Still as delightfully naughty as ever, there is a sense that this musical isn’t quite as shocking as it used to be, yet the message that lies at the centre of it is just as important as ever.
Having premiered in the West End 20 years ago, it is clear that Avenue Q still has plenty of relevancy in the world that we live in currently in terms of acceptance that we are all slightly different as well as finding the courage to follow your dreams even if it doesn’t all go according to plan.
Princeton arrives on Avenue Q, determined to find his purpose in life and meets a variety of characters all with different dreams of their own. You have Kate Monster who dreams of opening her own school for Monsters, Brian who wants to become a successful comedian and therapist Christmas Eve dreams of having one paying client to get her business started. Along the way you also have Rod, a character in denial about who he really is despite his roommate Nicky trying to coax it out of him and Trekkie Monster who never leaves his apartment and has a fixation on porn.
What makes Avenue Q a joy to watch is the way in which many of the characters can speak for those who feel left behind and still trying to find their place in the world, trying to accept themselves through little occurrences that happen in day to to day life. This is all told through not only through Jeff Whitty’s smartly and sharply written book, but through Robert Lopez and Jeff Marx’s hilarious and well thought out music and lyrics (some of which have been given a modern update to appeal to audiences today).
Songs such as ‘Everybody’s A Little Bit Racist’ definitely strikes a different tone these days, packing a powerful punch in highlighting that if we could all just accept and embrace that we are all a bit different then we could get on a lot better with each other. Meanwhile, ‘There’s a Fine, Fine Line’ is still a wonderful ballad, capturing a different aspect to the musical which has been lively and bawdy to this point, ‘If You Were Gay’ is comical but also in many ways very poignant.
Directed by Jason Moore, the comedy and poignancy is definitely on display throughout and you do root for all the characters to end up in a better place than when they are singing ‘It Sucks to be Me’. But there are moments which feel a little bit cautious that make it feel as though the musical has lost some of its shock factor – for example the routine for ‘The Internet is For Porn’ feels slightly flat. Yet this being said, there is still a real joy in watching it all unfold, particularly with the use of video screens with its pre-school stylings to highlight words such as purpose and Schadenfreude to help build into the next joke.
Anna Louizos’ set design very cleverly utilises how each apartment emerges, offering each one with distinct personality. Everything about the show visually is bold, colourful and effectively draws you into the world of Avenue Q. credit should also go to Ebony Molina’s inventive choreography that helps the show flow naturally and engagingly.
The cast are all clearly having a blast and bring distinctiveness to each character. In particular at the performance that I was at, I was impressed with Meg Hateley as Kate Monster and Lucy the Slut, capturing the polar opposites of each character perfectly. Noah Harrison as Princeton and Rod is equally as charismatic highlighting each character’s vulnerabilities.
Yes perhaps through 2026 audiences eyes, Avenue Q has lost a little bit of its bite but its themes of acceptance and following ones dreams are just as relevant today. In a world that feels dark at the moment, Avenue Q offers joy and laughter and so it is welcome return to the West End.
Avenue Q is booking at the Shaftesbury Theatre until the 29th August.
Rating: ❤️❤️❤️❤️