The Adams Family 1st Preview...

Posted: 3/8/10 at 1:06pm

Who's going????

[averagebwaynut]

Posted: 3/8/10 at 1:56pm

Me.

Hope to post thoughts either late tonight or tomorrow. If there is something specific you'd like me to take note of, please let me know. Otherwise, I'll probably be most focused on the changes since I saw it in Chicago.

[jacobsnchz14]

Posted: 3/8/10 at 2:10pm

Yeah, just the changes since Chicago. I read alot of the reviews and stuff and it seems like they had some stuff they could change or remove. Um, if they are selling stuff or have pre-orders for the OBCR. Also if Itt and Thing are still in the show. haha. I guess that's it. Hope the show has a successful run!

Posted: 3/8/10 at 2:43pm

just curious if there are major changes in the production since the introduction of Jerry Zaks...

[CockeyedOptimist2]

Posted: 3/8/10 at 3:27pm

I'll be there tomorrow night and I can't wait! Didn't see it in Chicago, so I won't be able to speak to any changes since then, but I'll be sure to post my thoughts on it for the first time.

[MissAnneThrop]

Posted: 3/8/10 at 3:45pm

please post the song list, thanks.

[MissAnneThrop]

Posted: 3/8/10 at 3:45pm

please post the song list, thanks.

[Huss417]

Posted: 3/8/10 at 4:14pm

Was it announced who won the contest from here to attend the first preview?

Updated On: 3/8/10 at 04:14 PM

[Phantom of London]

Posted: 3/8/10 at 4:36pm

I am seeing this March 29th, so looking forward to reading your reviews on here later.

Posted: 3/8/10 at 7:00pm

looking forward to the feedback from tonights performance...

[LimelightMike]

Posted: 3/9/10 at 12:05am

Anyone.....?

[WhizzerMarvin]

Posted: 3/9/10 at 12:10am

I'm back from the first preview and I couldn't have been more disappointed. What a waste of such a wonderfully talented cast. There are so many problems, but I guess if I had to choose the greatest it would be that it simply isn't funny. That, and there's NO plot.

I know it's only the first preview, but this book was ghastly. There is no plot, no real conflict. It's simply 2 hours and 45 minutes of sitcom skits that aren't actually funny. It wasn't even at a Cry-Baby level of cringeworthiness. Although the audience was certainly enthusiastic at the ends of songs and for the special effects, most of the jokes just landed with a thud.

The score is very forgettable. I was very worried after the (new) opening number, which very bland. "Let's Not Talk About Anything Else But Love" was a direct rip off of "Everybody Ought To Have a Maid." The "Full Disclosure" act 1 finale was a laughable mess, and poor Carolee Carmello did her best belting out a tuneless number in the middle of it.

Uncle Fester's big number wasn't clever or funny and relied on sight gags to mask the lyrics. Bebe was SO underused it isn't even funny. It looks like her "Tango, Tango, Tango" song was cut, but what she did have wasn't showcasing her remarkable abilities.

The best number was probably "Happy/Sad," which was a ballad for Nathan. The finale was all wrong to me. It ends with a slow, rather down-beat number, when it should be all pep and fizz.

Most of the cast isn't really given anything to do so it's hard to critique their performances.

I went in with such a positive attitude wanting to love this, and unfortunately I was let down. Truly this made Memphis look like a gem. I laughed more at All About Me, but then again I probably laughed more the Mary Stuart revival, so I don't know how much that's saying.

Also, I should add the ensemble are start out of "Join the Family Business" from Young Frankenstein. They randomly show up now and again, but aren't used effectively. I felt Trujillo kind of over-choreographed Memphis, but didn't do enough with Addams Family. Where was all the pizzazz and excitement?

Updated On: 3/9/10 at 12:10 AM

[blaxx]

Posted: 3/9/10 at 12:30am

This still sounds to me as another failed exploitation of an old franchise. Oh well...

[B-maniac]

Posted: 3/9/10 at 12:37am

I'm really disappointed. Wonderful cast, but the show has no life.

Forgettable songs, terrible opening number, thin plot, a mess.

But the audience was so enthusiastic that I thought I were the only one who wasn't enjoying the show.
Updated On: 3/9/10 at 12:37 AM

[rosscoe(au)]

Posted: 3/9/10 at 12:41am

I hope this last till August, looking forward to seeing it no matter what the reviews say.

A miracle might happen!

[ljay889]

Posted: 3/9/10 at 12:43am

So much for those overly enthusiastic (almost shillish) reviews from the final dress!

[muscle23ftl]

Posted: 3/9/10 at 12:44am

'Was it announced who won the contest from here to attend the first preview?'

No, and I responded to all the 3 questions and I think I got them right and not even a "thanks for playing" email!!!

