AVENUE Q.
London.
AVENUE Q
book by Jeff Whitty original concept, music and lyrics by Robert Lopez and Jeff Marx.
Noel Coward Theatre.
Now at Gielgud Theatre.
Mon-Thu 8pm Fri 5.30pm & 8.30pm Sat 5pm & 8.30pm.
Runs 2hr 15min One interval.
TICKETS: 0844 579 1940.
www.Avenueqthemusical.co.uk (booking fee).
Review: Timothy Ramsden 3 July 2006.
Class trash with poppet puppets.
Want to try some Culture Clash? Then make your way through the Noel Coward memorabilia lining the corridors of this theatre, newly-named after that quintessentially English playwright - formerly the Albery (its older name was the New Theatre) to see this US hit with its post-Simpsons view of Skid Row.
Whatever else, a crowded Monday night, with a West End Theatre audience where to be 35 is to seem mature, shows that the right show can crack the cultural age-barrier, and not with the artistic sophisticates who frequent our notable arts theatres. This was a young crowd out to enjoy themselves, responding loudly and enthusiastically to lines that hit home with humour or emotional shock.
Human relationships are real, though most of the characters on Avenue Q are doubled by actors and hand-held head-and-torso puppets (TV’s Muppet Show was an inspiration). Two love stories string through a show that, initially, is like a series of sketches.
There’s the slow-dawning, trouble-strewn relation between newly-graduated Princeton and kindergarten assistant Kate, and the Odd Couple apartment sharers, gay Rod and straight Nicky, also beset by problems. Plus the lesser pitfalls between unpuppeted Jew Brian and eventual wife, Japanese Christmas Eve, plus Gary lamenting lost childhood stardom.
The main joy is watching a character’s emotional expression simultaneously in human and puppet forms; mirror images that never quite match. Just once, when marriage looms in Princeton’s mind, giant puppets dominate and distort as the fear of settling-down rushes through him.
All this from a cast whose energy and synergy suggest the piece might have been built to fit their acting personas (it wasn’t). And there are the often up-tempo songs. Most are about love or sex (which has its graphic puppet moments too). The exceptions are a fine satire about racism, which comes so early it’s a shame it has no witty equivalent later, and the finale where Princeton gives up the search for his life’s long-term meaning to live the moment. It makes a point about the show; whether or not it turns out a classic, it’ll do fine to be going on with.
Kate Monster/Lucy the Slut: Julie Atherton (Rebecca Lock from 3 Dec 07).
Mrs T/Bear/Others: Clare Foster.
Christmas Eve: Ann Harada (Naoko Mori from 20 Nov 06; Jennifer Tanarez from 16 April 07).
Nicky/Trekkie Monster/Bear: Simon Lipkin (Mark Goldthorp from 3 Dec 07).
Brian: Sion Lloyd (Christopher Fry from 3 Dec 07).
Princeton/Rod: Jon Robyns (Daniel Boys from 3 Dec 07).
Gary: Giles Terera.
Ensemble: Luke Evans, Gloria Onitiri, Jacqui Sanchez.
Swings: Matthew J Henry, Gabriel Vick, Yanle Zhong.
Director: Jason Moore.
Designer: Anna Louizos.
Lighting: Howell Binkley.
Sound: Acme Sound Partners.
Incidental Music: Gary Adler.
Music Supervision/Arrangements/Orchestrations: Stephen Oremus.
Musical Director: Nick Finlow.
Choreographer: Ken Roberson.
Puppet Designer: Rick Lyon.
Animation Designer: Robert Lopez.
Costume: Mirena Rada.
Associate lighting: Rob Halliday.
Associate sound: Andrew Bruce.
2006-07-04 11:09:38