Avenue Q Review at Shaftesbury Theatre London

Two decades since its West End debut, Avenue Q returns with its naughty puppets, catchy tunes and adult humour. This updated revival boosts the production values and tweaks some of the references, but can this twisted parody of children’s television still land the same punches as it did twenty years ago?

I’ll admit walking into Avenue Q expecting to groan more than chuckle. Foul-mouthed puppets and politically incorrect songs all seems a bit early-’00s, doesn’t it?

I was pleasantly surprised to find that this tale of college graduates finding love and purpose in a world full of sleaze and temptation not only keeps its razor-sharp wit and anarchic energy, but somehow, in these times of constant political turmoil and heightened sensitivities, the boundary-pushing script feels even more prescient and perhaps even needed. Rest assured, this puppet pandemonium still brings the belly-laughs.

Performances – 4/5⭐️

You just can’t help but be charmed by those puppets… Avenue Q owes its success to how expressive, relatable and endearing these Jim Henson-inspired creations are on stage. Each one has a distinct personality and voice, even while being passed between multiple puppeteers during the meticulous choreography of a scene. 

Noah Harrison stars as Princeton, a bright-eyed puppet, fresh out of college who has recently moved to the titular Avenue Q looking for his first job and, ultimately, his purpose in life. Harrison plays Princeton with the naïve enthusiasm and young know-it-all energy that is right for the role. He also plays Rod, the uptight Republican of, let’s say, ambiguous sexual orientation and once again nails the role. Emily Benjamin similarly excels as Kate Monster, Princeton’s love interest and the emotional core of the show, as well as crowd-favourite Lucy the Slut, whom she equips with a street-smart gravelly drawl. Charlie McCullagh plays multiple puppets with aplomb, but his gruff-voiced Trekkie Monster, the perverted and hairy upstairs neighbour, is a delight. As the Ernie-like Nicky, Rod’s caring and supportive “not gay” housemate, McCullagh is surprisingly moving and sincere.

There are some human roles, the performers of which are all clearly working hard to be just as big and bombastic as the puppets. Dionne Ward-Anderson as Gary has the right cheeky mischief to recall the late Gary Coleman, Amelia Kinu Muus as Japanese aspiring therapist Christmas Eve throws herself into a portrayal that purposely pushes boundaries of good-taste, and Oliver Jacobson is perfectly believable as unemployed slacker and wannabe comedian Brian. A hard-working ensemble keep the puppets moving with meticulous precision to help the production maintain a blistering pace. A notable highlight is Lucy the Slut’s introductory dance, being the first time in production history that a puppet character has been depicted with legs. 3 puppeteers move in sync to create this saucy, knickers-flashing number. 

Story & Writing – 5/5⭐️

The core story of Avenue Q is a relatable one when boiled down. It deftly depicts the awkwardness of that transition from student to ‘real adult’ when decent jobs are hard to come by, relationships are fraught with petty drama and one truly feels that ‘It Sucks to be Me’. There are moving moments and an overall sincerity to how it is played despite the puppets and gags, but this is a comedy first and foremost.

The songs are still equal parts gut-buster and earworm. It would be churlish not to find delight in such catchy and naughty numbers as ‘Schadenfreude’, ‘Everyone’s a Little Bit Racist’, and ‘The Internet is for Porn.’ People may be concerned that this updated production has had a load of cringey modern references shoehorned in to keep it relevant, but you needn’t be concerned. Outside of a few carefully placed references to ChatGPT and Spotify, the overall script remains largely intact, and arguably still hits as hard as it used to.

Direction & Production – 4/5 ⭐️

The style and tone of Avenue Q achieves exactly what it needs to. The detailed set resembles an idealised New York inner suburb, with red-brick apartment buildings and green-painted woodwork. Specific dream-like sequences utilise effect lighting, bubble machines and even more puppets hidden throughout the set. Meanwhile, digital screens slide in and out to display animated sequences straight out of a twisted version of Sesame Street. 

Despite the occasional moment of clumsiness and clutter in the choreography, the flow of movement on stage is masterfully performed to ensure the action maintains that breakneck pace and sometimes puppets will change hands (literally) so smoothly that you won’t notice. 

The direction of Avenue Q rockets along from moment to moment, joke to joke. No scenes drag, no numbers outstay their welcome, and before 10pm you will be back out on the London streets with a smile on your face. 

Emotional Impact – 3.5/5 ⭐️

The biggest emotional impact Avenue Q had on me was a sense of relief in being able to laugh at naughty, boundary-pushing jokes again. As a fan of South Park since season one and someone who always appreciated inappropriate humour, I was surprised at how much I squirmed at some of the jokes. Sensibilities have changed since 2006, but with a packed audience all laughing out loud and the overall good nature of the show, even when dancing on the threshold of taste, the Shaftesbury is filled with a sense that “we’re all friends here”. Almost a safe space to be offensive – not for the sake of it – but to examine the awkwardness in all of us. It’s not nasty, it’s not mean. It’s cheeky, and there is a great delight to be found in that.

Overall Experience

Fast, colourful and funny. Avenue Q is a breezy, cheerful experience that lands like an explosion of positive energy. The puppets are still a joy to watch, and the songs are still guaranteed to make you laugh. Some might question the relevance of this show’s return, but I was struck by just how fresh it felt again. In a polarised age, when our social feeds are constantly bombarded with new culture wars, this show is back to ask how much has really changed in the last twenty years? Despite the lofty ideals we might hold ourselves to, we still take delight in the suffering of others, everyone’s still a little bit racist, and the internet is still for porn.

Where I sat

I sat in Stalls P25. This was a fantastic seat. Nice and close but still with a clear view of the whole stage. It might not be suitable for those who prefer a seat near the aisle or would like an easy route to the loo mid-performance. Legroom is tight and it’s tricky to squeeze past your neighbours without spilling your drink (my leather jacket still smells of chardonnay…). Despite this, I can easily recommend this seat. 

Have You Seen Avenue Q?

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