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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



Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”


Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.