Review: The Addams Family - Drogheda Musical Society

Society name: Drogheda Musical Society

Show name: The Addams Family

Date of attendance: 12^th March 2026

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At 19:35 on 12th March, 2026, the lights dimmed in the Barbican Theatre, Drogheda, and a little piece of history was created, or perhaps more fittingly, recreated, as Drogheda Musical Society returned to the stage with their production of ‘The Addams Family’. This marked the society’s first production since the 1980s, making the occasion all the more special. What better way to bring a society ‘back from the dead’ than with a show so playfully steeped in the macabre as ‘The Addams Family’? It was the perfect choice as this new chapter began. For a society in its infancy, the production was a confident and encouraging first step on what promises to be an exciting journey. 

Front of house was unusually calm for an opening night, particularly for a society at the very beginning of its journey, where one might expect a degree of chaos as systems and routines are being put in place. Instead, there was a relaxed and well-organised atmosphere. We were welcomed into the auditorium and everything flowed smoothly without any sense of urgency or pressure. If there is one small area for consideration, it would be the movement of front of house personnel during the performance. There was some traffic up and down the centre aisle in the first half, as latecomers were seated and checks were carried out. While this is entirely understandable, particularly in a new setup, allowing for natural breaks in the action might help to minimise any distraction for the audience. 

Director Sarah Louisa Nolan did a very good job in bringing this fun and quirky show to the stage. Working with a cast of varying levels of experience, Ms. Nolan succeeded in getting the best out of her performers. There was a strong understanding of the show’s comedic tone, which came through clearly in the staging and character work. Pace and flow were particular strengths of the production. The integration of the Ancestors throughout the show, particularly in introducing and distributing props during scenes, worked very well and contributed greatly to the overall fluidity of the production. There were some opening night jitters from one or two principal performers which disrupted flow on occasion. However, that is to be expected on such a big occasion and I have no doubt that things settled as the run progressed and confidence grew. What stood out most was the attention given to the ensemble. Every performer was engaged and knew what their contribution should be. This was a very assured piece of direction that laid a very strong foundation for future productions.

Megan Monerawela took on the role of Musical Director. As a society starting from scratch, the decision to use backing tracks for this first outing was both practical and sensible. With many start-up groups finding themselves under financial pressure after an initial production, this felt like a wise choice, and one that did not detract from the audience’s enjoyment of the show. Following some minor initial balance issues, things settled quickly, and from that point on the musical aspect of the production was very strong. Ensemble singing was particularly impressive, with excellent attention to dynamics and some really good harmony work.

Principal vocals were generally strong and full of character. Of course, one of the challenges of working with tracks is the lack of flexibility. Should anything go slightly off course, it can be more difficult to recover in the moment. Thankfully, such instances were few and far between on the night. Looking ahead, encouraging performers to maintain connection with the audience while keeping the Musical Director in their peripheral vision may help to strengthen performance presence even further. A particular highlight was the vocal work in ‘The Moon and Me’ and ‘Move Towards the Darkness’, where the harmonies were especially strong and beautifully delivered. 

The standard of choreography was impressive, both in terms of creativity and execution. Aisling Nally devised a series of routines that were very in keeping with the style and tone of the show and which indicated lots of preparation and clear direction. Ensemble numbers were especially effective, full of energy, precision and character. There was a noticeable confidence in performance and this was all the more impressive given that it was opening night. ‘When You’re an Addams’ was a strong and impactful opening, setting the tone with well-rehearsed movement and excellent facial expressions from the ensemble. ‘Trapped’ was another standout, with the clever incorporation of swords working really well. Indeed, the integration of props throughout the choreography was a real strength of Ms. Nally’s work, handled with great creativity throughout. The tango sequence, choreographed by assistant choreographer Katie Fitzsimons, was a highlight of the production. This is a moment that can sometimes lose energy but that was not the case here. It was very well rehearsed, sharply executed and full of character and humour. 

