Saturday, April 22, 2017

Exit Laughing at TLT

Cotton candy
by Michael Dresdner

L to R: Richmond, O'Hare, Ferguson     All photos by Dennis K Photography

Last night, Paul Elliott’s comedy Exit Laughing, superbly directed by Rick Hornor, opened at Tacoma Little Theatre to a packed house simply roaring with laughter from beginning to end.

Densely packed into this brisk, airy comedy are enough zingers and one-liners to fill at least three episodes of your favorite TV sitcom to bursting. If you are looking for pure, rib-tickling diversion, go out and buy tickets now. This show will sell out.

L to R: Richmond, O'Hare, Ferguson

The plot, which exists mostly as a platter on which to serve up classic humor, involves three women who’ve played cards together for years and, somewhat in absentia, their fourth who has just died. I say “somewhat” because her urn of ashes joins them for one last hurrah.

Connie (Carol Richmond) is the sensible, somewhat repressed mother of a 22 year old daughter, and the host of tonight’s gathering. Leona (Sharry O’Hare) is a classic, snarky, quick-witted and sharped tongued inebriate who loves her friends, though possibly not as much as her booze.

L to R: O'Hare, Richmond

Then there’s Millie (Shelleigh-Mairi Ferguson), the quintessential clueless ditz who brings along the dead Mary’s ashes, which she has stolen from the funeral home. Why? Because Mary’s white trash relatives, whom we never see, are violating what this trio knows were her disposition wishes.

L to R: Parobek, Ferguson

Rounding out the cast of archetypes are Connie’s daughter Rachel Ann (Margret Parobek) beautifully filling the role of a volatile young woman with all the explosive passion and fickle heart of a stereotypical teen, and her missing date, who stood her up, showing up instead in the guise of ‘Officer Grayson’ (John Naden), a handsome young man working as a stripper but hiding a challenged past and the requisite heart of gold.


The small cast of five were all excellent, but far and away the most entertaining is the pairing of  O’Hare and Ferguson. These two, both outstanding actors separately, are pure comic gold together, and worth the price of admission all by themselves. They play off one another alternately setting each other up to show off their flawless punch line deliveries. Damn, they’re good.

All this plays out in one room of Carol’s house on a perfect set (by Blake York) right out of Golden Girls, only slightly more northern, and festooned with appropriately awful wall art (set dresser and props man Jeffery Weaver). Even Mary’s urn of ashes is a character in itself, a paradigm of the abhorrently tasteless. 

Ferguson, with an urn full of Mary's ashes 

The otherwise spot-on costumes (by Michele Graves) were all overshadowed by those of stripper Grayson (you’ll see what I mean). Predictably solid were the sound design by York and Chris Serface, and lighting by Niclas Olson. Oh, and let’s give a nod to stage manager Nena Curley and (temporarily absent but just as vital) assistant Noelle Shai Edlin for keeping it all running smoothly.

Bottom line: I’m willing to bet that you will find this silly, fluffy romp funny, thoroughly enjoyable, and over too soon.

Exit Laughing
April 21 to May 7, 2017
Tacoma Little Theatre

Saturday, April 15, 2017

Rosencrantz and Gildenstern are Dead at Lakewood

“It insists upon itself, Lois.”
by Michael Dresdner

L to R: Paul Richter, Frank Roberts    All photos by Tim Johnston 

Lakewood Playhouse is currently presenting a long Tom Stoppard double feature of Shakespearean bent; The Fifteen Minute Hamlet followed by Rosencrantz and Gildenstern are Dead.

Both plays are quite well done, with strong individual and ensemble casts, good direction by Beau M. K. Prichard, a thoroughly appropriate set (Blake York) and props (Karrie Nevin), and excellent sound (James Venturini), lighting (Aaron Mohs-Hale), and costumes (Rochelle-Ann Graham). In short, the theatre did a fine job with both these plays, but let’s look at them more closely, one at a time.

The Fifteen Minute Hamlet 
The Fifteen Minute Hamlet is a thirteen minute, lickety-split, highly truncated, comic version of Hamlet, followed by a two minute version of the play as an encore, and in this iteration, another one minute encore of the same.

