Review: The Addams Family - HXT

Society name: Harold’s Cross Tallaght Musical Society

Show name: The Addams Family

Date of attendance: 12^th of November 2025

It was a night worthy of any horror story as I set out to visit one of my favourite families, the Adamses’, at Tallaght’s Civic Theatre. Driving rain, flooded roads and bumper-to-bumper shenanigans on the M50 added to the fun. How lovely it was to reach my destination in one piece, for what was a brave reimagining of one of the most popular modern musicals on the circuit. Over the past decade, ‘The Addams Family’ has firmly established itself as a society favourite. With its hilarious book and catchy numbers, it has always been a real crowd-pleaser. For societies, it ticks other important boxes, with lots of great comic roles for members, creative visual opportunities and, of course, a familiar brand which has enjoyed a Netflix resurgence in recent years. I always admire those who take artistic risks and there was no denying that Harold’s Cross Tallaght Musical Society’s vision was very different to other interpretations of the show. Avoiding the more familiar gothic aesthetic, this production transported Gomez Addams and his “normal” family into a world inspired by ‘Día de los Muertos’, the Mexican ‘Day of the Dead’. It was a courageous and creative choice that guided every aspect of the production. 

I was delighted with the warm welcome when I arrived in the foyer of the Civic Theatre. Volunteers sold programmes and raffle tickets with a friendly enthusiasm and their colourful, marigold headbands tied in nicely with the ‘Día de los Muertos’ theme. The foyer display of cast photographs was nicely presented, with the frames around each being another nice detail. The overall experience was very positive, with a lovely welcome and sense of occasion.

The very talented Niamh McGowan directed with what was a bold artistic vision and we knew as soon as the curtains parted that we were not going to see a conventional interpretation of ‘The Addams Family’. Setting the show within the world of the ‘Día de los Muertos’, gave us a production which evoked celebration rather than the more familiar gothic undertones. Ms. McGowan and her design team had put a lot of thought into the visual presentation. The bold colour choices, the marigolds, the Papel picado, the altar table, all contributed to the strong sense of culture and celebration. ‘Día de los Muertos’ is a festival that celebrates the living and the dead, aligning well with the show’s theme of ancestry. Yet, despite the thematic connections, the reframing didn’t always work for me. Whilst visually very pleasing, I felt that the vibrancy of the design meant that we lost much of the macabre, visual humour which underpins the show. The ensemble’s commitment to this idea was excellent. Unfortunately, however, I felt that they needed to be ‘reined in’ at times, as their background activity often distracted from principal scenes. That said, Ms. McGowan’s wonderful directorial touches were always to the fore. The clever use of ivy garlands “pulled” by ancestors to form Pugsley’s torture device was inventive and visually strong. Comic interplay between principals was very funny, with a very good sense of timing. Overall, Ms. McGowan’s direction was highly ambitious and there was no taking away from the intelligence and conviction behind her vision.

Musical Director Dermot O’Callaghan presided over a very polished and well-balanced orchestra. You could sense the excitement in the auditorium during the overture and we just knew that Andrew Lippa’s score was in excellent hands. The band, positioned cleverly beneath the central staircase, produced a wonderfully full sound. Ensemble vocals were a highlight throughout. ‘One Normal Night’ was stunning chorally.  Backing vocals for ‘The Moon and Me’ were beautifully balanced, adding real emotional warmth to Fester’s gentle love song. ‘Move Towards the Darkness’ was, ironically, joyful and uplifting in its power and gloriously layered harmonies. Kudos in particular to the sopranos whose tone and accuracy were just wonderful. A sense of support for cast was always evident as Mr. O’Callaghan’s care with dynamics ensured that underscored dialogue was always heard, even in numbers with the fullest accompaniment.  An excellent job all round.

Choreographer, Lauren Dooley, embraced Ms. McGowan’s vision, devising well-rehearsed routines that were thoughtful and theatrical. Her choreography was always full of purpose and told the story through its physicality and many humorous touches. Of course, she was blessed with a very skilled ensemble, which allowed her creativity to come to life in such a vibrant way. ‘When You’re an Addams’ was quirky and sharp, embracing the madness of the show’s premise from the outset. ‘Secrets’, which featured the ladies of the ensemble with fans, was a very polished and precise number, nicely synchronised and always keeping the focus on Morticia. I loved ‘Full Disclosure’, which was the perfect example of controlled chaos. For me, the absolute highlight was ‘Tango de Amor’ which was beautifully staged and performed by five couples, including Gomez and Morticia. It was intensely passionate and combined with stunning accompaniment and creative lighting to produce one of the evening’s highlights. 

