I have fond memories of the show. Last summer of 2006, Jampao and I were rustling around New York in between concerts for Bukas Palad's US Tour. We wanted to watch a musical, but that evening was part of Easter weekend so we eventually ended up losing at manifold chance-ticket-lotteries for Wicked, Hairspray, and The 29th Annual Putnam County Spelling Bee. By the time we got outside the Avenue Q box office, it was closed as well; but stupendous luck came our way when a man came in and sold us his two orchestra center tickets (which he had reserved months in advance) as his wife suddenly had the ill luck to get sick. Our tickets cost us $100 each, but it was oh-so worth it, and we left the theatre all smiles. (We also saw Julia Roberts leave the stage door of her show which was playing next door, which is why I will always think of NY as the place where all fantasies come true.)
I was curious to see how well the musical would fare with a Filipino cast and audience, given its quintessential American-ness. For even while watching and later listening to the soundtrack, I'd always felt that much of the humor emanated from very local issues like race relations or the fleeting fame of Gary Coleman (who the hell is he anyway?), so I wasn't really expecting much. How these were handled, particularly by cast , was a very pleasant surprise though. Aiza Seguerra mastered a very difficult homie-niggah accent to play the aforementioned former-fellow child star. Noel Trinidad and Frenchie Dy managed to inject their own brand of humor into their respective roles (as Rod/Trekkie Monster and Christmas Eve). And Rachel Alejandro was a delight, giving a very sensitive and tight portrayal of Kate Monster, vis a vis her bombshell second role as Lucy the Slut.
As for the material, they were completely faithful to the libretto, which I think was a good thing, given how easily Pinoy-style adaptations can corrupt the intent of a foreign work. Never mind the what-did-that-mean jokes inherent in a lot of the lines (ie. Watchoutalkinbout Willis?!), which the cast was able to downplay.; the beauty of Avenue Q Manila is that it was able to transcend these and get to the heart of what made the play a Tony winner, and transmit it to the audience. Because in the midst of laughing over how the internet is for porn and how it sucks to be them, we realize that we aren't really laughing at them and their issues, but ultimately at ourselves and the tragedy of growing up in this (as the philosopher Gabriel Marcel coins) broken world: of the various pathos of coping with loves that must always be unspoken and unrequited, toiling day-after-day in the purposeless, monotonous, and unrewarding world-of-work, and conforming to societal expectations thereby holding back the development of a genuine, authentic self.
Ultimately, what makes Avenue Q well-worth precious time and money is that for two blessed hours, it takes you away from the cares and worries of Real Life, and afterward sends you out with the strength and courage to further engage it.