Review: Avenue Q at Cockpit in Court

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with a 15-minute intermission

If you’re looking for some good old fashioned educational television that teaches kids how to count to 12 or has a word of the day presented by a green frog… you won’t find any of that here at Cockpit in Court Summer Theatre’s first offering of the season, Avenue Q by Jeff Whitty and Music and Lyrics by Robert Lopez and Jeff Marx, Directed by Todd Starkey with Music Direction by R. Chris Rose and Choreography by Elise Starkey. This is a stretch for Cockpit in Court, compared to their previous showings and I, for one, am glad they took the leap. It’s a funny, in-your-face show that leans more toward adult humor that will have you laughing and nodding your head about things you often think of but don’t say because you’re too courteous to do so.

The Cast of Avenue Q at Cockpit in Court Summer Theatre. Credit: Cockpit in Court

Avenue Q tells a tale about a college graduate, Princeton, trying to find his “purpose” in life. It is set in NYC, all the way out on Avenue Q (because Princeton couldn’t afford anything more). While he is struggling to find his purpose, he meets friends, finds love, loses love, and finds it again. Loosely inspired by the famous Sesame Street, this puppet-filled world reflects the crazy, sometimes filthy, adult realities of the world around us. We learn that real life isn’t really as simple as we dreamed it would be when we were kids, but this show hints that, even though it’s not like the dreams we had, life is still colorful and worthwhile.

Bob Denton’s Set Design is simple, yet superb. His design treats us to a set of detailed row homes and shop fronts that have been seemingly turned into apartments and his choice of drab, dull colors and use of second story levels adds a distinct realism to the piece. His attention to detail is fantastic and he uses his space wisely, creating a unit set with set pieces that enter and exit to express more specific spaces. Overall, Denton is to be applauded for his work.

Costume Design by Eva Grove is spot on as the characters come to life in their individual attire. Though most of the puppets probably came in their own garb, Grove’s work is still evident in the “human” characters in this piece and her choice of costumes enhanced the characters. For instance, the unkempt look of Brian, the slacker, and the more put together but traditional Asian fashions for Christmas Eve really took these characters to the next level. Kudos to Grove for a job well done.

Elise Starkey took on the task of Choreographing this piece and creates engaging movement that is a delight to watch. She seems to know and understand her cast and their abilities and her choreography enhances their abilities and makes for fun, upbeat numbers that the cast obviously enjoys performing. This production doesn’t require huge dance numbers but Starkey has created choreography that is simple enough to fit perfectly into the production but intricate enough to stay interesting and entertaining.

Veteran Music Director R. Chris Rose has guided this ensemble beautifully keeping them in harmony and on key. Many of the ensemble members are singing in character voices, but Rose has not skipped the musicality in spite of that challenge. He has a tight grasp on this material and it’s apparent through the performances of the apt ensemble. It’s absolutely worth mentioning the stellar and on point pit orchestra he’s assembled though it is unfortunate that the program (both hard copy and online) does not list the players as it wouldn’t be a musical without music and this pit orchestra should be applauded for their efforts.

The Cast of Avenue Q at Cockpit in Court Summer Theatre. Credit: Cockpit in Court

Todd Starkey takes the helm of this production and is no-holds-barred, which is just the kind of kick in the rear that Cockpit in Court needs. He takes the script, in full, and presents it with a clear vision and fearless attitude. Now, this type of show could be considered tame in some theatres in town, but this is actually a big step for Cockpit in Court and I’m very excited they’re taking it. Starkey’s casting is superb and it’s clear he has a great comprehension of the text and the message that being an adult just plain sucks sometimes, but life goes on and we figure things out as we go. Kudos to Mr. Starkey for a job very well done on this production.

