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Avenue Q ~ A New Direction in Musicals

Posted by Skyeblux

Welcome to Avenue Q

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The Review:~

When you consider the concept of 'Avant-Guarde' theatre you may well believe that such enthusiasts are either naïve or inexperienced as with thousands of years of human history isn't it presumptuous to wager that any idea is truly new and with over six billion people currently dwelling on planet earth what is the probability that a concept is unique and unthought-of by peers or predecessors?

The Broadway and West End hit musical 'Avenue Q' is perhaps one exception. It is so strikingly contempory with furry, puppet fingers on the pulse of society, exploring their insecurities, fears and personal crisis and juxtaposing very real emotional issues in a surreal world where 'Sesame Street' meets the angst and adult sexuality of Dawson's Creek.



As the curtains rise the expectant audience are greeted with a sophisticated representation of a lower class, 'dodgy', city street with boarded up shops and utilitarian terraces on the sidewalk. Two flat screen televisions descend from the gods and an animated, cartoon style smiling sun bounces across the screen accompanied by the opening song which, like the majority of the music, is light-hearted, childlike and catchy as the lyrics welcome you to 'Avenue Q'.

Then a scene, which is simply divisive genius, introduces the stars, their background and sets the extraordinarily normal theme for the show - the daily struggles and mundane aspects of independent living with the self-effacing mockery of the song "It Sucks to be me".

It's prudent at this point to provide a brief rundown of the characters; we have Princeton who has just graduated from college with a 'BA in English' and having to 'get real' in the big bad world suddenly realises that he has no idea what to do with it nor where he wants his life to head, now that the structure and stability of student life is behind him. He wants to sail out on his own and disembark amidst the vast opportunities of the world but has just landed a menial job in telesales and has only enough money in his pocket to afford the cheap-side accommodation of Avenue Q.

Kate is a monster, not in the fairytale villain sense but a literal sense as this is her race - a furry puppet - and is naïve and sensitive and typically girly with a passion for art and a 'big heart'. She works as a teaching assistant and dreams of opening her own monster school but is readily distracted by romantic fantasy and hopes of love.

Brian is human, 32 years old, cruising through minimum wage jobs and day dreaming of being a huge comedic star. He lives with his human fiancé, Christmas Eve who came to the brave 'new world' for a fresh start and opportunities of a thriving metropolis but after earning two degrees in social work and psychology she has no clients. She loves the useless, ape of a man figure, Brian even with his eccentricities, the piling bills and messy housekeeping.

Ron and Nicky share a flat and unmistakeably represent a warped 'Burt and Ernie' if Burt was a closet homosexual in love with his flat mate. Ron is pragmatic and obsessively compulsive about neatness and order. He's the 'business man' stereotype, the straight lace in a tangled knot of shoes but has a loyal and loving heart even if his fears of rejection and low self-esteem keep him some what defensive and isolated whereas Nicky is a big personality, all casual confidence and street wise, very like 'Joey' in 'Friends'.

Finally there's child star, Gary Coleman (human) from TV's 'Different Strokes' who having been robbed of his fortune by his parents and forgotten by most, except for those who annoyingly quote his catchphrase 'What you talking bout Willis?' in recognition, now works as the superintendent and odd jobs man of the houses in Avenue Q. He's presented as deludingly self-important with a hint of melodrama but is a fair and understanding friend.

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All the characters have their crosses to bear and although they're not big, global issues like poverty, fighting disease or negotiating peace treaties, they are overwhelming and crushing to them. It's the daily trysts and annoyances that anyone can relate to mixed with the disappointment of the misplaced certainty of purpose and greatness imagined in their youth.

Just because there are cute, colourful puppets on stage, this is a fact that is soon overlooked as their lives are documented and the conversation and content is adult and unapologetically real and revealing. However the production is also hilarious, full of quick wit and controversial prejudices told in a free and honest manner, the classic examples being the topics of one-night stands and 'Everyone's a little bit Racist'.

This production is not child friendly although if your children get the jokes then there's something wrong. It is however handled with a carefree, childlike air, probably to represent the inner child in all the viewers and the slipping tethers of the plans and dreams that everyone once clung to before rent, electricity, redundancies and general life obstacles were forcibly shoved in the way.

