Avenue Q in the West End feels like stepping back in time, a time when the world was un-PC,
where comedy thrived on people saying the things they shouldn’t and a time when political
correctness took a back seat to honesty. Avenue Q’s back and it’s back with vengeance.
What begins as playful and silly turns into a cleverly observed look at adulthood, purpose and
the quiet panic of not having your life figured out just yet? The performances are where this
production really finds its pulse. Each character lands with a distinct personality that feels fully
lived in rather than performed. Emily Benjamin doubling up as Kate Monster and Lucy the slut
brings grounded warmth that balances the chaos around her. There is sincerity in Kate Monsters
hopefulness that never slips into cliché. Her moments of vulnerability feel earned and her
chemistry with Princeton gives the show some heart. Benjamin shows versatility in her
performance as Lucy the Slut. She is played with confidence and precision, avoiding caricature.
She owns every moment she is on stage, making her presence feel deliberate and Lucy is the
only puppet with legs, full costume and real hair. Her show stopping song is a stand out high
light in the production with Benjamin providing power house vocals. The show is worth seeing
just for this song.
Noah Harrison doubles up as Princeton and Rod. Princeton’s uncertainty feels genuine and
Harrison leans into that awkward optimism without overplaying it, making Princeton loveable
from the very beginning. Although all the characters are leads in their own right, you know the
audience are secretly routing for Kate Monster and Princeton to get it together. Nicky however is
the total opposite a laid back, lost, lazy character with a softness that makes him instantly
likeable. His humour feels effortless, but there is also a quiet kindness that anchors the character
and Rod and Nicky together create one of the most engaging dynamics in the show. Rod’s secret
life and lies slowly unravels as the show goes on in a way that is both funny and oddly touching.
Charlie McCullagh has three characters to portray Nicky/Trekkie Monster and one half of the
bad idea bears. Trekkie is chaotic in the best way, with a performance that commits fully to
absurdity and shakes things up in the town. McCullagh’s voice is so versatile, the energy and
delivery with each of his characters are so distinctive you almost forget he is multi rolling.
Dionne Ward-Anderson plays Gary Coleman and adds an unexpected layer of humour that feels
both nostalgic and slightly surreal. The performance leans into that strangeness, making the
character feel like an intentional disruption to the world of the show. Lesley Lemon’s Christmas
Eve brings a completely different energy, cutting through the chaos with a directness that feels
refreshing. The performance captures her blunt honesty without losing the underlying warmth of
the character. Her interactions are consistently engaging, especially in moments where
frustration meets affection and she isn’t afraid to push the boundaries. Oliver Jacobson’s Brian
acts as a steady counterbalance, with a performance that leans into understated humour. His laid
back attitude and slightly resigned outlook provide a contrast to the louder personalities around
him. The chemistry between Brian and Christmas Eve feels natural, showing us all the things
you go through as a comfortable couple, giving their relationship a believable dynamic that adds
yet another layer to the production. Jacobson’s quieter moments land just as effectively as the
bigger comedic beats showing his craft as an actor.
What makes this production stand out is how unapologetically honest it is. It leans into topics
that most shows would tiptoe around, wrapping them in songs that are both ridiculously catchy
and quietly insightful. You find yourself laughing and then immediately questioning why you are
laughing and asking yourself should I be laughing? Each actor balances puppetry with emotional
truth. The puppets become extensions of the characters, allowing the humour and honesty to land
with surprising impact. By the end, the show leaves a lasting impression not just because of its
wit, but because of how convincingly these characters feel like people you might actually know
and be. Finally, what ties all of this together is Julie Atherton’s direction. Atherton’s return to the
project (but not on stage this time) brings a clear understanding of the show’s original tone while
allowing it to feel fresh and relevant rather than just nostalgic. There is a careful balance between
chaos and control, with each character given space to land their moments without disrupting the
overall rhythm. Anna Louizos’s set design supports this perfectly, recreating the familiar Avenue
Q streetscape with a simplicity that works in its favour. It feels intentionally compact, drawing
attention to the characters and performances rather than overwhelming them. The layout allows
for fluid movement and quick transitions, keeping the pace tight while maintaining the sense of a
shared neighbourhood where all these personalities collide. Together, the direction and design
create a cohesive world that lets these characters thrive, making the production feel faithful to its
roots and huge fan base.
What I loved most is how fearless the show is. It tackles topics that many productions shy away
from, but does so with such wit and charm that it never feels heavy handed. Instead, it leaves you
and the whole auditorium laughing from start to finish, what an absolute five star show that I’d
recommend to anyone. Whether you know what you’re getting into or not, you’ll have no
regrets.
Sat 18 Apr 2026
· Review