Two decades after it first took the West End by storm, the classic musical Avenue Q returns with its naughty, funny and relatable puppet driven comedy.

London’s Shaftesbury Theatre is its new home and the show remains a witty, irreverent look at life in a fictional puppet neighbourhood in New York.  

In this adult nod to Sesame Street, we follow Princeton (Noah Harrison) as he moves to Avenue Q, an affordable suburb full of larger-than-life characters. He makes new friends and even sparks up relationships – a scene full of puppet sex gives you exactly the idea of the sort of show you’re in for!

Whilst Jason Moore’s revived production still manages to charm, the main disappointment here is the lack of script updates which feels like a huge opportunity missed. Much of the humour is rooted in early-2000s cultural references and while there’s nostalgia in that, it does feel a tad dated. A few more updated references or contemporary twists could have elevated the production, making it feel fresher and more relevant for a modern audience.

The production leans confidently into its signature blend of puppetry and adult humour, with a cast that brings infectious energy to the stage. Emily Benjamin is a standout performer bringing to life both ‘Kate Monster’ and the aptly named ‘Lucy The Slut’ brilliantly. The multi-roling by several of the cast is executed exquisitely and Benjamin changes her characters with ease, making clear choices to differentiate between the two. The added demands of acting, singing and puppeteering at the same time is extremely impressive by the whole cast, especially Meg Hateley who wonderfully transitions between several roles and puppets throughout. Her teamwork on ‘Trekkie Monster’ with the equally impressive Charlotte McCullagh was a delight to watch. 

Robert Lopez and Jeff Marx’ music and lyrics are as catchy as ever. Standout musical numbers such as “Everyone’s a Little Bit Racist” and “If You Were Gay” still land well with the audience and balance shock value with genuine comedy. However, the show’s satirical edge doesn’t feel quite as sharp as it once might have. Whilst Avenue Q was very risqué and one of a kind twenty years ago, other shows such as ‘Book of Mormon’ have taken its place as a ‘close-to-the-mark’ bad-taste musical. So some of the musical numbers could’ve helped with rewrites. Is the internet still just for porn? An ‘influencer’ type update here may have worked better. And surely Gary Coleman isn’t known by anyone under 40 these days…

The staging remains simple but effective and Anna Louizos’ set design is rightly cartoonic and colourful. Jason Moore’s direction is slick and fast-paced, keeping the production buzzing along at a good speed.

It’s certainly an entertaining and nostalgic revival that reminds you why Avenue Q became such a cult favourite. It may not feel entirely current and fresh but a bit of naughtiness is sometimes nice – and it’s lovely to have it back.

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