I assume it was presented beforehand merely as a refresher for those who are shaky on their Shakespeare, since it does not go into enough depth to explain Hamlet if you don’t already know it. There is perhaps some irony in the fact that Rosencrantz and Gildenstern are not actually in The Fifteen Minute Hamlet, but we’ll ignore that.

Led by a very impressive and physically adept actor playing Hamlet (Dylan Twiner), the ensemble cast did an excellent job. The same actors appear in both plays, and appropriately, in the same roles.

My one complaint was with the signs actors wore with their character’s names on them. Because they were written in fine lines on white cardboard under strong lights, we could not read them from where we sat. (Yes, I know who they were by their lines, but then, I know Hamlet.)

L to R: Paul Richter, Dylan Twiner, Frank Roberts 

Once over, it is followed immediately, without intermission, by the main event, Rosencrantz and Gildenstern are Dead. As you probably know, Rosencrantz (Frank Roberts) and Gildenstern (Paul Richter) are two very minor characters in Hamlet. Old friends of Hamlet’s, they appear briefly, are enlisted as spies against their old friend, accompany him to England, and conveniently disappear, only to be announced as dead at the end of the play.

Here they become the main characters, spending much of their time where the actors playing them really would be; backstage waiting for their entrance. This explains the brick wall set, that looks, appropriately, like the wings of a stage.

L to R: Frank Roberts, Paul Richter 
While waiting around, they engage endlessly in games, deep and largely directionless philosophical discussions, and various contemplations of the purpose of their existence. This is ironic because they are, after all, merely fictional characters.

They meet a troupe of actors (led by the excellent Nathan Rice, who is also the fight choreographer) heading onstage to do the “play within a play,” meant to trigger guilt in Hamlet’s murderous uncle. This inspires yet another foray into the meaning of life, theatre, and the universe.

Nathan Rice (foreground) and his troupe of actors

As I said, the entire cast and crew are worthy of praise, with a special nod to Roberts and Richter for doing the heavy lifting with massively wordy line loads. Kudos to everyone involved, on and off stage.

Now for the tough part, where I have to give you enough information about the nature of the play to decide if it is something you would enjoy, or at least want fervently to see.

Sigh. Here goes.

This is a long, and more pointedly, a long-winded and very wordy play, heavily larded with the sort of philosophical musings reminiscent of Waiting for Godot. To be honest, it reminded me of the many endless nights I spent at college in just such meandering discussions with my fellow philosophy majors. Of course back then, we were often – oh, who am I kidding – ALWAYS stoned.

Was it well executed? Yes, absolutely.

Is this sort of thing going to be compelling for you? I’ll leave that for you to decide.

Rosencrantz and Gildenstern are Dead and The Fifteen Minute Hamlet
​April 14th through May 7th 2017
Lakewood Playhouse

Saturday, March 11, 2017

Gypsy at Tacoma Little Theatre

by Michael Dresdner

Cassie Jo Fastabend as Gypsy   Photos by Dennis K Photography

Musicals, I think, are best during times of stress. Letting the sparkling éclat of the swirling music, singing, and dancing wash over you is just the sort of delightful distraction we need to forget the daily news.

Gypsy, the musical currently at Tacoma Little Theatre, does that perfectly.

Based loosely on the memoirs of stripper Gypsy Rose Lee, it chronicles the rather sad story of Rose, the quintessential stage mother relentlessly pushing her two daughters into the spotlight. Along the way she blithely uses anyone who can further her goal, from underpaid young (and not so young) backup performers, to her long-suffering admirer and reluctant agent, Herbie (Jed Slaughter), a veritable prototype for Chicago’s Mr. Cellophane.

L to R: Stephanie Leeper as Rose, Jed Slaughter as Herbie  

Eventually, Rose alienates both daughters; Louise who became the famed stripper, and her younger sister who became actress June Havoc. It’s not until the song "Rose's Turn," in an iconic scene toward the end of the play, that Mama Rose finally voices the truth; that it was really all about forcing her daughters to fulfill her own frustrated stage desires.

L to R: Julia Wyman as June, Cassie Jo Fastabend as Louise

Brimming with great music and lyrics by Jule Styne and Stephen Sondheim, this version, superbly cast and directed by Chris Serface, is a delight. And typical of good musicals, their songs, in this case numbers like "Everything's Coming up Roses", "Together (Wherever We Go)", and "Let Me Entertain You” endure long after we’ve forgotten the play they came from.

