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    Home»Hollywood»‘Avenue Q’ evaluate: The Dio’s raunchy puppet musical is a heartfelt triumph
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    ‘Avenue Q’ evaluate: The Dio’s raunchy puppet musical is a heartfelt triumph

    David GroveBy David GroveJune 28, 20255 Mins Read
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    ‘Avenue Q’ evaluate: The Dio’s raunchy puppet musical is a heartfelt triumph
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    Courtesy of Michelle Anliker Images

    Ever seen two puppets “do it” onstage? You’ll, and also you received’t neglect it, within the laugh-out-loud, splendidly inappropriate manufacturing of “Avenue Q,” now taking part in at The Dio. When you’re not accustomed to the present that beat “Depraved” for Greatest Musical on the 2004 Tonys (sure, severely), assume “Sesame Road” meets R-rated comedy membership. Unintentionally convey a child? You’ll be explaining much more than the phrase of the day on the journey dwelling.

    With a e-book by Jeff Whitty and music and lyrics by Robert Lopez and Jeff Marx, “Avenue Q” tells a narrative about objective, love, race, and disappointment, all via a mixture of people and puppets residing on a crummy little block in a forgotten nook of New York. The Dio’s cozy dinner-theater setup would possibly sound small, however scenic designer Matt Tomich pulls off a slick and efficient set, full with a cheeky built-in TV display that completely captures the present’s selfmade, “PBS,” aptitude and street-corner appeal.

    Although the present premiered off-Broadway in 2003, it’s uncanny how present its themes nonetheless really feel. “Everybody’s a Little Bit Racist,” the present’s most notorious track, pulls no punches because it dives into stereotypes and social taboos, a quantity that will virtually actually look totally different if written right now. However a part of “Avenue Q’s” appeal is its equal-opportunity satire. Nobody will get off simple. It’s crass, it’s daring, and it dares you to giggle on the uncomfortable truths all of us share. Some bits will earn groans. Some, full-on stomach laughs. However at its core, that is an unexpectedly heartfelt present about discovering your objective and staying true to your self, even when you’re a felt monster with a unclean thoughts.

    And The Dio has assembled a solid who can do all of it: sing, dance, puppeteer, and nonetheless hit each giggle. As Princeton, Bret Beaudry brings wide-eyed appeal to a current school grad in search of objective (and lease he can afford). He lands in Avenue Q, the place life sucks and no person has their act collectively. He’s joined by a lovable gang of neighbors, each human and puppet: struggling comedian Brian (Steve DeBruyne), his intense “oriental” fiancée Christmas Eve (Kylee Ayar – utterly sport for the script’s chao), constructing superintendent Gary Coleman (Jacqui Blue, sure that Gary Coleman), in addition to Rod and Nicky (clear Bert and Ernie riffs), Trekkie Monster (hooked on the web), and candy, awkward Kate Monster (Kennedy Vernengo), who would possibly simply be Princeton’s soulmate. They dance via songs about porn, racism, and existential despair with the peppy vitality of a Saturday morning cartoon. The tonal tightrope they stroll is spectacular.

    What makes this manufacturing actually sing is how nicely the solid handles the present’s cut up persona: taking part in their characters whereas puppeteering them on the identical time: usually a number of ones. Vernengo is a knockout, bouncing between Kate and one other character named Lucy (whose final title I received’t reveal right here) with pitch-perfect vocals and comedian precision. One second she’s melting hearts, the subsequent she’s cracking jokes about what occurs behind closed puppet doorways. Watching her argue with herself onstage is a complete masterclass.

    Performing, singing, and puppeteering all of sudden is a Herculean job (you’re basically giving two performances on the identical time). Connor Thomas Rhoades is a pleasure as Nicky and the internet-addicted Trekkie Monster. Carrie Sayer delivers huge laughs as one of many “Unhealthy Concept Bears,” that are adorably deranged Care Bear parodies who gleefully counsel playing, ingesting, and different self-destructive selections. Beaudry shines as each the idealistic Princeton and the tightly wound Rod, who’s grappling along with his sexuality in essentially the most repressed, Broadway-musical manner doable. And on the human facet, Jacqui Blue is a standout as Gary Coleman, a splendidly bizarre and pointed image of fading fame and childhood nostalgia. It shouldn’t work. And but, it completely does.

    Director Steve DeBruyne (who additionally charms as Brian, full with a memorable bit about going commando) retains all the things transferring like clockwork. In a present the place the actors and their puppets have to maneuver, work together, and keep synchronized, his staging is sharp, fluid, and by no means distracting. And Autumn Sierra’s choreography retains the vitality excessive with out ever feeling overstuffed.

    Let’s be actual: puppeteering and performing isn’t simple. You’re doing two exhibits directly, your face has to emote whereas your hand brings a puppet to life. It’s a technical feat, and this solid makes it look easy. The result’s electrical.

    Tomich’s set design additionally options dynamic, colourful lighting that provides to the faux-educational vibe, whereas Norma Polk’s costumes, for each people and puppets, strike the right steadiness between characterful and absurd. Musical director Lisa Merte deserves main props for conserving all the things tight and tuneful. You’d by no means guess there isn’t a dwell orchestra within the pit, the backing monitor is that easy.

    The Dio’s “Avenue Q” is a raunchy, good, heartfelt triumph. Due to the logistical challenges of mounting a full puppet musical, it’s not produced fairly often, and that makes this staging much more particular. Plus, watching unsuspecting audiences react, jaws on the ground, eyes vast, laughing till they cry, is the kind of communal expertise all of us might use proper now.

    To be clear, this isn’t for the faint of coronary heart. There are songs about porn, masturbation, and sure, there may be simulated puppet intercourse. However the vulgarity isn’t only for shock, it’s a device. “Avenue Q” makes use of its unapologetically naughty humor to show grown-ups the teachings we generally miss or must be reminded about: group, friendship, objective, and, maybe most crucially, the best way to giggle at ourselves.

    The Dio’s manufacturing of AVENUE Q continues via August tenth. Tickets embody a full course meal and non-alcoholic beverage. Tickets could be bought right here.



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