It explores the developing relationship between Princeton and Kate in a non-utopian world where men freak out about commitment and woman confuse themselves by reading meaning into everything. It also follows the personal changes in Ron as he learns how to be honest with himself and how his inherited bigotry hurts others and a lot of it is just discovery of oneself and one's place in the world.

Expertly written with fantastic songs that never fail to amuse and prompt pause for thought, Avenue Q is disconcertedly comforting and up-lifting without making egregious promises of happy endings. The content and characters are enough of a draw but, probably to attract a bigger and mainstream audience, it is also a visual spectacle with giant puppets, starry skies, a humorous quirked nod to 'Sleepless in Seattle' and techno-animation.

The actual performers behind the puppets are amazingly talented, multi-tasking to sing, emote, gesture convincingly with the dummies (so much so that you really do forget they are there as the personification is so smooth) and full of manic energy as is the whole musical (again in opposition to the sometimes serious and depressing realities in the subject matter.) They are dressed in black to morph into the background and anything inhuman about the puppets is compensated for by their master's skill.

In the end you are left with, firstly a happy ending of grand proportions and secondly, the mantra that 'Everything in life is only for now'. A must see show that will bring out that inner child and then embarrass it with Sesame Street look-a-like sex scenes! It has taken the theatre circuit by storm and hopefully will continue to do so for many years to come.

Critics star rating:~ 5 Stars *****

LYRICS SAMPLE:~ SCHADENFRAUDE

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GARY COLEMAN:
Right now you are down and out and feeling really crappy

NICKY:
I'll say.

GARY COLEMAN:
And when I see how sad you are
It sort of makes me...
Happy!

NICKY:
Happy?!

GARY COLEMAN:
Sorry, Nicky, human nature-
Nothing I can do!
It's...
Schadenfreude!
Making me feel glad that I'm not you.

NICKY:
Well that's not very nice, Gary!

GARY COLEMAN:
I didn't say it was nice! But everybody does it!

D'ja ever clap when a waitress falls and drops a tray of glasses?

NICKY:
Yeah...

GARY COLEMAN:
And ain't it fun to watch figure skaters falling on their asses?

NICKY:
Sure!

GARY COLEMAN:
And don'tcha feel all warm and cozy,
Watching people out in the rain!

NICKY:
You bet!

GARY COLEMAN:
That's...

GARY AND NICKY:
Schadenfreude!

GARY COLEMAN:
People taking pleasure in your pain!

NICKY:
Oh, Schadenfreude, huh?
What's that, some kinda Nazi word?

GARY COLEMAN:
Yup! It's German for "happiness at the misfortune of others!"

NICKY:
"Happiness at the misfortune of others." That is German!

Watching a vegetarian being told she just ate chicken

GARY COLEMAN:
Or watching a frat boy realize just what he put his d**k in!

NICKY:
Being on the elevator when somebody shouts "Hold the door!"

GARY AND NICKY:
"No!!!"
Schadenfreude!

GARY COLEMAN:
"F**k you lady, that's what stairs are for!"

NICKY:
Ooh, how about...
Straight-A students getting Bs?

GARY COLEMAN:
Exes getting STDs!

NICKY:
Waking doormen from their naps!

GARY COLEMAN:
Watching tourists reading maps!

NICKY:
Football players getting tackled!

GARY COLEMAN:
CEOs getting shackled!

NICKY:
Watching actors never reach

GARY AND NICKY:
The ending of their oscar speech!
Schadenfreude!
Schadenfreude!
Schadenfreude!
Schadenfreude!

GARY COLEMAN:
The world needs people like you and me who've been knocked around by fate.
'Cause when people see us, they don't want to be us, and that makes them feel great.

NICKY:
Sure!
We provide a vital service to society!

GARY AND NICKY:
You and me!
Schadenfreude!
Making the world a better place...
Making the world a better place...
Making the world a better place...
To be!

GARY COLEMAN:
S-C-H-A-D-E-N-F-R-E-U-D-E!

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Dirty Dancing The Musical

Posted by Skyeblux

There is no doubt the 1987 movie 'Dirty Dancing' has become a living and loved phenomenia and a classic of cinematic history. The passion and lust of a summer romance with heros of the heart, a soundtrack to boggy to and dancing that will leave you breathless as youth meets experience and student falls for teacher. It was inevitable that one day this classic would grace the boards of the stage but expectations were high and the production fails to deliver as it's so wrapped up in copying the original, it has no original and is but a tired facsimilie without personality or passion of its own.

