Avenue Q - Shaftesbury Theatre ★★★★★

Avenue Q was written in 1999 by Jeff Whitty; lyrics by Robert Lopez and Jeff Marx; and it’s still hilarious and undoubtedly relevant. 23 years since its stage debut, Avenue Q has arrived at Shaftesbury Theatre to offer the kookiest, crudest, but most charming approach to some risky political themes. This whirlwind musical has such an element of cartoonish wonder that you can imagine Sesame Street is right around the corner – Avenue Q is like its satirical sequel, you’re allowed to watch ‘when you grow up’.

Opening the show is a belter by Noah Harrison playing Princeton, an English graduate trying to find his purpose. He sings about his ‘useless degree’, the first example of cheeky self-awareness that makes this show so relatable. He has wandered all avenues to find a home, and settles on Avenue Q, the cheapest of them all. He meets his new neighbours, and they all hilariously navigate everyday struggles: love, work and paying the bills. Harrison’s clean vocals erupt into the four-part harmonies of a song called ‘It Sucks To Be Me’ where the puppets and humans satirically complain about their problems. Complementing this satire, Anna Louizos’ iconic, spectacular, run-down NYC backdrop is paired with screens that show frequent animations of the struggles of late-stage capitalism with a deadpan approach to getting rich quick. The opening song is the first to feel dryly funny and weirdly empowering – a feeling you may not expect to get from a group of puppets singing! But this is the magic of Avenue Q, and it will continue throughout the show.

Struggling alongside Princeton are: love interest Kate Monster; friends Nicky and Rod; Lucy The Slut; the hardened but adorable Trekkie Monster, and the mischievous Bad Idea Bears. As for their human counterparts, Brian and Christmas Eve are a couple struggling to find work, while Gary Coleman (Dionna Ward-Anderson) steals the show with quick one-liners and buckets of attitude as the ex-childhood star-turned-building superintendent. Already, the script is full of weird and wonderful characters from all corners of society, making for an uplifting, colourful and whimsical production. Known for its fuzzy aesthetic, Avenue Q is sure to warm your heart.

What is most striking about the show is its balance between comedy and sincerity. It’s quite easy to look at a felted musical like this and make the assumption it will be childish or corny, but Jeff Whitty’s vulnerable script and the witty lyrics of Lopez and Marx give all of the show’s crudity a ‘purpose’. In fact, it’s the puppets that make sure Avenue Q can reach the widest audience possible. Approaching racism with an irreverent song called ‘Everyone’s A Little Bit Racist’ would only be possible with a physical mouthpiece (puppets) to comically voice some thoughts that would be limited or toned down in a less surreal drama. The song speaks on as many races and ethnicities as there are in the cast, and overall feels very liberal in its approach, despite some gasp-worthy statements. But also, it’s good to keep in mind that these songs were written 25 years ago, and some cultural attitudes have changed. This risky sarcasm may not sit well with every viewer; some may feel immediately defensive towards this comedic approach, especially younger viewers who were simply not around for this era of droll comedy. On the other hand, Avenue Q’s jokes are so tongue-in-cheek that you’ll struggle holding back your laughter regardless. This feels liberating and socially productive, given the general anti-far-right tone of the musical as a whole.

Today’s production of Avenue Q doesn’t stray far at all from its original 2003 staging. Some notable changes include jokes about Princeton using ChatGPT to cure his heartbreak and Lucy The Slut being an OnlyFans model. What’s most fun about today’s version is that it still has its iconic, old-school aesthetic, but pokes at modern issues in modern ways. Of course, the themes it speaks on are timeless anyway – racism is approached as an ‘anti-monster’ prejudice, so Kate Monster chases her dreams of opening a ‘Monsterssori School’, which is equally funny and pleasing. Homosexuality is spoken of through Rod and Nicky’s friendship, Rod being a closeted character who isn’t ready to come out until the final scene (even though everybody knows already). And the one thing everybody is searching for is money! Solely based on its themes, Avenue Q could probably successfully run for another 25 years because of the writers’ clever and unafraid tackling of social issues.

By the end of this rollercoaster ride of waggish comedy and hard-hitting sincerity, you are bound to have your spirits raised. The final song repeats the lyric ‘It’s only temporary’, mirroring the Sesame Street-like wonder of leaving each viewing on a high note. All characters come full circle, realising that despite their struggles, nothing lasts forever. Avenue Q is a nostalgic comedy with an existential twang that will hit you in all the right places. In this musical, there are no villainous characters, no singular person to blame, simply a community on the same street, realising their differences and embracing their hardships. You will laugh continuously, but there is also something undeniably special about Avenue Q in the way it invites you to laugh about the hard things. It’s wonderfully authentic and perfect for these trying times.