[Upland]

Posted: 3/9/10 at 12:47am

I just got back from the first preview and have to say the audience responded like it was a rock concert. It was packed. I did not see the mezzanine, but in the orchestra it looked like every seat was filled and they screamed for the show. I loved it. It was so exciting to see a big new musical comedy.
Highlights for me:
The cast: Everyone is perfectly cast. They all look and act exactly as you'd expect the Addams to look and behave. Top honors go to Nathan Lane - a comic genius who had the audience in the palm of his hand. It was like watching a real musical comedy star at work - but he also brings an emotional side to Gomez that I have not seen him bring to a musical before. Bebe Neuwirth looks exactly like Morticia and moves like a dream. Her signature dry comic skills are used terrifically and she gets to show off in her song and dance numbers, especially in the 2nd act. Kevin Chamberlin scores as Uncle Fester in a big way and Jackie Hoffman, as has been much noted previously, is hilarious.

The set and physical production is beautiful. Again it was refreshing to see a big beautiful looking show.

The score is terrific. I admit I walked in the door already a Lippa fan - and I am not disappointed. I'm not sure how many new songs there are since Chicago, but it seems like there are quite a few - especially for Gomez and Morticia. Not only are there great tunes but the lyrics are great - some songs are moving while others are really really funny.

Favorite songs and scenes were the opening number, Pulled, One Normal Night, the scene when the Addams meet the Bienekes, Morticia, the full disclosure scene, Just Around the Corner, Happy Sad and Fester's Moon song - which has genius staging that juxtaposes a sweet ballad with crazy visuals that make it a comic gem.

My one criticism is that there were a few wonky transitions and moments, but hey - it was the first preview, and they have a month before they open. I gotta say they have come a long way since the Chicago production and are in very good shape.

[Fanb]

Posted: 3/9/10 at 12:53am

Guess I sat with the crowd that was loving the show because the laughs were big and constant and the audience around me was definitely loving the show. I saw the show early in Chicago and have to say they have changed it very much for the NY production. I thought it was great.

[RoslynReynolds]

Posted: 3/9/10 at 12:53am

Total shill bulls**t.

[Fanb]

Posted: 3/9/10 at 12:56am

Not exactly - Like I wish I were a profit participating shill. Go see the show and I'll be happy to hear what you think. Meanwhile anyone who has read my other posts knows I'm not a shill.

[Upland]

Posted: 3/9/10 at 12:59am

Ha - yeah, what Fanb said. Whatever. I stand by my post.

[WayTooBroadway]

Posted: 3/9/10 at 1:20am

Upland and Fanb, usurprisingly, write in the same language. Oh well. Give me comps and I'll be happy to see this show.

[WhizzerMarvin]

Posted: 3/9/10 at 1:25am

To each his or her own, but I simply can't understand how you could sit through tonight and think this wasn't a mess. No fault lies with any of the actors, that's for certain. It's completely with the book and score.

[averagebwaynut]

Posted: 3/9/10 at 2:13am

Well, I pledged to post my thoughts and I will, though now I'm a bit fearful to do so, as I'm certainly closer to the Upland/Fanb camp than the WhizzerMarvin camp. But I took quite extensive notes so rather than let them go to waste, here goes and I guess flame away as you see fit.

[FAIR WARNING: EXTREMELY LONG AND ***SPOILER ALERT***SPOILER ALERT***SPOILER ALERT***]

First, some of the easy basics for those who have asked or will inevitably ask:

-- show started at around 8:10pm and ended at around 10:45pm

-- first act was roughly 1:15 and the 2nd act was about an hour

-- no gunshots

-- opening few bars of TV theme music are at the top of the overture and at the top of the curtain call only (no longer in the Act I reveal of the family behind the cutout of the house)

-- "Thing" still makes a brief appearance at the top of the show. "Thing" no longer makes a repeat appearance in "One Normal Night".

-- "Cousin It" still makes a brief appearance but the placement has changed -- now at the top of Act II in an interaction with the curtain tassle that has had its moment in Act I.

SONGS:
[new songs bolded, based on my Chicago Playbill]

Act 1:
Overture......................Orchestra
It's a new overture but I couldn't exactly tell you how so. Definitely shorter.

"When You're an Addams..........The Addams Family, Ancestors
By no means is this a brilliantly inventive or unusual melody -- indeed, it's derivative salsa-mambo-merengue all wrapped into one -- but it's ridiculously catchy and toe-tapping and got stuck in my head. Also, in the spirit of "establishing" numbers like "Comedy Tonight", "Tradition" et al, this number sets the table for the story far better than "Clandango", and also gives the audience the more "traditional" Broadway opening number they (or at least I) was expecting. The scene that follows sets up the frame that once a year, the Family has a ritual of sorts which involves summoning their ancestors back to life for the night. Only on this particular night, they are forbidden by Fester to return to their graves until they help Wednesday and Lucas find love with one another. As Fester says later in the show (something to the effect of) "No one gets to sleep until love conquers all".

