Once upon a time, puppets seemed so innocent and childlike, just sweet, caring extensions of the people manipulating their cuddly torsos and wide-mouthed faces. And then along came "Avenue Q."
In one of the most striking deconstructionist acts in modern theater, if not Western civilization, this 2003 musical — concept by Robert Lopez and Jeff Marx (they also wrote the music and lyrics), book by Jeff Whitty — turned the whole puppet world inside out.
Generations raised on "Sesame Street" or, in a more distant time, "Kukla, Fran and Ollie," could only wonder and shudder. Or convulse in laughter.
As Stillpointe Theatre reconfirms in its briskly staged revival the hall at Emmanuel Episcopal Church, "Avenue Q" still delivers many a stinging satirical slap in unique style. There's a lot of good mileage left in the dialogue and, especially, the songs — for fresh relevance, it's hard to beat the tangy number "Everyone's a Little Bit Racist."
Prudish souls may consider this show just a gutter version of "Sesame Street," but, for all of the earthy language, political incorrectness and even a rash of steamy puppet-on-puppet action, it's fundamentally an old-fashioned coming-of-age story. In that regard, "Avenue Q" has something in common with a subsequent hit musical Lopez had a role in creating, "The Book of Mormon."
It's hard not to empathize with the central character, Princeton (Lawrence D. Bryant IV), whose search for affordable housing brings him to a modest apartment building on Avenue Q in a decidedly fringe borough of New York. He's hardly the first young guy fresh out of college with no prospects — as his entrance song puts it, "What Do You Do with a B.A. in English?"
Turns out, the street corner he lands on is full of similarly discontented souls, most famously the late, not-quite-great actor Gary Coleman (Ciera Monae), now working as a super in the building — one of three human roles in the otherwise puppet-peopled show.
Will Princeton discover his purpose in life? Will he and pretty/furry Kate Monster (Erin Adams) make the most of their instant attraction?
Will Brian (Ken Jordan) ever learn a good enough joke to realize his dream of being a comedian? Will his other half, the Japanese-born therapist Christmas Eve (Danielle Robinette) ever get a paying patient? Will Trekkie Monster (Jon Kevin Lazarus) ever stop watching porn on the Internet and do something useful for society?
The answers to these and so many other vexing questions spill out, mostly in song, as "Avenue Q" works its clever way toward a most appropriate resolution.
To make all of this click requires a dexterous touch. Stillpointe Theatre, a DIY ensemble that knows how to stage tough musicals in credible fashion (a 2013 production of "Hair" bore that out nicely), tackles this one with enough zeal to compensate for some weak spots. This isn't the best-sung "Avenue Q" you'll hear, but, directed by Ryan Michael Haase with plenty of snap, the acting hits the spot.
Bryant captures Princeton's mix of disillusion and hope convincingly. Adams makes a charming Kate and, when not pushing her voice, sings very charmingly. Among the others, Adam Cooley stands out for his colorful work as the closeted Rod. He has a great foil in Amanda J. Rife as Rod's straight, sympathetic roomie Nicky. The two give "If You Were Gay," one of the score's most amusing numbers, a spirited workout.
The puppets, designed by Michael Paradiso, are manipulated skillfully. Janine Vreatt has devised a fun scenic design. And music director Stacey Antoine leads an effective combo from the keyboard.
I just hope the Stillpointe gang figures out how to use the sound system more sensitively. Opening night found the volume overly pumped and prone to pick up unintended noises from the actors. Word on this street would be a lot more enjoyable with much less amplification.