'Avenue Q' a Polished, Brilliant Musical Comedy Gem

Once upon a time, two musicals opened on Broadway in the same theater season. One was a splashy, big-name show based on proven source material. It tried out in San Fransisco and rode into town on a wave of positive reviews and feel-good sentiment. The other was an off-Broadway transfer of a little, quasi-experimental show by some unknowns. Coincidentally, it was also based on familiar show business iconography and also received glowing reviews and positive audience feedback. And then the Tony Awards happened…

The year, of course, was 2004, and the shows in question, as every little musical theatergoer knows, were "Wicked" and "Avenue Q." Both shows won three awards that night, but "Avenue Q" won the "big ones," musical, score and book. Both are still running in New York, impressively for each on their own terms. But now, for the next three weeks, it just so happens that these shows are playing as close together as they probably will ever get, just three blocks apart, on opposite sides of Chicago's Randolph Street. Do not miss this opportunity to see them….especially the one that opened this week, the fantastic, mind-expanding "Avenue Q."

This reviewer saw both of these shows in the heady spring of 2004, and I returned to Chicago to tell my friends that "Q" was the better show. No one believed me, and some still don't, Tonys to the contrary. (And I liked "Wicked" a lot, and I still do. I take nothing away from its phenomenal success, here and elsewhere.)

But simply put, "Avenue Q" is a brilliant musical comedy, written, staged and performed by brilliant people, saying brilliant, insightful things about young adulthood and life in general-and the actors are having a fantastic time on stage every single night. Being able to witness and take part in this show is a joy that no theater lover, no one who is a young adult or who remembers being young, should miss.

The small-cast, ensemble, no-spectacle show definitely depends on word of mouth to get people in the door, as audiences may be put off or even wrongly attracted to the show by its utilization of Jim Henson-like puppets (there is no formal relationship, but the acknowledged inspiration is there). But the show puts its adult stamp on childhood television memories early on, with obscenities in the opening moments, followed quickly by discussions of homosexuality, racism, premarital sex, alcoholism, pornography, homelessness and the like.

Oh, and did I mention the upbeat, tuneful score (by Robert Lopez and Jeff Marx), the raucously funny humor (book by Jeff Whitty), the on stage puppet sex, the sweet purity of true love and the universal, ever-resonant themes of finding both lasting relationships and meaningful purpose as a newcomer to a big, scary city? All ends happily, of course.

And why is the former child star Gary Coleman a character here, portrayed by a woman? No explanation is given, and none is necessary!

The four puppeteer-actor-singers and the three actor-singers who make up the on stage cast of this national touring company have for the most part been performing their roles for years now. Regrettable though it is that the show took almost five years after its New York debut to reach Chicago (leaving its references to mix tapes and David Hasselhoff seeming a touch retro, to be honest), it is wonderful that these actors know the show so well, and clearly love it so much.

The audience on Wednesday night, May 21st, actually saw a somewhat unique theatrical adventure, as the actor playing the role of Brian (the daringly named Cole Porter, believe it or not) was apparently taken ill during the first act, and was replaced for Act Two with one of the swings, Cullen R. Titmas, with nary a beat missed by anyone. (Actually, upon reflection, it did seem like Mr. Porter had been a few seconds late for one brief entrance in Act One, but that was the only thing I noticed.) At any rate, everyone is to be commended for making such a midshow replacement happen so smoothly, and for covering the reason for it so well. My best to both Mr. Porter and Mr. Titmas.

Portraying the lead puppet role of Princeton, as well as one of the key supporting roles, the closeted Rod, Robert McClure is a force of nature, singing excitingly and investing himself into two key characters with a delightfully winning sense of abandon and high skill. He is giving a truly inspiring performance, which aspiring actors will especially relish. As both Kate Monster and Lucy The Slut, Kelli Sawyer is very likable and versatile, singing and acting with aplomb despite wearing what looked remarkably like a maternity blouse.

David Benoit and Minglie Chen as the other fully visible puppeteers round out the production's fascinating quartet of performers who bring to life at least ten (I lost count) puppet characters, never missing a beat at their handoffs or their ability to voice a puppet while someone else manipulates it (I feel like I should say "him/her"). Remarkable and creative work all round! Carla Renata as Gary Coleman and Angela Ai as Christmas Eve (what is it with the names in this production?) bring their characters, who could be one-note, one-joke excuses, to more rounded life.

The direction and choreography by Jason Moore and Ken Roberson, respectively, are solid, and point the eye and the heart in all the right places. The set design by Anna Louizos and the puppet design by original cast member Rick Lyon remain exemplary in their detail and in their simplicity.

All in all, for the young at heart, and those who are adults but are still young, "Avenue Q" tells a delightful and heartwarming story in a fresh and thoroughly post-modern, contemporary way. See it, and love it. You will be moved, and both reassured and challenged. That is a remarkable achievement for any night of theater to accomplish. And the audience Wednesday night couldn't stop quoting lines from the show and marveling at the skill of the actors, all the way home. I didn't hear one single negative thing.

Tony Awards, indeed. That audience response is perhaps the highest honor a production can receive, isn't it? You want to have that same response, trust me. "Welcome to 'Avenue Q!'"

"Avenue Q" premieres in Chicago with a limited three-week engagement through June 7, 2008 at the Cadillac Palace Theatre (151 W. Randolph St.). For tickets or for more information, visit www.avenueq.com or www.broadwayinchicago.com.

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