Review: Avenue Q (Shaftesbury Theatre)

Review by Daz Gale

⭐⭐⭐⭐⭐

It’s been 20 years since a bunch of puppets moved into the West End, giving London audiences their first taste of Avenue Q, and more than 15 years since the original production closed. There have been opportunities to see it in the years since, with multiple UK tours, and a one-off concert to celebrate their 18th anniversary back in 2024, but a full West End return has eluded it… until now. Calling the Shaftesbury Theatre home for a strictly limited run, Avenue Q returns with the world in a very different place than it was 20 years ago. Things that were funny then are less funny now, with the risk of certain jokes and themes not ageing well, and the worry that perhaps society has moved on from a bunch of horny puppets. With that in mind, would this anticipated revival of Avenue Q be able to find its purpose, or should it have been left in the past?

The premise of the show centres on a new puppet on the block as Princeton moves to a shabby apartment on New York’s rundown Avenue Q. Fresh out of college, he is searching for his purpose in life and struggling to find meaning. Meeting his colourful neighbours help him navigate the highs and lows of life, though risking making things even more complicated as he then has to navigate the unexpected consequences that come with falling in love… and discovering what the Internet is really for. 

I had only ever seen Avenue Q once before, in its last tour production. While I enjoyed it, I didn’t feel I was seeing the show at its best. This production changed that. The combination of Jeff Whitty’s book and Robert Lopez & Jeff Mark’s music & lyrics had me crying with laughter throughout. I can honestly say it is the most I have laughed at the theatre since last year’s The Comedy About Spies, in a production that is undoubtedly the funniest show in the West End. It is the clever mix of parody and originality that has made Avenue Q stand the test of time, with its satirical riff of Sesame Street, playing up to ideas such as what Bert and Ernie might really get up to behind closed doors. The parody aspects continue with educational videos dotted around, giving an education you wouldn’t quite get on Sesame Street in a show brought to you by the letters S, E and X.

What makes Avenue Q stand on its own two feet (as opposed to its puppets, who may need a little help, or be lacking feet entirely) is in how it exists as more than just a homage. The show follows the blueprint of other classic musicals to craft a fantastic standalone story with characters to root for and fall in love with, filling the show with more serious numbers alongside the hilarious ones that make up the majority. This is most apparent with Act One closer, ‘There’s A Fine, Fine Line’ in a truly remarkable musical number that stands up there with some of the best ballads in theatre. The crucial element to the enduring success of Avenue Q is in its blurring of the lines, carefully balancing the fine line and coming up trumps.

This production in particular feels like audiences may be witnessing the best iteration of Avenue Q yet. Updated references now place smartphones in the puppets’ hands, with conversations about Spotify and AI naturally inserted into the conversation alongside existing dialogue and themes. Where The Producers sells itself as an equal opportunities offender, Avenue Q toes the line, touching on some topical and sometimes taboo subjects such as racism and homosexuality in such a way that doesn’t offend and allows everyone to laugh while never causing harm. ‘Everyone’s A Little Bit Racist’ and ‘If You Were Gay’ may hit differently in 2026 than they did in 2006, but they prove just as hilarious now as they did back then.

In fact, it feels like Avenue Q is more resonant now than ever before, with recent worries about real-world activities increasing the need for a much-needed bit of escapism. This is where Avenue Q comes into its own, allowing audiences the chance to laugh collectively in a shared and cathartic experience. Though the world was already in a scary place when the show first premiered, nobody could have imagined the state it would be in 20 years later, with a certain orange monster getting a namecheck in a brilliant addition. It feels like this is the perfect production at the perfect time - there has never been a better time to be reminded of the joys of theatre, escapism and a silly but somehow meaningful show about puppets, and audiences have never needed this show more.

Jason Moore’s direction is slick and sensational throughout, reuniting the original director with the show and making it easy to see why he was nominated for a Tony Award for his work. You could argue this production is a well-oiled machine, repeating what has worked before, but it never quite rests on its laurels, not being afraid to mix it up a bit and evoking a sense of chaos. Ingenious moments, including puppets bursting off the stage and mixing with the audience, and the precise timing needed for pure comedy, are a testament to Moore’s vision and execution. Ebony Molina’s fantastic choreography elevates this further, making full use of Anna Louizos’ fun and busy set design, instantly recognisable and utterly joyous throughout.

Another reason this production of Avenue Q works as well as it does is down to its wonderful cast. The original West End production may have featured many a performer who has gone on to have legendary careers, but this production has no interest in revisiting that for nostalgia’s sake; instead, opting for a brand new cast of fresh, talented performers, shining a light on the next generation. Amelia Kinu Muus is wonderful as Christmas Eve, with Dionne Ward-Anderson enjoying many of the biggest laughs as Gary in a performance audiences are sure to be talking about on the way home.

It is the puppeteers who quite rightly steal the show, however. Emily Benjamin is proving to be one of the most exciting names in musical theatre at the moment, having wowed in Cabaret in recent years. Avenue Q showcases why she is in a league of her own, with faultless takes on both Kate Monster and Lucy The Slut. Having to interact with herself when the two characters meet, her talent leaps off the stage, and her big musical number ‘There’s A Fine, Fine Line’ is delivered with all of the emotional and vocal power it deserves in a thrilling performance. Charlie McCullagh similarly thrills as Nicky and the particularly brilliant Trekkie Monster, joining forces with Meg Hateley to form the Bad Idea Bears in some of the funniest moments of the musical.

The standout, however, is Noah Harrison as both Princeton and Rod. In a production like Avenue Q, you never know whether you should be looking at the puppet or the puppeteers. I found myself taken with Harrison’s exquisite characterisations and the way he existed as an extension of the puppet. His vocal abilities and comic timing were second to none in a performance that captivated throughout and felt like witnessing the birth of a star. Jon Robyns played the same role 20 years ago and has gone on to take on some of the biggest roles in musical theatre - don’t be surprised if Harrison has a similar career trajectory in the next 20 years - Princeton may be struggling to find his purpose in the show, but Noah Harrison has certainly found his.

Avenue Q may have been making audiences roll in the aisles in the West End for 20 years, but this production is very clearly still in its prime, and may even be better than ever before. Perhaps there could have been a bit of schadenfreude, with some wanting this production to pale in comparison to its original, but anyone thinking that will be forced to eat their words. Arriving at the perfect time, this production provides the tonic for the toxicity that awaits us after leaving the theatre - I’d argue this is the perfect show for pure escapism, and a good laugh should never be underestimated for how cleansing it is for the soul. I couldn’t have loved this special production of Avenue Q any more if I tried. It may only be April, but this has immediately lodged itself at the top of my list for the best musical of the year for now. Not only that, it is easily the funniest show you will see in a theatre this year, creating what can only be described as “musical porn”, and a monster hit.

Avenue Q plays at Shaftesbury Theatre until 29th August. Tickets from https://allthatdazzles.londontheatredirect.com/musical/avenue-q-tickets

Photos by Matt Crockett