Based on the iconic characters created by legendary cartoonist Charles Addams, THE ADDAMS FAMILY is an all-new musical comedy starring Tony Award winner Roger Rees as Gomez and stage and screen star Brooke Shields as Morticia. THE ADDAMS FAMILY features an original story. It's every parent's nightmare. Your little girl has suddenly become a young woman, and what's worse, has fallen deliriously in love with a sweet, smart young man from a respectable family. Yes, Wednesday Addams, the ultimate princess of darkness, has a "normal" boyfriend, and for parents Gomez and Morticia, it's a shocking development that turns the Addams house upside down when they are forced to host a dinner for the young man and his parents.
THE ADDAMS FAMILY has a book by Marshall Brickman and Rick Elice (librettists of the 2006 Tony Award-winning Best Musical, Jersey Boys), music and lyrics by Drama Desk Award winner Andrew Lippa (The Wild Party), direction and design by Phelim McDermott and Julian Crouch (Shockheaded Peter, The Metropolitan Opera's Satyagraha) and choreography by Sergio Trujillo (Next to Normal, Jersey Boys).
So might the performances in The Addams Family (Lunt-Fontanne), where everybody works incredibly hard, though to painfully little effect. A couple of Andrew Lippa's songs, including the improbably Latin opening number, may survive, and a few of the book's more antique gags will undoubtedly long outlive it. But two-plus hours of hearing these creepy creatures blather about the joys of love, in purest Hallmark terms? Please. Even Nathan Lane's resourcefulness, Kevin Chamberlin's moonstruck charm, and Carolee Carmello's giddy vocal display can't reanimate this inert monstrosity.
'The Addams Family' is a musical all dressed up with no place to go. There's one simple reason: Nobody knew why they were writing it. There is no animating purpose to the evening, except to throw well-known characters on stage so the audience can luxuriate in their comforting familiarity. Charles Addams' iconic cartoon creations have been robbed of all subversiveness, something even the 1960s TV series—made in a considerably more socially conservative era—didn't do. The thin wisp of plot—daughter Wednesday wants to marry a 'normal' boy from Ohio—in Marshall Brickman and Rick Elice's choppy book serves mostly to muddy the comic strip's iconography, and their inclusion of a subplot involving Morticia's fears of aging only compounds the problem. They've also come up with one of the flimsiest excuses for a chorus since Captain Jim romanced Rose Marie in the heyday of operetta.
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