The Addams Family

The Addams Family musical is based upon the ghoulish characters created by American cartoonist Charles Addams highlighting a unique family with an alternative lifestyle delighting in all things gruesome and darkly macabre.

Based on the book by Marshall Brickman and Rick Elice (with music and lyrics by Andrew Lippa) it features the now grown-up ‘Princess of Darkness’, Wednesday Addams, who has seemingly fallen in love with an all-American Ohio boy (Lucas Beineke) who is in complete contrast to her own traditional Addams family values.   Directed by Adam Bishop, we are transported to New York and the quirky mansion home of Gomez Addams and his elegant wife Morticia.

Despite twenty-five years of marriage, Gomez and Morticia are still passionately in love which, as Morticia explains to Lucas’ mother, Alice, is because they never keep secrets from each other.  So, how will their marriage survive once Gomez is placed in the precarious position of keeping a secret from his beloved wife to appease his daughter?  Throw into the mix a jealous younger brother Pugsley, a love-lorn Fester and a host of stranded ghostly ancestors, and you have the kookiest plot as the normally morose Addams desperately try to appear ‘normal’ to the apparently down to earth Beinekes.

During the opening number the quirky ‘When You’re An Addams’ we are introduced to the family in their monochrome outfits looking just like Charles Addams ‘cartoon' characters had come to life.   

Gomez Addams, played with devilish glee by Steve Sale, was every inch the character - from his two-tone spat shoes to the lapels of his sharp stripy suit.  He maintained  his Hispanic accent throughout playfully mimicking the other characters and sharing cheeky asides with the audience.  He also had an incredible singing voice effortlessly belting out the infectious Latin-American themed numbers.  My favourite parts were his hilarious ‘Trapped’ as he outlines the hopeless situation, he finds himself in with his increasingly suspicious wife in freeze frame and his horrified reaction to Morticia’s snub of his sexual advances ‘not today’ was hilarious!  The heartwarming, touching song with Wednesday ‘Happy Sad’ where he reminisces about her childhood and his obvious affection for his daughter, was also a highlight.

Morticia Addams, played by Sonya Mahony, in her debut role with the society, was excellent almost gliding about the stage.  Her interactions with Gomez, as she probed him to tell the truth, were wonderful and the sudden realisation that she was behaving just like her own mother did and that Wednesday was like her, was hilarious.  Sonya had a good voice and her solo routine with the ancestors ‘Just around the Corner’ showcased this.  She also proved her dancing skills with a sensuous tango with Gomez. 

Wednesday, her daughter, was another very strong lead played by Millie Shepherd, who never let her face drop ‘this is me enthused.’ Her interactions with her brother Pugsley gleefully torturing him as she rapped all the cute stuff she was into now, an anathema to any Addams, was delightful.   Her relationship with her father was very sweet as she coerced him into keeping her secret engagement and sharing an emotional moment on the bench.  Millie had a good singing voice and her duet ‘Crazier than You’ was another highlight. 

Special mention goes to Fester played by Leigh Bridge.  Leigh was perfect as odd-ball Fester sporting a permanent if slightly disturbing grin. He acted as our narrator and interacted with the ancestors while playfully teasing the audience – (does this rash look serious?’) Fester’s ‘full disclosure’ that he was in love with the moon as it was the ultimate in long distance relationships as ‘¼ miles away the perfect distance for romance’, and his beautiful love song ‘The Moon and I’ was adorable.

Pugsley played by Charlotte Scorror was another strong member of the family and her beautiful rendition of ‘What If’ was almost heartbreaking.  Well done for incorporating the costume malfunction with the braces into the song!  Charlotte ranged from disturbing sociopath threatening the bemused Beinekes to aching jealousy of Wednesday’s new boyfriend with ease. 

Grandma Addams, the 102-year-old worldly wise cougar, was played by Amanda Taylor.  I loved the shrunken head necklace and her personally hand-knitted cardigan. While pushing her trolley of potions, she had some lovely moments with her grandson trying to convince him to be happy for Wednesday.

