AVENUE Q – hold on to your puppets!

AVENUE Q

AVENUE Q Rating

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Avenue Q – Hmmm …?? Ummm…?? Grab your…. Ahhh…

Lots of prior guessing what this show would give to an 18+ adults-only with ‘puppets behaving badly’ …. I had never seen it before nor heard of it, yet in Broadway history it beat out Wicked, how was that possible? This is puppets looking similar to those you’d see on Sesame Street! Mind you, they definitely don’t have the same vocabulary.

Get ready to LAUGH!!! I’m not actually a huge fan of explicit content and sexual innuendos in shows, hence a lot of stand-up comedy nowdays doesn’t entice me, but this was a musical, so I couldn’t possibly not go. I got good seats and took my hubby (driving in he asked me what it was and when I said from the information I had it was like an adult version of Muppets, I think he stopped far longer at the red light than needed, hmmm….).

There’s no hiding explicit content and sexual innuendos in Avenue Q, they are in nearly every scene, but as its expressed from puppets I thought it was very FUNNY and even more CLEVER!

Something I’d never think we would hear about in a musical was open loud reference to ‘porn’. With a whole comical song on the topic, the audience were in stitches and the guys sitting in front of us were almost rolling out of their seats. You’ll have to go experience that part as I don’t want to conjure up anything not quite accurate here – I was also laughing so much at the huge porn-loving puppet I probably lacked concentration whilst watching. I don’t know how the actors on stage with him practiced at rehearsals, but I’ll bet it was nothing like anything they’d done before.

Talented and adaptable is an understatement of this cast. To be able to hold a puppet and portray a character isn’t something I imagine many performers could pull off with the kind of confidence and interaction they do, but especially to sing and move in conjunction with another actor holding the adjoining arm of the same puppet; their timing was spot on!

There are non-puppet characters too – a hoot is “Gary Coleman” in a parody of the real-life child star with the same name; he’s the ‘maintenance man’ of the apartments on Avenue Q where hopefuls, lovers and friends live their ordinary lives in New York city. Having grown up with that child star on my TV, his lines made perfect sense to me for a bit of a giggle.

‘Sucks To Be Me’ was my favourite scene, because everyone thinks that of themselves at some time in their lives, but let’s be honest, there’s always someone worse off than you are. The show has many messages of a similar tongue-in-cheek nature, however the underlying theme is a timeless story of not giving up hope (that’s like Sesame Street HAHA).

Funnily, you may want to close your eyes or look away occasionally or you might find yourself staring jaw-dropped at the stage figuring it all out. It’s a sexy romp of puppetry at times and just super cool fun at others, songs with catchy tunes and notes with punch – a sing out to Cassie Ogle playing vixen ‘Lucy’, what a voice!

 

If you are thinking that you don’t like the sound of possibly ‘sex obsessed’ puppets on stage, it’s really not too over the top (Avenue Q is from the 2000s and we didn’t do overly confronting back then). You could go with your mother-in-law, but a group of friends would absolutely have one hilarious night out to remember.

Another thing about ‘AG Theatre’ productions that stands out for me is the atmosphere they create in the foyer pre and post show. You can take photos on their backdrop board (with the puppets) and pin those all over your social media to puzzle your friends not lucky enough to go along.

Avenue Q is a must-see, and if you’re into going out in theme, wear your wigs and puppet ears (you won’t the only one). The show has just been extended to play at the National Theatre in St Kilda until 22 March 2025. Tickets via https://agtheatre.com.au/avenueq/

This was one comedy I loved, thank you for a very fun night.

Congratulations everyone!

CAST:
Princeton: Harley Dasey
Kate Monster: Zoe Crisp
Nicky & Trekkie: Andrew McDougall
Rod: Jonathon Shilling
Lucy & Mrs T: Cassie Ogle
Bad Idea Bear & Puppeteer: Perri Espinoza
Bad Idea Bear: Darcy Harriss
Brian: Matthew Tomlin
Xmas Eve: Chiew-Jin Khut
Gary Coleman: Stephanie Lacerna
Swings: Liimei Lim, Jake Lonergan

Production Team:
Executive Producer: Andrew Gyopar
Director: Pip Mushin
Music Director: Alexandra Byrne
Choreographer & Assistant Director: Adriana Pannuzzo
Production Design: Abbey Stanway
Costume Design: Karen Spencer
Puppet Design & Creation: Andrew McDougall
Graphic Design: Jett Archer

AVENUE Q
Music & Lyrics by Jeff Marx & Robert Lopez
Book by Jeff Whitty
Licensed exclusively by Music Theatre International (Australasia)

Photo credits: @agtheatreproductions

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Robin Hood: A New Family Musical

Robin Hood

Robin Hood Rating

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If you turn the corner in Malvern’s Central Park in the late morning, you’re greeted by winding ropes cordoning off islands to seat picnic blankets or chairs. You’ll also see set pieces straight from a primary school play: a tiny wooden island and cajón drum, green and brown paint-spattered cloths tied to trees, and details like fake rocks and a shelf of plastic food with the sign SHERIFFS PANTRY.

