The AVENUE Q - Original Cast Album is here! — Page 2

respectfully submitted, LCZ and MUSIC MAN: i'd also point out that both the male and female leads in fact act/voice two contrasting characters: the ingenue/soubrette and the juvenile/character comic. This versatility, in fact, is much closer to the revue performers you brought up and then specified about. Lucille Ball, prior to being discovered as a comic genius in her own series (both on radio, then on televsion) went through several phases: showgirl/dancer, glamourous lead in B titles, dramatic actress in B movies, etcetera. These two leads are very young and we'll see what develops for them, but their potential with this project seems promising. All the great songwriting teams have their inane lyrics occasionally. i'd agree with LCZ about "Fine, Fine Line"; it was very moving and beautifully acted. i found the score sort of a pastiche, with references to standard musical theatre tropes as well as children's songs. That the show actually does most of what it sets out to do is very welcome to see. The audience reaction, to supplement what others have posted, is most interesting: they respond to the images and the words themselves, laughing at lyrics and actual dialogue (rather than schtick alone and indicative performances). The show is not "dumbed-down" or telegraphed in any way. The import of the songs sneak up on you, and despite the lighthearted nature of the lyrics, the genuine sentiments are sophisticated and empathetic. It is one of those rare things: an intellectual musical unafraid of cynicism and irony, but with a positive message nonetheless. On this level, i think it even surpasses the celebrated URINETOWN (not to mention that AVENUE draws on a much broader base of familiarity than its predeccesor). The entire concept of the show is witty and inventive, and breaks cliches left and right. That is reason enough to see it. Having seen it first, i'm not sure what the impact of hearing the score alone might be. But see it if you can. That way at least if you still don't like it, you'll have more to draw on in a civil discussion of its strengths and weaknesses. i'm glad to see it succeed in that it opens new paths to new musicals. We are sorely in need of those.

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