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Avenue Q

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Like my best friend Dolores said, “It’s Sesame Street gone bad!” That’s the perfect way to describe the Tony-award winning musical Avenue Q. Set in a nondescript neighborhood in New York City,  AQ is the brain child of Robert Lopez, Jeff Marx, and Jeff Whitty. It’s part children’s show mixed in with the harsh realties of life. The puppets and the people animating them are both hysterical and sometimes disturbing to watch.  It’s bad enough going through the daily grind of life, but when it’s seen through a puppet’s eye it’s downright hilarious with a huge grain of truth in the center.

Princeton (voiced by David Colston Corris) is a new graduate out into the world. He’s anxious to find work and find purpose in his life.  He gets a little boost when he finds a penny and keeps it for good luck. He’s going to need it. It comes in handy later in the show. Armed with a B. A. in English, Princeton goes down the alphabetical neighborhood block, beginning with Avenue A, in search of his first apartment. When he reaches Avenue Q, he is both elated and disappointed when he sees the run-down apartment building run by former TV child actor Gary Coleman (wonderfully played by Anita Welch). Barely living there five minutes, Princeton gets involved in a love quagmire. He meets fellow tenant, the furry Kate Monster (the talented Ashley Eileen Bucknam), a kindergarten teaching assistant who dreams of running her own school for monsters. In Kate, he sees a potential soul mate but is too shy to admit it. He finds physical comfort in the arms of va-va voomlicious lounge singer, Lucy the Slut (also voiced by Bucknam). Bucknam sets ups two distinct voices and personalities for the two women.. Corris also does the voice of hard-core Republican Rod. He could be Sesame Street’s brother Bert, only with glasses and a Brooks Brother suit. His friend Nicky (Michael Liscio, Jr.) looks a lot like Bert’s long-time friend Ernie. I sense a pattern here.

The only two puppetless people are the soon-to-be-married couple Brian (Tim Kornblum) and his excitable wife,  Christmas Eve (Lisa Helmi Johansson), who has a unique style of dressing. They have the type of relationship that appears totally dysfunctional at a glance, but it’s clear they truly deserve one another. Brian is non-working comic, and Christmas Eve is a massage therapist with no clients. You have watch the show to understand how this makes sense. It is here that the song “It Sucks to be Me” fits in perfectly.  The songs in this production are vividly and brutally honest. There’s “If You Were Gay,” sung by Nicky and Rod and "Everyone's a Little Bit Racist" with  Princeton, Kate, Gary, Brian; and Christmas Eve. Probably the most memorable is "The Internet Is for Porn" with Kate, Trekkie Monster, Brian, Gary Coleman, Rod, and Princeton.

Trekkie Monster has to be Cookie Monster’s long-lost cousin. You know the relative that we all have in our family but need to keep him away from the public. That’s Trekkie! His song received a thunderous applause from the audience.

The two characters you want as far away from you as possible are the Bad Idea Bears (Kerri Brackin and others). These two charmingly evil forces are the motivation for people to do stupid things. After another tiff with Princeton, Kate gets a huge nudge from the Bears to take up drinking—potent Long Island Iced Teas. These bears also encourage Princeton to buy, not one or a 6-pack, but a case of beer. Out of work and two month's behind in rent, he chuggs quite a bit. The Bears continue to wreck havoc onto others. They are the little voice in our heads that tell us to do something wrong when common sense has checked out.

You will be shocked, surprised, and maybe even traumatized, but you will leave laughing until it hurts. The show is a winner.

"Avenue Q" runs until Sunday, March 6, Tuesday through Friday at 8 p.m., Saturday 2 p.m. and 8 p.m. and Sunday at 1 and 6:30 p.m. at the Pantages Theater located at 6233 Hollywood Boulevard. For tickets and information visit www.broadwayla.org.

 

Spotlight

Los Angeles Drama Critics Circle Announces Winners
March 19, 2012…Los Angeles… The Los Angeles Drama Critics Circle has announced the winners and special awards for excellence in Los Angeles and Orange County theatre for the year 2011.  The 43rd Annual Los Angeles Drama Critics Circle Awards ceremony took place Monday, March 19 at A Noise Within in Pasadena, and was co-hosted by Jason Graae and Lesli Margherita.

The award recipients for the 2011 Los Angeles Drama Critics Circle Awards are as follows:

Production
· Margo Veil, The Odyssey Theatre Ensemble and Evidence Room, Odyssey Theatre
· Small Engine Repair, Rogue Machine, Theatre/Theater

McCulloh Award for Revival
· A Raisin in the Sun, Ebony Repertory Theatre, Nate Holden Performing Arts Center
· Cabaret, Reprise Theatre Company, Freud Playhouse
· The Crucible, Theatre Banshee

Direction
· Andrew Block, Small Engine Repair, Rogue Machine at Theatre/Theater
· Sean Branney, The Crucible, Theatre Banshee
· Bart DeLorenzo, Margo Veil, The Odyssey Theatre Ensemble and Evidence Room at the Odyssey Theatre


Writing
· David Harrower, Blackbird, Rogue Machine at Theatre/Theater
· John Pollono, Small Engine Repair, Rogue Machine at Theatre/Theater

Writing (Adaptation)
· Dakin Matthews, The Capulets & the Montagues, Andak Stage Company at NewPlace Studio Theatre

Music Direction
· Gerald Sternbach, The Robber Bridegroom, International City Theatre
· Mike Wilkins, Jerry Springer: The Opera, Chance Theater

Choreography
· Andy Blankenbuehler, Bring It On: The Musical, Center Theatre Group at the Ahmanson Theatre