The team behind Melbourne Shakespeare Company’s Robin Hood uses this sequestered woody space to its fullest to craft a whimsical, ramshackle and original take on a classic story.

Robin (Billy Thomas), Dame Tuck (Jackson Cross) and Little Joan (Lucy May Knight) are going about their usual business of robbing the rich to feed the poor. But when they are caught stealing from the Sheriff of Nottingham (Kaia Reyes), he devises a new punishment: shipping them off to Australia.

There, the merry men, with the help of Bushranger Bruce (Daniel Hillman), must acclimatize to a strange new world and find their way back home. The beginning feels slow and the different scenes are somewhat disconnected and potentially difficult for a child audience to follow, but it was a pleasant surprise to see a slightly different narrative in a panto show.

 

The ensemble is charming and navigates their stage perfectly. Every line is audible, every slapstick gag is visible and tight, and every spectator gets close-up moments with the characters. Lucy May Knight as Little Joan stands out with a bubbly yet sharp physicality that’s perfect for panto.

The world-building was also fantastic at blending a familiar and fun Aussie context into a classic story. The adorable Australian animal puppets were a highlight, while all the pop culture references and self-referential jokes landed well with the adult audience.

Maxwell Simon’s (Muriel’s Wedding) original score is fun and full of laugh-out-loud lines, but there was only one song where the children were directly encouraged to play along. It felt like the whole show missed out on many opportunities for audience participation, and this led to some clear confusion and lost attention among the kids at some points.

While Robin Hood has its moments of missed potential, it’s definitely a worthwhile and unique experience for the theatre-loving family. It’s a scrappy, feel-good show that keeps the much-loved traditions of panto alive in a timeless yet modern story for an audience of all ages.

To book tickets to Robin Hood, please visit https://www.melbourneshakespeare.com/robinhood

Photography: Sare Clarke Photography

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Mahika Kai: A Discussion Of Culture, Conservation And Connection

Mahika Kai

Mahika Kai Rating

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Mahika Kai introduces a group of Māori conservationists and cultural custodians on a quest to rehabilitate ecological systems and food sources, and in turn the identities and wellbeing of their people.

Filmed in picturesque Wānaka, located in New Zealand’s South Island, we learn about the interconnectedness of physical and spiritual elements in the Māori world view and the kaitiaki (guardians) seeking to reconnect with and promote traditional Māori knowledge to create healthier modern lives, in harmony with nature.

As narrator Tūmai Cassidy explains, Mahika Kai is the procurement of food, including gathering, harvesting, preserving, sharing and, pertinently, caring for food. The mission of caring for food is illustrated here with specific reference to the plight of tuna (eel) populations, whose wetland habitats, and very survival, are imperiled by hydroelectric dams restricting their migration pathways;

As Cassidy notes, the impact of this plight is not isolated, as their destruction – effecting 90% of wetlands in the Otago region alone – means the loss of identity and traditional ways of life. We are told it needn’t be this way, where hydroelectric dams overseas are designed and operate without impacting crucial migration pathways, or harming respective species.

The kaitiaki hope through greater awareness of the issue, the local community and government will support their conservation kaupapa (objectives) and re-prioritize the life and health of habitats and species, which support life and health among human communities.

In addition to the conservation kaupapa of Mahika Kai, the kaitiaki share their pepeha (a traditional Māori introduction including details of connection to land) waiata (song) and kapa haka (performing arts). These koha (gifts) beautifully portray the life-force connecting past and present, physical and spiritual, and memorably highlight the kaupapa which makes Mahika Kai timely and important viewing – which I highly recommend.

To book tickets to the Maori Mini Film Festival, please visit https://www.bunjilplace.com.au/events/maoriland-film-festival

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Maori Mini Film Festival: A Worthy Individual

Tai

Tai Rating

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It’s quite hard to review an animated film objectively when we are so accustomed to big-budget games and movies with high-end graphics, like Pixar Shorts.

However,Ta’i is a poignant short animated film by Mii Taokia about the wanton and targeted destruction of the abundantly resourced and beautiful pacific islands by the ‘Island Eaters’ – a system of corrupt government scientists.

The pastel-hued, blurred visuals heighten the islands’ lushness and give a sense of dreamlike beauty, juxtaposed against the more sinister imagery of their oppressors. This is all underscored by a modern lo-fi soundtrack that subtly contrasts the intimate devastation.

Even the island Gods, goaded into action, are unable to stop the destruction until they combine their powers and share them with a ‘worthy individual’.

The film’s central tenet is that a place’s most valuable but overlooked resource is its people and that sometimes, they are the only way to create real change.

Indeed, an individual taking a stand for what is right and good is all that has ever effected change, and this message feels especially resonant in today’s political climate.

To book tickets to the Maori Mini Film Festival, please visit https://www.bunjilplace.com.au/events/maoriland-film-festival

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