AVENUE Q – hold on to your puppets!

AVENUE Q

AVENUE Q Rating

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8

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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Bec Pynor’s Someone Else’s Story: A Mesmerising Musical Journey

Someone Elses Story

Someone Elses Story Rating

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One of the great strengths of the Fringe is the sheer variety of venues, ensuring a stage for all manner of performances.

Bec Pynor’s Someone Else’s Story found its home in the intimate setting of Star Theatre Two, a perfect choice for this deeply personal production. Following a sell-out run in 2024, the show has returned by popular demand, and on opening night, the venue was packed with a diverse audience of devoted music lovers.

The set is simple and tasteful—no gimmicks, just exquisite music.

Pynor, accompanied by the accomplished pianist Daniel Brunner, takes the audience on a moving journey through her life. From the little girl enraptured by musical theatre, nurtured by her grandparents’ shared love of the art form, to her high school years where she first took centre stage as Jasmine in Aladdin, and finally, to her rigorous Music Degree studies in Queensland, which challenged her, broadened her repertoire, and helped shape the remarkable performer she is today.

Her selection of 14 songs spans beloved classics from Mary Poppins, Wicked, and Hamilton, as well as lesser-known gems from The Notebook, Avenue Q, and Waitress. Given the diversity of the repertoire, it would have been helpful to have the song titles announced, allowing the audience to better connect with the music both during and beyond the performance.

Pynor opened the show with a commanding presence—tall, poised, elegantly gowned, and every inch a star beneath the spotlight. Her voice soared with note-perfect clarity, captivating the audience from the outset. Her duet with Brunner provided a delightful shift in tone and pace, offering a charming contrast to the solo numbers. However, while her renditions were undeniably polished, there were moments where I found myself wishing she had leaned more into her own vocal identity, rather than adhering to the American accents of the original songs.

Throughout the performance, Pynor shares what she describes as ‘only the lessons that music can teach,’ encouraging the audience to cast aside fear and pursue their dreams—a philosophy she has clearly embraced herself. Should she choose to return to the Fringe, I have no doubt she will be gracing a larger stage, commanding an even greater audience.

Song List:
1. The Secret of Happiness – Daddy Long Legs
2. Feed the Birds – Mary Poppins
3. Palace Walls – Aladdin
4. Medley (Someone Else’s Story, Fine Fine Line, Heavy Help My Heart, Times are Hard for Dreamers, I Never Knew his Name)
5. The Wizard and I – Wicked
6. Burn – Hamilton
7. When he Sees Me – Waitress
8. No Day but Today – Rent
9. My Days – the Notebook

To book tickets to Someone Else’s Story, please visit https://adelaidefringe.com.au/fringetix/someone-else-s-story-af2025

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Tick, Tick… Boom!

TickTickBoom

TickTickBoom Rating

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2

Presented in under 6 weeks, Limelight Theatre has shown that diamonds are made under pressure. Tick, Tick… Boom! is a slick and polished performance in all elements of production.

Telling the story of the life of RENT composer Jonathon Larson, this show is full of heart, humour and a healthy dose of reality.

Jordan Richards leads the cast as Jon, offering an authentic and heartfelt performance with strong vocals throughout. Though his voice did seem fatigued towards the end, I feel it served the character well as it mirrored his emotional arc.

Ellie Coburn shines as Susan, genuine and caring, working well with Richards whilst also showing her own vocal prowess. Best friend and artist-turned-businessman Michael is given life by Blair Price-Morgan – albeit a little young for the character – he too, was consistent throughout.

While this show is typically played out with trio, this particular production was rounded out with a small but sharp ensemble that filled out the wealth of smaller roles with great enthusiasm, each putting their all into their overzealous caricatures.

 

Personal favourites included Aliesha Archer’s talent agent Judy Wright, and Jake Battle as Jon’s father – both a great laugh. Georgia Goff enjoys her moment in the spotlight as Karessa Johnson singing a beautiful (duetted) rendition of ‘Come to Your Senses’.

Caleb Stevens’s choreography (which also doubles as ensemble) is simple but effective. It adds just the right amount of movement to build up moments without distracting from the main story.

But the testament must also go to the cast and the band, who are clean and concise under the guidance of Jasper Cruden.

I was also a big fan of the lighting design (Matthew Roberts) built into the cubic set. It was a fun and welcome surprise and added great flare to the otherwise simple brick set design.

Overall, I was highly impressed with the quality of this production from start to finish and highly recommend you snatch up a ticket to the remaining performances.

To book tickets to TickTickBoom, please visit https://www.taztix.com.au/limelight/

For Phone Bookings TAZ Tix @ 9255 3336

PERFORMANCE DATES:
FEB 27, 28, MARCH 1, 2*, 6, 7, 8
Recommended MA 15+

Times:  Evenings at 7.30pm, *Matinees at 2pm

Tickets:  $37 Adult, $32 Concession (seniors/students),
$30 Members, Groups 20+ $32 each
processing fees apply

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Fresno: The Musical

Fresno

Fresno Rating

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16

Let’s cut to the chase. If you like musical theatre, this is a must-see. It’s fun, it’s well-paced, and it’s imbued with the kind of effortless charm that you want to find at your friendly local pub.

Set in an Irish-American bar, Fresno explores a slice of life of young bartender, JJ (Jackson Cross) and the ragtag bunch of bar flies that surround him. While the themes and situations in the show weren’t uniquely American, the American setting gave it a distinctly “sitcom” feel and helped establish the stakes and the journey across the evening.

From the moment you walk into Chapel Off Chapel’s Loft, the world is established with a functional set and clever use of neon signs to define the locations. The Loft is the perfect home for this show, allowing the creative team to use the black box aesthetic of the room as an asset rather than a hindrance. I’ve definitely been in bars and pubs like this!

The music feels like a love letter to musical theatre, with clear nods to Jonathan Larson and Sara Bareilles, amongst others. The use of varied musical styles is well-considered, with a familiarity that lets you know what you are supposed to get from that number. Similarly, the book leans heavily on strong character archetypes and recognizable tropes, making it easier to invest in the characters early, knowing exactly who they are.

The cast makes the most of these archetypal characters, especially in the comedic moments and, for my taste, that’s where they shine. So much of the writing is laugh-out-loud funny and the cast settled in quickly to find the pace and timing that the audience responded to. There was an engaging sense of camaraderie and chemistry on the stage that was very appealing. Special mentions to Lachlan Edis and Antoinette Davis for some truly memorable comedic turns throughout the show.

Leading the cast were Jackson Cross, Douglas Rintoul and Naomi Leigh. Cross delivered an impressive balance of heart, comic timing and powerful vocals. He was paired perfectly with Rintoul’s charismatic acting and versatile singing. Leigh, playing an aspiring pop singer, brought a poignancy and authenticity that helped the music shine and made me long to hear this show recorded so I could listen to it on repeat.

Daniel Tusjak (keys), Eve Pinkington (drums) and Cody Leggett (guitar) formed a tight and responsive band and the sound was well-balanced, allowing the audience to revel in the music and engage with the text.

Dealing with themes of found family and the value of community, the writing is light touch with enough heart to keep you emotionally invested but not so deep that the comedic pacing is jarring.

Fresno is a fun evening out that brings all the best elements of “comfort watching” your favourite tv show. Hopeful, life-affirming and genuinely funny, Fresno confirms that Australian original theatre is alive, well and deserving of all the love we can give it. I think we can all drink to that.

To book tickets to Fresno, please visit https://chapeloffchapel.com.au/show/fresno/

Photographer: Shane Palmer

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