Peter Kermath played the leading role of Gomez Addams and it was a performance that showed considerable promise. He fully embraced the zaniness of the role, with his wonderfully expressive face and a natural instinct for comedy. ‘Trapped’ was a particular highlight, with that final big note that showcased his vocal potential very clearly. There is definitely a natural comedic performer emerging here. As confidence continues to grow, so too will the scale and range of his comedic ability. Similarly, some additional focus on projection in quieter moments, will raise Mr. Kermath’s game. His movement in ‘Full Disclosure’ was very funny, adding to the humour and physicality of his performance. Mr. Kermath is definitely a performer to watch and I look forward to seeing how he continues to fine-tune his skills in future roles.

Suzan McDonagh Fitzsimons brought a wealth of experience to the role of Morticia, with a very polished performance throughout. She had a calm confidence and an elegant presence that really suited the character, allowing the humour and sophistication of Morticia to shine through. Vocally, she was impressive, with ‘Secrets’, in particular, standing out as a musical highlight. There was also a great comedic touch to her performance. The “coroner” gag was subtle, knowing humour at its best, nothing forced and an understanding that sometimes less is more. ‘Death Is Just Around the Corner’ was another excellent moment, showing Ms. McDonagh Fitzsimon’s vocal ability and her ease on stage. Overall, this was a super performance with strong vocals, subtle comedy and a very good understanding of the role.

Niamh Costello gave a strong performance in the role of Wednesday, capturing her character’s dark, deadpan nature with great consistency. She very much understood Wednesday’s gothic vibe and her ability to keep her trademark scowl going through the whole show was impressive. Vocally, Ms. Costello did very well. ‘Pulled’ was a standout moment, showcasing her fine voice and performed with confidence and power. Her diction was consistently clear and she had very good comic timing throughout. It was a very confident and thoughtful performance, with strong character work and very good vocals. 

Paul Davis showed plenty of potential in the role of Uncle Fester, with his strong sense of physical comedy and character. His very expressive face was put to great use throughout, and he embraced the eccentricity of the role, getting plenty of laughs in the process. He also had a fine voice, with ‘The Moon and Me’ providing a memorable highlight. At times, there were some slight uncertainties with musical timing, including a small number of tentative entries and one moment where the vocal moved ahead of the track. However, these were quickly recovered, with strong support from Ms. Monerawela, who helped to keep everything on track. Another performer who will, no doubt, continue to develop with experience.

Susan Savage brought great humour and energy to her portrayal of Grandma. Her characterisation was deliciously eccentric and unpredictable, with excellent use of voice and a wonderfully twisted physicality that was consistent throughout. Her facial expressions and movement added greatly to what was a very funny portrayal. Comedy was very strong. Her perfectly timed “I just peed” earned one of the biggest laughs of the night, thanks to Ms. Savage’s wonderful timing. A lively, thoroughly enjoyable portrayal, full of character and fun from start to finish.

Casting Katie Fitzsimons in the role of Lurch was a somewhat unconventional choice but one that proved to be very effective. My initial reservations were very quickly put to rest as Ms. Fitzsimons gave a delightfully funny performance that fully captured Lurch’s absurdity. Her offbeat ‘back-story’ when greeting the Beinekes was hilarious, suggesting all sorts of wonderfully absurd possibilities within the Addams household. Could Morticia have secretly been Lurch’s mother?? Who knew? Moments such as mopping up after Grandma’s ‘accident’, drew huge laughter from the audience and her brilliantly confused reaction to Alice’s advances during the very funny ‘Waiting’ added a whole other comedic layer. She unexpectedly danced with great confidence in the tango sequence. Her moment in ‘Move Towards the Darkness’ was delivered with commitment, even if the male vocal register did not sit comfortably and transposing was not an option with the tracks. A very strong and engaging performance overall from Ms. Fitzsimons.