Another special mention to Lurch the family manservant.  John Palmer was fantastic in this largely non-verbal part, expressing his feelings with grunts and expressive facial expressions and even sign language.  His lascivious reaction to Alice was brilliant and his shocked expression when his hands landed on her boobs was hilarious.  He also had an amazing resonant voice while singing ‘Move Towards the Darkness.’

Then we have the Beinekes.  Alice, a wonderful performance of a woman teetering on the edge of a nervous breakdown yearning for love, played, by the incredibly talented Elaine Bishop.  Her rictus grin firmly fixed as she spouted out rhyming couplets dressed in cheery yellow.  Her moment came when she accidentally drinks the acrimonia truth potion intended for Wednesday.  Her devastating diatribe ‘Waiting’ directed at her husband Mal (Ben Atkinson) yearning for the spark of her early marriage and her wasted life was dubbed by Gomez as ‘too dark even for us’.  Elaine handled the part masterfully, her awesome vocals spiralling as she bared her soul.  Her dramatic turn of character was powerfully performed and her teasing of Morticia and her husband was a cruel but necessary honesty.

Mal Beineke played by Ben Atkinson, was a normal Ohio guy bemused by the quirkiness of New York life and the bizarre lifestyle of the Addams. His realisation that he was a control freak and had lost the person he used to be was shown by him ripping open his shirt to show his ‘Grateful Dead’ T shirt lurking underneath indicating that the old Mal was still in there.  Ben played his part well huffing and puffing with embarrassment at his wife, embracing his own awkwardness but under strict instructions from Lucas not to embarrass himself.  The moment he reunited with Alice, losing all his inhibitions, was lovely.

Wednesday’s love interest, Lucas Beineke, played by Daniel Ferguson was another strong character his winsome personality in sharp contrast to the dour Wednesday - the ultimate opposites attract.  His vocals were good, and he played his part well ranging from being totally smitten with Wednesday, to his hurt reaction to their very first argument was well done as was their duet ‘Crazier Than You’ where he proved his love for Wednesday with the ultimate test.

The cast were supported by a wonderful array of ancestors, locked out from their crypt, they lurked around the stage unseen by the Beinekes. They argued playfully with Fester and danced with Morticia. They were a truly inclusive range of performers - everyone got a chance to participate.  I loved the zombie like spikiness as they lurched across the stage with choreography from Heidi Clayton and the attention to detail of the costumes, courtesy of Paula Yeomans-Hill, each one unique and reflecting different time periods a massive undertaking with a limited budget.  The pale grey and monochrome palette perfectly in keeping with The Addam’s view of the world in shades of grey.   Make-up was very effective, adding to the ghostliness of the ensemble and Addams family.

Music was provided by Musical Director, Samantha Kerby-Hall and the live band located, not in the traditional orchestra pit, but concealed behind the set.  This ensured that a wall of sound was created surrounding the performers.   They performed the witty score well ranging from powerful Latin-American themed dance music, gentle ballads, to upbeat rock numbers.

The set, created and built by director Adam Bishop and his set design construction team, was a simple two-level staircase and balcony, ensuring that the twenty-two ancestors were not crowded on stage.  The props were simple allowing the cast to move freely, for example a free-standing door with creaking sound effects and chaise longue for Morticia’s boudoir.   Lighting was used to good effect with follow-spots for main characters and red swirling lights on the stage. Sound effects for the storm were very effective as was the projected backdrop and moon featuring Fester’s face.

The programme, designed by Ben Atkinson, fulfils all the criteria, and will be entered into next year’s programme and poster competition.

Well done to director Adam, the strong cast, and the talented team of creatives on a fantastic show, From the moment my partner and I entered the theatre we were warmly welcomed and looked after.  Thank you to Elaine and the lovely Bethan who acted as our chaperone for the night.  It was a delight to meet you all backstage after the show proving what a friendly society you all are. 

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© NODA CIO. All rights reserved.