The Addams Family

PLOS have another smash hit on their hands thanks to a stunning cast, the marvellous innovation of Director Danny Ginsberg, great costuming by Brett Wingfield and knockout choreography by Steve Rostron to Bev Woodford’s exemplary Musical Direction of a top notch orchestra.

True, the show itself is not the world’s greatest musical, but it is filled with snappy songs (“When You’re an Addams” and “Full Disclosure” are great, and “The Moon and Me” is both hilarious and poignant) and great core values of Family love. The story is simple and cliched. “Kooky and spooky” Wednesday Addams wants to marry a normal boy and the prospective in-laws come to dinner – (shades of La Cage). The book is adequate, with the occasional un-necessary smutty line, but it’s the production itself that truly dazzles. It’s stunningly staged and Mike Fletcher’s set is amazing. (Is there anything this man can’t do? He gave us a superb Fagin in Oliver last year, and even did the photgraphy for this production.) Brad Alcock’s lighting design is spectacular for the most part, though there are a couple of scenes where the actors’ faces are in darkness or shadows, while the roof of the theatre is dazzlingly lit.

And so to the cast, and there isn’t a single weakness anywhere. Karl McNamara fills the stage with charismatic stage presence and delights in the OTT character of Gomez. It’s more the flamboyance of Raul Julia than the subtlety of John Astin – but, since this is a musical, that only enhances the character. McNamara dazzles and is in great voice throughout, with superb comic timing. It’s a big stage at The FAC….and Karl owns every inch of it.

Nadia Gianinotti is a sensational Morticia. She’s sexy, funny and original enough not to give us a copy of the more famous Morticias. There’s plenty of natural chemistry between her and Gomez, and she has a beautiful subtlety in her throwaway lines. She’s also a true Triple threat, singing up a storm and making the most of Steve Rostron’s clever choreography. It’s a great all round performance.

Michael Young drives all thoughts of Jackie Coogan’s original Fester from the mind. He is funny and endearing, and even the voice – both singing and speaking – is pitched perfectly for the role. Stephanie James is super-impressive as Wednesday – and what a belter of a voice for such a tiny girl. She is certainly one to watch in both the professional and community scene in years to come. Matt Allen, as her love interest, Lucas, is perfect – and I’m reminded of how great he was in Next to Normal a couple of years ago. Marisa Tunks (Grandma) gives her 33^rd PLOS production (an astonishing record) her all in a crazy but adorable performance; Oliver Plunkett (Pugsley) is developing in leaps and bounds, with new strength in his voice. It will be interesting to see where his career goes from here. Chris Higgins is a great Lurch (where do those bass notes come from) and Mike Fletcher as Mal Beineke (yes it’s him again) cements his reputation as one of our best musical theatre performers. Small wonder he has a house full of awards. The ensemble – playing the ancestors – are all outstanding. There’s not time to name them all, but once again Benny Burton was dazzlingly good.

But it’s Carolyn Waddell – as Wednesday’s prospective Mother-in Law Alice Beineke – who manages to steal the show by a mere fine hair’s breadth. She’s been touring for the last ten years with “Menopause The Musical” so it’s a delight to see her back with PLOS. A seasoned performer, she’s happy to play Alice almost as a background character until her big breakout number “Waiting” – when she becomes a true Diva and stops the show. Fabulous finesse, a great voice, superb timing and the ability to completely mesmerise an audience – it’s a marvellous performance.

Ginsberg is the consummate director for community companies. He finds comic moments where none exist in the text; his “business” is always clever and subtle ( in this case…though I won’t spoil it … several superb and totally original moments which were not part of the professional production); his blocking always has style and purpose, and he gets extraordinary performances from his cast. You can’t ask for more.

This is the perfect production to kick off a new year – warm and witty, a joyous production in every respect. So good I want to see it again.

Coral Drouyn

Images: Michael Fletcher Photography.