Dillon Corcoran was animated and very engaging as Lucas, bringing great energy to the role. He was a strong actor, with a natural comedic ability and a very impressive physicality that suited the part well. He played Lucas’s goofy, all-American enthusiasm so well, providing a perfect counterbalance to Wednesday’s darker, deadpan persona. Mr. Corcoran showed great stage awareness and some quick thinking that was most impressive. In one scene, he recovered a brief lapse from a fellow performer quite seamlessly; a clear sign of someone who is in the moment and fully in character. Vocally, he was equally strong, with ‘Crazier Than You’ giving an opportunity to show his impressively confident singing voice. 

Emma Jayne Calvey was highly entertaining as Alice Beineke, with a delightfully over-the-top energy that made her an audience favourite from the start. She was a very clever actress with a sharp instinct for comedy and she embraced Alice’s quirks so well. ‘Waiting’ was undoubtedly one of the comic highlights of the production and Ms. Calvey threw herself into it with complete commitment. Vocally, she was very impressive, with a powerful delivery in ‘Waiting’ that matched her unhinged energy. Excellent work from Ms. Calvey throughout.

Tom McGanley was the perfect foil to Ms. Calvey’s Alice, with his very entertaining performance as Mal Beineke. Delivery was consistently sharp and his increasing bewilderment with the Addams family as his suspicion built was hilariously played. His escalating exasperation as Alice unravelled was comedy gold. Vocally, he was also strong, getting his chance to shine in ‘Crazier Than You’ with his confident and very capable singing voice. A very well-executed performance from a clever performer, who shone as one of the production’s more ‘normal’ oddballs.

Lennon Doyle gave a very strong performance as Pugsley, the youngest member of this delightfully dysfunctional family. A talented young performer, he brought a confident stage presence, a keen instinct for comedy and musicality to the role. Vocally, Lennon had a strong and musical singing voice. ‘What If’ is no easy number, sitting quite high at times, but he approached it with intelligence and good musical awareness. He also had great fun in the Act 1 finale, where his enthusiastic antics with Grandma’s acrimonium helped to unleash the chaos that followed. 

A motley crew of strange Ancestors appeared throughout the show and what was immediately apparent was the level of work and attention that had gone into the ensemble as a whole. Each ensemble member had their own identity, with movement that was appropriate to that character. They really came into their own during ‘the game’, where the background business and reactions were perfectly appropriate and never distracted from the intended point of focus. The stillness of the three Ancestors holding the frames during ‘Happy/Sad’ was simple, effective and very well executed. Similarly, the ensemble’s focused observation during ‘Crazier Than You’ helped to draw us into the tension of the scene without pulling focus. A highly effective and well-drilled ensemble overall.

Stage Manager Liam MacEneaney ensured that the production moved along in an organised and efficient manner throughout. For a society at this stage of its development, this was a very reassuring element of their first production. There was effective use of cast, at times, to assist with setting and striking furniture. There were a small number of moments where greater coordination between stage management and lighting would have helped, as occasionally, lighting cues came in slightly ahead of the stage being fully set. These were minor and did not significantly impact the performance but are worth noting as the society continues to build on this positive start. 

Set design had a strong understanding of the gothic world of ‘The Addams Family’. The overall concept was quirky, fun and macabre throughout. The raised platform and steps gave great depth and allowed for varied staging opportunities and use of levels. The tombstones either side of the stage were a simple but effective choice in establishing the show’s gothic environment. The imposing gates, covered in cobwebs were a particularly good visual focus at the top of the show. The overall achievement was significant in creating a confident, imaginative canvas against which to present this inaugural show. The set supported the storytelling very well and showed a strong creative instinct. An excellent foundation on which to build going forward.

Lighting for the show provided a very positive springboard for the future. There were many thoughtful moments, with the break-up gobos warming the front tabs pre-show, setting the tone so well. There was a strong sense of atmosphere throughout, with lighting working well to establish the dark, macabre world so central to the show. The use of haze was particularly effective, adding an otherworldly quality that complemented the overall look of the production. Cueing was generally well handled, with good timing throughout. The snap cues for Gomez’s ‘Two Things” moments were nicely timed, with rapid shifts between reality and Gomez’s inner thoughts as he addressed the audience directly. With lots of atmosphere and a strong understanding of mood and timing, the lighting design provided an excellent platform for further development in future productions.

