- One ticket to see Avenue Q
- When: any performance from April 17–June 1
- Where: Lower Ossington Theatre
- Click here to view a complete list of showtimes.
- C$29.99 for the floor or reserved general section (C$49.99 value)
- for the premium section ( value)
- Click here to view the seating chart.
The long-running Broadway hit Avenue Q—winner of the Tony triple crown for Best Musical, Book, and Score in 2004—packs its rollicking musical with irreverent wit and puppets that say the darndest things. A cross-species mix of puppets and humans centres on Princeton, a well-meaning recent college grad who moves to New York City with Big Apple-sized dreams and gets a much needed real-world education from his neighbours. Along the way, bouncy songs and sassy dialogue delve into topical issues such as politics and bedroom mores. The off-colour, mature, and perversely funny production is warm, endearing, and more heart-rending than a sock-puppet production of King Lear.
Key to both the tear-jerking and side-splitting: the score, written by Robert Lopez and Jeff Marx, which captures the cheery feel of a children’s television show while stuffing in taboo-skewering lyrics. Tunes such as “I’m Not Wearing Underwear Today” and “Everyone’s a Little Bit Racist” don’t skimp on the jokes, but not every song drips with the same acerbic wit. Ballads, including the wistful “I Wish I Could Go Back to College,” stand out for their genuine emotion, filling Avenue Q with a resonance that lurks just beneath its fuzzy, politically incorrect exterior. The musical is intended for mature audiences only, or parents training their children for a life of detention.
Lower Ossington Theatre
When Brittany Goldfield Rodrigues of Broadway World paid a visit to Lower Ossington Theatre’s production of RENT, she was struck by many things—the dynamite performances and powerhouse vocals, the costumes, the deceptively simple staging—but the space itself might have taken the cake. An intimate venue can make an experience immersive, and Lower Ossington Theatre’s three performance spaces possess that quality in spades. Goldfield Rodrigues noted how instead of a stage, the theatre kept audiences and performers on the same plane—the show in an open space at the front with individual chairs facing it—helping viewers feel as though they were in the same world as the characters and dispelling the worry that the performers might be invading giants.