all too briefly at the end, and everyone in the ensemble who help fill the stage with colour and movement. This wasn’t really a dance show, but Ellie Scott’s choreography was integral to the whole show and provided some beautiful images at the ends of numbers.

Wait a minute – how could I forget Trekkie Monster? Ben Irish imbued this character with all the wildness and lack of subtlety that it required. For me, Ben's skill and comic timing is unparalleled on the Portsmouth stage and were well demonstrated in this show.

The standard of singing throughout, both soloists and ensemble, was excellent, and MD Harry Wells’ small band, tucked under the stage, produced the perfect sound.

The full-colour programme provided lots of information about the show and biographies of the cast, and it looked most professional.

This complex, fast-paced and heart-warming show was directed with superb precision by Timothy Quinlan and was expertly performed by an accomplished cast. It was worthy of a professional stage. You may be 100 years old, but you rose to and excelled at the challenge of this totally different show with professionalism, charm, and enviable joie de vivre. Thank you so much for a great evening’s entertainment.

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