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

★★★★

“Pulman’s voice is the evening’s prettiest pleasure”

Entertainment delivered at conversational level is deeply unfashionable, to the point of feeling subversive. Nonetheless, Hooray for Hollywood has quietly, cheerfully pitched up at the West End, finding its place among a landscape of brazen, multi-media spectaculars.

In essence, this is a high-quality lounge act, and entirely unapologetic about it. If you are looking to spend a quiet evening with two excellent musicians, one singer and one singing pianist, a grand piano, and a century of Hollywood’s greatest tunes, here is the best game in town. Indeed, that’s the whole proposition here. There’s no hint of showmanship having moved on in the past 40 years, no ensemble, no spectacle. Just talent, and the confidence to know that is enough.

Liza Pulman and Joe Stilgoe have previous form together, and it shows. Their rapport is easy and unforced. Stilgoe, simultaneously accompanying and singing, makes the whole enterprise look effortless, which of course means it is nothing of the sort. The repertoire sweeps from The Wizard of Oz to La La Land, taking in West Side Story, Wicked and a great deal else besides. The show distils nearly a hundred years of musical cinema into two hours on a no-fuss stage.

Pulman’s voice is the evening’s prettiest pleasure. It is a beautiful instrument: clear, warm, and produced from the chest in the manner of an earlier generation of musical theatre. We are in Julie Andrews territory, rather than the nasal, pushed tone that has become standard in the post-Elaine Paige era. So much musical performance is now about demonstrating its own mechanics, but Pulman (clearly, highly-trained) makes singing seem like the most natural thing in the world.

The other pleasure is Stilgoe’s piano playing, which is glorious. It’s inventive, assured, and always in service of the song.

Lighting by Daniel Carter-Brennan and sound by Joe Barker are both assured and seamless. The Duchess is the smallest of the traditional London West End theatres. Sound and lighting are handled with the delicate touch the venue required for this no-frills show.

The script between the songs could do with more work. Their humour is deliberately old-fashioned and understated. But sometimes the audience is left wondering if there is any punchline at all.

Throughout the show, the audience rises together on a wave of familiar music. This mood is punctured by having to grapple with the jokes. For example, there’s a flippant line touching on the Caribbean and Mary Poppins being ‘all-inclusive’. Was the target the all-inclusive package holiday? I certainly hope so. Either way, that’s one to cut.

That aside, the evening is all elegance, escapism and generosity. Hooray for Hollywood will not win any prizes for contemporaneity and does not seek to. It is a show for people who still believe that a beautiful voice, a gifted pianist and a great song are more than sufficient. On the evidence of Monday evening at the Duchess, they are right.

Tag Archives: Matt Crockett

AVENUE Q

★★★★★

Shaftesbury Theatre

AVENUE Q

Shaftesbury Theatre

★★★★★

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