The cast is too large to name separately, and there are too many sterling scenes to  tag individually, so permit me if I just call out a few of my favorites. Know, though, that from top to bottom, this wonderfully paced musical has an amazing cast, and all the top notch technical support such a fine group of actors deserves.   

L to R: Alex Koerger, Allie (as Chowsie, the dog), Stephanie Leeper, Summer Mays, Alexandria Bray

At the outset, the talented singing, dancing, acrobatic, baton twirling Baby June (Alexandria Bray, an outstanding dancer/acrobat with an adorably penetrating Betty Boop voice,) and her overshadowed older sister Louise (Summer Mays) are at an audition. Onto the stage bursts their mother, Rose (Stephanie Leeper), a brazen, hall-filling persona with all the brassy insistence of Ethyl Merman, who was both a producer and the lead in the original 1959 musical. Leeper nails it precisely, with boundless energy, a powerful voice, a far better figure, and better moves than the original.

In one of the most clever on-stage segues I’ve seen, Baby June, Louise, and their backup retinue of surprisingly good young dancers (Caleb Corpeno, Kepler Koerger, Liam Loughridge, Gunnar Ray) launch into their stage routine. Partway through, the lighting changes to strobe, and during the visual confusion, the young troupe is gradually replaced. When the strobe lights go off, the number ends with the now much older version of June (Julia Wyman), Louise (Cassie Jo Fastabend)  and their backup group (Charlie Stevens, Kyle Yoder, Jeremy Schroeder, Rico Lastrapes) having replaced the originals on stage. It was slick. 

"All I Need Is the Girl" is another wonderful but bittersweet scene, where a clearly smitten but soon to be disappointed Louise (Cassie Jo Fastabend) looks on as Tulsa (Rico Lastrapes) sings of his need for a female partner, all while doing a complex tap dance routine. Latrapes excels at tap, and Fastabend excels at conveying the sadly one-sided chemistry between them.

But my favorite scene was one in which three strippers give Louise the lowdown that the way to make it in burlesque is by choosing a gimmick. Each in turn does her own unique act.

There’s Mazeppa (Emilie Rommel Shimkus,) strutting her flawless voice and sinuous sexuality, the ‘elegant, refined’ Tessi-Tura (Kathy Kluska) with her veils, and the most surprising of all, Electra (Caiti Burke), fully wired with her… well, you’ll see. All three were spot-on accurate portrayals of the denizens of that class of seedy burlesque houses. (DAMHIKT)

Director Chris Serface deserves kudos not only for the excellent pacing and clever scene staging, but also for his unerring ability to put together an outstanding cast. Where he found all those very talented young (and not) triple threat dancers is a true puzzlement. And then there was Chowsie (Allie), Rose’s perfectly behaved lap dog.

In lieu of a live orchestra, Serface opted for a sound track, kept perfectly balanced without ever overshadowing the singers. It was a wise choice. Michele Graves provided the vast range of excellent, and often quite amusing costumes, though I’m guessing props master Jeffrey Weaver supplied the wealth of varied wigs.

Choreography, and there was a lot of it, is thanks to Lexi Barnett, aided by dance captain Jill Heinecke, who also played the role of Agnes. Musical direction was provided by Debra A. Leach with sound design by Dylan Twiner.

As usual, Niclas Olson did a fine job lighting the complex, rotating set by Blake York, above which hung a monitor displaying old time placards used to clarify location and scene changes. And with a play this complex, we need to acknowledge the fine, and unending, work of the stage manager, Nena Curley, and her assistant, Alyshia Collins.  

In short, Gypsy was a fast-paced, dazzling, thoroughly delightful evening of musical theatre that belies its two and a half hour run time. There’s a whole lot of wonderful here, and it’s well worth your time.

