The Addams Family: The Musical Comedy

LIKE MANY people of the 1960s and 1970s I grew up with the macabre and madcap craziness of the now-cult TV series The Addams Family. In the days before Netflix and the ability to source and re-run any TV show of your choosing, we had to earnestly await each weekly program to watch the next kooky exploits of Gomez, Morticia, Wednesday and Pugsley Addams – not to mention Uncle Fester, Grandma, Cousin Ittt, Lurch and not forgetting Thing!

And how we loved that show! Every kid could sing all the lyrics of the theme song with its catchy “da da da da [click click]”. And possibly because of such affection, I remained extremely reluctant to see any of the subsequent movies (live action or animated) based on the series. After all, who could replace the likes of John Astin (Gomez) and Carolyn Jones (Morticia)?

Cartoonist Charles Addams originally created this as a series of cartoons for The New Yorker magazine in 1938, but it was only when the TV series premiered in 1964 that it really took off. Subsequently, it was revived regularly on TV with new casts, spawning four movies, an animated series and the most recent TV series Wednesday, which premiered recently on the small screen.

The musical version reached Broadway in 2010 and since then it has been regularly performed and revived all over the world. Intriguing, as it is what I would call an “old-fashioned musical” which does not even redeem itself with a memorable musical score.

There is nothing wrong with being old-fashioned, and I am fully aware of the challenges which continually face community theatre – in particular musical theatre. While it has to be said that I saw the final dress rehearsal where things can still go wrong, I only hope that the hurdles including clumsy scene-changes, lighting and sound issues were navigated for the short (though well pre-sold) run.

This does not in any way play down or diminish the sterling efforts of the creators, cast and crew – and special mention must be made of the 26-strong chorus of “ancestors” who created an entertaining backdrop to the main characters. They were splendidly costumed in shades of white - complete with appropriate make-up, a mammoth nightly task co-ordinated by Lindsay Smith. These costumes were indeed “creations”, individually designed and beautifully executed by Bronwyn Creedy and her team of “sewsiopaths”.

But what makes this musical succeed? Director Sarah Valinoti needed to look at creating a particular over-the top acting style for the entire show and it needed to be played as a farce at top speed. The clues are all there in the script. Farce is defined as “a comic dramatic work using buffoonery and horseplay and typically including crude characterization and ludicrously improbable situations.”  Sounds like the atmosphere – and plot – of The Addams Family.

It needs to be weird, mad and ridiculous, and at its heart is the relationship and interplay between the two central characters – Gomez (D’arcy Mullamphy) and Morticia (Lissy Loushay) – which makes the show work. It should have a gloriously funny, sizzling and sexy connection which should crackle and sparkle, but somehow that essential chutzpah was missing.

A veteran of more than 46 local Townsville shows in the last 43 years, Mullamphy was disappointing as Gomez. A gifted vocalist, here was a truly wonderful opportunity for an actor with his experience to magnificently let rip with an uninhibited performance which should have had by rights had the audience in stitches.

Looking for all the world like Julianne Moore, Lissy Loushay positively relished playing Morticia Addams – a role she has played before, and it showed. She once again displayed her significant vocal finesse.

Showing great promise, Maysa Flom showed just why there was a TV series devoted just to Wednesday. Here is a young performer to watch. Not only does she have a great set of pipes, but it will also be interesting to see her develop in future performances.

Interpreting Alice Beineke in a manner reminiscent of Ellen Greene (Audrey) in The Little Shop of Horrors, Alyssa Oliveri was a comic delight. She perfectly captured the madcap exaggeration that really needed to embody the entire production. Her vocal range was enormous and she displayed particular oomph in that department.

Young Daniel O’Brien made a positive impression as Pugsley Addams, while Brent Lammas as Lurch - complete with insane shoe lifts – gave a lesson in scene-stealing. (Alas - and a tad disappointingly – we didn’t see “Thing” often enough!)

Alasdair McEachern followed in the footsteps of Jackie Coogan as the slightly deranged Uncle Fester while Barbra Shand had a good turn as Grandma. Kevin Wright clearly enjoyed playing Mal Beineke, with Benjamin Henderson continuing his development as an impressive young actor.

In summary, a poorly written musical salvaged by several good performances and an entertaining chorus.

Review by Trevor Keeling

Photographer: Gary Harvey