Avenue Q - Review

Shaftesbury Theatre, London

*****

Book by Jeff Whitty

Music & lyrics by Robert Lopez and Jeff Marx

Directed by Jason Moore

Emily Benjamin, Charlie McCullagh and Meg Hateley

LP Hartley famously wrote that “The past is a foreign country: they do things differently there” Never has this been more true than in musical theatre, where today marks 20 years since Avenue Q first opened in London. With its brilliantly scripted and piercing satire puncturing many of today’s pretentious pomposities, one has to reflect that this show would never be written today, our modern lyricists lacking both the wit and the temple-tumbling cojones of Robert Lopez and Jeff Marx. Quite simply, Avenue Q returns to reclaim its title as one of the funniest shows in town.

Who knew that this inspired parody of Sesame Street would prove so timeless? Lopez and Marx’s songs may drip with an inspired cynicism - but what makes this show really soar is that the brilliantly animated puppets convey stories of powerfully poignant humanity - their furry appearances belying beating and sometimes broken, hearts of gold.

Minorities are mercilessly mocked, the cruelty of this libretto proving a slap in the face to today’s relentlessly entitled generations. But as with the very best of clowns, when they ridicule our society, they hold a mirror to us all and as some of the evening’s monstrous animations ultimately find paths towards love, redemption and a joyously happy ending, they make us shed tears of both hilarity and also profound joy. It is a rare show can hit both of those emotional sweet-spots simultaneously.

Jason Moore, who directed the show to glory both on Broadway and in London all those years ago, returns to helm this revival with a neat touch seeing him assisted by Julie Atherton who back in the day created Kate Monster /Lucy The Slut  in the show’s London premiere.

This time around Emily Benjamin is simply magnificent as Kate/Lucy, at times delivering both sides of her characters’ deliciously barbed exchanges. Benjamin is matched by the equally talented Noah Harrison who is fabulous as the preppy Princeton and investment banker Rod, perpetually struggling with his sexuality. These two performers have both a physical presence and a vocal genius that delivers passion in their puppetry. As with all good puppetry, our focus is on their respective animated characters - but sneak a glimpse at their (human) faces as they perform, and the integrity and commitment of their performances is just joyous.

Benjamin and Harrison may be doing most of the narrative’s heavy lifting, but this show is truly an ensemble piece. Equally stunning are Charlie McCullagh’s hilarious Trekkie Monster and (Frank Oz soundalike) Nicky, Amelia Kinu Muus is an horrifically blunt Japanese therapist Christmas Eve, Oliver Jacobson is her Jewish husband Brian, as  Dionne Ward-Anderson steps up as Gary, the show’s only black character. Amidst the mayhem, Meg Hateley silently animates other characters that drive the story. The energy across this entire company is relentless and with pinpoint timing, all of the show’s gags make perfect touchdowns. 

There’s a classy creative crew too. Ben Holder directs his five-piece band to make fine work of the deeply varied score. Ebony Molina’s choreography is tight, Anna Louizos’s (also ex-Broadway) scenic design is a treat, enhanced by Tim Lufkin's nifty lighting plots.

Blink and you’ll miss them but there are some barely perceptible script-tweaks that bring the show into the modern era. The song Mix Tape is enhanced with a ‘playlist’, as ChatGPT gets a brief mention too. But overall, Avenue Q remains 99.9% true to its brilliant, original self.

They don’t write ‘em like this any more – and more’s the pity for that. Only here for the summer, take a stroll down Avenue Q for a night of outrageous comedy and brutal social comment. Musical theatre does not get better than this!

Booking until 29th August

Photo credit: Matt Crockett

Back To The Future The Musical - Review

Adelphi Theatre, London

*****

Music and lyrics by Alan Silvestri and Glen Ballard

Book by Bob Gale

Directed by John Rando

Olly Dobson

In a dramatic gesture matched only in magnitude by the invention of the flux capacitor itself, so have the cast and creative team behind Back To The Future The Musical delivered one of the best new musicals to hit the West End in recent years.

