Neither Robert Lopez nor Jeff Marx took the bait when it was suggested that their musical "Avenue Q" represented a generational statement, much like "West Side Story" did in the 1950s, "Hair" in the '60s or "Rent" in the '90s.

"If you want to compare us to 'West Side' and 'Hair,' I'm not going to stop you," said Marx. Lopez would only say that when you set out to express the voice of your generation, you fail miserably. He writes musicals, he said, and he and Marx realized they were exceptions in a generation that hates musicals.

Without commenting on its reliance on smart-ass cheek, occasional smut and a light and clever score, "Avenue Q" is clearly of its time in the same way as those earlier landmark shows. Still, Lopez and Marx say they were just trying to have some fun when they put their shoulders to this "Sesame Street" parody, running through Jan. 13 at the State Theatre in Minneapolis.

It was dawning on them that college -- a lovely and essential liberal education -- had left them unprepared for the adult jungle. What if, they imagined, those furry little monsters of their childhood could tutor them on advancing in the world?

"We longed for a group of friends like Ernie and Bert and Big Bird who would teach us how to get along after college and deal with breakups, coming out, isolation, getting a job, losing a job, getting along without your parents' money, finding purpose in life," said Marx.

"Avenue Q" takes place on a street where characters named Princeton, Trekkie Monster, Rod and Nicky (can you say Bert and Ernie?) hash out their struggles. Unspoken is the notion that this could be ironically funny -- cuddly, friendly puppets taking on adult issues such as Internet porn and schadenfreude.

"But it wasn't just about puppets swearing and doing naughty things," said Lopez. "They're giving you answers for your adult life and those answers to adult problems are very funny."

Marx and Lopez thought they were making a television series. But while not a single TV contact showed up at their staged reading, theater producer Jeffrey Sellers did. "He said that if we were interested in doing this for stage, he'd be interested in producing it," said Marx. "And when the producer of 'Rent' says he wants to produce your show, you have to be pretty dumb to say, 'Let me think about it.'"

The rest is history. "Avenue Q" surprised the theater world by besting "Wicked" for the 2004 Best Musical Tony. Marx and Lopez won for their score and scriptwriter Jeff Whitty won for best book.

Then came another shock. The producers decided to forgo a national tour in favor of a sit-down production in Las Vegas. Consider: a tourist pool as large as New York, lots of money floating around and a theater located right next to the Wynn Las Vegas hotel. It seemed like a can't-miss idea -- but then so does doubling down on a pair of jacks. Until the dealer turns over two aces.

This show didn't have instantly bankable stars or recognizable music ("Mamma Mia"). After five so-so months, "Avenue Q" pulled out.

"There was an element of risk, but that's Vegas," said Lopez.

So a tour finally opened in San Francisco last August and is playing two weeks here.

"I had big dreams about 'Avenue Q,'" said Lopez. "But Broadway didn't seem like it was on the horizon until it was right there on top of us."

Oh, what we learn in this big, wild world.