Avenue Q

The score, of course, remains sensational. Robert Lopez and Jeff Marx’s songs are as witty and tuneful as ever, delivered here with swagger and precision. “It Sucks to Be Me” still opens proceedings with irresistible comic momentum, while “Everyone’s a Little Bit Racist” retains its deliciously provocative edge thanks to the production’s updated framing. “The Internet Is for Porn” brings the house down with a contemporary spin that acknowledges how much the digital world has changed — and how little human behaviour has. Meanwhile, “There’s a Fine, Fine Line” is performed with aching sincerity, reminding us that beneath the innuendo lies a surprisingly tender musical.

The cast are superb throughout, expertly managing the technical demands of puppet performance while creating fully rounded comic characters. Their ability to project emotion through fabric and foam remains astonishing, and the visible puppeteers only add to the theatrical magic - within minutes of the curtain rising you don't even notice they're there. Timing is everything in comedy, and this company has it in abundance, milking every gag while never sacrificing pace.

Direction is crisp, confident and admirably unafraid to lean into the show’s more outrageous instincts. The production embraces the anarchic spirit that made Avenue Q a hit, yet there is also a maturity in how it handles its themes of loneliness, purpose and belonging. In a culture increasingly dominated by curated perfection and the perception of certainty, the show’s celebration of messy humanity feels oddly profound.