Moving on to the performance aspect of this production of Avenue Q, I’d be amiss if I didn’t mention the hard work this ensemble put into the performance of this production. It must be a major challenge working with puppets but these actors seem to have mastered this task. In some cases, two people are needed to operate one puppet and those teams are flawless. The audience may even forget these characters are puppets because the actors are doing such a great job in their operation and portrayals.

As the human characters, Tigga Smaller as Gary Coleman, Stanton Zacker as Brian, and Suzanne Zacker as Christmas Eve give terrific performances and hold their own against the novelty of puppet characters. Smaller, though a bit scripted and stiff in her dialogue is a powerhouse when it comes to vocal stylings and Stanton Zacker and Suzanne Stacker’s characters are spot on with great chemistry and timing that is necessary for this piece.

Lauren Stuart, who is no stranger to the Baltimore stages, takes on the character of Lucy, the promiscuous and slutty puppet and she pulls off this character near flawlessly. Her featured number, “Special” is impressive and she certainly makes a splash.

Josh Schoff as Princeton. Credit: Cockpit in Court

Josh Schoff takes on Princeton, our “hero” and his character work is notable had one really feels for this character throughout the show. Vocally, he pulls off his numbers nicely, but his strengths lie in the character which he portrays authentically and with confidence giving a great showing.

Will Meister as Trekkie Monster (with Tate Erickson) may be one of my favorite characters as it seems Trekkie Monster has lost all give-a-f***. Meister’s portrayal, with the help Erickson (he’s a big monster so, he needs two puppeteers to manage), makes this character both crude and lovable. His featured number “The Internet is for Porn” is definitely funny and the tinge of truth it has makes on think. The teamwork between Meister and Erickson is top-notch and they are to be commended for their portrayal as Meister is to be commended for the character study he’s put into it.

A highlight in this piece is Clare Kneebone as Kate Monster, the sweet “girl-next-door” who, like Princeton, has aspirations but doesn’t quite know how to achieve them. Kneebone plays her sweetl,y but real and rough around the edges, which makes this character so authentic. She understands this character and the material and even though she is using a character voice, the realism comes through because of that comprehension. Vocally, Kneebone does not disappoint with a clear, booming voice that resonates throughout the theatre as it does in her featured, poignant number, “There’s a Fine, Fine Line.” She’s certainly one to watch.

Amanda Poxon and Will Poxon as Nicky and Josh Starkey as Rod. Credit: Cockpit in Court

Definite standouts in this production are Josh Starkey as Rod and Will Poxon (with Amanda Poxon) as Nicky. These actors take their performances to the hilt and completely embody these characters. Starkey, as Rod, skillfully uses a character voice that fits perfectly (and is reminiscent of Bert from Sesame Street fame) and an uptight attitude to match. He brings this character to life easily and through the character voice, vocally, he is spot on, especially in his cute and tender featured number, “Fantasies Come True.” A perfect match for Starkey’s Rod is Will Poxon’s Nicky, who he operates with Amanda Poxon). If any of these characters are perfect, it would be Nicky. Will Poxon’s character voice couldn’t be more perfect (which, of course, is an homage to Ernie from Sesame Street) and it takes his performance to the next level. It’s worth mentioning, too, that Amanda Poxon, though silent, gives a stellar performance with just her face and gestures that help this performance rise to the top. In his featured and hilarious number, “If You Were Gay” will have you in stitches and he doesn’t falter once, vocally. Kudos and congratulations to Starkey and Poxon for impeccable performances.

Final thought…Avenue Q is a fun and quirky look at the adult side of puppetry and no-holds-barred look at life from the point of view of someone just starting out in the real world. The production value is phenomenal, the performances are top-notch, the puppetry and character work are stellar, and the story/script, though not suited for all, is engaging and good in the way that it is not trying to be more than what it is… a comedy that makes people laugh (sometimes nervously) and says the things we are all sometimes thinking but are too polite to say. The music is modern with some catchy tune and makes for a delightful evening well spent. Don’t let this one pass you by this season. Get your tickets!

