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.

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 *****

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!

Intro:~ Powerful and emotion drama and intense musical composition in this musical up for review. Whistle Down the Wind by Sir Andrew Lloyd Webber and Jim Steinman is the story of mistaken identity on a grand scale as three young children stumble across an escaped felon and believe him to be Jesus Christ reincarnated. Their sure faith and pure hope battle against the depravity and prejudice of the small town as 'the man' begins a journey not only to save himself from prison or worse but to save his soul.

The review:~