★★★★★

“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!

AN EVENING WITHOUT KATE BUSH

Underbelly Boulevard

★★★★

“It is theatre, cabaret, comedy, music, parody, oratory and pure vocal virtuosity rolled into one”

The title of the show speaks for itself, but just to make sure Sarah-Louise Young announces – from the semi-darkness of the stage – that “Kate’s not there”. This follows with a reassuring “…but you are” as though that is all that matters. First, she wants to determine who ‘we’ are. Young assumes we either a dyed in the wool Kate Bush fan, or one of those poor souls dragged along by said fan. She’s partly right. The point she misses though, in her endearingly modest and self-deprecating way, is that most of the audience comprises fans of Young herself. The show has been doing the rounds for a while now – with sell-out London, Edinburgh and Australia runs under its belt (or red wig in Young’s case).

It doesn’t take long to discover why. Made by Sarah-Louise-Young and co-writer/director Russell Lucas (notice the word ‘made’, rather than written), it is not a tribute act. There are too many ingredients in the making. It is theatre, cabaret, comedy, music, parody, oratory and pure vocal virtuosity rolled into one. Like a delicious muffin baked in Kate Bush’s very own Aga (that simile will only make sense if – or rather when – you go and see the show). Young is adept at dropping inconsequential yet hilarious details that become relevant later in the evening.

Having travelled the world with her show, Young has picked up additional material. What was once an hour long, one-act set is now a two-act show. There is a slight suspicion that she has overstretched herself – a fair bit of the extra time slot is filled with extended audience banter – but there is no doubt her act has stepped up to conquer the West End, whilst winning us over completely. She assuages our fear of the dreaded ‘audience participation’ phrase by making us feel at ease with her wanderings into the auditorium, while her anecdotes meander in equally unexpected directions. Couples are brought onto the stage to provide backing vocals, or to slow waltz while she sings. Young gives the impression she can sing and talk simultaneously. She can also be weird and poignant simultaneously. Her banter is often banal, but always fascinating. And funny. She could get by without singing a note and we would still be captivated.

But when she does break into song, our reaction is epitomised by her rendition of Kate Bush’s “Wow”. Young doesn’t mimic, but she captures the quality and matches the character of the original. The set list is carefully chosen and strung together as a revue – each number a sketch within its own context. “This Woman’s Work” is performed by a cleaner, backstage at the Hammersmith Apollo. “Hammer Horror” is sung by a fan who has broken into Bush’s house and is furtively raiding the kitchen and dishing up supper. Young is dressed as a snowflake for “King of the Mountain”, veiled in black for the gorgeous, piano-led “And Dream of Sheep”; but much of the time she is in a red leotard to accommodate her impossibly swift costume changes. “Babooshka” is sung in Russian, correcting the pronunciation of the title. Young replaces Peter Gabriel’s vocal part of “Don’t Give Up” with her own verses of semi-spoken reminiscences and anecdotes. Other favourites include “Hounds of Love” and the vocally perfect “Army Dreamers”.

And, of course, the one we have all been waiting for: “Wuthering Heights”. For this finale she teasingly turns the microphone towards the audience. On cue, the floor erupts into a chorus of ‘it’s me’ and ‘Cathy’ and pleas to be ‘let in-a-your window’. But the real magic is when Young grabs the spotlight back to reclaim the song. There is comedy in her movement but beauty in her voice. Which sums up the performance.

Has Kate Bush ever been tempted, I wonder, to go and see Young’s show, sneaking into the auditorium to see what it is all about? If you’re reading this, Kate, you really should – you will love it. Something tells me she won’t be reading these words – but whoever is – I’d say the same to you. You really should go and see this show. You don’t need to be a ‘Fan of the Bush’ (Young’s words – not mine) but you will, without doubt, end up being a fan of Sarah-Louise Young.

Tag Archives: Review

AVENUE Q

★★★★★

Shaftesbury Theatre

AVENUE Q

Shaftesbury Theatre

★★★★★

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

AVENUE Q

Shaftesbury Theatre

Reviewed on 16th April 2026

by Hannah Bothelton

Photography by Matt Crockett

AVENUE Q

AVENUE Q

AVENUE Q

AN EVENING WITHOUT KATE BUSH

★★★★

Underbelly Boulevard

AN EVENING WITHOUT KATE BUSH

Underbelly Boulevard

★★★★

“It is theatre, cabaret, comedy, music, parody, oratory and pure vocal virtuosity rolled into one”