nicky main directs The Addams Family at the priory.
weird show, nice production...
The Priory Theatre, Kenilworth, Reviewed October 2024
There are certainly better musicals than The Addams Family, a show that leans heavily on a few gags and a medley of forgettable songs—none of which will send you rushing to Spotify for a replay afterward. That’s not to say it’s awful; it simply doesn’t reach the level of a long-standing Broadway favorite, as suggested by its 700-or-so performances and largely lukewarm reviews during its New York run. The story itself does little to evolve from the single-plotline-per-episode format of the 1960s TV series, and while Act 1 promises something intriguing with the Addams family gathering at their ancestral gravesite to celebrate their unusual values, it falls short. The plot centers on the "normal" Beineke family’s visit, coinciding with Wednesday’s (Tilly Megan) announcement of her intention to marry their son, Lucas (Dexter Robinson). Potions are mixed, chaos ensues, and the Beinekes’ marriage troubles emerge in the form of a forced overnight stay at the Addams’ Central Park mansion. The comedic tension of the odd Addams family against the “normal” American guests is interesting but loses momentum, leaving Act 2 in a muddled state. Morticia (Ruth MacAllum) sings about her age and mortality, the Beinekes find a renewed spark, and all couples ultimately reunite (no spoilers there). A bizarre song about the moon, a tango between Gomez (Jon Andrews) and Morticia, and a couple of company numbers bring the show back up to a level worthy of applause.
As a standalone musical, it’s shallow, albeit benign, inoffensive, and ultimately forgettable. Did I enjoy this production, though? Absolutely. Jon Andrews is perfectly cast as Gomez, the ghoulish patriarch, and even on opening night, his charismatic performance promised only to improve as he settles into the role. His singing is generally strong, though the occasional note is a touch off-pitch; still, Andrews brings a flair that exceeds what the role itself affords. Ruth MacAllum’s Morticia shines with a talent that elevates the character’s Cruella De Vil essence. Among the younger cast, Dexter Robinson embodies the quintessential Broadway young lead, exuding a polished, all-American charm. He possesses a fantastic voice, a natural delivery, and an accent so accurate it could belong on a professional stage. Tilly Megan impresses as Wednesday, likely the show’s most substantial role. Having seen her previously in Curtains, I’m pleased to see her growth as an actress with a sassy, confident presence that could easily land her a part in a U.S. teen drama.
Director Nicky Main deserves applause for her ability to turn water into wine with this material. Compared to superior musicals, it’s clear her talent outpaces the limitations of this script. While her previous production of Curtains was even stronger, this is not due to any misstep in the direction here. Rather, it’s the weak script that holds the show back, with the production itself as the true star. There were a few minor mishaps on opening night—occasional mic-cue issues and some pitchy opening notes—but for a Broadway musical that arguably didn’t merit its original New York run, the Priory’s production is an enjoyable take on an otherwise average show.
There are certainly better musicals than The Addams Family, a show that leans heavily on a few gags and a medley of forgettable songs—none of which will send you rushing to Spotify for a replay afterward. That’s not to say it’s awful; it simply doesn’t reach the level of a long-standing Broadway favorite, as suggested by its 700-or-so performances and largely lukewarm reviews during its New York run. The story itself does little to evolve from the single-plotline-per-episode format of the 1960s TV series, and while Act 1 promises something intriguing with the Addams family gathering at their ancestral gravesite to celebrate their unusual values, it falls short. The plot centers on the "normal" Beineke family’s visit, coinciding with Wednesday’s (Tilly Megan) announcement of her intention to marry their son, Lucas (Dexter Robinson). Potions are mixed, chaos ensues, and the Beinekes’ marriage troubles emerge in the form of a forced overnight stay at the Addams’ Central Park mansion. The comedic tension of the odd Addams family against the “normal” American guests is interesting but loses momentum, leaving Act 2 in a muddled state. Morticia (Ruth MacAllum) sings about her age and mortality, the Beinekes find a renewed spark, and all couples ultimately reunite (no spoilers there). A bizarre song about the moon, a tango between Gomez (Jon Andrews) and Morticia, and a couple of company numbers bring the show back up to a level worthy of applause.
As a standalone musical, it’s shallow, albeit benign, inoffensive, and ultimately forgettable. Did I enjoy this production, though? Absolutely. Jon Andrews is perfectly cast as Gomez, the ghoulish patriarch, and even on opening night, his charismatic performance promised only to improve as he settles into the role. His singing is generally strong, though the occasional note is a touch off-pitch; still, Andrews brings a flair that exceeds what the role itself affords. Ruth MacAllum’s Morticia shines with a talent that elevates the character’s Cruella De Vil essence. Among the younger cast, Dexter Robinson embodies the quintessential Broadway young lead, exuding a polished, all-American charm. He possesses a fantastic voice, a natural delivery, and an accent so accurate it could belong on a professional stage. Tilly Megan impresses as Wednesday, likely the show’s most substantial role. Having seen her previously in Curtains, I’m pleased to see her growth as an actress with a sassy, confident presence that could easily land her a part in a U.S. teen drama.
Director Nicky Main deserves applause for her ability to turn water into wine with this material. Compared to superior musicals, it’s clear her talent outpaces the limitations of this script. While her previous production of Curtains was even stronger, this is not due to any misstep in the direction here. Rather, it’s the weak script that holds the show back, with the production itself as the true star. There were a few minor mishaps on opening night—occasional mic-cue issues and some pitchy opening notes—but for a Broadway musical that arguably didn’t merit its original New York run, the Priory’s production is an enjoyable take on an otherwise average show.