A Sesame Street for Adults

Avenue Q – Mercury Theatre

 

Calling this 2004 Tony Award winner for Best Musical, Book and Score edgy is like saying that pornography is spicy. But it’s so much more than that! And speaking of porn, that’s merely one of the adult topics explored in this clever little show, that includes sex, racism, schadenfreude, giving in to temptation, homosexuality and the search for life’s purpose. The musical’s uniqueness comes from (despite announcements to the contrary) the show’s blatant rip-off of a certain PBS educational children’s TV program. In fact, just like “Sesame Street,” the cast consists of both human actors and fuzzy, Muppet-like characters, created and directed by master puppeteer, Rick Lyon. Since many of the songs and much of the dialogue is liberally peppered with profanity, and the musical comes with a warning about its adult language and “full puppet nudity,” this is definitely not a suitable show for children.

The story takes place on a street of rundown tenements in New York City, and features puppet characters Princeton, a recent college grad, Kate Monster, an elementary teacher aide, roommates Rod and Nicky (Bert and Ernie look-alikes), Trekkie Monster (a dead ringer for Cookie Monster, but with a big difference), Lucy the Slut (the Pamela Anderson of puppetry) and several others. The human characters include Brian, a struggling standup comic, his Japanese social worker fiancé, Christmas Eve, and Gary Coleman. Yes, THAT Gary Coleman, the child star from TV’s “Different Strokes,” now forced to work as the apartment’s super. Also like “Sesame Street,” animated lessons are projected from time-to-time on a street sign that advertises a law firm and magically becomes a television screen.

L. Walter Stearns’ decision to bring back Mercury Theater’s most popular box office hit was a wise choice. This revival engagement includes several of the very talented, Jeff nominated original cast and creative team. The production’s uniformly topnotch and currently features a tightly-knit ensemble of likable young actor/singer/puppeteers, many of whom play multiple roles, and often at the very same time.  

Leah Morrow is once again fantastic as Kate Monster. This comedic actress, whose gorgeous vocals, sparkling personality and spunky characterization truly sets the pace for this show, is unmatched. Ms. Morrow continually delights with song after song. She leads the cast in their lament that “It Sucks to Be Me.” She waxes romantic over a “Mix Tape” made especially for her. And, when love seems to go sour, Leah’s Kate Monster sings from her heart in a poignant ballad, “There’s a Fine, Fine Line.”

One of Chicago’s favorite comic actors, Jackson Evans, recently seen in Mercury’s “Bunny, Bunny,” is an actor born to play Princeton, the show’s optimistic protagonist. When we first meet our hero, he’s posing the musical question, “What Do You Do With a B.A. in English?” Princeton joins his cast mates, an assortment of musical cardboard boxes, as he tunefully seeks his life’s “Purpose.” Mr. Evans is the ever-smiling, perpetually positive young man the audience cheers for throughout this play. 

Roommates Rod and Nicky are played to priceless perfection by Christian  Siebert and Dan Smeriglio, respectively. Troubled by the idea that he might be homosexual, Rod is tormented by Nicky with “If You Were Gay.” Later, Rod revels in his dreams about Nicky in “Fantasies Come True.” But Rod’s denial about his feelings create a rift between the two young men that has a sweet, unexpected ending. Hardworking, multitalented actor Jonah D. Winston gives life to both the somewhat reclusive, baritone-voiced Trekkie Monster (“The Internet is for Porn”), as well as a surprising, eleventh hour character, named Ricky.

 The afternoon this reviewer attended the show, understudy Stephanie Wohar effortlessly and competently stepped into the role of Lucy the Slut. Normally played by Stephanie Herman, Ms. Wohar is equally sexy, side-splitting and sings with similar power, punch and passion, particularly in her Mae West-inspired song, “Special.” Powerhouse songstress, Audrey Billings is very good as Japanese social worker, Christmas Eve. Although sometimes a little difficult to understand, she enchants both Kate Monster and the audience with “The More You Ruv Someone.” She lends her magnificent voice to most of the ensemble numbers, such as “Everyone’s a Little Bit Racist” and “The Money Song.”

Created on Broadway by an African American actress, the late Gary Coleman, is portrayed here with the animated antics of the always superb David S. Robbins. Mr. Robbins, who dazzled audiences in Royal George’s “Spamilton,” absolutely owns the stage in this role. This young man is not only an accomplished comedian with a great singing voice, who advises theatergoers that “You Can Be as Loud as the Hell You Want (When You’re Makin’ Love),” but he brings an unbridled energy, a broad smile and some pretty flashy dance moves to Gary Coleman. Matthew Miles is one of the greatest surprises in this cast. He’s easily the best actor this reviewer has ever seen in the role of Brian, the standup comic struggling to become successful. This terrific, whimsical musical actor, who was seen at Mercury in the ensemble of “The Christmas Schooner,” makes this often throwaway role look and sound great. His strong vocals give urgency to songs like “There is Life Outside Your Apartment” and his 16-bar specialty number, “I’m Not Wearing Underwear Today.”

L. Walter Stearns has expertly directed his revival production with verve and a clear vision. He never loses sight of the play’s parody of both “South Park” and “Sesame Street,” while still focusing on the show’s important life lessons. Partnered with Eugene Dizon’s impeccable musical guidance and Kevin Bellie’s sparkling choreography, this production, once again, is a winner. Alan Donahue’s awesome, detailed scenic design is paired with Max Maxin IV’s delightful video projections and Dustin L. Derry’s brilliant lighting, making this production feel as polished and fresh as when it first opened. Accompanied by Linda Madonia’s five-member, backstage band, this show is definitely worth a visit, especially for audiences who’ve never seen it before. Just leave any conservative judgment at the door and settle in your seat ready to laugh.  

Highly Recommended

Reviewed by Colin Douglas      

 

Presented June 21-November 4, with a likely extension, by Mercury Theater, 3745 N. Southport Ave., Chicago.

Tickets are available by calling 773-325-1700 or by going to www.MercuryTheaterChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.