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the show was developed as a stage production at the 2002 National Music Theatre Conference at the Eugene O'Neill Theater Center in Waterford, Connecticut.It opened Off-Broadway in March 2003, co-produced by The New Group and the Vineyard Theatre, and transferred to Broadway in July 2003 where it won three Tony Awards, including Best Musical, and spawned Las Vegas and West End productions, two national tours, and a variety of international productions.(The production officially disclaims any connection with either Sesame Workshop or The Jim Henson Company.) All of the characters (puppet and human) are young adults who face real-world adult problems with uncertainty of how they will solve these dilemmas, as opposed to the simplistic problems and invariably happy resolutions faced by characters on children's television programming.Much of the show's ironic humor emerge from its contrasts with Sesame Street, such as illustrating the differences between innocent childhood and the difficult adulthood.The storyline presupposes the existence of "monsters" and talking animals, and human actors sing, dance and interact with puppets, both human and non-human, as if they were sentient beings, in a light-hearted, quasi-fantasy environment.(No attempt is made to explain why seven of the human characters are played by puppets while the other three are played by actual humans.) However, the show includes a considerable amount of profanity in the dialogue as well as including intercourse with puppets.The cast consists of three human characters and eleven puppet characters who interact as if human, Sesame Street-style.The puppets are animated and voiced by actor/puppeteers who are present, unconcealed, onstage but remain "invisible" relative to the storyline.
The show also employs a highly unusual plot device: a real-life celebrity as a fictional character within the story.
Kate dreams of starting a "Monstersori" school for young "people of fur".
Princeton innocently asks Kate if she and Trekkie are related, since they are both monsters, but Kate angrily pronounces his assumption racist.
Avenue Q is an "autobiographical and biographical" coming-of-age parable, addressing and satirizing the issues and anxieties associated with entering adulthood.
Its characters lament that as children, they were assured by their parents, and by children's television programs such as PBS's Sesame Street, that they were "special" and "could do anything"; but as adults, they have discovered to their surprise and dismay that in the real world their options are limited, and they are no more "special" than anyone else.
That is, puppets and human characters completely ignore the puppeteers, and the audience is expected to do so as well.