Review: THE ADDAMS FAMILY: THE MUSICAL at CM Performing Arts Center

Campy goth season is in full swing for the Long Island theater community with the devilish delight, “The Addams Family” currently playing at CM Performing Arts in Oakdale.

The show focuses on one of America’s most famous (infamous?) families having the dreaded in-laws meeting when black-hearted daughter Wednesday falls in love and gets engaged to clean-cut Ohio boy Lucas Beineke.   

Director Jojo Minasi cultivated a sophisticated, old-to-the-point-of-being-decrepit money family whose eccentricities are endearing as the core of family values holds true.

Scenic Designer David McQuillen Robertson and Props Designer Heather Kuhn created an expansive tour of the Addams family mansion with an overall murder mahogany vibe. In particular, the dining room scene where the table is perpendicular to the audience created fantastic sight lines.

Music Director Maren Kuzmak captured the spirit of the snapping theme song of the Addams, but with nuanced transitions into the more intricate pieces of the show.

Sound Designer Orlando Each managed to capture a clear and impressive screams from Pugsley’s torture scene where the audience was charmed by the piercing sound.

Giovanni Marine as Gomez Addams was pure Spaniard Lothario and reveled in that point of heritage pride the character calls for, especially in sword fighting scenes. In one scene he jumps onto stage and was possibly three feet off the ground. Marine’s accent work was natural, even as a musical theater character, and respectful of Gomez’s background.

Amanda Mac as Morticia was alluring and maternal, particularly in the scene with son, Pugsley, where, like a nursery rhyme cuddle she says, “Keep him in harm’s way.” The vamp factor was on full alert with Mac’s effortless sashaying and birdlike hand positions and movements. 

Gomez and Morticia have a duet late in the show, “Live Before We Die,” that showcased the powerful and shining voices of the two that made you wish they had more numbers in the musical.

Aidan Michael Kelly as Uncle Fester was adorably quirky with an effervescent and all-present smile throughout the entire show that warmed his stark white make-up. His portrayal of the character worked well as the storyteller, narrator of the musical and exhibited endearing crowd work and perfect comedic timing. In “The Moon and Me,” Kelly’s crooning had a great texture to it that was almost like a gramophone recording.

Linda Pentz as Grandma had the best jokes of the show. Pentz’s impressive ability to hold a line on getting the laugh when delivering her kooky punch lines added so much to general ether of the show.

Danielle Khoury as Wednesday brought a powerful, reverberating voice to the character that lined up with her emo/punk aesthetic. Her sulking face was textbook Wednesday.

Benjamin Law as Pugsley was a pleasure to see on stage as the dorky, mischievous brother, a description Law seemed to have taken to heart.

Brendan Noble as Lurch, in a (sorta?) non-speaking or perhaps grunting role with the most insufferable slow/fast gait with his platform heels shuffling on a non-existent treadmill was a welcome contrast to otherwise verbally mad capped members of the family. Noble had terrific physicality, fully embodying the hulking height of Lurch.

Rob Schindlar as Mal Beineke played the uptight Midwestern dad with the most offended facial expressions as he gets to know the Addams family’s traditions and thoughts. In one scene, Schindlar delivers the line “I did not raise my son to be kidnapped by a bunch of creeped-out left-wing Spanish weirdos,” and there was a gravitas to it that genuflected to the core of the story, that judgment should wait until after you penetrate the surface. When Schindlar reveals his Grateful Dead t-shirt under his conservative dress shirt, the stereotypical prejudices beautifully melt away as he gives Mal his first real smile of the show.

Stephanie Moreau as Alice Beineke seemed to channel Whoville with her towering red hair and bell-like outfit. Moreau’s best moment is her gossip session with Morticia where she gives the sage advice that all husbands lie to their wives and keeps it giggly, but also giving Alice a bit of an edge. Her drug-induced prance on the dining room table was well received with the belly laughs throughout the entire audience.

Gage Deoquino as Lucas Beineke played his soft-chestnut-haired character so well as an affable and non-threatening young man that the scene where he mentions he would possibly like to work as a medical examiner is a totally unsuspected, but welcome, twist.

The ensemble of ancestors had standout performances (Nick Allen, Bell Bongiorno, John DelGenio, Olivia Ferrara, Justin Frank, Will Logan, Patrick Messmer, Erica Nicole, Julie Stewart, Cassidy Torns, and Faith Wankel). They functioned like animated portraits whipping through the mansion and grounds and individualized their characters (a ballerina, a flapper, mobster) into a cohesive, mimed troupe.

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