The Addams Family (Canberra Philharmonic Society) - Review

 

 

ALL:
It's family first and family last
And family by and by
When you're an Addams
...
You do what Addams do or-

Lurch:
Ughhh

All:
Die!

The cast of Canberra Philharmonic Society's Addams Family. (Photo: Photox)

Oh, you've definitely heard of this one before (it's a year for those, isn't it?). The Addams Family is not just a very well-known musical; it is perhaps one of the most universally recognisable assortments of characters in all of popular culture. A family of misanthropic oddities that love each other, flaws and all, are certainly a relatable concept for any family with an interesting thing about them (which is more common than you think), and make for excellent tales of familial bond, and the challenges that bond overcomes. And Philo's production of The Addams Family certainly steps up to the plate, with a stylistically marvellous and energetically charged show that will have you leaving the theatre emotionally satiated.

 

Alexander Unikowski, who apparently has no limit to the amount of hats he is capable of wearing, proves himself an immaculate first-time director, producing a show that is deceptively complex, with special attention paid to the characterisation; a focus that is essential to nailing any adaptation of this familial tale. While the central household is the real meat and potatoes of the show, Unikowski has ensured every performer on stage is exuding a personality of their own, making a cast of 30 seem like a cast of 60. However, Unikowski is also capable of reeling in that energy in the show's more intimate moments, rendering the few scenes of heartfelt exchange personal, yet fun. Unikowski also knows how to keep the show flowing, with transitions that never linger on a finished set-piece too long, resulting in a brisk show that knows how not to drag out each exit; an even more impressive feat when taking into account how many moving pieces such a set has. 

 

Another first timer in this production team is that of Darcy Kinsella in the Musical Director's chair. Kinsella has perhaps offered the most impressive contribution of the lot in his control over both cast and orchestra; the haunting harmonies of the former absolutely knocked socks off from word "go", while the latter established a beautifully gothic yet exuberant ambience, indisputably setting the mood for the rest of the evening and sparking one of the most unique personalities exuded by a show all year. Kinsella should be proud of himself, his singers, and his band; it is an impressive musical director debut.

 

And of course, Caitlin Schilg does what Schilg does best in infusing the show with some of the most energetic movement and choreography seen all year. Especially noteworthy is what I like to coin the "horde manoeuvre", wherein Schilg sets the ensemble upon the stage like the horde of spectres they are, with rigid limbs and sunken faces accompanying. Group numbers especially, such as "Just Around the Corner", absolutely pop with Schilg's signature pizzazz, her physically capable dancers in the cast giving every manoeuvre their all.   

Alice Beineke (Amelia Andersson-Nickson), Morticia Addams (Giuliana Baggoley), and cast. (Photo: Photox)

The cast of Philo's The Addams Family share Unikowski's fine attention to character detail in their portrayal of their roles, offering performances that are in tune with the core aspects of these characters. In more recent adaptations, the theme of enduring familial bonds in the face of imperfection is often lost in favour of ramping up the eccentricities and toning down the down-to-earth qualities all of these characters embody. Such a victim of that perception, for example, is that of Gomez Addams; the patriarch of the clan. While it's easy to go the route of the eccentric comic suave, Quintin Gravatt instead embodies Gomez's identity as a graceful, slightly idiosyncratic lover, whose love is one of deep, historic passion, producing a performance of the character that truly stood out to me. He is matched blow for blow by Giuliana Baggoley's Morticia Addams, whose presence establishes a commanding voice for the family. Both are magnificent movers too, wowing the crowd with their performance of "Tango De Amor".

Leah Peel Griffiths is the quintessential Wednesday Addams, characterised to perfection from the first expressionless stare to the last, and her increasing obstinateness in the face of the unexpected emotions she grapples with. Peel Griffiths also possesses a wondrous singing voice, which is paired well with Callan James Clarke's impressively enamouring Lucas Beineke. Both actors are remarkable in their scenes together, and bounce off their respective families' eccentricities marvelously. 

Lucinda Hope White is an extraordinarily well-cast Pugsley Addams, embodying the form of a masochistic little gremlin, sending the audience into delighted giggles; from her spiking of drinks to taking drags of a cigarette, Hope White demonstrates a glorious penchant for comedic brilliance. Stepping in for the role of Uncle Fester, understudy Ash Syme offered a wonderfully charming oddball, whose communions with the moon offered some of the emotional highlights of the night. Following not too far behind is Benjamin Martin's impressively resonant turn as the loyal butler Lurch, and perhaps the finest comedic offering of the night is Lauren Nihill's hilarious portrayal of the cruddy, weed-smoking Grandma. Andrew Finnegan demonstrated fabulous characterisation and range in his performance as Mal Beineke, and Amelia Andersson-Nickson stopped the show with her utterly gob-smacking rendition of "Waiting".

The ensemble is absolutely chock full of personalised performers. Despite such impressive personalisation, not a single performance stood above the rest, nor one lacking behind; it was an ensemble set on immersing the audience amongst the gothic elements at play, and they served their role to a tee, while also having their own special bits of fun with it. 

Helen Wojta’s costumes are both strikingly original, while keeping in style with the focal characters. The ensemble especially had an incredible lineup of costumes from varying periods, truly evoking the feel of the Addams as a storied lineage. Ian Croker, Charlotte Jackson, and Sophie Hope-White's phenomenal set design worked seamlessly as the many turning, rising and lowered panels moved the show in, out, and about the Addams estate. Jacob Aquilina's lighting design made excellent use of cooler colours, even in moments of warmth, which gave the show an additional sprinkle of charm, and Telia Jansen's sound design was well-tuned and added many times to the show, be it atmospherically or comically. 

Canberra Philharmonic Society's The Addams Family is an impressive display of not only raw talent, but of attention to detail. Beneath the allure of its musical theatre genre, it is a wonderful opportunity for sincere characterisation, fun group presence and movement, and tonal uniqueness. Thankfully, Unikowski, Kinsella, Schilg and co. have made it their business to leave no stone unturned in their interpretation of this show, and they deliver. Hop along to this one if you can. It is not one to miss. 

Do what Addams do. Or else.

Tickets: https://philo.sales.ticketsearch.com/sales/salesevent/150529