REVIEW
THE ADDAMS FAMILY
A NEW MUSICAL COMEDY
PALACE THEATRE, WESTCLIFF ON SEA, ESSEX
8-11 AUGUST 2024
THE ADDAMS FAMILY
A NEW MUSICAL COMEDY
PALACE THEATRE, WESTCLIFF ON SEA, ESSEX
8-11 AUGUST 2024
Since its inaugural production of BUGSY MALONE in 2008, the Summer Youth Project has become a hugely anticipated annual event in the diary of children and young adults, ages 9-19 throughout the City of Southend, and it’s environs. In only TWO weeks of intensive rehearsal, a huge ensemble of around 75 young performers learn a whole musical, and give six performances at the end of the second week. There is no hiding place, and no compromising standards for anyone. This is a kind of summer camp with a purpose. Come opening night, a theatre full of excited audience members who have paid a decent price for their tickets, expect a great show, and believe me, on Thursday night this week, this is exactly what they got!
For their 2024 production, the creative team, led by Producer Emma Wagstaff, Director Marc Mollica, and Musical Director Paul Day, have taken on a huge challenge in the shape of Andrew Lippa and Marshall Brickman’s cult musical The Addam’s Family. This is not a show written for children to perform. It is an adult musical, full of complex songs, demanding dialogue, dance routines, and most importantly, a darkly funny thread of humour which runs through it, This show needs skilled actors to bring it to life, who can dig deep to find and commit to their characters.
Is it possible for a Youth Company to bring off such a massive task? Well, judging by the cheers, whoops of joy and standing ovation from the audience on opening night, the answer is a resounding YES YES YES!
This production has to be one of the highlights of the year in anyone’s book. From the second the curtain rose on a spookily lit set, and the white faces of the notorious Addams clan, it was clear we were in for something very special indeed.
Leading the cast, and at the head of the family, are Sebastian Poskett-Richardson, and Paris McGee as Gomez and Morticia. With talent and charisma way beyond their young years, these two actors give incredibly committed and compelling performances. Sebastian uses every inch of his posture and body language to suggest the pride and passion of Gomez, whilst Paris, elegant, statuesque and stunning, with long, jet black hair, never lets her mask slip for a moment. She rules the roost here, and her face maintains an icy stare throughout. I loved her minimal reactions, only moving her eyes left or right, and raising an eyebrow to suggest her surprise or disdain. These are two fabulous performances, with Seb also displaying a fine baritone voice, and both have dance skills to match, especially in the tango and flamenco sequences.
They have great support from other members of the family. Oliver Bearman wins everyone over with his brilliant portrayal of Uncle Fester, forever chasing the moon, whilst Charlie Hunt is hilarious as Pugsley, Wednesday’s younger brother who is only happy when being tortured gruesomely by his sister. Calypso Bailey, as Wednesday, who wants to marry a ‘normal’ boy, is a delight, giving a really warm portrayal, with a great voice too.
There is so much remarkable talent on that stage, it is impossible to list everyone, but I have to give a special mention to Sophie Morrison’s wonderfully whacky Grandma, who brings the house down with so many of her lines, Sophie has true comic timing, again, way beyond her years.
This is a gift that really can’t be taught. This girl has funny bones, making me laugh out loud more than once.
Equally impressive is Mia Cater as Alice, mother of Wednesday’s secret fiancee, Lucas. Alice is somewhat repressed in her marriage, but when slipped a potion meant for someone else, Mia lets rip with a singing voice that literally sent the audience wild at the end of Act One. Similarly, Joseph Galvin captures Lurch perfectly in his body language, shuffling round the stage like he is 200 years old, yet finding a moment of genuine pathos when he finally gets the chance to sing near the end.
As if this wasn’t all enough, there is a huge ensemble of ‘ancestors’ who, when they get their chance, swarm onto the stage, onto the set, and sing their hearts out. There are inevitable comparisons here with another musical, featuring Dickensian orphans, but with so many children
dressed in shabby clothing, this is inevitable. This youth production is for everyone, and they must all have their moment.
The achievement of this production is made even more impressive by the sad fact that the company lost an entire day of rehearsal, and their dress rehearsal with the band, led by the ever brilliant Paul Day, on the day before opening, due to the street protest last Wednesday, so they opened with what could have been a major set back. Instead, they rose to the occasion with even more enthusiasm. That takes real guts.
My only slight criticisms are that the balance between stage and band on opening night was not yet sorted, with the keys, bass and percussion threatening to drown out the singers at times. I’m sure that would have been sorted by the next performance.
