Twenty-three years after its off-Broadway premiere and 16 since its West End run ended, Avenue Q has returned to London's Shaftesbury Theatre. The musical, which once beat Wicked to a Tony Award, now feels like a time capsule from the Bush era, its crassness and problematic edges preserved in theatrical amber. Despite a few updated references to streaming, AI, and Trump, the show remains largely unchanged, struggling to resonate with contemporary audiences.
The plot follows Princeton, a puppet college grad, and his neighbours on Avenue Q, including a closeted homosexual Republican (Rod), a straight slob (Nicky), and two humans: a dismal comedian and his Japanese partner with a cartoonish accent. The character of Gary Coleman, based on the late child star, now carries little cultural currency, highlighting the show's datedness. The real Coleman had threatened to sue over his depiction, and his death 16 years ago makes the character feel even more out of time.
The show's ethos, including songs like “Everyone’s a Little Bit Racist,” feels mired in an outdated understanding of racism. Attempts to soften offensive characters, such as Christmas Eve, cannot fully mask the obnoxiousness of the provocation. The pervading sense of “you won’t believe they just said that” no longer shocks, as the material has been repeated for decades.
Despite these issues, the performances are strong, with impressive puppetry and character-switching. The songs remain catchy, particularly “Fantasies Come True,” and the sets and puppets are well-crafted. Director Jason Moore returns to helm a confident production. However, this slickness does not justify the revival. Like an old TV show upscaled to HD, the harsh scrutiny reveals wrinkles and crevices that once went unnoticed, leaving the question of why this show is being revived today unanswered.
