“Avenue Q,” the critically acclaimed Broadway musical that won the Tony “Triple Crown” of Best Musical, Best Score and Best Book, has come to Southwest 5th Avenue, specifically, the Broward Center for the Performing Arts. Produced by Slow Burn Theatre, this classic coming-of-age musical follows the life of Muppet-esque character Princeton, voiced by Rick Peña, as he navigates life fresh out of college and in his first apartment on Avenue Q in an outer borough of New York City. The show is, to say the least, a mix of PBS’s “Sesame Street” and Broadway’s “Rent” on drugs. Slow Burn Theatre’s version of the show of it is great due to the production’s passionate performers, but leaves mixed feelings due to poor technical aspects.
The show begins with an animated introduction that gives the “Sesame Street” feel to the show. These animations appear at random moments throughout the show, including a reference to the pronunciation bit from the popular kids show. Unfortunately, the inclusion of these animations drags the show on. Even though the real bits from “Sesame Street” help children learn, when addressed to adults they feel patronizing and take away from the excitement of the production. There are one or two funny bits, however, including counting night stands with a punch line that references a sexual one-night stand.
During the opening number, Peña appears with Princeton literally on his hand, singing about the lack of opportunities he has with a B.A. in English, satirizing the degree and those pursuing it. The strong opening number is quickly wasted. The energy of the cast, both those with and without puppets, was lacking in the first ensemble number, “It Sucks to Be Me.” The only excusable aspect of this song is the basicness of the choreography. People who are singing and controlling a puppet shouldn’t be expected to execute complex choreography.
Luckily, “If You Were Gay,” a song as hilarious as the title suggests, brings the energy of the show up to a satisfying level and sustains it for the rest of the act. Sung by Peña and Christian Vandepas through the puppets Rod and Nicky, respectively, the song left the audience laughing.
The first act continues the trend of satirical, slightly offensive songs including “The Internet Is for Porn,” “I’m Not Wearing Underwear Today” and “You Can Be as Loud as the Hell You Want (When You’re Makin’ Love),” as well as the introduction of a character actually named “Lucy the Slut.” This level of no-boundaries theatre creates a hilarious vibe that makes the show’s first act fun to watch.
The second act focused more on drama than comedy but was far less eventful in terms of show-stopping numbers. The guttural performance of Piro draws the audience in regardless, but the two acts are obviously different. The slowness of the songs did, however, mask the evident shortness of act two compared to act one. The resolution was rushed but heartwarming.
In terms of characters, Piro’s portrayal of Kate, Princeton’s love interest, is emotional and brings necessary dramatic appeal to the show. Peña and Piro’s chemistry brings the whole show together. Despite being puppets, the connection between Princeton and Kate Monster actually feels genuine. Vandepas also, who recently starred in “Mud,” directed by NSU’s Mark Duncan at Thinking Cap Theatre, easily shows off his acting abilities. In “Mud,” he played an egotistical, mentally challenged man, but in “Avenue Q,” he utilizes comedic voice acting abilities to voice over four different characters, including leads Nicky and Trekkie Monster, flawlessly. Unfortunately, not all of the cast put on a great performance. Ann Marie Olson, who played Christmas Eve, seemed to be trying too hard to play a Japanese woman, accent and all. Her accent was spotty in places, and she lost it completely in the song “The More You Ruv Someone.” Her performance wasn’t bad, but needed more work than it was given.
The technical aspects of the show are poor to say the least. Throughout the show, microphones either crackle or cut out completely, even during key songs. On top of that, the scenic designer seemed to pay no mind to the sight lines of the set. Bare wood under the floor of the second story of the buildings is clearly visible, along with actors in the buildings that are not meant to be seen. Additionally, lighting cues are very quick during transitions between scenes, which is annoying when the stage lights come up.
Slow Burn Theatre’s “Avenue Q” is definitely not one of the best shows out there, but it is still likely to give you a good time. The hilarity and drama will tug your emotions from happy to down and back to happy again.
“Avenue Q” is showing at the Abdo New River Room in the Broward Center for the Performing Arts until Nov. 20. The show has mature themes and a parental advisory warning. Tickets are on sale on Ticketmaster for $45 plus taxes and fees.
