Based on the macabre single-panel cartoons of Charles Addams the revised version of the musical tours the UK in its premiere professional production. With music and lyrics by Andrew Lippa and a book by Marshall Brickman and Rick Elice we join the Addams clan just as turmoil is about to hit the (un)happy household when eldest child Wednesday announces that she is - bizarrely - in love with a typically all-American boy and plans to marry. Cue a meeting of the parents and revelation of secrets to disturb one and all and anarchic chaos ensues.
The book is appropriately simplistic and relative to the nature of the original Charles Addams cartoons whilst Lippa's songs have suitable variety and wittiness and include some really heartfelt numbers.
The set by Diego Pitarch is economic yet elegantly shambolic and is used well throughout whilst his costumes are quirky and reverent to the original cartoons. Ben Cracknell's lighting design perfectly compliments both and adds dimension to the rotting visuals.
Matthew White's direction is affirmed and creates many interesting visual pictures though there are times when some of the jokes fall a little flat and he could tighten some places within the first act. The second act, however, moves at an extraordinary pace and is near perfection. Add to this the vibrant choreography of Alistair David and the parts make up a sumptuous whole, even if the King's stage felt a little cramped at times.
The production boasts an excellent cast led by the dynamic Cameron Blakely as Gomez and the resolute Samantha Womack as Morticia. Blakely is a bundle of energy on the stage and cements his prowess with ease whilst Womack is suitably stone-faced and economic until the role demands otherwise when she reveals just enough of the underlying passion within the character. Carrie Hope Fletcher's Wednesday is ostensibly the catalyst for the evening's proceedings and she handles the role with aplomb and gives Wednesday a depth and variety to match her outstanding vocals. The other members of the family shine equally in the smaller roles with Valda Aviks' Grandma a visual and dangerous treat to behold and Grant McIntyre making Pugsley a rather tender character mourning the potential loss of his sister to another boy. Oliver Ormson plays that particular boy, Lucas Beineke, with verve and gloss and Charlotte Page and Dale Rapley as his parents also add a dynamic that enhances the drama. The ensemble who play the various (un)dead clan members who flit in and out are varied and add much to the production with their dedicated and assorted characters. One of the long-running jokes within the production is the mute butler Lurch, played stoically by Dickon Gough who has a number of surprises in store. Special mention must also be made of understudy Scott Paige who played Uncle Fester at this performance. His performance was exemplary with superb comedic timing and charm and it's hard to say how Les Dennis, who usually plays the role, could be any better.
Though not perfect, The Addams Family is a wacky and thoroughly enjoyable musical treat with a life-affirming heartbeat at its core. With strong performances and a suitably grubby visual style this is another case of a top-rate production doing the rounds once again proving that one need not journey to London's West End to enjoy a cracking production.
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