"Where Did We Go Wrong".........Morticia, Gomez
I think this is either a typo or it has actually moved since whenever they printed the Playbill. The entirety of this song is now after "Pulled".

"Pulled"................Wednesday, Pugsley

"Where Did We Go Wrong - Part 2"......Morticia, Gomez
Not a memorable melody though it does have some intricate and cute rhymes. A few vestiges of "Passionate & True" seem to still be woven into this. It's OK and does the job, but nothing great.

"One Normal Night"..............Company

"Tango, Tango, Tango"............Morticia
This song appears to have been cut already.

"Morticia"..............Gomez, Male Ancestors
This is a nice number for Nathan save for the opening verse which is too loud and fast-paced and comes out of nowhere. Once it settles down, it's a sweet, romantic melody line. The song is not integral to the plot at all but it does help give some depth to Gomez's love and range of emotion beyond just his sex drive. Also, just like "Happy/Sad" (my personal fave in the show), it's the sort of honest tenderness we don't typically see from Nathan on stage.

"What If"...............Pugsley

"Full Disclosure".............Company

"Waiting"................Alice

"Full Disclosure - Part 2"...........Company
They've cleaned this up and gotten rid of the "One Day More" components where everyone was singing something different at the end. A lot more coherent than in Chicago and the "Looney Tunes" allusion in the orchestration on the button of the number still is hysterical...ok, at least to me.

Act 2:

Entr'acte...............Orchestra

"Just Around the Cornerâ"......Morticia, Ancestors
A vast improvement over "Second Banana" in every way: lyrically, thematically, stylistically + we get to see Bebe dance a bit more. Still just a soft shoe, but that's as much as she can do in that dress anyway (until the end). Some nice choreographic humor from Trujillo.

"The Moon and Me"..............Uncle Fester, Female Ancestors

"Happy/Sad"....................Gomez

"Crazier Than You"................Wednesday, Lucas
This number felt expanded a bit from Chicago but I don't remember enough specifics to comment on exactly how.

"Let's Not Talk About Anything Else But Love"....Mal, Gomez, Uncle Fester, Grandma
Also seems to have been expanded a bit. The encore involving Grandma is definitely new. It is indeed reminiscent of "...Maid" from "...Forum" but that didn't really bother me. The convention of that sort of song is a theatrical/vaudeville-esque convention and not unique to "Forum" either.

"In The Arms"............Mal, Alice
Same oddball song, but Carolee sings a bit of it with Terry.

"Live Before We Die"......Gomez, Morticia
A new song and a lovely one at that. Feels really old school with two leading characters, and bona fide theatre stars, sharing the stage and singing a wistful, romantic, lilting song to each other about the time they've shared and the time yet to come. My friend who was with me felt this was a true "Broadway" moment.

"Tango de Amor"...........Morticia, Gomez, Company
Comes directly out of the prior song and replaces the swordfight/tango. A lot of the same tango elements I remember from Chicago but shorter. I'm not a huge tango fan, but the number builds well and the last lighting cue and Nathan's yell of "Amor!" did give me a chill (in a good way).

"Move Toward the Darkness"................Company
The dialogue has been tightened and instead of returning to the interior of the Addams house, they return to the graveyard, where the ancestors are finally allowed to return to their crypt now that love has been restored in the two families. Yes, it's an anthemic closing number rather than a razzle-dazzle number but given that the creative team clearly didn't want the show to be ALL laughs and gags (and in the 2nd act, it's not), it's an artistic choice that will work for some (like me) and not for others.

MERCHANDISE:
(I may have missed a few items but this is what I noticed):

-- a variety of t-shirts in various colors. Some with characters from the show. Some with lines from the show. Some with both.
-- black hooded sweatshirt
-- baseball cap and a ski/winter hat
-- umbrella with Addams characters lining the inside (I couldn't really see what the outside was)
-- water bottle, mug
-- random novelties: playing cards, magnet set, keychain, pin
-- tote bag
-- some paper products -- post-its, greeting cards
-- not yet taking pre-orders for the CD but I asked and according to one of the 2nd floor sellers, they expect to start doing so shortly
-- no souvenir book yet. They said likely in late April.

MISCELLANEOUS THOUGHTS:

The "excellent":

----> parts of the score: "When You're an Addams", "Just Around the Corner", "Happy/Sad", "Live Before We Die", "Move Towards the Darkness".

----> the performances: Nathan and Bebe do what Nathan and Bebe do. Nathan could be reined in a bit but it's also what a lot of people pay to see and they eat it up. To me, though, it's in the supporting roles where some truly wonderful performances can be found. Kevin Chamberlin, in particular, is just as dementedly adorable as I remember from Chicago. Zachary James has been given a good deal more to do as Lurch and he proves himself a terrific comic actor, even with only "noises" as dialogue. Carolee Carmello continues to shine not only for her singing but also for her comedic acting.

