Avenue Q

PADOS have without a doubt turned a corner with this production offering a new style of show and indeed ventured down a new avenue with their choice and style of presentation. I’m so pleased to say that this decision has paid off for the group as I’d go as far to say that this has been the finest show I’ve seen by the PADOS adult section.

The set was terrifically designed and not only was it adapted to the minuscule space they have to work with at PADOS house, it was finished with fine detail and attention to its mechanics and presentation, an inspired effort helping the show to translate to the audience exactly where we were at any specific time and assisted the production to continue at the pace at which it needed to move.

After several years break from working with PADOS, the society welcome back director Mark Rosenthall to take charge of the reins for this production. Mark has returned with force injecting some fresh energy and spark into the society. Also new to the group are the influx of cast and crew which this show has attracted.

Helen Rose as Kate Monster gave us a quirky performance with a lovely musical theatre voice and well-rounded character. Ryan McMyler as a terrific Nicky offered a very strong and well-presented contribution. Chris Addington as Trekkie Monster was perfect delivering a faultless performance as was Hannah Davis who excelled as the sassy minx, Lucy.

David Livesey, who I’ve never seen do an average performance, this being no exception, was marvellous as Rod. Jack Martin offered a strong contribution to the show as Princeton, vocally, parts of the score were a stretch but nonetheless he maintained his character and journey throughout.

Sturdy support too came from Angela Grady as Gary Coleman and Sarah Osmond as Christmas Eve. In an ideal world, it would have been an advantage to have an Asian puppet design for this character which would have eliminated any sense of awkwardness as I (and I’m sure some others in the audience) would have questioned whether this performance was crossing a line, though, given the content of the show, it soon became clear that you’ve got to drop any notions of political correctness and simply allow yourself to be swept up in the harmless ‘fun’ of the show.

The production worked very well in PADOS House, at no point did it seem as though any part of the production was a struggle which is a highly commendable achievement given what the script asks.

Sarah Osmond also worked on this production as the Musical Director who’d ensured that harmonies were clear and delivered to a high standard. Yes, it was a shame that backing tracks had to be used but this is 100 per cent understandable given the circumstances of this restrictive venue.

We did encounter some technical hiccups with the projection during this performance but nothing that couldn’t be forgiven.

Working with puppets is an entirely new craft and one I’m certain so many in an audience would take for granted the skills which are required. The puppetry in this production posed an interesting outcome for me, intriguingly - with some characters I found myself to be watching the actor more than the puppet while with other performers it was the other way around and for some it was a bit of both. At first thought, I’d say that the idea is that we’re supposed to focus our attention on the puppets but with some performers, I couldn’t help but watch the actor over and above the little person on their arm. 

I would say that some of actors were watching their own puppets too often which did look a little peculiar at times.

Another technique associated with puppetry is putting on a voice and when the voice you choose to perform with is so different from your own it can (and did) limit the vocal range of the actor resulting in some of the singing sounding a little struggled.
 
This production paid homage to the original ‘Avenue Q’ many people know and adore! This show is one on its own so there is no need to get overly creative or look for a way to revamp its presentation or find an original stamp as, for now, that’s already given to you.

This production deserves high praise indeed, seeing so many shows on the circuit it does become increasingly difficult to relax and simply enjoy a show but for the first time in quite a while, I forgot I was watching a show as an adjudicator and just couldn’t help but enjoy and get swept up in the excitement of the performance so for that, I thank you and congratulate you all on a truly terrific production.

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