Tag Archives: Amelia Kinu Muus

2026

“Avenue Q” at the Shaftesbury Theatre

After an eight-year run in the West End, as well as being a massive hit on Broadway, Robert Lopez and Jeff Marx’s hit musical is back in London. The ‘adult’ puppet show that philosophises about life is as entertaining as ever, and its revival is a welcome one.

Fans love the story of the inhabitants of the eponymous New York street, its nods to children’s TV and wry cynicism. Director Jason Moore has given those who remember the piece what they want – a faithful recreation full of energy and excitement.

The assembled cast are strong, with Emily Benjamin leading the way as the main female vocalist, supported by Noah Harrison and Charlie McCullagh. All impress in multiple roles, although Harrison’s accents are at times confusing. Benjamin benefits from the biggest contrast in her characters; any restraint expressed when playing Kate Monster is unleashed with her fantastic Lucy the Slut. There’s also a fine performance from Amelia Kinu Muus, whose big song, The More You Ruv Someone, is a highlight.

Avenue Q was always more than a joke about puppets swearing and having sex. Although that’s a good gag. It’s sharp and cynical, even if time, and this production, have softened the edges a little. Jeff Whitty’s excellent book feels fresh enough. You might expect a show with such satirical origins to have been updated more. Explaining what a mixtape is to a younger audience is sweet (and probably unnecessary), but the nostalgic air that surrounds the production might have led to a missed opportunity.

In fairness, nostalgia has always been a part of Avenue Q. The characters look back at their college days a lot, and the least satisfactory character, Gary, is a former child actor. Props to Dionne Ward-Anderson, who takes the role and has a lot of fun. But the part is the weakest joke in the show and the one that needs updating the most.

In the end, it comes down to the score, and Lopez and Marx cannot fail to impress. The deceptively simple numbers are stripped back and demand to be remembered. There are so many good songs that they compete to be the one you remember afterwards, and a hit number about schadenfreude deserves to be heard again and again.

Until 2 January 2027

www.avenueqmusical.co.uk

Photo by Matt Crockett

2021

“Tokyo Rose” at the Southwark Playhouse

Maryhee Yoon and Cara Baldwin have a strong true story for their new musical. Framed around the trial of Iva Toguri, accused of treason for broadcasting Japanese propaganda during World War II, Tokyo Rose has plenty of potential. Regrettably, the telling of the tale has too many problems.

Maya Britto makes an appealing lead in the title role. Yoon and Baldwin do well with the character and the dilemma of an American stranded in Japan, trying to hold on to her identity. A mixture of naivety and conviction makes Toguri endearing and Britto has a strong voice.

There’s the fascinating idea that, with her prisoner of war colleague Major Cousens, the radio show Toguri presents will subvert propaganda. Humour will be used to fight a war from inside Japan. But the radio show we hear too little of just isn’t funny.

Maya Britto in Tokyo Rose
Maya Britto

The idea gets lost in a dense biography. The central scenes of the trial are good. But the show’s book (with additional work from William Patrick Harrison, Hannah Benson and Jonathan Man) makes the plot cumbersome. As director, Benson’s efforts to make the show speedy add a nervous energy.

There are more serious issues. Harrison’s music has dramatic moments and drives action well enough. The score is admirably diverse. But too many sentimental songs are a drag. And the music is consistently upstaged by poor lyrics – clumsy and frequently clichéd.

A hard-working cast does its best, although its work as a chorus needs tightening. Performers impress by taking on lots of roles. Lucy Park is a highlight in several male parts: she gets to inject some humour and has a strong scene after America drops the atom bomb. Credit to all for tackling Benson and Amelia Kinu Muus’ ambitious choreography, even if success is mixed.

As a final disappointment, Toguri’s long struggle for justice results in Tokyo Rose wilting. There’s a fiery spirit to the show with the suggestion that America, rather than the unfairly-treated Toguri, should be on trial. But this is abandoned for a bland end. Letters get delivered in a rush and Britto struggles to portray her character ageing. There’s little sense of triumph or achievement for our heroine – or the show.

Until 16 October 2021

www.southwarkplayhouse.co.uk

Photos by Steve Gregson