Bravely opening as the pandemic (hopefully) fades, the Adelphi was packed to a cheering audience savouring a show that wasn’t just based upon a classic 1985 movie but which takes that film’s narrative to a fourth dimension amidst a veritable nuclear-powered fusion of effects wizardry, video projection, and good old-fashioned human talent.

It’s not just a tough gig to set a science-fiction yarn to music, Back To The Future also demands of its leads that they can inhabit characters including the leads that were so memorably brought to life on screen by Christopher Lloyd and Michael J. Fox . This show however pulls it off with an inspired casting that sees accomplished Broadway actor Roger Bart create the stage version of Doc Brown. Opposite Bart, Olly Dobson is equally convincing as teenage time-traveller Marty McFly.

Nearly 40 years old, the story is a classic. Marty gets sent back in time 30 years by the madcap inventor Brown, where he stumbles across his pre-marital parents. And as his youthfully gorgeous mother Lorraine (Rosanna Hyland) falls for the new kid in town, unaware of course that he is her son, it is down to Marty and the (younger, naturally) Doc to engineer the plot that sees Lorraine fall for her unlikely suitor George McFly, so that in time the pair can marry and beget Marty… 

Roger Bart

Throughout, the acting is flawless, not least with Hugh Coles’ George McFly, a veritable masterpiece of physical comedy. Coles’ perfect interpretation of the hapless George delivers not only perfectly timed hilarity but also immaculately pitched nuance that must surely stand him in good stead when the Olivier for Best Supporting Actor is being considered. There is pathos too in the bond between Marty and the Doc - again, never milked, just perfectly pitched.

And, for the most part, the show’s new songs are also rather clever. In a time when new musical theatre writing can often disappoint, the numbers created here combine humour and passion together with perfectly pitched insight into the human condition. Hello - Is Anybody Home? as Marty gazes despairingly at his (1985) family, is matched in wit by his (youthful) dad’s My Myopia. Whichever of Silvestri or Ballard thought to rhyme myopia with utopia is another deeply talented soul.

Actors and lyrics aside, Back To The Future has always been about the car! So much more than just a ripping yarn, what is needed here has been the translation of a 20th century blockbuster movie crammed full of (non-CGI) special effects and squeezing it into the confines of a proscenium arch, beyond which is a theatre brimming with the expectations of a tech-savvy 21st century audience.

Director John Rando pulls off this task magnificently – aided by Tim Hatley’s design work, Chris Fisher’s illusions, Finn Ross outstanding video projections (Doc Brown’s climbing of the clock tower towards the show’s finale is a hilarious coup-de-theatre in itself!), Gareth Owen’s sound design and Tim Lutkin’s lighting. The staging is imaginative, stunning and clearly expensive – everything that a big West End show should be – and, above all, imaginative. There will be no spoilers in this review – just go and savour what these guys manage to do with a classy company of actors and a DeLorean. (And if this 2021 iteration of the story sees those pesky Libyan terrorists from 1985 get canned in the name of politically correct progress, well hey that's showbiz!)

Jim Henson’s 14 piece band make fine work of the newly scored stuff – theres a great leitmotif running through the show that is a nod to the movie – with the more recent songs standing up well to the timeless gems of Johnny B. Goode and Huey Lewis’ The Power Of Love. The dancework is wonderfully tight too, with choreographer Chris Bailey lobbing in some wonderful moments of pastiche that only add to the evening's splendour.  

It says much for London as a global centre of theatre that the producers have chosen to workshop and launch this All-American show over here and with a predominantly British company of cast and creatives. As soon as circumstances make it possible and profitable, the show deserves a swift transfer across the Atlantic. 

Throughout, Back To The Future The Musical exceeds expectations, consistently delivering excellence in acting, song, dance, and oh, those effects.  Family entertainment in musical theatre does not get better than this. Just go!

Booking until 1st July 2022

Photo credit: Sean Ebsworth Barnes