I should preface this by saying, I'm a bit of a sucker for musicals. This, however, is only the second Broadway Tour I've seen, after The Lion King at the Orpheum in San Francisco - which I also highly recommend. As you might guess, however, they're very different experiences. Lion King scored points for some fantastic sets, phenomenal performances (I mean, stunningly good singers), and humor and color.
Avenue Q, by contrast, while far less bombastic, is arguably more powerful.
I'll refrain from going through the synopsis - the Denver Post has already done a fine job at that. Instead, I'll concentrate on what struck me as impressive throughout the show.
Avenue Q is a direct, unapologetic facsimile of Sesame Street. There is one physical set - a block of apartments facing a city street - with slight alternations to reflect scene changes. Most of the characters, including 22 year-old protagonist Princeton, are puppets, created by the group that not so coincidentally furnishes those used on Sesame Street, alongside their puppeteers. It seems strange at first, and stills and clips don't really help to deflect the absurdity of half bodied-puppet suspended in mid-air by an estranged puppeteer voicing the character, but it absolutely works. As the puppeteers animate the puppets, they too are animated and complement the performance, to the point where it only becomes a distraction when the puppet is being animated by someone not voicing them. From a technical aspect, it's just really cool to see how they bring life to their characters.
Also mimicking the show are short animations, displayed on tour via two giant plasma screens that are extended down when appropriate - the opening theme, spoofs of the Electric Company, and other regular segments from Sesame Street.
Filling out the cast are three human characters: Christmas Eve - a stereotypical neo-Asian American, her fiance, Brian a white unemployed comedian wannabe, and - of course, Gary Coleman.
The aforementioned Bad Idea Bears appear intermittently as a sort of conscious to the two main characters - Princeton and Kate - but only to offer half-solutions in the most absurdly innocent repertoire - i.e. "Well... you could always hang yourself!"
The music is excellent. Chances are, you're already familiar with "The Internet Is For Porn", but you may be surprised at the context in which in fits. The range of music styles is as dynamic as you'd expect, from the upbeat theme, "It Sucks to Be Me", to the bittersweet ballad "I Wish I Could Go Back to College" with the lyrics remaining witty, creative (and possibly offensive) throughout. "Everyone's A Little Racist" is also a strong number, also presented in the ironically upbeat rhythms of the show. And a few like "I'm Not Wearing Underwear Today" and "My Girlfriend, Who Lives in Canada" are just plain inexplicable (the latter actually being rather lewd)... yet perfect in context .
The diverse cast also sets the stage for some poignant commentary on love, racism, sexuality, and self-discovery, in the most unsubtle manner imaginable. As terribly politically incorrect as Christmas Eve's big number is: "... the more your ruv someone, the more you wishing him dead..." [sic], the message gets across. Here the ridiculous characters really empower the show to explore controversial subjects in a meaningful, human way. The result? You walk away not merely with a sense of schadenfreude, but possibly with new perspective on... well, life.
And hey, if not, at least you'll have laughed at the absurdity of it all. It really is a win-win.
Other Notes:
I managed to score some weird box seats, where we had a good view of the pit. First time I've ever seen a drum shield in use. There are only five-six musicians on the tour, and it was funny to see them so set in their routine that they spent every moment in between songs flipping through books or magazines. And how poorly insulated they are from the fog machines.
Avenue Q, by contrast, while far less bombastic, is arguably more powerful.
I'll refrain from going through the synopsis - the Denver Post has already done a fine job at that. Instead, I'll concentrate on what struck me as impressive throughout the show.
Avenue Q is a direct, unapologetic facsimile of Sesame Street. There is one physical set - a block of apartments facing a city street - with slight alternations to reflect scene changes. Most of the characters, including 22 year-old protagonist Princeton, are puppets, created by the group that not so coincidentally furnishes those used on Sesame Street, alongside their puppeteers. It seems strange at first, and stills and clips don't really help to deflect the absurdity of half bodied-puppet suspended in mid-air by an estranged puppeteer voicing the character, but it absolutely works. As the puppeteers animate the puppets, they too are animated and complement the performance, to the point where it only becomes a distraction when the puppet is being animated by someone not voicing them. From a technical aspect, it's just really cool to see how they bring life to their characters.
Also mimicking the show are short animations, displayed on tour via two giant plasma screens that are extended down when appropriate - the opening theme, spoofs of the Electric Company, and other regular segments from Sesame Street.
Filling out the cast are three human characters: Christmas Eve - a stereotypical neo-Asian American, her fiance, Brian a white unemployed comedian wannabe, and - of course, Gary Coleman.
The aforementioned Bad Idea Bears appear intermittently as a sort of conscious to the two main characters - Princeton and Kate - but only to offer half-solutions in the most absurdly innocent repertoire - i.e. "Well... you could always hang yourself!"
The music is excellent. Chances are, you're already familiar with "The Internet Is For Porn", but you may be surprised at the context in which in fits. The range of music styles is as dynamic as you'd expect, from the upbeat theme, "It Sucks to Be Me", to the bittersweet ballad "I Wish I Could Go Back to College" with the lyrics remaining witty, creative (and possibly offensive) throughout. "Everyone's A Little Racist" is also a strong number, also presented in the ironically upbeat rhythms of the show. And a few like "I'm Not Wearing Underwear Today" and "My Girlfriend, Who Lives in Canada" are just plain inexplicable (the latter actually being rather lewd)... yet perfect in context .
The diverse cast also sets the stage for some poignant commentary on love, racism, sexuality, and self-discovery, in the most unsubtle manner imaginable. As terribly politically incorrect as Christmas Eve's big number is: "... the more your ruv someone, the more you wishing him dead..." [sic], the message gets across. Here the ridiculous characters really empower the show to explore controversial subjects in a meaningful, human way. The result? You walk away not merely with a sense of schadenfreude, but possibly with new perspective on... well, life.
And hey, if not, at least you'll have laughed at the absurdity of it all. It really is a win-win.
Other Notes:
I managed to score some weird box seats, where we had a good view of the pit. First time I've ever seen a drum shield in use. There are only five-six musicians on the tour, and it was funny to see them so set in their routine that they spent every moment in between songs flipping through books or magazines. And how poorly insulated they are from the fog machines.
To use the vernacular of the show in question. But more on that later - gotta go buy a case of beer...
I'll have a brief write-up sometime tomorrow, but if you have the chance to see it, by all-means do it. (And leave the kids at home.)
I was particularly enamored of the Bad Idea Bears:
They totally killed.
I'll have a brief write-up sometime tomorrow, but if you have the chance to see it, by all-means do it. (And leave the kids at home.)
I was particularly enamored of the Bad Idea Bears:
They totally killed.
- Mood:
giddy
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