This is what I thought of Cockpit in Court Summer Theatre’s production of Avenue Q… What did you think? Please feel free to leave a comment!

(Puppets Constructed by Character Translations, Inc. for Music Theatre International. Avenue Q has not been authorized or approved by the Jim Henson Company or Sesame Workshop, which have no responsibility for its content.)

Avenue Q will run through July 1 at Cockpit in Court Summer Theatre, CCBC Essex, Robert and Eleanor Romadka College Center, F. Scott Black Theatre. For tickets call the box office at 443-840-ARTS (2787) or purchase them online.

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Review: Macbeth at CCBC Academic Theatre

By Jason Crawford Samios-Uy
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Running Time: 2 hours and 30 minutes with one 15-minute intermission.
The Scottish Play. Macbeth. To utter the name in any theatre across the globe is considered to be bad luck for a production and anyone involved. Superstition right? During this time of year, late fall, All Hallows’ Eve is upon us and we might, for a split second, think of those silly superstitions have some weight to them. Fortunately, CCBC’s Academic Theatre’s latest offering, Macbeth, Directed by Anne Lefter with Set and Lighting Design by Terri Raulie and Costumes by James Fasching, doesn’t seem to carry the bad luck I’ve heard tell about. This production is presented in a traditional setting with some non-traditional casting and breathes new life into the timeless words of The Great Bard.
Set Design by Terri Raulie is simple, yet complex-looking with drapes hanging at different levels, giving depth to the stage as well as a tilted platform, reminiscent of how the original theatres of old were built and it gives a very authentic feel. Simple with earthy colors is the way to go with this production and Raulie uses her space wisely. Raulie also doubles as the Lighting Designer and her heavy design certainly makes up for the sparse (but appropriate) set on this large stage. The use of light and shadows designed by David Sunderland-Martin to move the story along is brilliant and simple, allowing for the imagination to fill in the blanks of this age old story. The shadow work alone is very impressive and gives the story a modern feel. Kudos to Sunderland-Martin for his work.
Though all this lighting was very appropriate to this production, there were moments when the stage was very dim and it was difficult to see the actors and action taking place. The dim lighting certainly set the mood, but took away from the action simply because it could not be seen clearly. Overall, Set and Lighting Design is outstanding and added great value to this production.

Macbeth's coronation. Credit: Dave Frey

Macbeth’s coronation. Credit: Dave Frey


Costuming a traditional Shakespearian production can be a challenge but veteran Costumer James Fasching takes that challenge and runs with it. His costume choices are impressive and his actors seem very comfortable in their respective garb, which is absolutely necessary. His color scheme matched the set, using earthy tones and dark colors adding to the authenticity of the piece and helping set the mood for the production.
Taking on a Shakespeare piece has its own set of problems from the beginning but Director Anne Lefter has given this piece a fresh look and, though she kept it traditional for the most part, managed to modernize it with technical elements and gender-blind casting. Lefter has an impeccable understanding of this piece and, in turn, her cast has a good grasp of the material, allowing them to present clearly to the audience. The death scenes (spoiler?) are outstanding and the audience even gets a “jump scare”, but I won’t tell you where it is, because, well, that would be cheating! There is an intense scene in which an entire family gets slaughtered and, I repeat, it is intense! The fight choreography from Rob Oppel is precise and works well in the scenes and adds just the right amount of action to the piece. The cuts Lefter decided to make in the script are wise (otherwise, we’d have been there for hours!) and in no way take away from the story of the tragic Macbeth. Kudos to Anne Lefter for taking the helm of this successful production.
Darius Foreman as Macduff and Anna Steuerman as Macbeth. Credit: Dave Frey

