Review of ‘Avenue Q’ (2026, West End): “Carefully puppeted revival keeps every string attached with its predecessor”

London’s Shaftesbury Theatre presents the much-anticipated return of Lopez and Marx’s musical comedy hit. Guillermo Nazara shares his views on the show to let us know if this ironic portrayal of adult life still has purpose or anything special to it.

I still think Wicked should have won the 2003 Tony for Best Musical. And you can’t blame me for filling myself (thanks, Lucy) with schadenfreude when I saw its worthy victor left Broadway a long, long time ago. I have nothing against Avenue Q, despite my initial lack of enthusiasm. Maybe I was too young (I’m not answering any questions…), and the idea of a satirical show starring 30-year-old muppets suffering from an existential crisis after years of personal disappointment and career stagnation didn’t appeal much to me. Now it does. And again, I’m not answering any questions.

Any hardcore fan of the original will be pleased to know that the piece hasn’t undergone many alterations. Overall, it’s exactly the same concept with the usual updates, none of which means toning down its sarcastic, deliciously offensive essence.  And thank God for that — because everyone is still a little bit racist, everyone can and must be as loud as they want when they’re making love, and nobody should buy that Rod has a girlfriend in Canada.

It could have been easy for director Jason Moore to cash on nostalgia to make the show work. Instead, they’ve managed to keep the material relevant and in tune with the times. And so, some political jokes have been updated, the inhabitants of New York’s cheapest neighbourhood now shop on Facebook Marketplace, and Nicky’s plan to win Rod back involves Grindr. Most other elements have been left untouched. And despite the ID requirements, the Internet is still pretty much for porn.

Despite its apparent simplicity, the musical manages to fulfil on many levels. Its sharp portrayal of interpersonal dynamics is just the first layer leading to a much more resonant and somewhat poignant result. Not only can we see ourselves reflected in almost everything the characters go through, but we gradually grow to love them and care for them.

In some way, our evolution as viewers mirrors the recount’s own progress: at the beginning, it comes across as an array of situational comedy skits — but as it unfolds, every element comes into place, and a fully formed, extremely amusing, and surprisingly touching recount solidifies.

With a generally identical set as its original incarnation- just a few differences regarding the use of screens and some lighting tweaks -the only real addition is its cast, and perhaps that pole-dance Lucy has legs.

There are not that many occasions where the company’s enjoyment is so palpable — and so infectious. The entire troupe delivers a high-octane, magnetic performance that swarms with commitment, effortlessness, and magnetism, supported by their contagious drollery and impeccable vocals.

Among them, the biggest praise is earned by Charlie McCullagh (Trekkie, Nicky, and Bad-Idea Bear), Noah Harrison (Princeton and Rod), and Emily Benjamin (Kate Monster and Lucy), whose aforementioned prowess is enhanced by their extraordinary character register.

There’s a fine, fine line between a passing hit show and an everlasting classic. There’s no question about where Avenue Q and its overall superb revival. You will laugh. You will reflect. You get its songs stuck in your head to the point of mental collapse. And you’ll reconnect with that tingling sensation of excitement that West End’s latest offer had widely deprived us of. It spoke to everyone in the audience in the early 2000s, and it still does over 20 years later — and it will for many more to come. Contrary to its closing anthem, nothing in its material is only for now.

All pictures credit to Matt Crockett.

Avenue Q plays at London’s Shaftesbury Theatre until 29 August. Tickets are available on the following link.

By Guillermo Nazara