Additionally, younger performers often rush lines a little. Dialogue is just as important as songs. Enjoy it. We also need to hear every word.
That said, The Addams Family is an absolute knockout show, choc-a-block full of outstanding performances, which have been brilliantly brought together by the experienced and expert creative team.
Congratulations to everyone on stage, the crew, and everyone involved. You have done yourselves very proud indeed!
Review by Andrew Walters
For their 2024 production, the creative team, led by Producer Emma Wagstaff, Director Marc Mollica, and Musical Director Paul Day, have taken on a huge challenge in the shape of Andrew Lippa and Marshall Brickman’s cult musical The Addam’s Family. This is not a show written for children to perform. It is an adult musical, full of complex songs, demanding dialogue, dance routines, and most importantly, a darkly funny thread of humour which runs through it, This show needs skilled actors to bring it to life, who can dig deep to find and commit to their characters.
Is it possible for a Youth Company to bring off such a massive task? Well, judging by the cheers, whoops of joy and standing ovation from the audience on opening night, the answer is a resounding YES YES YES!
This production has to be one of the highlights of the year in anyone’s book. From the second the curtain rose on a spookily lit set, and the white faces of the notorious Addams clan, it was clear we were in for something very special indeed.
Leading the cast, and at the head of the family, are Sebastian Poskett-Richardson, and Paris McGee as Gomez and Morticia. With talent and charisma way beyond their young years, these two actors give incredibly committed and compelling performances. Sebastian uses every inch of his posture and body language to suggest the pride and passion of Gomez, whilst Paris, elegant, statuesque and stunning, with long, jet black hair, never lets her mask slip for a moment. She rules the roost here, and her face maintains an icy stare throughout. I loved her minimal reactions, only moving her eyes left or right, and raising an eyebrow to suggest her surprise or disdain. These are two fabulous performances, with Seb also displaying a fine baritone voice, and both have dance skills to match, especially in the tango and flamenco sequences.
They have great support from other members of the family. Oliver Bearman wins everyone over with his brilliant portrayal of Uncle Fester, forever chasing the moon, whilst Charlie Hunt is hilarious as Pugsley, Wednesday’s younger brother who is only happy when being tortured gruesomely by his sister. Calypso Bailey, as Wednesday, who wants to marry a ‘normal’ boy, is a delight, giving a really warm portrayal, with a great voice too.
There is so much remarkable talent on that stage, it is impossible to list everyone, but I have to give a special mention to Sophie Morrison’s wonderfully whacky Grandma, who brings the house down with so many of her lines, Sophie has true comic timing, again, way beyond her years.
This is a gift that really can’t be taught. This girl has funny bones, making me laugh out loud more than once.
Equally impressive is Mia Cater as Alice, mother of Wednesday’s secret fiancee, Lucas. Alice is somewhat repressed in her marriage, but when slipped a potion meant for someone else, Mia lets rip with a singing voice that literally sent the audience wild at the end of Act One. Similarly, Joseph Galvin captures Lurch perfectly in his body language, shuffling round the stage like he is 200 years old, yet finding a moment of genuine pathos when he finally gets the chance to sing near the end.
As if this wasn’t all enough, there is a huge ensemble of ‘ancestors’ who, when they get their chance, swarm onto the stage, onto the set, and sing their hearts out. There are inevitable comparisons here with another musical, featuring Dickensian orphans, but with so many children
dressed in shabby clothing, this is inevitable. This youth production is for everyone, and they must all have their moment.
The achievement of this production is made even more impressive by the sad fact that the company lost an entire day of rehearsal, and their dress rehearsal with the band, led by the ever brilliant Paul Day, on the day before opening, due to the street protest last Wednesday, so they opened with what could have been a major set back. Instead, they rose to the occasion with even more enthusiasm. That takes real guts.
My only slight criticisms are that the balance between stage and band on opening night was not yet sorted, with the keys, bass and percussion threatening to drown out the singers at times. I’m sure that would have been sorted by the next performance.
Additionally, younger performers often rush lines a little. Dialogue is just as important as songs. Enjoy it. We also need to hear every word.
That said, The Addams Family is an absolute knockout show, choc-a-block full of outstanding performances, which have been brilliantly brought together by the experienced and expert creative team.
Congratulations to everyone on stage, the crew, and everyone involved. You have done yourselves very proud indeed!
Review by Andrew Walters
Image credit: Tim Browne
