Small Town Stars Theatre Company, based at the Carroll Arts Center of Westminster MD, skillfully and confidently walks a fine, fine line in its short but hilariously fun run of Avenue Q (Robert Lopez & Jeff Marx, music & lyrics; book by Jeff Whitty). STS’s production, under the direction of Sean Olsson, effortlessly navigates mature themes of sexuality, racism, internet pornography, all in the oeuvre of network children’s educational programming, complete with custom-made puppets the Jim Henson Company would be proud to associate with. Audiences familiar with shows like Sesame Street will both feel familiar and delightfully transgressed as the actors somehow allow their audiences to almost instantly forget the well-advertised R-rating with impressive frequency, allowing each blue joke to surprise and shock viewers out of the familiar tone of wholesome educational programming, no matter how much time has passed between jokes. All credit for this delicate balance belongs to a cast that unreservedly and fearlessly embraces their respective roles with a commitment and earnestness that would shame any veteran actor.
The show largely follows the struggles of Princeton (Eli Grauman), a bright-eyed and rudderless college graduate searching for his purpose while trying to balance the various demands of bills, rent, employment, friendships, and romance. Grauman plays this with an earnestness that effortlessly sells the premise with impeccable comedic timing, neatly threading the needle of comedy and wholesome naivete that underpins the shows premise, all with an anchor of a singing voice that navigates the tonal shifts required of the role with confidence, humor and deliberate poise.
Princeton is aided and challenged by an ensemble cast of human and puppet characters, each bringing their own perspective and struggles to the neighborhood. Kate Monster (monster being both name and species in this case) is no less masterful in the hands of one Cara Wolf. A firebrand with a lot of love to give, Wolf honestly and openly navigates romance in a world unwilling to follow the script of a neat and tidy happy ever after with poise, passion, and endearment that has the audience audibly rooting for her despite all the pitfalls she encounters, even a few of her own making.
Ever present at every pivotally inopportune moment (for the characters at least) are the bad idea bears, played by Jordan Wheeler and show producer Miranda Secula-Rosell. In what can only be described as poor judgement and intrusive thought in fluffy colorful ursine form, these two are uproarious at every turn, mining comedy from pivotal decisions by our two main characters that would be unequivocal “no don’t do it!” moments in any other show. Wheeler and Secula-Rosell have audiences in full-throated laughter for every second on stage, delivering disturbingly and hilariously bad advice with the cheery and happy demeanor of a Disney mascot.
Equally recognizable for fans of more G-rated programming would be the duo— Nicky and Rod, played by Jules Barrett and Jude Sims, respectively. An unequivocal parody of Sesame Street’s Ernie & Bert, Barrett and Sims work fantastically as a comedic duo and present commendable impressions of the voices and mannerisms made famous by all-time greats Frank Oz and Jim Henson. That said, the vocal affectations are sometimes unstable and earnest bids to exude frenetic neuroticism from Sims unfortunately suffocate a punch line or two. In future, Sims can be confident that their portrayal is fundamentally solid & developed and may trust the audience is attuned enough to his portrayal to selectively make space for comedic tension that will only enhance the payoff that comes from a fully digested setup.
Fellow neighbors of our ensemble, Brian (Michael Safko) and Christmas Eve (Jaden Soriano), serve as wholesome and coarsely funny purveyors of advice throughout the show, whether it be as failed comics with impressive insights or as therapists with horrific bedside manners. Both are played for laughs with good instincts and full-throated commitment by their respective actors. Soriano’s debut role as Japanese social worker Christmas Eve (yes, that is the character’s name, no it is not explained) is an admirable first outing in a deceptively difficult role requiring a caricatured Japanese accent and a dynamic emotional range. This reviewer is looking forward to seeing Soriano continue and grow in her skill and confidence.
Tying the whole thing together are three standout performances from Alexandra Overby as Lucy, Sean Kimber as Trekkie Monster and Darryl Warren as fictionalized child star Gary Coleman. Overby shows impressive vocal and acting chops portraying the variety actress and liberated woman, encouraging cast and audience alike in a manner Jessica Rabbit would tip her hat to, if she wore one.
Kimber’s Trekkie monster is non-stop laughter, serving as one of the many comedic interruptions to the façade of children’s broadcast television. Absolutely nailing a parody of a cookie monster with an altogether different obsession, Kimber’s comedic instincts and infection are note perfect and a delight for even the most familiar of Avenue Q fans.
Playing a scammed celebrity turned apartment superintendent, Darryl Warren does the late Gary Coleman credit with his undeniable effort in this production, with great comedic timing, using every facial and body gesture he can to pull you into this world of a children’s show that somehow managed to get past the FCC. Though at times struggling to find and maintain pitch during songs, Warren takes what is typically a pants role and absolutely owns every choice he makes.
The best tech crews of shows are the ones you don’t notice. With rare exception, the crew under Stage manager Savanna Wright, Sound Designer and Technician Dagny Beavers, Lighting Designer and Operator Tim Beavers, and projectionists Maddie DiNello & Sean Kimber. Creating a seamless foundation for actors is a thankless job, one this crew does with poise, precision, and dedication.
A special hat tip goes to Vocal Director Jude Sims for presenting a cast that is clearly comfortable and precise using canned music, a choice that demands perfect rhythmic accuracy from their cast that is unequivocally achieved here. Likewise, Puppet coordinator Olivia Ward pulls off the unenviable task of presenting and training a cast in puppetry in such a way that enhances the production beyond that of a gimmick, and she does so with skill and hilarity.
All in all, this show is a great time for adults (again, consider this a rated-R production) both young, old, and young at heart, whether it be as a cathartic commiseration of the struggles of adulthood, an unapologetic and witty satire of the more rigid parts of our morality, or a refreshingly still-relevant plea to recontextualize our lives. Regardless, go see it January 13th and 14th, as this show is… only for now.
Running Time: Approximately 2 hours with one intermission
Avenue Q plays through Sunday January 14th, 2024 with Small Town Stars Theatre Company at The Carroll Arts Center— 91 W. Main Street in downtown historic Westminster, MD. Tickets are available at the door or in advance online.