----> the physical production: looks like very little has changed but having not seen it in three months, it was exhilarating to see all over again. Really just two main sets with a lot of "looks" that are created by the movement of individual pieces and then some in-one scenes, including the stunningly simple and gorgeous "Moon and Me". Very striking and at times, downright beautiful stage pictures.

The "much improved":

----> the storytelling: Have to believe this is where Zaks had the most influence. Before, the story was a bit muddled and it was unclear whose story this was. I think the essence of the story is much more focused now. Wednesday is the catalyst for the action but it's really the story of three couples re-examining their relationships with one another (four, if you count Fester and the moon) and unlike in Chicago, Gomez and Morticia now have the most focus, which seems right for a show called "The Addams Family" and starring Nathan and Bebe. For Wednesday and Lucas, it's a simple love story. Boy meets girl. Boy (almost) loses girl. Boy and girl reconcile. For Morticia (and by extension Gomez), it's no longer exclusively about the idea of getting old and being undesirable. There is still a little bit of that, but it's more about the larger theme of realizing, via witnessing her daughter's coming-of-age, that she's on the "back half" of her life and being wistful, nostalgic, remorseful and perhaps downright sad about the roads not taken. For Mal and Alice, the circumstances of the evening force them to re-examine their loveless marriage and ultimately, with the help of a "third party", fix it.

----> the choreography: I may never be a huge fan of Sergio Trujillo (Guys & Dolls anyone?) but at least there's now a clarity in the major dance pieces -- "When You're an Addams", "Just Around the Corner", "Live Before We Die" -- that wasn't there before. More real steps, less little hand movements. More synchronized group movement and less haphazard chaos. Also better spacing (helped by better lighting and better costumes for the ancestors). Bebe probably still doesn't dance as much as all of us fans (or at least me!) would like, but with hip issues and a singing voice that has always been a bit iffy, I have a feeling she's doing the best she can physically do up there.

----> the chorus: simply put, the reason for their existence makes a good deal more sense now. Yes, they are still needed to move some of the set around, but even that feels a little more justified in the context of their roles in the show. Also, it looks like some (maybe all?) have been re-costumed from scratch and all of them are now in shades of white, which give them a ghostly appearance and delineate them more clearly from the "real" people onstage. It's a big help.

The "still needs improvement":

-- the last third of Act I: the show does get a book heavy between the time the Beinekes reach the Addams house and the "Morticia" song. We then get the Pugsley song and scene with Grandma, which is fine as is. But that is then followed by another extended scene and the lengthy "Full Disclosure" sequence which is a tad quirky. It looks like they are focused on this already as "Tango Tango Tango" (whatever that was) is already gone. I think there is still some more tightening that could be done here in the writing to those book scenes and also perhaps some work in the second half of "Full Disclosure" that might help it pop a bit more and give the Act I finale a little more bang.

-- "In The Arms": if I'm remembering correctly, they've made some adjustments in the placement and arrangement of the song but it's still an absurd/bizarre concept in a show that hasn't previously gone to a truly absurdist/bizarre place. To try and get me to "go with it" at that point in the show (towards the end of the Act II) was a stretch. If this were "Zombie Prom" or that sort of quirky, highly satirical, extreme type of show, it would work. But already in Chicago, and even more now, this is a pretty traditional musical in structure and tone (albeit about more-than-a-little-skewed characters) and trying to shift suddenly into that sort of "so mock-serious that it's ridiculous" tone at that moment didn't work. Not sure what they can do about this, though, since it's a story arc that is embedded throughout the show. Maybe just a different song that is more pure and true and heartfelt and doesn't try to be as humorously strange? This is really the only part of Act II that lagged for me.

FINAL THOUGHTS:

In Chicago, I gave the show a B/B+. It was quite good, and even great in a few spots, but there were definitely some obvious issues with the story as well as multiple stretches when you could sense audience interest declining.

Based on first preview in New York, I think I'd upgrade it to an A-. It's still not perfect, nor magical all the way through (in the way that, say, you knew "The Producers" was a out-and-out hit already at the final dress rehearsal). It definitely has its peaks and valleys. But the valleys are not nearly as deep as they once were and, though perhaps topographically impossible, it seems like there are quite a few more peaks (without the increased number of valleys). I'd say they still have a little work to do, primarily in that last section of the first act. At the end of the day, this isn't a show that breaks any new ground or challenges the boundaries of what musical theatre can be. But it's a delightful show, with some wonderful music, some great performances, a beautiful physical production and plenty of good laughs. As evenings out go, that sounds like a lovely way to spend a night at the theatre.

Sorry for the length and thanks for reading all the way through.

Updated On: 3/9/10 at 02:13 AM