AVENUE Q

Shaftesbury Theatre

★★★★★

“The razor-sharp lyrics are as funny as ever, helped by some smart tweaks”

Multi-Tony award winning ‘Avenue Q’, the lewd, rude and occasionally nude children’s TV parody, explodes back into the West End twenty years after its smash hit debut. Fully updated and featuring a sparkling new cast, you’ll fall in love with this crazy gang of misfits all over again.

Fresh-faced college grad Princeton hits New York ready for a new life – only to slam into reality on rundown Avenue Q. Though adulthood is full of stresses and curveballs, his quirky, lovable neighbours soon help him find home – if only for now.

Robert Lopez and Jeff Marx’s conception and Jeff Whitty’s book still land with wicked charm, satirising the beloved children’s show ‘Sesame Street’ with a keen blend of nostalgia and adult themes. Twenty years on, the mix of naive optimism and real world grit remains a winning contrast. Smart updates – from AI to OnlyFans – keep it current, while less adaptable elements – such as the ‘Mix Tape’ number – lean into self aware irony. Christmas Eve’s caricature may spark debate in 2026, but the show’s critique of lingering stereotypes still holds weight.

Lopez and Marx’s cult classic score, guided by Stephen Oremus and Benjamin Holder, skewer adulthood with biting wit. The razor-sharp lyrics are as funny as ever, helped by some smart tweaks. Musically, some expanded moments – including an unexpected drum break – give the show fresh energy.

Director Jason Moore, with associate Julie Atherton, nails an ebullient balance of cartoonish chaos and understated sincerity. Christmas Eve’s accent is wisely softened, and the flying screens add fresh opportunities for new gags. Puppet Coaches Iestyn Evans and Andy Heath achieve astonishing precision – the cast and puppets move so seamlessly, you forget which one you’re watching. It makes the collective penny drop horror even more outrageous.

Choreographer Ebony Molina, with associate Dale White, vibrantly channels children’s TV with a sharp adult edge. Puppet pole dancing proves unexpectedly irresistible, and the puppet human crossovers – like Nicky’s high kicking human legs in ‘If You Were Gay’ – are spot on.

Rick Lyon’s puppet design is full of brilliant comic details, from five o’clock shadows to full frontal surprises. Anna Louizos’ set zooms about seamlessly to create a host of locations, including a lush wedding garden. Jean Chan’s costumes bring the humans smartly into 2026 – including Brian’s shorts. Tim Lutkin’s lighting is gorgeous, especially the dream sequence, and LED strips make the window gags pop. Paul Groothuis’ sound is impeccably synced. Nina Dunn’s video work for Pixellux adds a modern edge with sly jokes of its own, though ‘Schadenfreude’ could use a touch more variety. Jackie Saundercock’s hair and makeup extend charmingly to the puppets, keeping them visually cohesive.

This cast absolutely tears through the show with precision, personality and top tier vocals across the board. Emily Benjamin shines as Kate Monster and Lucy, flipping from sweet to sultry with ease and impressive vocal range. Noah Harrison nails Princeton’s innocence and Rod’s repression, and is so engaging you forget to look at the puppets. Charlie McCullagh brings sweet sincerity as Nicky and pinpoint comic timing as Trekkie and Bad Idea Bear. Amelia Kinu Muus gives Christmas Eve a fresher, fiercer edge while keeping every ounce of bite. Oliver Jacobson brings goofy warmth to Brian, and Dionne Ward Anderson’s Gary is full of sharp, knowing humour.

You’ll happily give ‘Avenue Q’ all your money for a chance to see this razor sharp, wickedly insightful show. It was a smash before and this revival proves why – run and grab tickets while you can!

AVENUE Q

Shaftesbury Theatre

Reviewed on 16th April 2026

by Hannah Bothelton

Photography by Matt Crockett

AVENUE Q

★★★½

“Lipkin’s Olivier nominated Fagin steals the show with wit, warmth and humanity”

Cameron Mackintosh’s West End revival of Lionel Bart’s Tony and Oscar winning ‘Oliver!’ enters its second year, brimming with crowd pleasing charm. Though the emotional development could be sharper, the stunning score and cast will have you reviewing the situation.

Unlucky orphan Oliver is ousted from the workhouse after unwittingly sparking revolt. Forced to flee to London, he falls in with Fagin’s child gang, the violent Bill Sikes and his abused partner Nancy. Horrified by his new “trade”, Oliver ends up in the dock – until unexpected kindness changes everything.

Dickens’ ‘Oliver Twist’ is a pointed critique of hypocritical Victorian ‘welfare’, which Bart’s classic book smooths out and Mackintosh’s revisions soften further. Fagin’s much more sympathetic take smartly dodges harmful stereotypes, though the chummy fourth wall humour leaves his arc feeling a touch undercooked. Though Dickens’ characters are broad by design, it’s a shame this revival doesn’t dig into the grit and nuance a bit more. Act 2 also loses focus, with back to back songs and a busy climax leaving the ending underpowered. Still, the script strikes a confident balance between humour and darkness.

Bart’s Tony winning score and William David Brohn’s orchestrations get a fresh lift from Stephen Metcalfe, with music supervision by Graham Hurman. This classic score sparkles, from rousing chorus numbers and snappy comedy songs to heart-rending solos. It deftly foreshadows key moments and gives each character a unique musical identity. Though the reprise of ‘As Long As He Needs Me’ feels more echo than progression, overall the orchestrations are spot on – the banjo-led ‘I’d Do Anything’ is particularly charming.

Dance icon Matthew Bourne’s direction, with co director Jean Pierre van der Spuy, delivers striking visuals with beautiful video, slick turntable transitions and a shifting set that creates expansive and claustrophobic moments. The emotional arcs don’t always land, though, feeling a little thin and needing more tension in places. Some beats feel rushed, like Oliver’s reunion with Brownlow, and both act finales could hit harder, especially Act 2 where Fagin’s misfortune gets buried in the bustle. That said, Bourne’s strength as a choreographer really shines through. Each scene is expertly judged, some bursting with energy and others striking for their stillness. The big chorus numbers are sharp and modern, contrasting beautifully with the flowing grace of ‘Who Will Buy?’.

Lez Brotherston’s design is deliciously moody, perfectly capturing Victorian London’s smog-choked streets. Paule Constable and Ben Jacobs’ lighting conjures bleak beauty, occasionally shot through with bursts of warmth or colour. Adam Fisher’s sound, with associate Ollie Durrant, is finely balanced, cleverly summoning Bill Sikes’ dog. George Reeve’s projections set the tone with shockingly blood red titles and ghostly hints of St Paul’s in the haze.

Simon Lipkin’s Olivier nominated Fagin steals the show with wit, warmth and humanity. Ava Brennan’s Nancy is magnetic, mastering outward poise and inner conflict, while Aaron Sidwell’s Bill Sikes brings a chilling, naturalistic menace. Tonight’s Oliver, Isaac Hackett, pairs wide eyed innocence with beautifully pure vocals. Aaron MacGregor’s Artful Dodger deftly combines street smart swagger with just enough vulnerability to remind us he’s still just a kid.

This may not be the boldest or most emotionally charged take, but Mackintosh’s revival of ‘Oliver!’ still delivers plenty of entertainment. Catch this superb cast while you can.

Tag Archives: Hannah Bothelton

AVENUE Q

★★★★★

Shaftesbury Theatre

AVENUE Q

Shaftesbury Theatre

★★★★★

“The razor-sharp lyrics are as funny as ever, helped by some smart tweaks”