Avenue Q at Shaftesbury Theatre Review
Sesame Who? The beloved musical comedy makes a welcome return to the West End
The West End has long been home to abundant puppetry magic, from marmalade-covered paws to forest spirits with a resonant roar. With the recent arrival of new tenants on Shaftesbury Avenue (Q), puppets have been given more great purpose. Hold on to your hats, because while the sun might be shining and it might be a lovely day, Avenue Q reminds audiences that living in the 21st century means you’ve still got lots of bills to pay. What can you do?
Once new kids on the block in 2006, having stunned spectators with a then inventive approach to storytelling, the 20th anniversary production has found a new generation of fans in the capable hands of original Broadway director Jason Moore. Frequently described as ‘Sesame Street for adults’, the show follows puppets in their early twenties – you heard that right – who reside on the rundown, namesake avenue in contemporary New York City, navigating the ups and downs of adulthood alongside peculiar and fascinating neighbours.
Jeff Whitty’s book, updated with current cultural references and technology advances, still retains its divisive, tongue-in-cheek comments on systematic racism and sexuality (in terms of humans and puppets – ‘not all monsters look the same’, Kate Monster notes). While attitudes today may not have been the same, especially considering the audience demographic has since (hopefully) diversified on both sides of the Atlantic, it’s perhaps enlightening how relevant some of those comments still are from one perspective or another; something to think about after the laughs die down.
The satirical, high camp score from Jeff Marx and Robert Lopez crucially grants the show comedic license to discuss the taboo, with catchy melodies and risqué lyrics animatedly orchestrated by Stephen Oremus. The delivery of musical numbers is brassily metatheatrical, often bursting out from a character’s ‘lightbulb moment’ or introduced by a whimsical, edutainment-style video; a screen flies in as a friendly voiceover declares that ‘purpose’ is all about finding a reason to be alive, a motto protagonist Princeton lives by.
Moore’s production, supported by associate director and original cast member Julie Atherton – whose funny bones run across a standout Thatcher impression in Just For One Day – truly embraces whimsicality. From providing cabaret star Lucy The Sl*t with legs for the first time in her headline act (‘Yeah, they’re real’, she asserts); ensemble choreography springing out from unexpected places courtesy of Anna Louizos’ multifunctional set and ensemble members Angelis Hunt, Lesley Lemon and Jessica Niles Kadi; to a dream sequence featuring clever work with CO2 jets (lighting by Tim Lutkin), no expense has been spared in the wild/weird/wonderful world-building.
Taking on the demanding feat that is bringing these multi-dimensional characters to life is an exceptionally versatile cast, simultaneously capable of acting through song, puppeteering and razor-sharp comedy. With dry humour aplenty, Amelia Kinu Muus and Oliver Jacobson make a dynamic pairing as Japanese immigrant Christmas Eve – a job-seeking therapist with two master’s degrees and a cheerful albeit sometimes ignorant fiancée Brian. Despite its real-life character reference slightly lost with time, Dionne Ward-Anderson’s Gary Coleman is unapologetically sassy.
Fancy an unconventional read?
The seamless connection between a quartet of remarkable actor-puppeteers: Noah Harrison, Emily Benjamin, Meg Hateley and Charlie McCullagh, and their multi-role furry counterparts (eye-catchingly articulate designs by Rick Lyon), is on point from voice work to movement and choreography. Princeton and Rod are polarising in personality, but both are realised with endearing earnestness by Harrison, who moves with infectious joy; Benjamin displays incredible range between the hopeful romantic Kate Monster and the lustful Lucy the Sl*t (with a side of bro-ism and vocal fry).
Puppeteering while performing in musical theatre is already a talent, but physically articulating in sync without necessarily voicing to collaboratively create a believable character takes that talent to a whole new level. This skill is shared across the company, but most evident in Hateley and McCullagh’s marathon of characters. From the hilarious Bad Idea Bears bringing out the best (dramatic irony) in others’ subconsciouses with excessive head-nodding action, to the grumpy, growly Trekkie Monster whose obsession with adult films gets ‘his fur very coated sometimes’, as Moore lovingly reminds us; the sleight of hand is non-stop, and the results leave audiences awestruck.
Plenty more could be said about the brilliance of this hoot of a musical comedy, but to preserve a sense of – dramatic suspense – purpose for first-time audiences, head down to discover all the tricks Avenue Q has up its sleeve.
★ ★ ★ ★ ★
Avenue Q plays at the Shaftesbury Theatre until 29 August. Book with LOVEtheatre, or visit the production website for further information.
Tickets and Accessibility
🎟️ Tickets were kindly gifted with expectation of honest, unbiased coverage. Views expressed are of the writer’s and do not represent those of the promoters - read our editorial policy here.
Standard tickets are priced from £25, with £30 Rush tickets available via the TodayTix app or in person at the box office (subject to availability) on each performance day.
♾️ Sensory information will be updated soon - please check back later.