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Outstanding The Addams Family at Osceola Arts (Review – Kissimmee, FL) October 5, 2019

Posted by ronannarbor in musical theater, Musicals, Uncategorized.
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There’s a stunning production of The Addams Family musical at Osceola Arts running through October 13th. 

I’m going to be honest, I was skeptical prior to arrival (except of course for the excellent word of mouth the show has been getting around Orlando) but I have seen this musical in different theaters over the past few years probably ten times (in addition to the original Broadway production and it’s tour). None of those productions fully captured the magic of the Broadway production until this one at Osceola Arts.

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Beutifully directed by Dominic Del Brocco, the show flies along at excellent pace, with outstanding comic timing throughout. Leads and ensemble are excellent. It helps that this production limits the Addams Ancestors to a group of 7 (11 on Broadway, and usually dozens in other school and community productions) so that each of them has something important to do. 

Kim Cole’s choreography is interesting and crisply performed – there isn’t a missed beat in this cast. Morticia’s numbers are particularly well done. 

Ah, Morticia! Mahalia Gronigan is the quintessential Morticia Addams – acting, dancing, singing. Sometimes she need do nothing but make the look — you know, that Morticia look — and the laughs are already flowing. Yan Diaz is hilarious as Gomez, and he carries the bulk of the evening’s slapstick and songs. His scenes together with Mahalia are musical theatre perfection. Grace Gustino is a great Wednesday Addams and Christopher Robinson turns in a strong performance as her boyfriend Lucas. Elijah Gragg and Sarah Marshall are terrific as his uptight parents. Supporting parts are all strong, played by Garrett Williams, Cindy Barnum, and Michael Lupo. A particular favorite of mine in this production was Pugsley, (played by a high school student rather than the usual child actor) Logan Clinger who brought both an unexpected vulnerability but also twisted adult knowingness to his role. 

The Addams Ancestors were tightly performed and danced by Parker Bradford, Joey Green, Sean Hancock, Lauren Hutchinsonm Samantha Kestenbaum, Corinne Posner, and Hannah Zwemer. 

Everything plays out on a superb set designed by Cliff Price — his multi-tiered set works perfectly for the production, is filled with eye-popping detail, and helps make everything flow well on stage. It all looks and feels, well, Addams-y.

This is top-tier work by all involved and even if you have seen the show before, it is highly worth a visit to this loonyness performed and produced better than you have seen it anywhere else. 

Very highest recommendation.

The Addams Family continues at Osceola Arts, through October 13th, 2411 E Irlo Bronson Memorial Hwy, Kissimmee, FL 34744 – tickets: OsceolaArts.org

Surprise! To fix “The Addams Family” musical get rid of Nathan Lane (review – tour – Wharton Center, East Lansing) February 4, 2012

Posted by ronannarbor in Broadway Musicals, Broadway Tour, Entertainment, musical theater, Musicals.
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When I originally reviewed The Addams Family musical, I was among the minority that enjoyed it a lot. Now on tour it’s a much better show, and its not just because the script has been reworked.

The tour, currently passing through East Lansing at the Wharton Center, is significantly different from the show seen in pre-Broadway Chicago, and from a design standpoint very different from the Broadway Rubik’s Cube set that assembled and re-assembled itself in fulll view of the audience. It’s passable, but not as good design-wise.

But from an acting point of view its stunningly different, and who would have thought that getting rid of Nathan Lane would make such a huge difference — but it does. Douglas Sills makes for a superb Gomez, while Sara Gettelfinger holds her own as Morticia. The rest of the tour cast is excellent, and its a virtual who’s who of University of Michigan musical theater graduates.

I’m not sure why Broadway never warmed to the musical (although it did run 725 performances and 34 previews despite generally lackluster reviews). It’s funny, it’s tuneful, and the characters are outrageous. There’s a funny book (even if it is a direct rip-off of La Cage aux Folles), and plenty of topical references to keep you on your toes, and it’s all fun. Clearly, Broadway is not currently in the mood for fun — but audiences sure are, as witnessed at both performances I have see.

But, wow — let me get back to Douglas Sills — where Nathan Lane dropped lines, dropped his accent throughout the show, and generally mugged-it-up, Doug has a natural humor; a great voice; and no need to mug — the part plays itself, and he makes the most of his lithe body and quick facial expressions to change the character completely from what Lane brought (did not bring) to the part. There is also chemistry between he and Sara as Morticia, something that Lane never achieved with Bebe Neuwirth. Sills performance completely changes the entire feeling of the show, and the cast responds remarkably.

Are there problems — well, yeah. Besides the aforementioned dumbing-down of the set, there is the ongoing problem of an ensemble chorus that doesn’t do a heck of a lot but hover around in the background as ghosts. Nothing has been changed more from the original Chicago production than the use of the Ensemble, and I am not sure it is any type of improvement. A sequence in which they hide behind cutout trees is just embarrassing.

But those who have not seen The Addams Family will enjoy the show – all the small things that make it such a fun night out are still there (including the curtain tassel that falls off the act curtain and runs away). You could do a lot worse than to spend a few hours with this hilarious family.

The Addams Family musical – Chicago (Review) – Funky fun! December 21, 2009

Posted by ronannarbor in Entertainment, musical theater, Theatre.
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Before even commencing with a review, let me state three things. 1) I LOVED this new musical and had a great time. 2) You will either love it or find yourself being indifferent to it depending on your level of a) appreciation for great performances, music, and stagecraft, and b) your tolerance for quirky lunacy. 3) The New York critics are going to chew this up and spit it out — they tend to be a humorless bunch, but audiences are going to flock to it and love it.