The director seems to forget that film and theatre are two different mediums and confuses themselves and the audience in their attempt to reconcile them. However it is a great girly night night and has some redeeming features. Read on for the full review.



Dirty Dancing The Review

Who didn’t ‘have the time of their life’ thanks to Patrick Swayze ad Jennifer Grey in the 80s timeless classic ‘Dirty Dancing’?  Who wasn’t entranced by the naïve and idealistic ‘Baby’ taking her first steps to womanhood and self-enlightenment in the toned, muscled arms of the exploited and struggling dance genius and his hypnotic hips?  1987’s Dirty Dancing has, for many, become the definitive movie for sexual awakening, dream realisation and speared the dance film genre to the forefront of, the underdog bites back through artistic expression, box office legends. 

The swinging 60s with their pastel cinematic grain, family values and infancy of graphic and explicit, global acceptance made the hot and heavy, sensual metaphor of the ‘new style’ of dancing both elicit and alluring.  It broke through a wall of silence straight to the hidden underbelly of human interaction and desires and stripped bare the judgements still lingering of the class system, human worth and propriety. 

Certainly for the vast majority of the female viewers, anyway, they recall their first viewing of this movie with the precision of historic moments like where they were when Kennedy was assassinated or when the twin towers fell and the world fell with them onto its knees in shock and grief.  So, of course, it was only a matter of time before a film that seemed so theatrical, ticking all the check boxes for a visual, epic and emotional journey on the stage, would be brought in front of live audiences but, as ever, when you’re working with a much loved template, what was lost in translation?  Should a performance by rehashed without being remade or made better and can the later styles and advances of stage and screen trump the original classic?

Having seen Dirty Dancing on stage at the Aldwych Theatre near
Drury Lane
on London’s West End, this theatre critic would have to respond with a resounding, ‘No!’  The main problem for such ventures is that ticket holders arrive with certain expectations and a hype that is hard to live up to and such cursed shows often don’t.  Seasoned theatre goers would expect not only a rendition of the plot and romantic tale of the classic film but, using that as the premise, for it to be merged with the intimacy and raw seduction of theatre.  What young girl didn’t visualise the renegade, fiery Swayze dancing with them in close quarters, being spellbound by the rhythm of the pulsing, music beat, smelling the sweat and power of a precision controlled body as it swoops and flexes in primal fluidity and movement?  Getting a personal show of the distant film rolls and being held in rapt attention by mesmerising performances and ‘come to bed with me’ eyes?



Unfortunately the reality was quite different.  The director seemed so intent on replicating the on screen extravaganza that they forgot that theatre is a completely separate medium that, if used correctly, can go places that cinema screens can never manage.  The West End show tried to redo, chapter and verse, the set and scenes of the movie and thus came across as disjointed, like a series of skits, without the film device of effortless scene changes, short dialogues and moments that can be captured in a few seconds of film but on stage means dragging new backdrops and props out of the wings for short snips of time.  You can’t possibly represent every backdrop, the club house, the kitchen where penny is lying distraught, the fallen tree, beam walking over the river scene, the ocean, the lonely road, the quick change in the car etc and not overwhelm the audience with jerking shifts instead of a natural progression and flow. 
Also a lot of the scenes they were trying to represent only worked on film due to the ability of close-up shots, getting inside that car, being able to block out the set design and focus on the prominent action, capture the lead stars faces and conversations while throngs of resort staff danced around them.  Trying to put this all on the stage just confused the focus of the audience and made the interactions seem unnatural and literally ‘staged’.

There was also the chance to make this production into a proper musical especially with the fantastic soundtrack of the movie already in existence but instead the leads didn’t sing and only danced in the structure of the film which actually leaves the best dancers, dancing the least.  The film forces Baby and Johnny’s dancing duelling into a montage because it has to focus on the emotion and relationship between the characters but on stage, emotion is, arguable, best represented through music and dance.  The poignant, charged songs could have been sung and enacted, the most breathtaking moments savoured and enhanced instead of trying to condense every second of movie history into a time constrained live show.  With so many scene changes, to remain devout to the original, the audience didn’t have the chance to develop a proper emotional attachment and understanding of the characters and the whole feeling of the original script would probably have been lost completely without previous knowledge and carrying the love and appreciation over from watching the movie.

