By Brigid Amoroso

Staff Writer

MARPLE, Pa.—This April 15-18, Delaware County Community College presents “Avenue Q” at the Marple Campus. Tickets are $10 for students and $15 for general admission. Free matinee performances for students and faculty also ran April 14-15. The musical is directed by Ali Caiazoo, assisted by Gillian Keener.

“Avenue Q” is a musical comedy created by Jeff Whitty, Robert Lopez, and Jeff Marx. It originated on Broadway in 2003 and won three Tony Awards in 2004, including Best Musical, Best Original Score, and Best Book of a Musical. It ended its Broadway run in 2009 and continued to run off-Broadway until 2019.

The musical draws inspiration from the children’s television show “Sesame Street” by featuring both puppet and human characters, while also tackling mature themes of racism, sexual orientation, and finding one’s purpose in life. Despite the appearance of “Avenue Q,” the musical is in no way, shape, or form for children.

Max Sunzeri, who handled the poster and program design for DCCC’s production, did a fantastic job of weaving the musical’s elements, setting, and themes into the visuals—specifically with the graffiti font and the puppets’ tongues forming the “Q” in the title.

The set, designed by Mimi Kenny Smith, is simple and perfect for the musical. It displays the exterior of the apartment building all the characters share and a clothesline in the center of the stage with puppet-sized clothes clipped to it. Despite the musical being set in New York City, the clothes feature Phillies gear, adding the perfect Delco touch.

The principal role of Princeton is played by Rincon Thompson. They have a dual role, also puppeteering the character Rod. Princeton is a young and naive kid struggling to find his purpose, while Rod is an uptight and nervous investment banker denying his sexual orientation. Thompson, remarkably, was able to differentiate the two characters, giving them each a unique voice and specific quirks.

Bridget Gauntner, who puppeteers Princeton’s love interest, Kate Monster, really brings the character to life with her personality, facial expressions, and gestures. It was also incredible to see that personality portrayed in the musical numbers, specifically in “There’s a Fine, Fine Line.”

The production is high-energy throughout the show, and there is never a dull moment. Tah‘Mir Lamb, who plays Gary Coleman, and Julia Phan, who puppeteers Lucy the Slut, help keep the energy up and the audience laughing. Lillian Yost and Kayla Frantz, who both puppeteer the Bad Idea Bears, also contribute to the consistent comedic momentum.

The best ensemble number of the show is the finale, “For Now.” The characters’ voices and stories all merging together at the end bring the show to a grand finish. Other standout musical numbers include “The Money Song,” where the actors enter the audience and beg for money, and “You Can Be as Loud as the Hell You Want (When You’re Makin’ Love),” where they simulate puppet sex.

However, some of the choreographed numbers were unintentionally awkward at times, with the ensemble being out of sync or forgetting the choreography altogether. Another recurring issue was that it was difficult to understand certain lyrics over the music and lines of dialogue. This was a combination of technical issues and a lack of projection.

Altogether, the entire cast did an excellent job with the art of puppetry. The skill is definitely not easy, especially with the additional tasks of acting, singing, and dancing—not to mention actors portraying multiple characters. All the actors should be given their flowers for their mastery of puppetry in such a short time span and their dedication to the show.