The Addams Family A New Musical Comedy

It was a pleasure to be invited to Bacup Royal Court Theatre to review their latest production: The Addams Family – A New Musical Comedy, about a ghoulish American family with an affinity for all things macabre. Playing to a packed theatre, all eager to see the ‘creepy and kooky’ Addams Family, BRCT did not disappoint. This was a fabulous show from start to finish.

Director Sophie Lord created a superb production, the characters within were fully developed, the company integrated into most scenes, whilst the crew executed effects with precision.  Scene changes occurred swiftly with the help of the company who were playing Addams Ancestors. Sophie had thought of every detail and the resulting audience standing ovation was indeed deserved.

Upon entering the auditorium, the audience were greeted with the proscenium dressed in various sized skulls and skeletons. I thought this was a nice touch and blended perfectly with the set as the curtain opened. The opening graveyard scene looked dramatic as the company performed their first number ‘When You’re an Addams.’ Stage design by Paul Ashworth and Sophie Lord was impressive, the Addams family home, imposing with its two staircases surrounding a central alter. The graveyard evocative with its gentle wisps of dry ice; a curling, low fog until the ballet scene, whereupon it rolled off the stage in waves looking fabulous combined with the lighting. I particularly liked the set for the scene where Wednesday tortured Pugsley on the rack, the chains retracting precisely as the actor moved. ‘Thing’ was placed to the back, centre stage, atop a skeleton. I thought this was jolly funny, and a clever way of including the infamous pet hand. The graveyard differed slightly with each appearance, keeping Stage Manager: Guy Gibbs and his team on their toes. The stage crew were unobtrusive, moving quickly and quietly through changes.

This production was supported by backing tracks but that in no way deterred from the quality of the show, nor the vocals on stage. Musical Director: Vic Sladen had rehearsed the company thoroughly. Soloists were strong, chorus numbers had wonderful harmonies. The timing was perfect, each performer confident that Vic was there for them. The music did not overpower the vocals, complimenting each performance perfectly. Sound Design by Rob Hames was smooth, with no feedback or microphone dropouts.

Lighting was integral to this production, from the reds and purples of the family home to the blues of the graveyard. Lighting Design, operated by Nick Daye enhanced each scene. Lights were used to create a spooky atmosphere and it worked; the scenes were lit beautifully. I thought the blushing moon at the end of Fester’s song was simply lovely. Spotlights hit all the correct areas and followed the main cast with ease.

Jessica Moran provided the choreography. The ballet scene with Fester looked beautiful, Company numbers were coordinated, often lively and fun. The tango between Gomez and Morticia sultry, seductive, and passionate. Jessica’s choreography was fresh and exciting, strategically placing dancers and non-dancers to create seamless routines. The choreography throughout was splendid.

Costumes and makeup played a vital role in this production. Wardrobe by Regina Arkwright and Janice Purslow was fantastic. The Addams’ looked characteristically great, the company, all dressed as ghost and ghouls were impressive. No two actors looked the same. The attention to detail was extraordinary. Makeup by Libby Fitton was skilfully applied. I honestly did not recognise a few of the company members, people I’ve known for many years, the makeup was that good. I certainly did not recognise Collin Cropper as the ballet dancing caveman, nor Patrick Duffy as the tango dancing Georgian footman. Costume and makeup were excellent.

Playing the role of the family patriarch: Gomez Addams, was Nick Angus. Nick was wonderful as the suave, debonair, sword wielding Gomez. He displayed a wide variety of impressive accents throughout the show, the transition between these accents was flawless, often happening mid sentence. Nick was full of energy as he parried his way across the stage. His tango with Morticia was strong as they moved in unison. I thought his timing was excellent, his witty one liners never missing a beat. With a strong vocal range, Nick sang with passion, his number ‘Happy/Sad’ was beautifully sung.

Jodie Potter played the formidable Morticia. Jodie was confident in this role, her mannerisms and hand gestures flamboyant. Morticia is a self assured and alluring woman. Jodie portrayed her character with enthusiasm, each gesture she made was dramatic, precise. The dance with Gomez: ‘Tango De Amor,’ enthralled the audience with its complexity. With a strong stage presence and great accent, Jodie gave an impressive performance.

Uncle Fester was played by Robert Toner. I thought Robert was top notch as the weird, bald, rotund Fester. His accent was superb, his mannerisms fantastic. I loved the song ‘The Moon and Me,’ Robert was funny and tender in this scene. There were many stand out moments from Robert, he was a natural comedian. His facial expressions, accent and mannerisms were, for me, perfect.

Lori-Mae Maddock played Grandma Addams. With her habit of eating other people’s hair and her leaky bladder, Lori-Mae was gloriously funny. The audience laughed aloud as her facial expression changed whilst she wet herself. Lori-Mae was perfectly cast, she had a strong stage presence and played her role with gusto.

Playing the role of the love-struck teenage Addams daughter: Wednesday, was Courtney McLean. Courtney had an amazing vocal ability, her solo number ‘Pulled’ was terrific. Her characterisation as the sullen teen was incredible, her interaction with her fellow players excellent. Courtney had an undeniable stage presence; I thought her performance was standout.

Nieve Greenwood played Pugsley Addams. The youngest of the Addams,’ Pugsley liked to smoke cigars and be tortured for fun. Nieve was great in this role. Confident, with an impressive accent and huge stage presence. The torture scenes were well timed, Nieve comically moving as the rack retracted. I thought Nieve gave an impressive performance throughout.

Lurch was played by David Howe. Lurch does not speak, instead relying on guttural sound and facial expressions. David was fantastic in this role; his slow movements and eye rolling were comical. I loved the drunk scene with Fester, David was hilarious as his face betrayed his sobriety.  He had many laugh aloud moments and the audience cheered enthusiastically as he took his final bow.

Andrew Jennings played Lucas Beineke. As the boyfriend of Wednesday, together they plan to introduce his parents, Alice, and Mal to the whole of the Addams clan. Andrew was great in this role, confident and clear. His duet: ‘I’m Crazier Than You,’ with Wednesday was upbeat and melodic.

Alice Beineke was played by Jade Schofield. Alice, the mousy, cheerful mother of Lucas, drank the potion made by Pugsley, whereupon her personality completely changed. Jade was fabulous as she vamped her way up onto the table for her number ‘Waiting.’ She was funny, enthusiastic, and sassy. The audience cheered as she finished her song. An outstanding performance from Jade.

The role of Mal Beineke was played by Dan Fielden. Dan was hilarious as Mal; his characterisation was marvelous. His accent and all-American manner were great. His reactions and facial expressions were impressive. A solid performance comically presented.

I thoroughly enjoyed this production, I would dearly love to be able to review everyone on the stage, unfortunately it just isn’t possible. I would like to mention Josiah David, (assistant to the director) always a strong presence on stage, displaying his dancing skills in the tango, and on hand for all set changes.

Finally, I would like to thank BRCT’s front of house team who always make me and my plus one feel very welcome. I am looking forward to seeing many more shows from Bacup Royal Court Theatre in the future.

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