Review: Avenue Q, Shaftesbury Theatre

“What do you do with a BA in English?” With youth unemployment rates at an all-time-high and more Gen Zs questioning the promise that hard work leads to success, Avenue Q feels more relevant than ever. Vibrant, playful and surprisingly hopeful, it captures the imperfect reality of adulthood in an absurd version of New York, where eclectic puppets and humans live side by side…only sometimes in harmony. This Sesame Street-esque world juxtaposed against topics that are definitely not for younger viewers (cough cough puppet sex) perfectly replicates the universal feeling of those at the age of our ragtag leads – mentally still young and hopeful but forced to lead a dissatisfying adult life. 

The absurd group of misfits that live on Avenue Q are strangely what grounds the musical. Beyond their quirky songs, kitschy voices and extravagant personalities are characters that feel all too recognisable in the real world. Emily Benjamin steals our hearts as the hopelessly optimistic (yet surprisingly fiery!) Kate Monster, whilst Noah Harrison embodies the earnest and baby-faced Princeton with a sincerity that you can’t help but root for. Charlie McCullagh’s performance is a standout, energetically switching between Avenue Q residents with a mischief that’s at the heart of the production, each character bursting with their own distinctive oddities – from a painfully familiar Bad Idea Bear to the porn-obsessed Trekkie Monster. The entire cast operates on the same, infectious high-energy, a testament to Jason Moore’s sparkling direction, and it’s impossible not to be swept up in the messy yet vivacious world of Jeff Whitty’s much loved classic.  

Anna Louizos’ set design tantalisingly commits to the colour and chaos of the show. It’s a cartoonish space you want to step into yourself, anchored by bold, recognisable New York landmarks that dazzle the moment they hit the stage. Complimented by Nina Dunn’s animated sequences that feel straight out of an Elmo fever dream, Avenue Q breaks down topics from one-night-stands to existential crises – which feels perfectly on theme for the show’s take on the absurdity of adulthood. 

That said, not every element lands quite as well today. Given the addition of newer references – ChatGPT, for example – there was room for more dated material to be updated. “Everyone’s a Little Bit Racist” felt almost unnecessary, adding nothing to the story progression other than being a catchy song. Christmas Eve’s character leaned into stereotypes that feel slightly offbeat with the otherwise modern tone of the production and the dynamic performance of Amelia Kinu Muus. Avenue Q proves elsewhere that it is more than capable of evolving, so a few adjustments to the script and score would only strengthen what is already such a self-aware and charming piece.  

It may suck to be them, but it doesn’t suck to be me after watching Avenue Q on opening night. It’s weird, chaotic and completely its own thing, yet at the musical’s core, it’s as relatable and relevant as ever. With a cast that feels totally in sync, the audience laughs non-stop, carried on a journey through a world that’s the perfect balance of brutal truths with whimsy, joy and brightness. It mirrors the constant up-and-down of adulthood, where everything feels overwhelming one minute and hopeful the next – all underpinned by the lasting reminder that everything is, in the end, just “For Now”.

Director: Jason Moore 
Associate Director: Julie Atherton 
Producer: Kevin McCollum 
Music and Lyrics, Original Conception: Jeff Marx, Robert Lopez 
Book: Jeff Whitty 
Music Supervisor, Arrangements and Orchestrations: Stephen Oremus 
Choreographer: Ebony Molina 
Associate Choreographer: Dale White 
Puppet Conception and Designer: Rick Lyon 
Set Designer: Anna Louizos 
Costume Designer: Jean Chan 
Lighting Designer: Tim Lutkin 
Sound Designer: Paul Groothuis 
Projection/Video Designer: Nina Dunn 
Musical Director: Benjamin Holder 
Puppet Coach: Iestyn Evans, Andy Heath 
Hair and Makeup Designer: Jackie Saundercock 
Associate Scenic Designer: Craig Napoliello 
Associate Lighting Designer: Harvey Ebbage 
Associate Sound Designer: Simon King 
Costume Supervisor: Natalie Jackson 
Production Manager: Dan Kay 

Avenue Q plays at the Shaftesbury Theatre until Saturday 29 August.