★★★★★

“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!

FROZEN THE MUSICAL

Disney+

★★★★

“the most important thing is that it is joyously fun”

A queen who accidentally plunges Arendelle into an eternal winter, with her secret powers. The quest of her sister to find her and save their kingdom. This is the story you all know but as you’ve never seen it before. Filmed at London’s grand Theatre Royal Drury Lane, Frozen The Musical is an astonishing production that brings the songs, sorcery and wonders of the phenomenon movie to the stage, without losing any of the drama or magic of the original.

At the beginning of act one, a Greek chorus introduces a young Princess Elsa of Arendelle (Elizabeth Lyons) and her younger sister, Princess Anna (Martha Bailey Vine) playing in their bedroom. Anna, unaware of her sister’s magical powers is accidentally injured in the excitement, a scene which is the genesis of what is to follow. Sisters that will not see each other until the day before Elsa’s coronation due to the elder’s fear of hurting her sister. It is a magnificent opening to the show led by the two young actresses with excellent acting accompanied by harmonious vocals. It is remarkable how they own the space of the stage at such young ages. The only shame is that their parts are restricted by the narrative to just the prologue.

Years pass. The day before the coronation is where Samantha Barks and Laura Dawkes take over the roles of Elsa and Anna, respectively. The coronation passes without issue, however, Elsa unintentionally unleashes her powers in front of the gathered attendees, before running away to the North Mountain, unaware that she has left Arendelle in an eternal winter. Anna and ice harvester Kristoff set off after Elsa, leaving Anna’s fiancé Prince Hans, initially set up to be the Prince Charming of the piece, in charge of the kingdom.

The first act draws to a close with a powerful rendition of ‘Let it Go’ from Queen Elsa. Samantha Barks is an unstoppable force as the Queen, with extraordinary singing and authentic acting. The same is true of Laura Dawkes as Princess Anna, who demonstrates an astounding range of vocals and imperious performance, which retains its energy remarkably given that she remains on stage for almost all of the production.

The second act is equally enchanting, even if a little rushed at times. The musical contains twelve new songs alongside some of the classics of the original. This might be slightly too many as there is a noticeable drop in force of delivery when Elsa or Anna are not leading the songs. It also doesn’t quite give enough space to the story around the music, with the major plot twist of the show almost glossed over. This is a weakness as it is central to the resolution that then follows.

However, despite bringing the animated film to the stage, the show does not lose any of its magic. The film is emboldened by special effects which fall into place with perfect timing. These include instant costume changes and intriguing transitions between different sceneries. The production stretches what was thought possible for a live-action remake. The use of multiple camera angles brings us into the action. It does not feel like we are separated from the actors by a screen, it is as if we are a part of the action in a theatre or it is happening in our living rooms.

The direction (Michael Grandage) is pinpoint throughout and the dance choreography is flawless. The dancers add incredible depth to the songs, a feature that the film could not have achieved. However, the most important thing is that it is joyously fun in a natural way. In an age, of constant live-action remakes, this is certainly one worth seeing.

Tag Archives: Robert Lopez

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

FROZEN THE MUSICAL

★★★★

Disney+

FROZEN THE MUSICAL

Disney+

★★★★

“the most important thing is that it is joyously fun”