Back in the West End after 20 years, Avenue Q is still as irreverent and inspired as it was back then. It’s a clear parody of the much-loved Sesame Street, but with added profanity, sex references, and puppet nudity. Don’t bring your children!
With music and lyrics to the catchy songs by Robert Lopez and Jeff Marx, and a cheeky book by Jeff Whitty, directed by Jason Moore, Avenue Q is inspired and inspirational. Puppets are designed by Rick Lyon, with coaching by Iestyn Evans and Andy Heath for Talk to the Hand Puppets.
When Princeton graduates with an English degree and no life skills, he seeks a home in New York, starting at Avenue A until he reaches the affordable Avenue Q. In this neighbourhood, anything might happen.
Humans and puppets live together in this fantastical space. Kate Monster and Trekkie Monster – not related, just the same “race”; Brian and his Japanese girlfriend, Christmas Eve.
Rod and Nicky share a flat, and to these eyes, resemble “Bert and Ernie” from that children’s show. Rod is a big shot investment banker, a conservative Republican, and definitely not in the closet.
Princeton seeks his purpose throughout the show, finding romance while being counselled by the Bad Idea Bears. Using screens to add commentary, jokes, and in one scene, the sense of the city’s rush, Avenue Q offers a sense of realism about life.
With songs about racism, sexuality, sex, friendship, porn, and how we manage the worst in us. Some changes have been made to accommodate changes over the years: Spotify, Grindr, and AI.
The character of “Gary Coleman”, based on the former child star from 70s sitcom Diff’rent Strokes remains, despite the actor’s death in 2010. It does date the show a bit, and I wondered if a more contemporary character would work instead.
The puppetry and singing in Avenue Q is exceptional. Whether it is transient moments where inanimate objects briefly come to life, or a full story arc, it all comes together to make us laugh or, yes, feel something for the plight of these characters.
Oliver Jacobson (Brian), Amelia Kinu Muus (Eve) and Dionne Ward-Anderson (Gary) are the humans living in Avenue Q. The joy of the piece is in their acceptance and interaction with their puppet pals, with some interesting interactions throughout the show.
The other four cast members bring the puppets to life – Emily Benjamin is especially good as the resolute Kate Monster and trashy influencer Lucy The Slut. Noah Harrison is a conflicted Princeton and a brilliant Rod; Charlie McCullagh is charming as Nicky and amusing as Trekkie Monster.
Other characters are played by Meg Hateley, including abrasive teacher Mrs T whose full name can’t be shared here due to its (possibly) offensive nature. Anna Louizos’s set design offers glimpses into the houses and occasional surprises, while Tim Lutkin’s lighting includes a range of effects to keep matters moving.
I was given seats to review this production by Seatplan: H30 & H31 in the Royal Circle. Comfortable, well-raked and with good legroom, these gave a clear view of the stage at a face value of £75.
The only issue was in one act 2 scene where a video screen at the top of the set was slightly obscured due to the Grand Circle overhang. Be aware of this if you book tickets further back in this area, although most of the action is centre- and front of the stage area.
I highly recommend this show for its wit, pathos, and puppetry!
Four stars.
Avenue Q continues at the Shaftesbury Theatre.
Photo credit: Matt Crockett
You can check out Seatplan here: it is a great resource to book tickets and to check out the view from your seat. Book for Avenue Q now!
Here’s H31 Royal Circle’s view at the close of Act 1:
