I laughed along heartily at The Addams Family, mainly because the cast worked so well to engage their audience. If only the musical itself was a little more innovative, this would be a brilliant show.
There was a palpable shift a little way into this opening night. It felt to me like nerves were very raw at first, but within twenty minutes or so, that was gone, and the receptive audience had warmed them up. Tim Stiles, in the role of Uncle Fester, seemed to be at centre stage when they clicked into gear, but the whole cast rallied beautifully as an ensemble and it was a beautiful thing to see this shift.
I loved the sharp attitude Lainie Hart brought to Morticia, and Gordon Nicholson delivered plenty of laughs as a trapped Gomez (I am impressed that he balanced the script’s stereotypes with some more subtle characterisation). In all, the cast and orchestra delivered a receptive audience with a truly engaging night of entertainment, despite working with a second-rate script.
I felt slightly uncomfortable about the paradox of a Spanish-American family who’d apparently migrated in the eighteenth century but still had a a Spanish accent and identified themselves as immigrants two hundred years later. Writing in 2009, I think Marshall Brickman and Rick Elice could have attempted to be more respectful, but it probably didn’t occur to anyone involved to consider the imperialism inherent in classifying anyone who isn’t an Anglo American as an immigrant. And it’s hardly a central element of the plot.
Regardless of the unfortunate stereotyping, the story and the values it espouses remain strong, and this, after all, is a light, fluffy musical comedy that trades on the reputation of a classic sitcom rather than the competence or cultural awareness of the writers for its success. It’s not an exploration of metaphysical significance or even a reimagining of a classic, but a vaguely-reasonable attempt to capitalise on nostalgia and turn a profit. It’s fun, and this cast enjoyed themselves enough to take the opening night crowd on a bit of a romp.
Perhaps these characters don’t ring completely true to the TV show I grew up with, but do we really expect them to? In the fifty years since The Addams Family ceased filming, our culture has shifted dramatically. Certain values have held fast, and this musical makes a valiant effort to be relevant… I’m just not convinced that remaking classics just for the nostalgia value is a worthwhile pursuit. Profitable, perhaps: but hardly insightful. And as much as I appreciate the odd bit of fluff, these times call for insight. And the book just doesn’t deliver however much the cast attempts to redeem it.
Tags: Andrew Howes, Andrew Lippa, Anglo American, Annette Sharp, Barbara Denham, Brian Sudding, Caitlin Schilg, Callum Doherty, Casey Minns, Charles Addams, Christine Pawlicki, cultural imperialism, Deanna Gibbs, Eclipse Lighting and Sound, Emily Geyer, Gomez Addams, Gordon Nicholson, Hamish McConchie, immigration, Jesse Sewell, Joseph McGrail-Bateup, Joyanne Gough, Lachy Agett, Lainie Hart, Liam Downing, Liam Jackson, Madelyn White, Marshall Brickman, Matt Black, Matthew Webster, Miriam Miley-Read, Morticia Addams, Nathan Patreach, Nathan Rutups, Queanbeyan, Rachel Thornton, Rick Elice, Siodhan Hansen, Sophie Hopkins, Spanish American, Stephen Pike, The Addams Family, The Q, Tim Stiles, Tristan Davies, Uncle Fester, Wednesday Addams
I think it was family loyalty that took me along to Avenue Q. That, and some pretty high recommendations on Facebook and She Who Must Be Obeyed telling me to go see it while I still had the chance. Honestly, the idea of yet another bit of children’s pop culture being appropriated for the adult market just wasn’t appealing.
But in true Canberra musical theatre style, our ‘amateurs’ have redeemed a rather dry book and presented something truly spectacular. Technically, it was almost faultless. Apart from a few occasions when I couldn’t hear the words over the band, I was blown away by how great these guys sounded. And it was a tiny band too; all I could see were two keys, two strings and a hitter who had plenty of space to rattle about in the pit.
The kudos, though, goes to a great cast, most of whom had to learn to control two bodies rather than the usual one. And it was fun just to observe as an audient that at first I had to keep reminding myself to look at the puppet rather than the actor! In time they blended, which just made the whole puppet/puppeteer thing work so well. At least in individual scenes it did.
As a whole show, though, Avenue Q just doesn’t hold together very well. Whose story is this? What is it about? And why couldn’t they just pick a story and stick with it? There are some interesting characters here that really deserve better treatment! But that’s musical writers for you; most couldn’t see a story if it played itself out on a stage in front of them!
I think, really, Avenue Q is a musical trying to be cutting edge and funny at the same time. It only succeeds in the latter, and occasionally fails at that because it’s trying to be cutting edge. Does that make sense? Probably not, but I know what I mean. And whatever it’s failings, Supa‘s cast and crew have outdone themselves. I had a ball.
Tags: Amy Dunham, Avenue Q, Canberra, Christine Forbes, Garrick Smith, Jeff De Zandt, Jeff Marx, Max Gambale, Musical theatre, Pete Ricardo, Robert Lopez, Sarah Golding, Supa, Tim Stiles