I must have watched all 64 episodes of mid 1960s black and white TV series The Addams Family, relishing every new encounter with the kooky clan.
It featured a host of darkly humorous, macabre characters, created by American cartoonist Charles Samuel Addams (7th January, 1912 – 29th September, 1988).
We had the wealthy and enthusiastic Gomez Addams, madly in love with his beautiful wife, Morticia.
Who could forget the extended arm kisses he planted on her (at the time TV sensors banned kissing on the lips)?
Their children were daughter Wednesday and son Pugsley.
Gomez’s brother, Uncle Fester was a live wire, along with Grandmama.
Among the more bizarre creations was the towering butler Lurch, hairball Cousin Itt and detached hand Thing.
They lived in an ornate, gloomy mansion.
Photos by Ken Spence
I am pleased to say that when the original musical comedy was developed, those involved retained all the key figures I have spoken off and added others.
The music and lyrics are by Andrew Lippa and book by Marshall Brickman and Rick Elice.
The Addams Family had its official opening on Broadway in April 2010.
The plot concerns now 18-year-old Wednesday, who has fallen in love with a regular boyfriend named Lucas Beineke.
Wednesday has invited Lucas’ parents, whom she hasn’t met (nor has Lucas yet encountered her folks), for dinner and implores her family to act normal.
She takes her father into her confidence, explaining that Lucas has asked her to marry him.
At the same time, she implores Gomez not to share the news with Morticia, fearing a hue and cry.
Gomez is torn because up to this point in their long and prosperous marriage he has told Morticia everything.
As you can imagine, when the news does out and Morticia discovers that Gomez has been secretive, it goes down like a lead balloon.
Meanwhile, the passion has gone out of Lucas’ parents – Alice and Mal’s – marriage.
Further, Mal is freaked out by the Addamses, as the family dinner descends into chaos.
The Addams Family is a wacky, fun filled hoot that OSMaD has realised with aplomb.
Demetrius Kiriakidis brings buoyancy and bounce to Gomez, while Melanie Ott is potent and indignant as Morticia.
As Wednesday, Marchella Rusciano-Barrow’s mellifluous vocal tone is superb.
Erica Moffat gives torture an endearing quality as Pugsley.
Joshua Saunders’ raspy vocalisation and left of centre presence make Uncle Fester an instant favourite.
Latecha Khairy serves up Grandma as an entrepreneurial potion dispenser with quite a mouth on her.
As Lurch, Jordan French tickles the funny bone with his growls and mega-slow movement.
The actors who play the Beinekes – son Lucas (Sam Dyer), father Mal (Omar Moustafa) and mother Alice (Liz O’Hanlon) – transition their characters well.
They shed their stilted conservatism for the bold and impetuous.
The main players are supported by a talented ensemble.
I speak of the Addams’ dead relatives, along with painted beauties – Greek goddesses, Russian gentlemen, aristocrats, Quasimodo and Esmeralda.
The score incorporates a series of delightful, nutty songs conducted by musical director Ashton Turner and a fine orchestra.
The Addams Family features a significant amount of dancing. Dylan Henry’s choreography is impressive.
I appreciated the costuming – a light palette for the deceased ancestors and darker for the family. Head of wardrobe is Joshua Saunders (who plays Uncle Fester).
Complemented by evocative lighting from Peter Verhagen and strong sound design by Jake Sipcic, director Joel Anderson gives us much to enjoy and savour.
The Addams Family is light and lyrical, humorous and happy. Designed to put a smile on your face, it most certainly succeeds in doing so.
OSMad has excelled again with another hearty production.
It is on at Geoffrey McComas Theatre, 1 Morrison Street, Hawthorn, until 14th December, 2024.
For tickets, go to https://osmad.com.au/addams
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