OGDEN — In classic Ziegfield style, the company unapologetically takes on Avenue Q, an irreverent, and a bit naughty, coming of age story told with puppets. With catchy music and politically incorrect lyrics by Robert Lopez and Jeff Marx, and witty, boundary-pushing book by Jeff Whitty, Avenue Q can be described as Sesame Street for grown-ups. The show follows Princeton, a young puppet, fresh out of college who moves to a run-down apartment on fictional Avenue Q in New York City. There he meets other puppets and humans who are all struggling to find their place in life. Directed by Caleb Parry, this audacious show is in good hands at the Zig.
Upon entering the well-loved former movie theatre space, the audience is greeted with a large boxy CRT television, circa 1990-something, cycling an array of television ads from the same era, at center stage. From chia pets, and AOL dial up internet, to Celine Dion CDs. Video Designers Zach Rosing and Ben Phillippe have created a captivating video time capsule that immediately draws in the audience—especially nostalgic for those of us who grew up on such. Behind the TV, the set by Erica Choffel is outstanding in detail and effect. The worn stoops and brick fronts give run-down East Village vibes, with a hint of the cartoon elements of Sesame Street, but with more graffiti. Later, the facades swing open cleverly into apartment interiors. The use of the number 69 plays unsubtly in the set and video design
Projections by Troy Martell are also used to great effect throughout the production, extending the Avenue onto the walls framing the stage, with storefronts and doorways. The projections incorporate clever video at times as well, which help to push the story along. The only confusing use of the projections are the suburban Utah street scenes used during pre-show. Maybe it’s meant to make the local audience feel like this is their neighborhood too, but it just looks out of place in the urban setting. The typical pre-show announcements are delivered via the TV with a clever intro video by Jake Holt. A puppet news announcer tells the audience to silence their phones and suitably sets up the world of the play. The sound by Troy Martell is good—music and vocals are loud enough and balanced to be understandable. The microphones, operated by Jake Holt, are tricky given the puppeteers are voicing multiple puppets on stage at the same time—more on that below, but Holt manages this quite well. There are some microphone feedback issues throughout the production—hopefully this works itself out as the run continues.
The musical numbers are deliciously inappropriate. From the opening number, “Sucks To Be You,” followed by toe-tapping songs like “If You Were Gay,” “Everyone’s A Little Bit Racist,” and “The Internet Is For Porn” during the first half, the show gets off to a delightfully uncomfortable start. The edgy humor continues to ramp up as Princeton and Kate Monster engage in a thorough bedroom tryst—somehow the lack of a bottom half on both puppets renders the depiction simultaneously more graphic and more humorous than it might be otherwise.
I was surprised by Parry’s choice to use three primary puppeteers to voice nearly all the puppets in the show. Given the vast array of talent I’ve seen on Zig’s stage in the past, I wondered why the roles weren’t spread out more. But a little research confirmed that this is the way the original Broadway production was performed—both to keep cast number and costs down, and intentionally pairing characters that act as foils to one another, voiced by the same puppeteer. Although it appears exhausting for the cast to jump from one puppet to another, sometimes voicing two puppets in one scene, it really works, and showcases the talent of the three primary actors/puppeteers.
Jeremy Gross’ entrance with Princeton at the top of the show is immediately captivating. Gross is an excellent vocalist and skillfully manages character voices of both Princeton and Rod, often switching back and forth seamlessly. His ability to belt, in tune, and in character, is impressive. Particularly in “Fantasies Come True,” a duet with himself playing both Princeton and Rod.
Morgan Parry as both Kate Monster and Lucy the Slut is equally energetic, likewise engaging in voice switching as Kate throws down on Lucy at the club. Morgan’s vocals in Kate Monster’s ballad, “There’s a Fine, Fine Line,” are lovely.
Cameron Kapetanov skillfully manages to voice three puppets; Nicky, Trekkie Monster, and the blue Bad Idea Bear. His vocals are equally superb, particularly in “If You Were Gay” and “Schadenfreude.” Kapetanov’s portrayal of Nicky is as endearing as Trekkie Monster is offensive. The wide range of vocal characterizations between the two is impressive.
Both Trekkie and Nicky are live-hands puppets, meaning their hands are essentially gloves where the puppeteers hands are inserted, as such, they require two puppeteers to manage between the head and hands. Commendation is due to both Aurora Bailey and Liam Bailey who act as the second half on these puppets. Along with Teanca Holt, who adeptly voices Miss Thistletwat and the yellow Bad Idea Bear, these three, with Gross, Parry and Kapetanov, facilitate all the puppet shuffling, voice throwing, and chaotic antics that make the show so delightful. This production is truly a group effort.
The humans in the cast, Jake Holt as Brian, Mejai Perry as Christmas Eve, and Autumn Spangler as Gary Colemen are also entertaining and well-cast, with superb comic timing. It is fun to see Perry, who I have seen as an energetic ensemble member in numerous Zig productions, cast in a more substantial role. His vocals aren’t as strong as the puppet leads—especially in the higher registers, but it works for the character and he pours his energy into Christmas Eve, and has fun with the role, to great effect. And his costumes, by Maria Menlove are fabulous. Holt and Spangler are also strong in their roles, rounding out the human/puppet ensemble nicely.
The show winds down, ending on “For Now” with a reminder, (and an updated nod to the current state of affairs), that the things we are going through now are generally fleeting, and we can have hope that this too, shall pass. As with many shows at the Zig, this show is not for everyone. The company’s website gives it an “R” rating for “strong language, adult themes, and sexual content.” But if you love good story telling and edgy humor, are intrigued by the idea of a puppet show for adults, or just need a good laugh, stroll on down to Avenue Q. You won’t be disappointed.
MORE INFO: AVENUE Q is currently playing at the Ziegfield Theater, (3934 Washington Blvd, Ogden, UT 84403). Performances run through September 12th at 7:30 PM on select evenings, with a 2:00 PM matinee on Sep 5th. Tickets are $26.95. For more information visit zigarts.com.
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