March 10 to April 2, 2017
Tacoma Little Theatre

Sunday, January 8, 2017

The Rocky Horror Show at Lakewood Playhouse

ComicCon, the play
by Michael Dresdner

     (Top to Bottom - L to R) LaNita Hudson, Gary Chambers, Brandon Ehrenheim, Winnie Bean, Ensemble   All photos by Tim Johnston

With what has become a regular feature of their season, Lakewood Playhouse introduced yet another outre offering as the first play of 2017; The Rocky Horror Show. Directed by Alan Wilkie, this sci-fi/horror/comedy musical somewhat defies categorization. Let’s just say this property bears more similarity to ComicCon than to Mamet, and one suspects it was designed more to be an audience experience than to tell a story.

A comic parody of B-grade horror and sci-fi movies, both the play and movie versions have garnered a serious cult following since they were introduced in 1973 and 1975 respectively. Its devotees, some of whom were on hand opening night, dress in play-related costumes, yell out comic lines, and talk back to the narrator.

                       John Munn

Admittedly, for those who are not aficionados, it can feel like you’ve wandered into a private club where you are not a member. No matter. Even a neophyte will get more than a fair share of entertainment, both on stage and from the surrounding costume-clad patrons shouting out a stream of commentary and jokes.

The play opens when Brad and Janet (Jake Atwood and Jenna McRill), a sweet, ingenuous, engaged young couple, go looking for a phone in a nearby castle after their car breaks down in a rain storm. There they meet a collection of oddly dressed and oddly behaving characters ostensibly holding an annual convention.

   (L to R) Jonathan Hart, Jake Atwood, Brandon Ehrenheim, Travis Martinez

Once inside, each of the pair are quickly and easily seduced and bedded by the master of the castle, the tall, androgynous, gender bending, garishly clad Dr. Frank N Furter (Brandon Ehrenheim.)  Before long, the young innocents become part of the ongoing cross-dressing and sexual festivities.

   LaNita Hudson

Frank’s minions include his long haired factotum Riff-Raff (Gary Chambers), a vivacious and sexy groupie named Columbia (Winnie Bean), and the maid, Magenta (LaNita Hudson.) Hudson does double duty as the sinuous, sultry Usherette, and knocks it out of the park with the beautifully executed opening/closing song “Science Fiction/Double Feature.”

   (L to R Clockwise) Jake Atwood, Tony Williams, Brandon Ehrenheim Winnie Bean, Jenna McRill, Xander Layden (center, as Dr. Scott)

Rounding out the cast is Frank’s muscular lab creation Rocky Horror (Tony L. Williams), Eddie the delivery boy, and wheelchair bound Dr. Scott, a rival scientist (both roles played by Xander Layden), the audience baiting Narrator (Lakewood Artistic Director John Munn), and a gaggle of “Phantoms” who make up the ensemble. Of them, keep an eye on Jonathan Hart during the dance numbers, and especially during the pole dance in Act 2. You’ll recognize him by his spiky crest of blonde hair.

In truth, the rather thin story line is merely a framework on which to hang various scenes bristling with scanty and outrageous costumes and energetic song and dance numbers. All of it is heavily larded with comic one liners, sexual innuendo, simulated on-stage sex acts, and a good dose of gender ambiguity.

"There is a continuum between male and female” said Richard O’Brien, the creator of  the original play. “Some are hard-wired one way or another. I’m in between." This could explain a lot of what you’ll see onstage.

I won’t call out individual actors because in spite of the fact that there are leads, in truth this is a production that depends far more on ensemble strength than individual performances. As a group, they were very impressive, and the audience adored them.

    (L to R) Winnie Bean, Xander Layden (as Eddie)

Ditto for the varied and eye-catching costumes by Diane Runkel, lighting by Aaron Mohs-Hale, sound design by John Munn, and a simple, effective set by Erin Manza Chanfrau. Music director Josh Zimmerman led an on-stage band consisting of himself, Joseph Ralston, James Sloan, Ian Mengedoht, and Tai Taitano. Not only were dance numbers (by choreographer Kayla Crawford) varied and eye-catching, there were also a number of  clever human set pieces, including some entryway lions and a car with “working” windshield wipers and doors.

I suspect most people who go to this already know what to expect and have seen at least the movie, if not the play, numerous times. If you are one of those, this production is, again, worthy of your time. For anyone new to this cult standard, come take a look at what the others are talking about, now that you have a heads up about what to expect.

