“Avenue Q,” the hilarious and raunchy puppet hit musical, seems just as relevant today as at its Broadway debut in 1993. Although the Wisteria Theater is an intimate venue, this production has no problem making the show feel larger than life. Thanks to being a sleek and modern theater, a simple set featuring a large projection screen makes up for the lack of large physical sets one might expect for this beloved show. Although the liberal use of A.I.- generated images may be distracting at times, the performances are so strong that any hang-ups about the projections are easy to overlook.
We begin with our protagonist, Princeton, as he makes his first steps into adulthood after college. When he is priced out of all the Avenues A through P, Princeton settles for the derelict Avenue Q, a place where everyone’s life sucks at least as much as the next person’s. A mix of human and puppet characters sing and dance their way through life lessons in a Sesame Street-esque fashion for an adult audience. From racism and poverty to sex and relationships, each song teaches you a grown-up lesson while making you laugh and clap like a toddler.
Director Brayden Hade is blessed by a very strong cast. Singing, dancing and puppeteering all at once is as impressive a feat as it sounds. Instead of hiding the puppeteering, the actors emote with their puppets and their faces at the same time, effectively doing two performances at once.
Connor Bullock (Princeton / Rod), Lexi Collins (Kate Monster / Lucy), Cameron James Parker (Nickki/Trekkie/ Bear) and Taylor Renee Castle (Mrs. T/ Bear) all are amazing to watch as they sing and dance, sometimes trading puppets on stage to voice both their human and puppet parts at once. It is truly a miracle of choreography, blocking and performing.
The non-puppeting actors are just as entertaining. Deadbeat husband Brian (Drew Maidment) and his overqualified and underappreciated immigrant wife Christmas Eve (Armie Jane Pascual) are not only a hilarious duo, but a relatable couple that reminds us that true love doesn’t always look perfect.
The award for an audience favorite would most likely be Amber France for her charismatic and rambunctious performance as Gary Coleman. Not only is this character a creative invention, the once-famous child-star, now destitute and relegated to being the superintendent of a dilapidated apartment building on Avenue Q, France is a force on stage with a powerful voice and incredibly expressive face.
In 2025, viewers will hardly flinch at puppets having sex on stage or singing about porn and masturbation. The sense of shock or taboo often attributed to “Avenue Q” is conspicuously missing. Instead, the audience is more liable to laugh wholeheartedly at the sexual innuendo or outright lewd lyrics and choreography, even though there may be children present in the theater. Subject matter usually reserved for “late-night” entertainment can clearly be enjoyed by patrons of all ages.
As for the song “Everyone's a Little Bit Racist,” tension may be palpable for the whole number. While the sexual content may be more acceptable to modern viewers, the lyrics of Robert Lopez and Jeff Marx dance along the edge of acceptability in today’s world of heightened racial tensions. Artfully, they manage to stay on the audience's good side.
If it isn’t already obvious, “Avenue Q” is a decidedly adult show. That doesn’t mean older children shouldn’t attend. Each parent will have to decide for themselves, and part of the success of “Avenue Q” is its ability to use vulgarity and laughter to ultimately teach wholesome lessons to children and grown-ups alike.
“Avenue Q” continues through March 2 at the Wisteria Theater, 7061 Vineland Ave., North Hollywood, with shows Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m., and Sunday at 3 p.m. For tickets and information, visit Wisteriatheater.com.
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