Jamie Place’s portrayal of Gomez Addams was a riot of fun from start to finish. He played the role with a manic energy and a glint in his eye that endeared him to the audience from the get-go. What appeared like initial nerves and a glimmer of hesitancy, settled very quickly, allowing Mr. Place to find the confidence that let his obvious flair for comedy shine through. I was very impressed by how powerful and expressive his vocal was, whether delivering the frustration of ‘Trapped’ or the more thoughtful ‘Happy/Sad’. The latter was beautifully sincere. Comic timing was sharp and intelligent. Mr. Place’s absurd fox/box ‘disclosure’ was comedy gold, with the joke landing perfectly because of his ridiculously earnest delivery. His hilarious facial expressions and excellent physicality made this a very strong comedic performance all round. 

Serena Salmon might well have been born to play Morticia Addams. This was a commanding performance full of precision, poise and intelligent understanding. Ms. Salmon had the audience in the palm of her hand, hanging on every cliché, as she held everyone’s attention with her quiet intensity. Her physicality was exceptionally good. Every movement appeared intentional and full of purpose as she radiated serenity and strangeness. She was vocally superb, always focused on character. ‘Death Is Just Around the Corner’ was a masterclass in understated comedy and characterisation. Focus was always on the words and telling her joyful story of impending doom. In short, it was a performance that wouldn’t have been out of place on a professional stage. 

Ríona Keogh delivered a very strong performance as Wednesday Addams. Wednesday is a deceptively difficult role to play. However, Ms. Keogh managed to balance the deadpan intensity with her teenage angst and did so with clarity and confidence. ‘Pulled’ wasn’t just played for comedy. Ms. Keogh understood the nuances of Wednesday’s ‘horrific’ situation; falling in love but confused by how thrilling it actually is. Vocally, it was effortless, with great control, superb diction and clever phrasing.  Physicality was very strong and Ms. Keogh had a great physical awareness on stage. Her scenes with Lucas were deliciously awkward, yet believable. 

Seán O’Callaghan may only be 12 years old but his bio would leave most of us in the shade. This very talented young man brought all of his experience to the role of Pugsley and what a performance it was. His composure, clarity and intelligence as a performer was well beyond his years. He was mischievous and delightfully odd, just as he should be, and he performed with a natural ease that made him an audience favourite from the start. ‘What If?’ was excellent, delivered beautifully with intelligent phrasing. Seán was so tuned into the narrative. He listened onstage, reacted truthfully, and never tuned out, even in busy ensemble scenes. 

Eoin Salley’s Fester was eccentric and whimsical and the audience loved him for it! He was the perfect blend of warmth and mischievous energy. Mr. Salley’s facial expressions were quite hilarious, ranging from childlike innocence to lovestruck yearning. ‘The Moon and Me’ was especially touching. His impressive vocal really suited the song, bringing out its absurdity without overegging the joke. Mr. Salley had a superb physicality which really added to his quirky characterisation. 

Rosaleen Nolan gave a wildly chaotic and hilarious performance as Grandma Addams, stealing many scenes with her anarchic mischief and natural comedic flair. Her unexpected rendition of ‘Pink Pony Club’ was a joyfully absurd moment that underlined her eccentricity and lack of filter. It’s a part that can often be overplayed for laughs but it was in safe hands with a skilful comedienne of Ms. Nolan’s calibre. Her physicality and stooped movement were excellent. 

Julie Donnelly delivered a very funny performance as the tightly-wound, Alice Beineke, with a penchant for rhyming. She never slipped into caricature but was quirky without becoming cartoonish. Her performance of ‘Waiting’ was a comic highlight. Her breakdown, as she unravelled spectacularly across the dinner table was hilarious. Her scenes with Mal were very well played and their dysfunctional marriage provided much hilarity. 

Paul Laycock was very strong as Alice’s uptight husband, Mal. Vocally, he had a clear, resonant tone that suited Mal’s stoic personality. Mr. Laycock’s strength lay in his ability to allow Mal’s rigid exterior to crumble gradually over the course of the evening; an emotional thawing of sorts. It was a well-judged, understated performance, nicely balanced against the manic, surreal world around him.