The Rocky Horror Show
Jan 6 to 29, 2017
Lakewood Playhouse

Sunday, October 23, 2016

Dracula at TLT

Bite Me
by Michael Dresdner

     L to R: Garrett, Christopher         photos by Dennis K Photography

Dracula has arrived at Tacoma Little Theatre with all the sturm und drang its devoted fans could desire. This script, penned by Stephen Dietz and directed by pug Bujeaud, is far closer to the original Bram Stoker book than most, and should appeal to both modernists and purists. This is a challenging version indeed, and as luck would have it, there’s a top-to-bottom superb cast to make it happen.

     L to R: Garrett, Morrow 

At the outset we eavesdrop on the naïve confidences of two sweet young women, Lucy (Brynn Garrett) and Mina (Jesse Morrow) who will soon be forced to shed their innocence as they either succumb to, or overcome, the insidious influence of Dracula (Michael Christopher.) The same will be demanded of the gormless Harker (Jacob Tice.) Sent to Transylvania to sell British land to Dracula, he’ll soon be forced to find the steel to become a protector of his true love and a hunter of evil. For his part, Dracula quickly sheds his civilized veneer when first dealing with Harker, and soon shows his true colors, displaying all the bravado, cape waving, and Jedi-like control powers we’ve come to expect.  

     Brian Wayne Jansen 

Brian Wayne Jansen, who plays the insane Renfield, goes from chillingly cool prologue and wrap up narrator to the tortured, demented soul under Dracula’s control in a role that is very physically demanding, to say the least. He’s not the only one. Even though they often appear while other onstage action tries to draw your eye, make sure you watch the cavorting of the two vixens (Ariel Birks and Kadi Burt) who creep and crawl as sinuously as slithering quicksilver while they torment Renfield, Harker, and others.

When first Lucy and then Mina start showing unexplained illness, weakness, and odd behaviors, Seward (Christopher Rocco), a doctor at the asylum where Renfield is being held and an ardent adorer of Lucy, calls on Van Helsing (Joseph Grant) for help. Along with Harker, they try to fight back against the sweeping tide of human destruction led by Dracula.

   L to R: Rocco, Grant 

Clearly, this is a very stark, black and white allegory. Darkness and night cloak evil and destruction, while daylight, in the form of the trappings and beliefs of the Catholic church, represent good and salvation. The bombastic, earnestly devout Van Helsing freely wields not only garlic, but crucifixes, rosaries, and communion wafers as his weapons of war. He slowly convinces the others that these, along with religious invocations, are the only tools that will defend against this incarnation of Lucifer.

That same harsh rigidity is reflected in the excellent set by Blake R. York. With the exception of a few columns for solemnity, everything from the stage levels and background windows to the crypts and beds is naught but straight lines and hard edges. Even the curved stairs are not smooth bends, but angled facets. Costumes (Michele Graves) and set dressing (Jeffery Weaver) sometimes add a note of color, but on the whole, they help reinforce the dark/light theme.  

When it comes to tech, though, the biggest bow goes to lighting designer Niclas R. Olson, whose complex and dramatic lighting changes clearly delineated not only times and locations, but moods and intentions as well. Kudos are indeed in order. And because the lighting, sound effects (Dylan Twiner), and stage changes are so complex and necessary, a special call out must go to the two women who made all of that unfold flawlessly, stage manager Nena Curley and her ASM Noelle Shai Edlin.

If you are a fan of this genre, and I understand that most people these days are, this is one version of this oft told story that you really should see. Favorite versions aside, this impressively ambitious presentation is bound to evoke both strong reactions and deep admiration for the crew that created it. Well done, my friends, well done.

Oct. 21 to Nov. 6, 2016
Tacoma Little Theatre

Saturday, September 17, 2016

The Underpants at TLT

by Michael Dresdner

    L to R: Dale Bowers, Cassie Jo Fastabend     Photos by Dennis K Photography 

Silly. Thoroughly silly. That’s the most succinct way to describe the bit of fluff called The Underpants that opened Tacoma Little Theatre’s 98th season last night.

Written by Steve Martin (yes, that Steve Martin) and directed by Jennifer York, it’s a situational comedy deeply larded with set ups and punch lines, double entendre, and sexual innuendo. Yet in spite of the fact that sex, lust, and adultery are the central theme, it’s actually clean enough for a G rating. Though bad intentions and willing partners abound, no one actually manages to bed anyone. 

