Even almost 80 years after they first graced the pages of The New Yorker, Charles Addams’ creation remains popular. There is no shortage of Wednesday Addamses every Halloween, and the instantly recognisable theme song is sure to get everyone snapping along. It seems like a no-brainer, then, for the larger-than-life clan to take to the stage in musical form.
Gomez (Cameron Blakely), Morticia (Rebecca Thornhill) Addams and their children Wednesday (Carrie Hope Fletcher) and Pugsley (Grant McIntyre) live a blissfully off-kilter existence. A dilapidated mansion situated in Central Park that is haunted by their ancestors serves as home. In addition to the immediate family, we also meet Grandma (Valda Aviks), Gomez’s brother Fester (Cory English), zombie butler Lurch (Dickon Gough) and the disembodied hand Thing.
The Addams Family is about to thrown into chaos, because Wednesday is intent on marrying her boyfriend Lucas Beineke (Oliver Ormson), a normal, all-American boy whose family is from Ohio. This sends Gomez into a panic, as he goes about trying to hide Wednesday’s plans from her mother. When Lucas and his parents Alice (Charlotte Page) and Mal (Dale Rapley) visit the Addamses for dinner, Wednesday pleads with her family to ‘act normal’. Alas, normal is but an illusion, as the prospective in-laws meet the peculiar Addamses and are subjected to all manner of unexplained goings-on.
The show features music and lyrics by Andrew Lippa, with a book by Marshall Rickman and Rick Elice. The initial Broadway production garnered mixed to negative reviews, and has since been reworked for a U.S. and U.K. tour – this production is the same one that just toured the U.K., with several key cast changes.
This reviewer didn’t have the highest expectations of the musical – it seemed like Rocky Horror lite, with the Beinekes as ersatz versions of Brad and Janet. Several Addams Family stories have hinged on regular folk being foils to our mysterious and creepy heroes, so this isn’t particularly new territory. Then there’s the matter of the whole thing hinging on Wednesday’s romantic relationships – isn’t that precisely the kind of thing Wednesday wouldn’t be into?
However, this reviewer was completely won over. The show is a delight, consistently funny and tuneful with a committed cast. The libretto is littered with silly puns and cheeky double entendres, most of which land. The tonal balance between the goofy light-heartedness and the macabre and diabolical that is so crucial to this property is pulled off without a hitch.
Under the direction of Andrew Corcoran, the pit orchestra sounds much larger than its eight musicians, with many pulling double or triple duty – pianist Joel Nah also plays the accordion, for instance. For the most part, the songs are not the persistent ear-worms this reviewer was hoping for, and with a few numbers, their inspirations are a little to apparent — the first verse of “Secrets” is more or less a reworked “Poor Unfortunate Souls” from The Little Mermaid. However, the cast more than sells it.
Then, there’s the design. Diego Pitarch’s set is cleverly designed to look more expensive than it is. There are Gothic accents in the right places, and plenty of cascading fog. The Addamses are all instantly recgonisable, with Pitarch’s costume designs retaining signature elements while judiciously adding flourishes. For example, Wednesday has a corset, and her dress isn’t straight black but a dark bluish-green.
The most impressive costumes belong to the assorted spectral ancestors who comprise the show’s Greek chorus, which includes a pirate, a matador, a tribal warrior, a Spanish Inquisitor, a Roman Emperor and a Tudor Queen. These reminded this reviewer of the work of Colleen Atwood, who is Tim Burton’s regular costume designer. They look sufficiently authentic, while also being heightened and fantastical.
Blakely is a charismatic Gomez — the actor has remarkable physical comedy chops, and looks like he’s relishing every moment. It’s a larger-than-life performance that includes dance moves that seem physically impossible for human legs to execute — or at the very least, improbable. As the henpecked head of the house, the audience empathizes with Gomez, while also rooting for him because he’s such a dedicated father and husband. His warm rendition of the bittersweet number “Happy/Sad”, which draws inspiration from Sondheim’s song in Company named “Sorry/Grateful” aims squarely at heartstrings.
Thornhill sticks to what works, dutifully conveying the traits that Morticia has always been identified with. She exudes a wonderfully sardonic air, and glides across the stage with an effortless slinkiness. Her solo number “Death is Just Around the Corner” exemplifies the show’s synthesis of dark humour and pastiche of classic Broadway musicals. Blakely and Thornhill’s big dance number, “Tango de Amor”, is absolutely mesmerising.
Carrie Hope Fletcher — that’s all we need to say. The boundlessly talented, immensely likeable theatre star/online personality/author is a truly winning Wednesday. She and Blakely sell the father-daughter bonding moments for all they’re worth, and just watching how she purposefully strides across the stage, crossbow in hand, one can tell she completely gets the character. Carrie’s largely teenage female fanbase contributed significantly to the show’s success in the U.K. If you’re overly attached to Christina Ricci’s specific portrayal of Wednesday, hearing the character sing about how she loves all things cute and cuddly might be discordant, but the character still feels like Wednesday throughout.
With the makeup and costumes, the supporting cast members are all convincing as their respective Addams denizens. McIntyre hits the sweet spot of making Pugsley unsettling but also weirdly endearing, while Aviks gets several key opportunities to steal the show. English’s Fester is bizarre and likeable, just the way the character should be. The already-towering Dickon Gough gets some extra height out of his platform boots, and displays laudable physicality as the inarticulate Lurch.
Alas, the weak link in the cast seems to be Oliver Ormson. He has the look of a handsome all-American jock, but his voice is too reedy and doesn’t complement Fletcher’s well enough, with Fletcher singing rings around him. Still, the pair generates adequate chemistry, and “Crazier Than You” is the wild ride it should be.
Page is the surprise standout as Alice – her character goes through quite the dramatic arc, and her solo in the Act One closer “Full Disclosure” has resonant feminist undertones. Page gives the part her all, and Rapley complements her nicely as the buttoned-down conservative, midwestern dad.
The Addams Family Musical is far from the kookiest, most out-there depiction of Charles Addams’ beloved creation, but even with its conventional storyline, there’s enough dark humour and stylistic oomph to propel the show. It’s a devilishly good time for the whole family, if you don’t mind lying to your kids when they ask you to explain some of the bawdier jokes.
The Addams Family Musical runs from 15 November to 3 December 2017 at the MediaCorp MES Theatre. Tickets start from $65 (excluding $4 booking fee). Please visit https://www.sistic.com.sg/events/caddams1217 for tickets.