Darius Foreman as Macduff and Anna Steuerman as Macbeth. Credit: Dave Frey


Going into the performance aspect of Macbeth, the ensemble, as a whole, gives a remarkable performance and they work very well together. Sarah Spain, Cece Heck, Jaylon Paton open the show as the Three Sisters or Witches, making a creepy entrance in the dark, and serving as something of a narrator throughout the piece. They were a little hard to hear at times but all did a wonderful job working off of each other and, though I may have like my Witches to be a little more slinky and sinister, the trio does a fine job and are enjoyable to watch.
Henry Medrano and Alex Spain take on supporting characters in this production but certainly give 100% to their roles. Medrano takes on the roles of Malcom and Angus (Malcom, heir to Duncan’s crown and Angus, a nobleman against Macbeth) and plays them convincingly enough though he might want to work on his accent to match his fellow cast members and Spain takes on a few roles such as Murderer and Bodyguard. Both are self-assured in their roles and help move the story along nicely.
Tate Erickson tackles the role of Duncan, the ill-fated King of Scotland and I thoroughly enjoyed his performance. He is confident and comfortable on stage and seems to grasp the meaning of his character nicely. He really gets the rhythm of the Shakespearian language down. Listening to him, it sounded as if he were simply speaking naturally, without sounding jumbled, helping the audience’s understanding of the story. I look forward to seeing more from Erickson in the future.
Amy Fowler, as Banquo, does a splendid job taking on a masculine role and making it her own. She has a great stage presence and is comfortable and natural. She seems to understand the meaning of her character and plays it confidently. She has a great look for the role and gives a commendable and enjoyable performance.
It’s worth mentioning the child actors in this production of Macbeth. Sara Baunoch, Sammy Baunoch, and Sophia Clark are absolutely flawless in the children roles of this piece. These brave actors certainly hold their own against their older counterparts and give brilliant performances, giving 100% to their roles. High fives to these three young actors of whom, I predict, we’ll be seeing much more in the future.
As Macduff, Darius Foreman is formidable, with a large stature and great stage presence. He gives a fine portrayal of the doomed soldier and seems comfortable in the role. Throughout the performance, it was very difficult to understand Foreman whether it was the large space or, perhaps, needing a little work on diction. I found his vocal performance (not being able to understand a lot of what he is saying) impeded his physical performance, which looks very confident and comfortable. Overall, he gives an admirable performance and works well with his fellow cast members to move the story along.
Anna Steuerman as Macbeth and Lashay McMillan as Lady Macbeth. Credit: Dave Frey

Anna Steuerman as Macbeth and Lashay McMillan as Lady Macbeth. Credit: Dave Frey


Anna Steuerman as the titular character of Macbeth really grasps her character. It is clear she understands the torment, guilt, and anguish Macbeth is going through and she expresses it flawlessly. Both vocally and physically, Steuerman embodies the character of Macbeth and makes it her own. There are times she might be able to pull back a bit, but it is a tragedy and I can see where she is going. However, there’s a fine line between tragedy and melodrama and Steuerman, at times, teeters on that line. Her performance as Macbeth is strong, though, and she is clear and easy to understand making for a very successful performance.
Lashay McMillan as Lady Macbeth is a definite stand-out in this production. She takes on this complex role of a woman trying to stand by and even guide her husband no matter what the cost. McMillan portrays her not only as cold and calculating, but as compassionate, which is a difficult task but she tackles it successfully. Her confidence is clear and she elegantly moves about the stage with purpose. She seems to understand the yearning, pain, and distress of Lady Macbeth and plays it beautifully. Her performance is authentic and entertaining and I’m looking forward seeing Ms. McMillan in future productions.
Final thought… for some, any Shakespeare can be a tough pill to swallow, especially the tragedies, but CCBC Academic Theatre manages to make Macbeth accessible and present it with a fresh vision. Whether or not you are familiar with Shakespeare plays, you will not be disappointed in this production.
Macbeth will play through October 31 at The Community College of Baltimore County, Essex Campus, Robert and Eleanor College Center Theatre. For tickets, call the box office at 443-840-ARTS (2787) or purchase them online.