Review: AVENUE Q, Shaftesbury Theatre
Photo credit: Matt Crockett
Celebrating its 20th anniversary, Avenue Q returns to the West End. Avenue Q follows a group of characters who would might have been seen on TV shows such as Sesame Street and asks the question – what would they be going through after they’ve graduated from college? We see a bunch of puppets and eccentric humans struggling through real challenges that we face as we move into adulthood. Despite being 20 years old, this musical is still highly relatable and very, very funny.
The show features music and lyrics from Robert Lopez and Jeff Marx. There is many an ear-worm in this musical and you are bound to leave humming the songs, with a great mix of big company numbers and heartfelt ballads. Jeff Whitty’s book is relevant and funny, whilst being packed full of heart. Numerous issues still relevant today are explored from racism to sexuality to relationships, and Whitty has done a wonderful job ensuring these characters feel like they’ve come straight off a kids’ TV show whilst also feeling like fully fleshed out humans. Whitty has fun with the structuring of the piece – at times, the show feels episodic, like a TV show, but it never feels disjointed.
Director Jason Moore ensures the production moves along at a great pace. He leads his cast in developing characters and relationships that are believable in this slightly surreal world. Anna Louizos’ set is effective, creating a multitude of locations with different opening doors and windows. The visuals are elevated by Nina Dunn’s video design, whilst the show never relies on the projections. Rick Lyon’s puppets really look the part – kids’ TV show puppets but grown up. Jean Chan’s costumes also fit this world perfectly.
Pearson Casting CDG have assembled a company of rising stars who all shine in this production, each demonstrating strong comic timing. Noah Harrison and Emily Benjamin lead the company as Princeton/Rod and Kate Monster/Lucy The Slut, both giving outstanding performances. Harrison is instantly likeable as both characters – we long to see Princeton find his purpose and we long to see Rod find love. Benjamin delivers stunning vocals throughout, particularly with the iconic ‘There’s A Fine Fine Line’. She often has to have conversations with herself on stage, voicing both Kate and Lucy in the same scene, which is incredibly impressive. She ensures that we love Kate and hate Lucy in equal proportion! Benjamin and Harrison, through their puppets, have great chemistry – the relationship between Princeton and Kate is a delight to see blossom on stage.
Meg Hateley is another stand-out amongst the company. Whilst being very entertaining as Mrs T and a Bad Idea Bear, she really shines in her ability to seamlessly take over almost every puppet in the show as the main actor goes to get their other puppet. Hateley also impresses with her synchronicity with Charlie McCullagh – they puppeteer Nicky and Trekkie Monster together. McCullagh does a wonderful job at bringing to life the two very different characters.
Amelia Kinu Muus gives a heartfelt performance as Christmas Eve, building lovely rapports with numerous characters. Oliver Jacobson is good fun as her lover Brian, and Jacobson and Muus effectively portray the ups and downs of adult relationships. Dionne Ward-Anderson has a great stage presence as Gary and delivers some fantastic vocals.
What is truly wonderful about this production is the on stage actors operating and voicing the puppets never outshine their puppets, whilst somehow the actors also seem to be in the spotlight just as much as their puppet. They are an extension of their puppet characters – the balance struck by director Jason Moore, alongside puppet coaches Iestyn Evans and Andy Heath for Talk to the Hand Puppets, is impeccable.
Avenue Q is well and truly back in the West End and it feels like it very much needs to be. It speaks to issues that are still prevalent in today’s society, making us ask questions about our own behaviour, whilst ensuring we all have a good laugh.
***** Five stars
Reviewed by: Jacob Bush
