The warning label of “puppet nudity” barely scratches the surface of what to expect. The performance features puppets engaging in sexual acts, singing about being “a little bit racist,” and openly acknowledging their interests in adult content.
Two decades after its debut, the charmingly subversive musical Avenue Q has returned to captivate audiences in the West End once again. Created by Robert Lopez and Jeff Marx, this Tony Award-winning production may not hold the same shock value as it once did, but it remains highly entertaining as its characters—both puppets and humans—navigate love, existential dilemmas, and chaotic antics.
Under the direction of Jason Moore and set against Anna Louizos’s childlike, house-lined backdrop, the story begins with Princeton (Noah Harrison), a recent college graduate, arriving on the eponymous New York street. The narrative unfolds as he embarks on a romance with Kate Monster (played by Emily Benjamin), a quirky outsider reminiscent of characters from Shrek, while also seeking deeper meaning in life. His new neighbors include Christmas Eve (Amelia Kinu Muus), a straightforward Japanese therapist, Gary (Dionne Ward-Anderson), a handyman and former child star, and flatmates Rod (also Harrison) and Nicky (Charlie McCullagh), who mirror the dynamic of Bert and Ernie from Sesame Street.
Featuring a cheeky edge, songs such as “If You Were Gay,” “Everyone’s a Little Bit Racist,” and “The Internet Is for Porn,” led by the mischievous Trekkie Monster, push boundaries and challenge societal norms. While these tracks may have been considered outrageous in their initial run, they continue to resonate today, addressing contemporary issues like the rise of homophobia and the revival of the Black Lives Matter movement, albeit with less shock factor. The exaggerated Japanese accent of Kinu Muus stands out, and the character of Lucy, dubbed “the slut,” might raise eyebrows due to her provocative appearance and outdated label.
The show’s appeal lies in the amusing contrast between the innocent demeanor of the puppets—characterized by wide eyes and playful voices—and their adult behaviors, including drunkenness, pole dancing, and betrayal. Lopez and Marx’s musical numbers are a highlight, ranging from the clever “Schadenfreude” to the poignant breakup ballad “There’s a Fine, Fine Line,” as well as the humorous “My Girlfriend, Who Lives in Canada,” performed by the closeted Rod. The cast of actor-puppeteers, particularly the talented Harrison and Benjamin, deliver these performances with such energy that it feels as though the puppets themselves are alive with emotion and personality.
Rick Lyon’s puppet designs are playfully reminiscent of his previous work on Sesame Street, integrating recognizable elements from the beloved children’s show, such as educational lessons and Oscar the Grouch’s iconic trash cans. However, the show’s satirical commentary stands on its own merits. Jeff Whitty’s award-winning script has been refreshed with humorous references to contemporary topics like AI, OnlyFans, and Spotify, while the song “Mix Tape” playfully nods to the “olden days” of music sharing.
Although the production relies on its endearing blend of sweetness, subversion, and chaotic energy, the storyline itself may not be particularly strong. Nevertheless, it offers an enjoyable escape filled with puppet-driven whimsy, all while subtly acknowledging the complexities of the human experience. The performance concludes on an optimistic note, emphasizing a collective resilience with the message that “this too will pass,” even if it includes figures like Trump.
Now showing at the Shaftesbury Theatre in London until August 29.
