Sassy is the new black here in New York, and Avenue Q is draped in a floor-length gown of the season's hottest look. Broadway has an appetite for concept musicals that has been left ravenous in recent years as the costs involved in producing them have sky-rocketed. Shows like Metamorphosis (uniquely staged in and around a swimming pool at the dynamic Circle in the Square) were few and far between. Well, clear your plates because here comes a big ol' helpin' of art on the edge.

After a successful run at off-Broadway's Vineyard Theatre, Avenue Q has moved to the Golden to bring its message to the masses. And, unlike the more "wholesome" integration of puppetry and human talent we're all familiar with from Sesame Street, "C" is no longer for "Cookie"; it's for "Cunnilingus". Yes, ladies, gentleman, and monsters-- it seems some former Children's Television Workshop employees were introduced to a few Sarah Jessica types and now there's no going back.

In Avenue Q, a Sesame-like atmosphere is evident in every detail of the production as a cheery theme song plays, plasma screens show clouds rolling by, and a Tickle-Me-Elmo doll with a five o'clock shadow and a penchant for low-dose narcotics sings, "Fun, Laughs… Good Times." Ok - I added that last part myself, but it's hardly a stretch.

The main character, a fuzzy little cutie named Princeton, has just moved to Avenue Q. On this fictional street in Brooklyn, Gary Coleman is his landlord, his upstairs neighbor is a fellow puppet running an online porn ring, and his neighbors, though not puppets themselves, are every bit as caricature as the show's felt-covered cast members. As if that's not enough to make for a terrific evening of theatre, add to the picture a very clever score and a very real, very touching story that anyone can identify with.

Did I say anyone? Well, that might be my second bit of a stretch. The show is clearly written for the GenX/GenY mentality: people raised on stuff like Big Bird, Kermit, the Fraggles and, of course, online pornography. The script and lyrics are an outcry against political correctness, and some of what takes place on the stage makes the director's cut of Showgirls look like a Care Bear movie. Oh-- there are bears in this production too, but instead of bringing good cheer and hearts of gold, they encourage other wholesome activities such as binge drinking and casual sex.

Any questions? Ooh-ooh-- me-- I have one! Can a Broadway production be labeled with the same NC-17 rating that might apply to a movie? Let's just say that when Lucy The Slut does her nightclub number, her performance was so real, I half expected her to break into Gypsy Rose Lee's "Let Me Entertain You" before I was reminded by her pink-hued cottony breasts that she was indeed still "just" a puppet.

Here's the part where I give out kudos and if you think I'm referring to a chocolate-covered snack bar you might as well just stop reading now. With standout performances by all-- even those performers with a hand up the back of more than one of our new furry friends-- the show is hard to resist. Clearly, I was dazzled by the creative team-- especially Robert Lopez & Jeff Marx who co-wrote music and lyrics-- however I, unlike every other reviewer out there, will refrain from spoiling any of the songs by listing their give-away titles here for all the world to see. (Bet you didn't realize how big my readership was! If you'd like to advertise, please contact my manager.) I'd be lying if I said, "I hate to ramble, but…" So, instead, I'll continue my rant. Most impressed by the lyrics, which range from crude to rude to incredibly heartwarming, we should all be so lucky as to someday stumble across our own Avenue Q.

This show is anything but quintessential Broadway, but it's everything you need to be entertained.

P.S. Buy the soundtrack-- you won't regret it!!!

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