(seen at the afternoon performance on 10th November 2024)
As it turns out, 'Avenue Q,' New York, looks a lot like Paris in 1832. Possibly because this 18th Birthday Concert production is on the stage of the Sondheim Theatre, usual home of “Les Misérables.”
Fortunately sharing a producer, while the orchestra is shunted to the back of the stage rather than the pit, the major moving parts of the Miz set are made available and do a fine job understudying the apartment fire escapes of less desirable Gotham.
Almost the entire original cast turn out, with Julie Atherton doubling as both actor and director for the occasion. A pre-show announcement that "none of the actors today can be cancelled as all the jokes were acceptable in 2006," some projections of “way back then” and a cheer from the fans, as the “Sesame Street” parody theme music kicked off the mayhem.
The Lopez / Marx / Whitty lyric, music and book have stood up reasonably well over nearly two decades. Weirdly, it is actually even harder for a young person today to think about renting a room, let alone a whole apartment in any major (or minor) city these days.
It is also no longer a question of “what can you with a B.A. in English?” either – more a question of where you can even study for one as arts faculties are shuttered.
“The Internet Is for Porn” has been proven correct, Trekkie’s “in volatile market, only stable investment is porn!" now encompassing the many who move from other work because online adult services pay so much more.
Equally worryingly, the gleeful acknowledgement that “Everyone’s A Little Bit Racist” seems a lifetime ago in our current age of “cancel and stay cancelled” for expressing even the slightest deviating opinion.
The show is updated with mentions of “Grindr” and “Only Fans,” both launched after the Broadway opening; the resurrection of “Trump” as being “only for now” disproves the prediction when the lyric featured in the last West End run of the show.
The cast too find the ages updated – Sion Lloyd now pushing 53 (with a memory for cues to prove it, hilariously) as Brian the most obvious example. For the rest, they clearly enjoy the reunion and the show bounces along as it always did.
Jon Robyns is an affable baffled Princeton and Rod. A badly missed lighting cue eliciting a pathetic wail “they don’t even know where I live” at one point – mistake or deliberate, it was delivered at the evening performance as well thanks to the laugh he got.
Nobody can forget Julie Atherton as hopeless romantic Kate Monster and hopeless unromantic Lucy the Slut. Acting at times four roles – two puppet, two puppet operator, Atherton remains one of the biggest jewels in the West End musical theatre leading ladies’ crown.
The pack also yields three Kings. Alongside Jon Robyns, Simon Lipkin cannot be restrained – to Atherton’s peril. Nicky, Trekkie Monster and Bad Idea Bear. All get the Lipkin treatment – go for the laughs and keep bettering yourself on vocals and timing as you go.
Third king, Giles Terera as Gary Coleman, resists nothing either. Snide ad-libs about a lack of butt, a groan having to kneel, and a quick brilliant impression of the original TV star. His mind never stops analysing his surroundings nor giving laser focus to the production and his place within it to make the whole as good as it can be.
It is impossible not to love Ann Harada’s psychotic psychologist Christmas Eve, seeing the world her way but coming to doubt it and gaining our sympathy while doing so.
In the far smaller roles of Kate’s boss Mrs. Thistletwat and also as a second and very persuasive Bad Idea Bear, Jacqui Sanchez shines in every scene, switching between nightmares with ease.
Paul Jomain and Nigel Plaskitt’s puppets are as outrageous as ever, the band under James Doughty loud and enthusiastic. Annoyingly the sound balance was not at its best – words drowned out or lost as microphones failed to activate in time. Since they were rehearsing until 25 minutes before showtime, though (line to go in backed up to Brewer Street) they get a certain pass.
It isn’t high art, it perhaps isn’t quite going to become a classic as comedy ages faster than almost any other form. It is a unique occasion to treasure, the best of the West End together for a fling with friends. If you missed out on a ticket, well, it sucks to be you – and that’s with a side serving of Schadenfreude.
4 stars.