There are big big names associated with The Addams Family musical. It has a book by Marshall Brickman and Rick Elice, with music and lyrics by Andrew Lippa (UM grad). It is choreographed by Sergio Trujillo, and directed and designed by Phelim McDermott & Julian Crouch.

What, you ask? Who are these people? They are some of the most influential professional musical theatre leaders. Sergio choreographed Jersey Boys, Memphis, and Next to Normal. Marshall co-wrote Annie Hall, Sleeper, Manhattan and slew of other Woody Allen movies. Rick wrote Jersey Boys. Phelim and Julian designed and directed Shockheaded Peter and a slew of other international theatre hits. Andrew wrote The Wild Party, john & jen, and all the new songs for the revisal of Your a Good Man Charlie Brown.  This is a singularly sensational group of creators.

The show stars Bebe Neuwirth, Nathan Lane, Terrence Mann, Carolee Carmello, Kevin Chamberlin, Jackie Hoffman, Zachary james, Krysta Rodriguz, Adam Rieger, Wesley Taylor, and a 16 member ensemble. And they are great.

Nathan Lane plays the part of Nathan Lane as only Nathan Lane can. (He plays Gomez with a manic energy, a faux-Spanish accent that comes, goes, and reappears and comes closest to sounding spanish only in his pronunciation of words like “chorizos”). Bebe Neuwirth is a delectable Morticia, and shines in her “Second Banana” number at the top of the second act. She wears a dress that is hard to imagine how difficult it is to get into every evening. Terrence Mann plays straight-laced Mal Beineke, and Carolee Carmello his uptight wife, Alice (in a star-turning role). Jackie Hoffman is a hilarious Grandma, Krystal Rodriguez a wonderful Wednesday, Kevin Chamberlin as excellent an Uncle Fester as you could find, and Zachary James a simply astounding Lurch.

There isn’t much book to speak of: Wednesday (just turned 18) is in love with straight-laced friend from school Lucas (Wesley Taylor) and  is mortified to find that Morticia insists the two families meet for dinner. What follows is a knock-off of the basic storyline of La Cage aux Folles as the two families mix and mingle in the most peculiar of ways, each learning something from the other in the process.

The music here throughout is terrific, and Andrew has written wonderfully clever lyrics. Hopefully the sound system will be a bit clearer on Broadway than it was at times here. The set is remarkable — a series of walls, staircases, and surprisingly large open spaces that move, change, rearrange, and make up the crazy world that is the Addams household. The lighting is noteworthy – there is some very pretty stagework done here by Natasha Katz and her crew. Makeup, puppetry, costuming and special effects throughout are good.

Make no mistake here — this is a show filled with lunacy and lighthearted fun. The jokes come rapidly, and sometimes too quickly. Many of them fall flat. This is broad comedy, and it’s delivered and performed splendidly by this fine cast. There is much that is instantly familiar to watchers of the tv show and movies, but it does not stick to that formula — rather, it is composed of a series of vignettes, jokes, and scenes based on the cartoons of Charles Addams, and not intended in any way to resemble what is already known. Thing appears momentarily, and so does Cousin Itt, but they aren’t recurring characters.

Uncle Fester flies (twice!); Grandma curses up a storm; Pugsley creates mischief; Wednesday tortures her brother but is also intrigued by the big wide world out there for the taking; and Lurch makes you laugh in every scene he is in.

Does it need some work? A little. I am confident it will be fixed by the New York opening. The lightbulb in Fester’s mouth is great. When the ensemble echos it, it’s just stupid. That needs to be cut. Some of the jokes need to be fixed and just fall flat. Bebe needs to drop her character voice when singing and just sing. Nathan needs to be toned down a bit more, and someone needs to work with him on his Spanish accent, but I’m not sure he’s an actor amenable to a lot of coaching — at either rate, he needs to be reeled in a bit. Some of the ensemble need to be pulled back into the background a bit more and not dance in One while the leads are in One. The show itself never feels too slow, and is a breezy 2 1/2 hours, so it’s just right for an evening of Broadway entertainment. But it does need those jokes to be fixed.

But there are brilliantly creative moments here as well: a tassel falling off the act curtain and running away…Fester flying to the moon…well-staged sword-play, and some great surprises.

In short, I truly loved this musical. I saw it with two seasoned musical theatre fans, and they both loved it too. The Chicago media was split — The Sun Herald gave the show a 4-star rave. The Tribune a 2-star average rating. The New York media will most likely split on this as well — but one thing was clear: the audience adored the show. It got a rousing standing ovation for the cast, and people left the theatre in a great mood. And that is a very good thing in this poor political and financial climate. I’ve read a few blog entries where people either loved it or were indifferent to it as well — and I think that is how this one is going to play out. Another friend said that he was surprised I liked the show, his friends had walked out at intermission. Well let me tell you, I did not see one person leave at the sold-out snowy Sunday afternoon performance that we saw in Chicago. I saw a very happy audience that was positively abuzz with laughter during intermission and back in their seats ready to go for Act 2. I also saw a long line of frozen theatre goers waiting in the cancellation line for possible tickets for the performance. I smell a big fat hit. I am going to go out on a limb and say, this show is at a point in its development that it is already critic proof.

If you live in the regional area — see if you can get to The Addams Family — and go have a great time. It’s also generally family-friendly though it does skew to an adult audience. The full website for the show is here: http://www.theaddamsfamilymusical.com/

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UPDATED 12/29/09 — It has just been announced that Jerry Zaks will be brought in to review and fix the parts of the show that are not currently working! This is great new, and perhaps he will do a good job of reigning in Nathan Lane since they are buddies who have worked together before. For the NYT article, see this link:     http://www.nytimes.com/2009/12/29/theater/29addams.html?ref=arts

And that’s the view from Ann Arbor today.