Avenue Q

Stepping into the Pioneer Theatre at Castle Hill, a buzz was in the air. Blackout Theatre's production of Avenue Q promised an evening full of laughter, thought-provoking moments, and musical brilliance, and it delivered in spades. 

The stage design was an immediate winner. A charming rendition of the dilapidated yet endearing Avenue Q neighbourhood was both detailed and adaptable, seamlessly transitioning between different scenes at the quick hands of Adam Salwat and team, John Hanna/Luke Quinn. The colourful set and cleverly constructed props helped to transport the audience into the whimsical yet gritty world of the characters. 

The highlight of Avenue Q is, of course, the puppetry, so let’s discuss. 

Blackout Theatre’s puppeteers displayed skill, bringing the puppets to life with all the charisma and quirks. The synchronisation between the actors and their puppet counterparts was flawless, making it easy to suspend disbelief and connect emotionally with fabric and felt, not actors. However, from time to time, I found myself watching the performer, just for a cheeky glimpse here or there. These characters unite to create a vibrant and diverse community on Avenue Q, each with quirks and stories that resonate with real-life challenges and triumphs. 

It’s a fine, fine line to bring this show to life, blending humour and more serious undertones in a balanced manner (with added puppets) but Director Jordan Anderson has found the perfect combination. 

Princeton (Jack Maidment), a recent college graduate in his early twenties, is searching for his purpose, representing many people in the 20s demographic. Maidment handles the somewhat naive Princeton with vulnerability, sensitivity, and a mighty fine voice; we want to cheer for him even as he is head-in-hand making mistakes. Playing opposite Princeton is Fiona Brennan as Kate Monster, a kindergarten teaching assistant. Brennan’s Kate is caring and romantic; her responses and reactions to situations are genuine and full of heart, with the occasional outburst. We can all resonate a bit with this Monster.  Her love story with Princeton is central to the story, along with her dreams of starting a school for monsters, inclusion and sticking up for the underdog. 

Rod (Robert Hall) & Nicky (Jason Oxenhan) will feel familiar to fans of the other well-known street. While Rod is a well-off, uptight investment banker, his roommate Nicky is laid-back and untidy. Rod's internal struggles are very moving, while Nicky provides comic relief and has a genuine heart, helping Rod acknowledge his sexuality. This pair's vocal and character work had the audience in the palm of their hands. 

Brian (Brian Jackson) and Christmas Eve (Lisa-Marie Long) are 2 of 3 human characters. The pair share an apartment heading to become Mr and Mrs, representing the struggle to follow one’s dreams. Long’s Christmas Eve is memorable. Her strong personality and precision timing provide humour, heart and insight into her immigrant experience. Gary Coleman (Koren Beale) is the other principal cast member played as a human character. Coleman is the former child star fallen on hard times and is building superintendent. Beale is sometimes funny and reflective, sometimes poignant and always slays with fantastic vocals as she plays with Coleman’s unique backstory. 

While some of the jokes about Trekkie Monster (Alexander Irby) and the internet are a bit dated, the audience still appreciates his humour and hidden depths. Lucy the Slut (Marika Zorlu) and Bad Idea Bears (Dylan Bonifacè & Jess Pearce) are the temptation and obstacles in Princeton’s life. Zorlu has the right blend of sex, sass and strut as the sultry X-rated dancer while the Bad Idea Bears are the cute, persuasive, fluffy devil on his shoulder. 

Supporting humans and their puppets were equally impressive: Brooke Rose as Mrs Thistletwat, Brianna Ayres as Spedington & Otamatone, Tristan Foon as Lennon, Newcomer & Brooklyn, Nicole Joy Harwood as Maria & Mrs Thistletwats 2nd Hand, Will Kilgour as Dick & Ricky, Liam Vicari as Luigi & Trekkies 2nd Hand, Eddie Langford as Nickys 2nd Hand, Emelie Woods as Fuzzy & Dancer worked every bit as hard with puppets, multiple characters and humans. They had multiple costume changes, puppet changes, and big dance numbers to contend with. 

Aivi Mak and his band were on point, with musical numbers that were both entertaining and poignant. Songs like "It Sucks to Be Me" and "The Avenue Q Theme" and "The Money Song" were delivered with perfect timing and impressive vocal performances. The amount of ear worms in this show are unbelievable. I could post the entire playlist as a standout. 

Jess Edwards's choreography was slick and in sync. The puppets seemed to dance on their own, which, of course, they weren’t. There was a very hard-working cast member under each puppet, but I have no doubt working with varying abilities and adding puppets was a job that required flexibility and outside-the-box thinking. The choreography was spirited and well-executed, combining the additional layer of puppetry.

From start to finish, the audience loved this show. The spontaneous applause, laughter, and cheers indicated a crowd thoroughly enjoying every minute. The post-show buzz in the lobby was filled with compliments and high praise for both the cast and crew. 

So, do you take children? Blackout’s social campaign warns that this is not a show for children, and I respect the warnings and the responsibility placed on their shoulders. That said, I don't see it this way. I took my tween, and there were others in that age bracket. Parents need to have some autonomy over how they educate their kids. Why not use theatre to open doors and educate? Post-show debriefing means theatre is a tool for discussion and learning. Anderson navigated various themes, including racism, purpose, and relationships, with humour and grace. The explicit content and adult themes were handled tastefully, making the contentious parts thought-provoking rather than provocative, so if your kiddo knows their ABCs and birds and bees, why not take them? 

Blackout Theatre's production of Avenue Q at the Pioneer Theatre, Castle Hill, is a rare blend of humour, heart, and honesty that makes for an unforgettable night out. This performance is a testament to the exceptional talent present in community theatre, proving once again that fantastic theatrical experiences aren’t confined to the big city stages. Well done to Jordan and his creative team  as well as Helen Winley Bell (Production Manager), Kate Simmons (Production Assistant & Costumes) 

Side note: keep your eye on the billboard. You will not be disappointed. Director Jordan Anderson has had a lot of fun, which is worth watching throughout the show. I feel the interval billboards will continue to grow as the run continues and are worth taking a look at and having a giggle with popcorn in hand. 

Nicole Smith