Review: AVENUE Q Provides Humor, Acceptance, Community in Orlando's Difficult Days

It seems unimaginable that a single work of art can both hysterically mock and lovingly embrace some of our fondest childhood memories. However, as the "AVENUE Q Theme Song" transitions into the first official song of the musical (one of modern musical theatre's most effective opening numbers) it becomes clear that this show is unlike anything that came before it, and that traditional musical theatre conventions, and easily offended sensibilities, should be thrown out the window.

Running through July 3rd at Orlando's Mad Cow Theatre, this side-splittingly funny musical is simply not to be missed. The boilerplate description of the show is that it is a SESAME STREET send-up that features a graphic puppet sex-scene; but behind the anti-politically correct language, surprising puppet profanity, and countless jokes that would not be approved by the Children's Television Workshop, AVENUE Q has a heartfelt message of acceptance, community, and love, something that should serve as an important reminder in our community given this weekend's horrific events.

The story, as it were, begins with recent college graduate, Princeton, moving into the only New York neighborhood that he can afford. From there, he finds friendship, love, and perhaps his purpose, as those he meets help each other discover what is most important in their lives.

When AVENUE Q opened Off-Broadway in 2003, it would have been easy to imagine that eventually the show would feel dated, with an appearance from a now dearly departed, former child-star, a reference to a long-out of office president (which has been topically re-written), and a particularly pre-social media sensibility. However, fortunately for the show, but unfortunately for the country, AVENUE Q is still as clever, poignant, and necessary 13 years after its initial bow as it ever has been.

Directed by Juan Cantu, this AVENUE Q is the sharpest, most effective production of a musical that I have seen in my three years of attending Mad Cow shows. The pace was brisk and light, with jokes that not only brought humor, but also conveyed a level of truth that even the sincerest of musicals struggles to achieve. Loaded with numbers that mimic the familiar sing-songy tunes of children's television, a handful of clever musical theatre references, and a shout-out to a certain Central Florida suburb (which is in fact in the original script), the show combines all that is special about musical theatre's new and old generations.

Written by Jeff Whitty (Book), Jeff Marx, and Robert Lopez (Music and Lyrics), all of whom won Tonys for their work, the show was a bit of a surprise winner at the 2004 Tony Awards, besting mega-musical WICKED. Interestingly, a number of the Mad Cow's cast members perform in another one of Lopez's projects in town, FINDING NEMO: THE MUSICAL at Disney's Animal Kingdom; which he wrote with his wife, Kristen Anderson-Lopez. The married duo also wrote the music for smash animated musical FROZEN.

The show's seven person ensemble works incredibly well together, and the group's wonderful harmonies, crafted by Music Director Heather Langs, are surprisingly thrilling.

Maya Handa Naff, as immigrant therapist Christmas Eve, is the standout of the cast, with hysterical comedic moments and a multi-dimensional voice that never fails to impress. That, however, is not to say that the rest of the cast is not fantastic as well.

Adam Hose as puppets Princeton and Rod provides two very different, but equally funny, takes on men figuring out who they are. Christina Sivrich is sweet and charming as Kate Monster and surprisingly sensual for a puppet as Lucy T. Slut. As the heart of the show, these two carry much of the dramatic and vocal weight, and they both do a wonderful job balancing all of the different responsibilities.

Paul Padilla and Faith Boles are extremely funny as Christmas Eve's fiancé Brian and Gary Coleman (yes, that Gary Coleman) respectively. Likewise, Kurt von Schmittou, who plays a handful of characters, including parodies of Ernie and Cookie Monster, shows a broad wealth of talents.

Finally, the show's unsung hero is a performer that pops in and out of scenes to assume various roles no matter what is needed at a given time. From temporarily taking over half (or all) of another actor's puppets to playing multiple (very different) characters throughout the show, Sonia Roman is a ball of energy, enthusiasm, and talent that makes it hard to take your eyes off of her when she is on stage; no matter what she's doing.

Robert F. Wolin's scenic design is not as multifaceted as either the Broadway or Off-Broadway productions, but it does give the very authentic feel of a dingy New York side street inhabited by foul-mouthed puppets.

If you don't mind your musicals tinged with a little bit of racism and your puppets a little bit naughty, then you cannot miss the opportunity to see this delightfully irreverent musical theatre masterpiece presented by one of Orlando's best casts and companies.

To purchase tickets to Mad Cow's AVENUE Q, visit their website or call 407-297-8788.

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Did you make the trek down to AVENUE Q? What did you think of this Tony-winning musical comedy? Let me know in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter by using the buttons below. You can also chat with me about the show on Twitter @BWWMatt.

Banner Image: AVENUE Q Cast. Photo Credit: Tom Hurst | Mad Cow Theatre

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