Musical Score
· Mark Nutter, Re-Animator: The Musical, Steve Allen Theater
Lead Performance
· Sam Anderson, Blackbird, Rogue Machine at Theatre/Theater
· Anne Gee Byrd, All My Sons, Matrix Theatre
· L. Scott Caldwell, A Raisin in the Sun, Ebony Repertory Theatre at the Nate Holden Performing Arts Center
· Edi Gathegi, Superior Donuts, Geffen Playhouse
· Lisa O’Hare, Cabaret, Reprise Theatre Company at Freud Playhouse

Featured Performance
· Anne Gee Byrd, I Never Sang for My Father, The New American Theatre at the McCadden Theatre
· Dermot Crowley, The Cripple of Inishmaan, Center Theatre Group and Druid and Atlantic Theater Company at the Kirk Douglas Theatre
· Deidrie Henry, A Raisin in the Sun, Ebony Repertory Theatre at the Nate Holden Performing Arts Center
· Casey Kramer, Dolly West’s Kitchen, Theatre Banshee

Ensemble Performance
· A Raisin in the Sun, Ebony Repertory Theatre at the Nate Holden Performing Arts Center
· Margo Veil, The Odyssey Theatre Ensemble and Evidence Room at the Odyssey Theatre

Solo Performance
· Tom Dugan, Nazi Hunter Simon Wiesenthal, Theatre 40 at the Reuben Cordova Theatre
· Charlayne Woodard, The Night Watcher, Center Theatre Group at the Kirk Douglas Theatre


Set Design
· Richard Hoover, House of the Rising Son, Ensemble Studio Theatre—LA at the Atwater Village Theatre

Lighting Design
· Paule Constable, Les Misérables, Center Theatre Group at the Ahmanson Theatre
· Jeremy Pivnick, House of the Rising Son, Ensemble Studio Theatre—LA at the Atwater Village Theatre

Costume Design
· Philippe Guillotel, Iris, Cirque du Soleil at Kodak Theatre

Sound Design
· John Zalewski, Margo Veil, The Odyssey Theatre Ensemble and Evidence Room at the Odyssey Theatre

Specialty
· Eric Anderson (fight choreography), Gospel According to First Squad, The Los Angeles Theatre Ensemble at The Powerhouse Theatre
· John Boesche (projection design), Radiance: The Passion of Marie Curie, Geffen Playhouse
· Tony Doublin, John Naulin, John Buechler, Tom Devlin, & Greg McDougall (special effects), Re-Animator: The Musical, Steve Allen Theater
· Shana Carroll, Boris Verkhovsky, Pierre Masse (acrobatic performance design), Iris, Cirque du Soleil at Kodak Theatre
Unique Theatrical Event
· Standing on Ceremony, Joan Stein and Stuart Ross in association with the L.A. Gay & Lesbian Center’s Lily Tomlin/Jane Wagner Cultural Arts Center at The Renberg Theatre

Special Awards
The Ted Schmitt Award for the world premiere of an outstanding new play was awarded to David Wiener for Extraordinary Chambers. The award was accompanied by an offer to publish by Samuel French, Inc.
The Polly Warfield Award for an excellent season in a small to mid-size theater was awarded to Rogue Machine. The award was accompanied by an honorarium, funded by the Nederlander Organization.
The Bob Z award for career achievement in set design was awarded to Kurt Boetcher.
The Angstrom Award for career achievement in lighting design was awarded to Lap Chi Chu. The award was accompanied by an honorarium, funded by Angstrom Lighting.
The Margaret Harford Award for sustained excellence in theater was awarded to the Odyssey Theatre.  The award was accompanied by an honorarium, funded by contributions from the theatrical community
The Joel Hirschhorn Award for outstanding achievement in musical theatre was awarded to Lee Martino.  The award was accompanied by an honorarium, funded by an anonymous donor.
The Milton Katselas Award for career or special achievement in direction was awarded to Matt Shakman. The award was accompanied by an honorarium, funded by The Katselas Theatre Company.
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A Noise Within (ANW), led by Founders/Artistic Directors Geoff Elliott and Julia Rodriguez-Elliott, is the only year-round classical repertory company in Southern California and one of only a handful in the entire country dedicated solely to producing classical dramatic literature in the repertory tradition of rotating productions with a resident company of professional artists.  It has been lauded by critics as a “premiere classical theatre company,” and an "outstanding ensemble" whose "vibrantly theatrical" "brilliant productions" are "freshly imagined," "exceptional," "invigorating," "riveting," "brilliantly atmospheric," “inspired,” and “masterfully crafted.”  Founded 20 years ago, ANW quickly established itself as one of the region’s key theatre companies, attracting fiercely loyal audiences and consistently high praise from the media for its productions and as a key force in arts education.

The Los Angeles Drama Critics Circle was founded in 1969.  It is dedicated to excellence in theatrical criticism, and to the encouragement and improvement of theatre in Greater Los Angeles.

The 2011 voting members of the LADCC consisted of:  F. Kathleen Foley (L.A. Times), Shirle Gottlieb (Gazette Newspapers, StageHappenings.com), Hoyt Hilsman (Back Stage, The Huffington Post), Mayank Keshaviah (L.A. Weekly), Amy Lyons (Back Stage, L.A. Weekly), Dany Margolies (Back Stage), Terry Morgan (Variety), Steven Leigh Morris (L.A. Weekly), David C. Nichols (L.A. Times, Back Stage), Sharon Perlmutter (TalkinBroadway.com), Melinda Schupmann (Back Stage, ShowMag.com), Madeleine Shaner (Park La Brea News/Beverly Press, Back Stage), Les Spindle (Back Stage), Bob Verini (Variety), and Neal Weaver (Back Stage).  Joining for 2012 is Pauline Adamek (L.A. Weekly).

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