Set in 1910 Germany (for no apparent reason) the entire play takes place in the living room/kitchen of an apartment and is executed by a handful of very competent actors. And speaking of the set, it is outstanding; another spot on job by Blake York, replete with and adorable period stove, refrigerator, and eye catching stenciled “wallpaper.” Ditto for costumes by Michele Graves, props (and I assume the wonderful set dressing) by Jeffrey Weaver, and lighting by Niclas R. Olson. In short, everything well up to TLT’s high standards.

    L to R: Ben Stahl, Cassie Jo Fastabend, Deya Ozburn

The play opens with Theo Maske (Jed Slaughter), a rigid, mysoginistic, mid-level bureaucratic drone, berating his “little wife” Louise (Cassie Jo Fastabend) because while watching a parade on the street, her underpants fell down. He’s sure people noticed and that ruination will follow. This being a comedy, the exact opposite happens, but that’s later.

They want to rent out an upstairs room for income, and accidently do so to two people, both of whom want to be there because of the morning’s underpants incident. Frank Versati (Ben Stahl) is an almost accent free Italian poet whose instant lust for Louise has him torn between wanting to consummate adultery or simply write poetry about it. His barber, Benjamin Cohen (Andrew Fry), who repeatedly insists he’s not a Jew, is also smitten, but his goal is to block Versati’s intentions. Meanwhile, Gertrude Deuter (Deya Ozburn), Louise’s best friend who lives upstairs and eavesdrops via the floor vent, comes and goes regularly, attempting to both push Louise into what she sees as a much needed fling, and get one for herself with husband Theo. Eventually a Scot named Klinglehoff (Dale Bowers) and “The Distinguished Caller” (Bob Lozier) make appearances, but their roles are superficial at best.

                              L to R: Deya Ozburn, Jed Slaughter 

It’s not hard to imagine this played to the absurd, with exaggerated accents and physical histrionics, but this version has been dialed back to retain a modicum of decorum. Depending on your comedic tastes, that could be welcome or disappointing.

If you are getting the impression that this is a long, elaborate, TV comedy sketch reminiscent of its SNL roots, you’re spot on. And yes, it is genuinely funny, fast paced, and quite pleasant to watch, with the added advantage that there are no commercial interruptions. Admittedly, you may see some of the jokes coming from a good bit off, but that’s ok.

In any case, don’t look for deep meaning or emotional upheaval. This is mindless entertainment, and may be just the thing to ease back into the theatre season.

Did I mention that this play was silly? Thoroughly silly.

The Underpants
Sept. 16 to Oct. 2, 2016
Tacoma Little Theatre

Saturday, June 4, 2016

Avenue Q at Lakewood Playhouse

Manners en brochette
by Michael Dresdner

L to r: Crawford, Trekkie Monster, Hall    All photos by Tim Johnston 
 Avenue Q, which opened last night at Lakewood Playhouse, is an in-your-face, irreverent, bawdy assault on a host of issues “polite” America usually avoids, done in the form of a musical.

It manages to carom off topics like sex, masturbation, nascent racism, internet porn, schadenfreude, homelessness, homophobia, and the relative uselessness of the college educated middle class (at whom it is largely directed) by having the normally unspeakable voiced by puppets, or more specifically, Muppets. That, it seems, makes it both funny and palatable, though it was clearly written to tweak the noses of the politically correct, the religious mid-West, and those who still read Miss Manners. In other words, the complacent, white middle class.      

Front: Lazaroo, Williams, Davis. Behind: Brown, Hall, Sinclair, Crawford
To be fair, it is very funny, quite well written, and fiendishly clever. Victoria Webb directed a highly talented collection of actors and puppeteers with brio, resulting in a fast-paced, compelling performance.

Along with the Muppets are three “human” actors. Brian (Connor Brown) is a somewhat directionless Jewish nebbish who lives with his tough, pushy, Asian girlfriend named Christmas Eve (JasminRae Onggao Lazaroo). Their landlord at the seedy apartment on Avenue Q is Gary Coleman (Tony L. Williams.) Yes, that Gary Coleman, the African-American actor made famous by the TV show Diff’rent Strokes whose somewhat troubled life is mocked in the play’s song “It Sucks to be Me.” The real Coleman died in 2010, but not before publicly stating he wanted to sue Avenue Q for their portrayal of him.