Having said all that, the audience that was being catered for were those there to have a good time and to see ‘everything’ that they loved and remembered so fondly and although the idea and execution seemed amateurish, it gave exactly what it advertised, a complete retelling of Dirty Dancing and this, along with the amazing tracks that went along with the action (some of which were sung by the performers in narration as opposed to conversation) made for a great girly night out, hen party style. 

The concept was obviously extremely difficult for the actors as well, chopping and changing within a few minutes from, for example, Baby yelling at Robbie, flirting with Johnny, arguing with her sister and pleading with her dad and thus the acting, especially in the case of Johnny Castle, came across as stilted, wooden and even a little frantic and messy, like the whole set-up.

The show wasn’t taken seriously as was evidenced by the laughter of the audience when ‘Johnny’ started to strip and the raucous, non-proportional cheering when certain famous lines were said, ‘Nobody puts Baby in a corner’.  It was also of note that there were a few moments strikingly different from the movie (and thus highlighted), rushed dialogue inserted to ‘polish’ off the meaning of scenes which was of a low writing standard and came across as unnecessary and ‘cheesy’.

Ardolino’s movie was slow, sultry and sexy, simmering to a boil and delivering high impact, sensual performances whereas the stage show was like a karaoke version, sung out of tune.  I did enjoy myself and the music and giddy atmosphere was wonderful but it could have been so much more, which is, I think, what disappointed the most.  There is so much more sensuality in Wicked where the protagonist is green and romance isn’t the main issue being dealt with, more dancing in avenue q, where they’re puppets and more genuine and emotional singing in ‘Britain’s Got Talent’ and that’s saying something.  To me this is wrongly classed as a musical as the music is incidental and only there because it was used on screen.

Special mention does have to be made to Ray Quinn who does have a beautiful voice and sings a little in the show and obviously tried to infuse a little emotion into proceedings.  His expression pleasantly distracted me from the leads in his role as Billy, general ensemble and token talent.  Even though he is a good dancer he didn’t dance.  The whole thing was like upside down world and grated on someone who loves theatre as this in many respects was a mockery of the medium’s inherent charms.  The cast are now going on tour so Dirty Dancing will be coming soon to a ‘theater’ near you!

Photos by David Sheinman

First National Tour Dates:~

1 Sept - 8 Oct 2011 Bristol Hippodrome 0844 871 3012

19 Oct - 12 Nov 2011 Glasgow Kings Theatre 0844 871 7648

22 Nov 2011 - 7 Jan 2012 Manchester Palace Theatre 0844 871 3018

17 Jan - 25 Feb 2012 Dublin Grand Canal Theatre 0844 847 2455

6 Mar - 31 Mar 2012 Aberdeen His Majesty's 0122 464 1122

3 Apr - 28 Apr 2012 Southampton Mayflower 0238 071 1811

1 May - 26 May 2012 Milton Keynes Theatre 0844 871 7652

29 May - 23 Jun 2012 Leeds Grand Theatre 0844 848 2703

4 Jul - 25 Aug 2012 Birmingham Hippodrome 0844 338 5000

28 Aug - 15 Sept 2012 Norwich Theatre Royal 01603 63 0000

18 Sept - 06 Oct 2012 Sunderland Empire 0844 871 3022

9 Oct - 27 Oct 2012 Liverpool Empire 0844 871 3017

6 Nov - 1 Dec 2012 Cardiff Wales Millennium Centre 0292 063 6464

4 Dec 2012 - 12 Jan 2013 Edinburgh Playhouse 0844 871 3014



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Movin' Out The Musical ~ Songs of Billy Joel

Posted by Skyeblux

Intro:~ This musical is different to most you will watch as along with a hint of razzle dazzle it's raw and gritty and also more of a rock ballet than traditional productions.

The score is choices from the amazing musical career of Billy Joel which a solo singer performs with his electric band high rised over the stage while the dynamic and energetic choreography tells the story below.

Not a family show ~ too real, too emotional and both beautifully tragic and tragically beautiful.


