Whitty, Lopez, and Marx's "Avenue Q" at Wynn Las Vegas

Avenue Q
Book by Jeff Whitty; Music and Lyrics by Robert Lopez and Jeff Marx

When the announcement was made days after winning the 2004 Tony Award® for Best Musical that Robert Lopez and Jeff Marx’s Avenue Q would bypass a tour for permanent residence at Steve Wynn’s newest Las Vegas resort, reactions were mixed but generally unfavorable. Though Vegas is establishing itself as the Broadway musical’s second home, many felt betrayed that this popular piece would not allow all of the traditional tour cities the chance to enjoy it. However, Avenue Q’s creators had a point about a loss of crucial intimacy in the cavernous halls of most tour houses. When Wynn saw the show and liked it, he crafted an offer that few companies could refuse: building from scratch a $40 million, 1,200-seat theatre (snug in comparison to most Vegas venues); a schedule of 10-a-week 6:30 and 10 pm shows with two dark nights for two casts; limited tinkering of a script that had been so long in crafting; and a chance for two of the original cast (John Tartaglia and Rick Lyon) to reprise their roles. While it may engender bitter feelings, it may also be a template for the future.

The template, however, depends on the success of this production. There were worries that red state Nevada might not warm to the script’s blue state sensibilities, and that audiences used to 90-minute spectacles might not cotton to an intermission. Two weeks into the experiment, signs indicate that while some may not be amused by the liberal leaning commentary (though the mostly full 10 pm Wednesday night audience I attended applauded the Bush reference in “For Now”), the Wynn’s ingenious design of the theatre, mixing traditional live theatre and cinema accoutrements such as cup holders for alcoholic beverages and popcorn bags and the distancing of the auditorium far from the casino through a series of hallways, has helped reform the gambling-respite mindset.

There have been other changes to the Vegas Q. Specific New York references have been made generic, and this Avenue is a brighter offering thanks to Howell Binkley’s somewhat glitzier lighting. The intimacy of the show and the scenic design by Anna Louizos, however, remain intact.

The original cast spent many years evolving into a family, so moving Tartaglia and Lyon into a new ensemble might have caused issues. This group of talented actors/puppeteers features Brynn O’Malley as Kate Monster and Lucy (a transplant from the Broadway Beauty and the Beast ensemble); Nathalie Gray as Christmas Eve; Tonya Dixon as Gary Coleman; Cole Porter as Brian; Rita Dolphin as Mrs. T.; and Steven Booth. There is no noticeable weakness in this, the “Blue Bear” cast. Everyone seems perfectly in synch and strong in ability. O’Malley’s puppeteering, voice, and endearing facial expressions make her an outstanding choice for Kate and Lucy. Gray aces “The More You Ruv Someone,” while Porter is strong of voice and in performing Ken Roberson’s perky choreography. Dixon does an excellent job as Coleman, making “Schadenfreude” a treat. Dolphin uses her moments assisting Lyon and playing one of the Bad Idea Bears to showcase her many talents.

Is this direct transfer a signal of the end of the traditional road tour? Probably not. Many different elements created this unique situation, and most productions will still succeed on tour. However, the apparent win of Wynn’s gambling on Avenue Q offers Broadway producers another option. As shows such as Spamalot and Hairspray wind down their tours by joining Starlight Express and Phantom of the Opera in a Vegas resort, it means another form of entertainment to lure people to casinos and a new chance for a permanent home after original Broadway productions are shuttered.