L to r: Lazaroo, Williams, Brown
 The three humans interact seamlessly with a host of Muppets with very real and specific personalities brought to life by the extraordinary puppeteers Kyle Sinclair, Taylor Davis, Derek Hall, and Kayla Crawford. The conceit is that although we see them on stage, their Muppet actions and expressions, often mimicked by these puppet masters, are strong enough to make us relate to the Muppets and not the humans behind them. For the most part, they quite succeed at that.

L to r: Sinclair, Hall, Crawford
All in all, the acting and puppet work was excellent, and the singing, especially on ensemble numbers, was also very good, though all of them, with the thankful exception of Derek Hall, could have benefited from a bit more vocal power, especially on some of the songs.

L to r: Muppet Kate, Davis, Muppet Rod, Sinclair 
There’s a rather thin plot which mostly serves to introduce the various topics the musical chooses to lampoon. Princeton, newly graduated with a BA in English, can only afford lodgings on seedy Avenue Q, where in addition to the humans he meets mousy, lovelorn kindergarten teacher Kate Monster, her boss Mrs. Thistletwat, closet homosexual Rod and his hapless roommate Nicky, sexpot Lucy, internet porn addicted Trekkie Monster, and a brace of devil-on-your-shoulder advice givers called, appropriately, the Bad Idea Bears, who promote sex, booze, and even suicide. There’s even a gaggle of animated singing cardboard boxes. Along the way the characters, human and Muppet, reveal their biases, find love, sex, work, disappointment, failure, and sometimes even rewards.

The Bad Idea Bears 
Many of the songs are well described by their titles alone. They include Everyone’s a Little Bit Racist, The Internet is for Porn, What Do You Do With a BA in English?, Schadenfreude, about the pleasure we get from seeing others in distress, and If You Were Gay, a nod to incipient homophobia which was more cleverly covered a decade earlier by Seinfeld’s famous “not that there’s anything wrong with that” episode, The Outing.

As for the production support, it was awesome. The cleverly repainted and repurposed Noises Off set (Larry Haggerman, Dylan Twiner, Carrie Foster, Ana Bury), worked beautifully, as did wide ranging lighting design (Brett Carr) and sound design (Nena Curley). Props (Karrie Nevin) and costumes (Stephanie Huber) held up their end just as well, and the puppet instructor (Lance Woolen) deserves a special bow. So, too, does the outstanding orchestra (LaMont Aitkinson, Bruce Carpenter, David Close, Joseph Ralston, Greg Smith, Dexter Stevens, Lauren Trew, Jesika Westbrook) under the direction of Josh Zimmerman.

Yes, this was an outstanding production, but…

Ok, this is where this review is going to get a bit excoriating, so if you’d rather avert your eyes and skip to the end, I’ll completely understand.

You see, the problem with Avenue Q is that it has become, at least in this area, a bit dated. Here in the PNW, where we have legal pot, marriage equality, Dan Savage, and on the down side, recently increasing homelessness, many of these once taboo topics are no longer appropriate objects of avoidance and titillation. Perhaps this is still thrillingly outré in Peoria, but much of coastal society has moved on.

Granted, the musical debuted on Broadway in 2003, back in the heyday of the first Dubya administration and much has changed. Being awkward and clueless about homophobia is no longer cute, and homelessness has never been funny. Nor are saying “masturbation” and having an awareness of internet porn so unspeakable.

On the other hand, we haven’t moved ahead at all on racism, and the plight of the unemployed over-educated is not much better either. Still, the musical is clearly from the viewpoint of the young, college educated white middle class, and its humor would no doubt fall flat on the ears of many of those it mocks.

And we’re back…

As I was saying, this is a very well-produced, directed, and acted musical with a unique and clever style. My guess is that you will enjoy it (as did the opening night audience) though there are certainly segments that will, perhaps quite intentionally, make some folks decidedly uneasy.

Avenue Q
June 3 to July 3, 2016
Lakewood Playhouse