Sound was very well managed overall. Track levels were particularly well judged throughout. The overall sound quality was excellent, with clear vocals and an impressive balance between voices and backing tracks. EQ levels were well set, allowing lyrics to come through clearly without being overpowered. There were no missed cues throughout, a really impressive achievement for an opening night. Looking ahead, there may be opportunities to further complement the storytelling through the use of sound effects. A show like ‘The Addams Family’, with its quirky style, lends itself particularly well to this kind of creative detail. Super work throughout. 

Costumes were very much in keeping with the traditional visual associated with ‘The Addams Family’. Lurch’s elevated footwear worked well to give added height. Pugsley’s black and white stripes were exactly as expected and immediately identifiable, while Wednesday’s yellow dress added great visual humour, as she attempted to appear “normal” for the Beineke’s visit to Central Park. Gomez’s black and blue jacket was a stylish choice, setting him apart and adding an extra touch of flair and exoticism. Mal’s Grateful Dead t-shirt was another nice touch, as he channelled the old Mal in an attempt to reignite his marriage. There was also some clever and subtle storytelling through costume. The move to Lucas wearing black and white while Wednesday wore a yellow tie, was a nice touch, representing a blending of their two worlds. Morticia’s styling was deliciously gothic and carried with confidence and elegance throughout. The Ancestors were beautifully presented as a group, dressed in off-white, ghostly tones. 

There was excellent attention to detail in the props department. The larger furniture items were effective, with the antique chair and chaise longue helping to establish the gothic look of the Addams household. Smaller props were equally well considered. Grandma’s well-stocked trolley was humorously dressed and the distinctive green jar of acrimonium stood out clearly. It was great to see this kind of clarity. Props incorporated into the choreography were handled very well, with items such as the swords adding greatly to storytelling within the movement. The crossbow was another standout piece. The lanterns used in ‘Move Towards the Darkness’, added nicely to the mood of the scene and Fester’s wonderfully absurd, clearly homemade rocket pack was a very funny highlight. Of course he would have made it from whatever junk was lying around! Great attention to detail. The chalice used in ‘Full Disclosure’, complete with its distinctive ‘A’, was another important piece. Overall, a very strong and imaginative props design.

Hair and makeup were very effective overall, working in tandem with the costumes to help create the weird and wonderful characters of the Addams world. The Ancestors had excellent makeup that complemented their costuming and enhanced their ghostly, otherworldly presence. Wednesday’s trademark plaits looked great and her black nail polish was a lovely touch. Pugsley’s red eyes were another subtle but effective detail. Lurch’s makeup was especially striking, leaving the audience to question whether they were among the living or the dead; entirely appropriate for the show. Gomez’s handlebar moustache and goatee were perfectly suited, adding to his sense of flair, while Fester’s wig during his disguise as a ‘normal’ football player provided a great comic moment. Grandma’s wig was a particularly wild piece, full of character and well suited to the role. 

For me, this was far more than just a night at the theatre. It signalled the return of Drogheda Musical Society after decades away and that in itself was a remarkable achievement. To bring a society back to life requires vision, determination and no small amount of courage and all involved should take great pride in what has been accomplished here. For a group in its infancy, this was a very solid and encouraging start. There was a clear sense of ambition throughout, with a talented production team and a cast who were fully committed. As with any opening production, there were areas that will naturally develop with time and experience, but what shone through above all was the potential within this group. There was a sense of enjoyment on stage that came from a group of people who believed in what they were doing. The energy in the theatre and the engagement from those who may not regularly attend musical theatre, is something many long-established groups strive for, and it is a wonderful omen for the future. There is every reason to believe that this is the beginning of an exciting and successful new chapter as Drogheda MS moves towards ‘the brightness’.

Welcome back!

Pat McElwain

Sullivan Adjudicator 2025/2026