LTN PRESENTS IMPRESSIVE AVENUE
Q
Make no mistake. Avenue Q may feature more puppets than
human characters, but it’s not your mama’s Sesame
Street. Under the expert direction
of Jeff Corriveau, the cast, crew and production team at the Little Theatre of
Norfolk create a show full of childlike delight that is anything but childish.
Avenue Q is a
Tony-award winning musical that portrays the lives of neighbors – human and
puppet – who live side-by-side in a low rent neighborhood in a New York-like
city. Following the convention
originally established by Jim Henson’s beloved characters, the live actors interact
with the puppets without any recognition of the difference in the species. Unlike the Muppets, here the humans who
animate the puppets are completely visible to the audience, adding an extra
challenge for the performers; they sing, dance, deliver dialogue, manipulate
the puppets and, at their best, portray facial expressions that complement and
reflect the feelings emoted by the puppets without drawing focus away from
their fuzzy counterparts.
The plot circles around Princeton, a recent college graduate
who arrives on Avenue Q in search of affordable housing and a purpose for his
existence. He meets roommates, Rod and Nicky,
the single and lonely Kate Monster, the porn-obsessed Trekkie, an engaged
couple, Brian and Christmas Eve, and Gary Coleman (yes – that Gary Coleman) who is relegated to working as the property superintendent
after his parents appropriated all of the wealth he accumulated as a successful
child star. As Princeton adjusts to life
outside of academia, he dates Kate Monster, has a fling with Lucy and is
periodically visited and influenced by the Bad Idea Bears all while he wonders
what prospect will bring him a sense of purpose. The other occupants of Avenue Q struggle with
their own issues, including sexual identity, career aspirations and heartbreak. The story is told using copious profanity and
adult situations – including a portrayal of graphic puppet erotica – and LTN
wisely posts warnings all over the lobby to ensure that no audience member will
mistake the show’s mature content.
In the dual roles of Princeton and Rod, Greg Dragas’
performance is satisfactory, and is arguably at its best when he portrays the
repressed Rod. He projects well, but occasionally
drowns out the other singers during group songs, to the detriment of the number
as a whole.
AJ Friday and Michelle Jenkins deliver performances that are
nothing short of astounding.
Puppeteering numerous characters, they manage to depict individuals distinct in tone, body language and
voice -- all of which are equally successful.
Acting in tandem to create Nicky, Mr. Friday and Ms. Jenkins' perfect synchronization, especially during their dance combinations, is extraordinary and Mr. Friday's vocals and control of Nicky's head portrays a character who is believably earnest and likeable. Mr. Friday is unabashed and exuberant in his presentation of the
single-minded Trekkie and the charm and energy he brings to the character make
us laugh and relish his obsession when in the hands (literally!) of a less
talented actor, Trekkie could easily become tedious. And as the Bad Idea Bears, Mr. Friday and Ms. Jenkins each deliver
credible portrayals of that insidious voice we all hear when we consider a
choice that is enticing, but ill-advised.
Ms. Jenkins gives a standout performance as Lucy, creating a
character that is hilarious, skanky and alluring at the same time. Who knew a puppet could strut? Particularly during her song, “Special,” Lucy
tantalizes the “men” in the crowd and Ms. Jenkins’ remarkable performance
presents Lucy as a convincingly seductive chanteuse without inserting herself
into the scene; we know Lucy is a
puppet, but Ms. Jenkins’ exceptional performance renders the actor herself almost
invisible as we are captivated by Lucy slinking about the stage.
Kat Fresh’s portrayal of Kate Monster is no less memorable. Kate Monster is perhaps the best developed
character in the show, and Ms. Fresh takes full advantage of the breadth of emotions
presented by the script. Managing to convey
real sentiment through her puppet’s movements, Ms. Fresh’s skilled performance
permits us to fully engage in the character’s panoply of feelings that develop
through the show: we know Kate Monster is a puppet, but we want her to succeed and believe she deserves to be happy. Ms. Fresh’s delivery of “There’s a Fine, Fine
Line” is just lovely, and may be the most poignant moment of the show.
Avenue Q suggests
that W. C. Fields should have added puppets to the list when he famously
remarked that one should never perform with children or animals – but Anna Sosa overcomes
that not insignificant challenge with a stellar performance as Christmas
Eve. Ms. Sosa completely commits to the
decidedly un-Politically Correct portrayal of an Asian American, and she so embraces
the taboo stereotype that we cannot help but do the same. Ms. Sosa has a phenomenal stage presence,
brilliantly displayed particularly during “It Sucks to Be Me,” and the
uproarious yet touching “The More You Ruv Someone.”
The scenic design by Matthew Gorris is attractive and
convincing. The lighting design by Jason
Martens is mostly effective, but could use some judicious editing; the blinking
lights repeatedly used during the upbeat musical numbers is an effect best used
more sparingly than it is here because too often it distracts our attention away
from the performance, rather than enhancing it.
The quality of the music – both instrumental and vocal – under
the direction of Shelley Cady is excellent, but there are some amplification
problems in this production. The
orchestra is often so faint as to be almost inaudible, while at other times –
particularly when the bass takes a prominent role – it nearly deafens the
vocals.
The Theater Babe extends special commendations to two unseen
members of the production team who serve as the foundation for this unique
musical. Puppet Master April Shannon
Threet successfully conveyed her proficiency of this unusual art form to the
cast and crew while Puppet Concierge Brandon Monahan presumably ensures that each
puppet completes his/her/its costume changes and in general is well maintained.
Bottom line? The
talented actors in LTN’s Avenue Q convince
us to care about the characters – both human and puppet – and have a visibly great time
in creating a show that is well worth the time and the ticket price.
Performances run thru June 9th, Friday – Saturday at 8 p.m.
and Sunday at 2:30 p.m.
at The David L. Burton Playhouse,
the Little Theatre of Norfolk
801 Claremont Avenue, Norfolk, Virginia 23507
Tickets are $17 with discounts for full-time students, seniors and military.
There is an additional $2 fee per ticket order – purchased online or in
person
Reservations can be obtained by calling the box office at (757) 627-8551 or
ordering online at ltnonline.org.