The Addams Family as presented by Dunboyne Musical Society

Date of Adjudication: Saturday, 6th April 2024. 

What I love about the Addams Family is that it is entertainment for entertainment’s sake, with the only possible philosophical question being asked, are WE normal, or are THEY normal? Uncomplicated it may be, but fortunately it is also a show with great characters, good music and a silly but satisfying storyline. Thanks to the strong level of on-stage talent, a very good production team and fine musicians, all my needs for a great night of entertainment were satisfied by this Dunboyne production, starting with a nicely dressed ‘Halloween’ type area that had been created in the foyer to ease the audience into the right mood before taking their seats. 

The most important requirement for a good comedic script is good timing and delivery of the punchlines, and in this respect, Director, Orla Mulreid Deane, ensured a cracking pace and a good flow to the action. Technical aspects of the show were well looked after. The set was well-constructed and well-painted, and with good furnishing the various scenes within the house were easy to establish. The gates and the nicely designed trees on gauze flats were very effective for the outdoor scenes. Scene changes, under the management of Ciara Rooney, were always discreet and tidy. Orla managed to move the cast about the stage with comfort and ease, careful to avoid an over-crowded look. I loved the little additional Jewish gag at the end of the show, when Luke and Wednesday were married. Orla’s overall direction was very stable and secure, if perhaps a little bit safe, but if safety brings polish, then so be it. 

Musical Director, Emer Hartnett, offered us good attack, well-controlled tempi and very good balance from a super band of musicians, right from the outset. I’m quite sure she was very pleased with her chorus, who provided some great harmonies throughout the show and sang with good tone and expression. My only moment of concern was that the harmony section of ‘Crazier Than You’ could perhaps have been a little cleaner, but generally the Principals sang with clarity and confidence. 

In the very capable hands of Choreographer, Grainne Kennedy, the show got off to a great start with a fun-filled and energetic opening number, which the enthusiastic chorus and dancers performed with panache, and while there aren’t that many opportunities for big routines in the show, whenever they were required to step-up, the cast showed a very good level of ability and precision. I particularly enjoyed ‘Death is Just Around The Corner’, and Grainne’s work with Gomez and Morticia was delightful in Tango de Amor. There was good thought and comedy too, in ‘The Moon and Me’, which was simple but very effective. 

Good Lighting made an important contribution to the show, creating good atmosphere, with good use of colour and special areas, although perhaps in one or two scenes, the focal point of the action could have been a tad brighter. However, everything could be seen, and there were some good effects for lightning and weather. Sound levels were just about spot-on, with good cueing and good sound effects. All in all, a tight and steady technical presentation. 

As stated above, the comedy of the show depends on good timing from the actors, and Dunboyne did a very good job of selecting a strong cast of principals. Karl Dawson brought a wealth of experience, charm and charisma to the role of Gomez Addams, super-secure in his comedy, vocally commanding and particularly impressive in his tender moments with his daughter. A very well-balance performance, that highlighted the breadth of his talents. 

As Morticia, Nicole Lamb had a delightfully expressive face, which clearly revealed, without words, when she was angry, happy, suspicious, disappointed, hurt or elated. Her acting was equally pleasing and her vocal contributions to the show were easy on the ear and strong in delivery. She also had a very fine comedic quality. 

Orlagh Dillon was a very dark and threatening Wednesday, playing most of the show with a wonderful dead-pan expression, but there was also great energy in her Pulled number, and a feisty spirit in One Normal Night and Crazier Than You. Her Happy/Sad scene with Gomez was most affecting. Musically, she could perhaps have pushed her upper register a little more, but she was strong and melodic otherwise. 

Daniel Whelan was the weird and wonderful character of Fester, playing it with a lighter touch than I was expecting, and making him all the more likeable as a result. He handled his exchanges with the audience very well, and there was good comedy and delivery to his love song to the moon. 

Michael Corr was a needy Pugsley, craving the constant attention of his sister’s cruelty. He played the role with masochistic morbidity, and a deliciously sulky attitude, but his comedic ability was always evident, and he made a very good job of all his vocal requirements.

Eddie Brady stood tall and unflappable in the role of Lurch, using deadpan to good effect and grunting with great comedic impact, when the situation required it. He nicely played the slow-motion attempts to keep up with the dances, and it’s always a funny moment when he eventually bursts into song. Great delivery. 

Grandma Addams was given a good grotesque characterization by Caoimhe Cullen, who very much looked the part, even if her youthful energy slightly betrayed her extremely good ageing make-up. She did, however, deliver her comedy with confidence and assurance. 

Lucas Beineke was strongly portrayed by Dillon Corcoran, determined, yet indecisive, very much in love with Wednesday, yet kind of scared of her. He expressed all these emotions very clearly and with much comedy, and his vocal delivery was very secure.

Emmagene Cooke was very funny as the quirky, subjugated Alice Beineke, playing the nervous wife as convincingly as the she played the vamp, once the potion transformed her. She really sold ‘Waiting’ with great conviction. 

Cormac Dredge, likewise, got good contrast between his killjoy character at the start and his re-discovered youthful self by the end of the story, and while all three Beinekes and Wednesday all sang very well individually, I did feel they could have been a tad tighter on the difficult ‘Crazier Than You’ number. 

The chorus of Ancestors looked great, sang very well indeed, and were very good in their movement. They showed good individuality and reacted very well to the ongoing business around them, adding ambiance and atmosphere to their many scenes. 

The Addams Family has become fairly predictable at this stage, from a wardrobe point of view, and while there wasn’t really anything new to see here, the standard of the costumes was very good, and was enhanced by great make-up and a variety of very good wigs and 

hairpieces. Grandma was nicely aged, Wednesday and Pugsley were suitably pale and gaunt, Fester was quirky and creepy, Marticia was cadaverous but with a certain sexiness, Gomez looked every bit the Latin Lothario, Lurch was just plain scary, and the Chorus looked suitably haggard and ghostly. Very good work from the make-up team. 

All in all, this was a great night of fun, that sent the audience home with smiles on their faces, and isn’t that what it’s all about? I’m grateful to have been present at the show, and very much appreciated the standard of entertainment provided by this talented company.

Peter Kennedy

Gilbert Adjudicator 23/24

Photos by Darragh Carroll