Review:~

Musical Reviews: Movin’ Out

Billy Joel is one of the most talented story tellers in the music industry.  His work is completely original and self reflecting from his rock-legend rasp, everyman lyrics and technical genius in composition.  He is a master pianist, classically trained and his social themes speak to crowds of spectators looking for answers and direction in life.  He is quoted as saying; “As human beings, we need to know that we are not alone, that we are not crazy or completely out of our minds, that there are other people out there who feel as we do, live as we do, love as we do, who are like us,” and this seems to sum up his motivations and ideals in the production of his records and now in the dramatisation of the musical ‘Movin’ Out’.

‘Movin’ Out’ is a concept song with a familiar story of a man struggling to make his name in the world amidst the constraints of economy, class and capitalism and explores how these issues effect the ‘average Joe’ and his passions and desires.  This, along with some of the most loved tunes penned by Joel, makes up the score sheet for this musical with a twist.  The production has an unusual, surrealist edge as the curtain reveals an elevated orchestra and solo singer, vocalising and mimicking Joel’s street kid roots, and providing a backing track to the visual aspect of the show.  Billy Joel’s songs are linked together to form an adhesive plot-line through non-vocal actors and dancers who dramatise the lyrics like a feature length music video.




Audiences should be warned that the production contains adult themes and also strobe lighting.  The imagery is unapologetically raw and undiluted from the licentious scene of character’s losing themselves in an alcoholic daze and in pliant, willing bodies inspired by ‘Captain Jack’ to the disturbing psychological effects of war in ‘Goodnight Saigon’.

Billy Joel grew up in a restless, industrial and war-torn age and provided a voice for the people through evocative and passionate music.  He has become an iconic legend in the industry and received many acclamations and awards for his skills.  For those not familiar with his music, the lyrics of ‘The Ballad of Billy the Kid’ are autobiographical,
“From a town known as Oyster Bay, Long Island
Rode a boy with a six-pack in his hand
And his daring life of crime
Made him a legend in his time
East and west of the Rio Grande”

This musical follows a very personal and volatile plot as the audience follow the lives of a group of friends from Long Island, from high school simplicity and innocence to wartime Vietnam when the protagonists enlist in the draft and head out, gung-ho for glory and their patriotic duty.  The before and after story and the effects on the personal relationships in the show, from romantic idylls to grief and loss, are poignantly and powerfully narrated through choreography (thus it can be a little confusing if you don’t have a quick read at the synopsis.) 

The songs include the favourites, Uptown Girl, We Didn’t Start the Fire, She’s got a way, Longest Time, Big Shot and Innocent Man.  The contemporary ‘rock ballet’ style of dancing is extremely impressive and captivating, infused with passion and emotion that displays the inner psyche of the characters in a way that simple words could never do. 

The focus of the audience is somewhat confused as it is torn between watching the vocal and instrumental talents of the band like at a rock concert and witnessing the dynamic movement below and viewing the score simply as the narrative medium that inspires the dancing and drama. 

The grungy and disparate feel of the set design and rhythm of the bass beat is both unsettling and exhilarating and the unusual structure tends to addle the brain into analysing the message and morality of the show in its entirety ‘big picture’ sense instead of having a leading focus on a particular actor or singer.  It is almost Brechtian in this respect and highlights the effect of outsider’s looking in, like a documentary in a giant aquarium.  It is book marking a certain era of history but also reaching out through the popular and familiar music and its relatable lyrics. 

Most audience members will be fans of Billy Joel and already well versed in his songs and so come with a background knowledge and idea of what they expect to see and experience.  In some ways the production twists these expectations and flips them, going further, more graphic, more uninhibited than imagined and thus revitalises and shakes up the meaning of songs that may have lost their impact on old ears.

In conclusion ‘Movin’ Out’ is a great and transitionary show that questions the rules of theatre as well as life and therefore is an interesting and new perspective on the use of music and space but if you come wanting to see a doe-eyed, cliché, classical musical you will be disappointed.  This production is much less for Broadway musical lovers as it is for the underground rock scene and delinquent youth!  If you enjoy great music, vocal talents and impassioned, technical choreography and can join these up without a cohesive, normal, narrative structure then you will find this scintillating and well worth the visit.

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