The very talented Dan Whelan was charming and instinctively funny as Lucas Beineke. His performance was earnest and awkward in equal measure, making his character both goofy and sincere at the same time. Mr. Whelan is a natural comedian. His hilarious reaction to Morticia’s up close and personal greeting was a brilliant mix of panic and utter bewilderment. His facial expressions were pitched just perfectly. His vocal performance in ‘Crazier Than You’ was superb. His chemistry with Ms. Keogh was another strong point. They worked exceptionally well together, creating a refreshingly believable but awkward relationship. 

As the vertically unchallenged Lurch, Eddie Brady’s movement was hilariously slow and overly considered. His consistently slow physicality throughout the show was most impressive and this became one of the production’s best visual gags. Facial expressions were quite hysterical at times. Mr. Brady’s extended ‘monologue’ explaining Lurch’s origin story to the Beinekes was a comedic highlight of the entire production. Vocally, he delivered one of the most memorable moments of the evening in ‘Move Toward the Darkness’. Just glorious! 

The ensemble, a motley crew of ancestors, was a very central part of the show’s ‘Día de los Muertos’ vision. Their commitment to this idea was undeniable. Vocally, they were consistently strong with excellent choral work and attention to dynamics throughout.  Choreography was performed with wonderful energy and discipline. However, the choice to have the ancestors so animated during dialogue did present challenges. The ensemble’s ongoing background business, mimed conversations, jogging on the spot and continuous gesturing were carried out with commitment but often pulled focus during dialogue. That said, when the ensemble’s movement was more in tune with the narrative, the effect was powerful. 

Marie Cusack’s steady hand as stage manager was always evident, even though crew were never seen and there were no set changes, as such. Furniture and other pieces were moved by cast in a very theatrical and highly efficient manner. The show’s clean momentum was clearly due to excellent coordination and collaboration between director and stage manager. It ran seamlessly from start to finish. 

The set for this production was most striking with its ‘Día de los Muertos’ concept, embracing warmth, colour and cultural symbolism. The central wooden staircase, was very strong visually and provided many interesting staging opportunities. The terracotta walls gave a distinctly Mexican flavour, in keeping with the theme. The altar-style table was a nod to ofrenda traditions and fittingly doubled up as the Addams dinner table. I did feel that the vibrant colours,  whilst beautifully conceived and created, diluted the darker, comedic edge of the material. Overall, however, the set was beautifully presented and reflected the intended theme perfectly. 

Lighting played a huge role in creating a world that was brighter and more colourful than most versions of the show. Within the theme, it worked very well. Haze was used to good effect, enhancing beams from moving heads and creating depth, as required. Moving lights were used very well throughout. ‘Tango de Amor’ was particularly impressive, with moving lights complementing the choreography beautifully. Similarly, the brief but sharp ‘snap’ cues during Gomez’s “two things” moments were very well timed, adding to the visual humour. 

The sound design for this production was impressive, for the most part. I loved the pre-show sound effects as dripping and spooky organ music contributed to the mood but never felt intrusive. The band was mixed particularly well, a difficult task, given their location under the set and out of sight. Sound effects throughout the show were excellent. The Addams doorbell, the ratchet during Wednesday’s torture sequence, the arrow’s shoot-and-twang were all timed with precision. These effects added great texture. The violin in ‘Happy/Sad’ and the beautiful introduction to ‘Tango de Amor’ were perfectly featured. 

Props were a great blend of the show’s usual quirkiness, along with plenty of nods to the ‘Día de los Muertos’ theme. In a show like ‘The Addams Family’, props contribute very strongly to the visual humour and this production was no different. I loved Grandma’s cobweb-covered pram with its mysterious bottles of ethically questionable concoctions. Wednesday’s crossbow looked great, as did Fester’s rocket. Alice’s guidebook looked delightfully out of place in the Addams world and Lurch’s phone looked like it fitted right in. The ofrenda, with its myriad items of personal value to the deceased, was a prop-laden centrepiece which was very visually striking. 

Costumes were a blend of the traditional Addams aesthetic and the ‘Día de los Muertos' reinterpretation and, in the context of the theme, worked very well, for the most part. The result was lots of colour where more muted, monochrome is typically more common. Principal characters were very well turned out. Morticia’s elegance was reflected perfectly in her costuming and I loved the matador take on Gomez in place of his iconic striped suit. Wednesday’s black dress, gloves and black boots were suitably gothic and Pugsley’s traditional stripes were in keeping with our expectations. I also loved his skeleton pyjamas which were a clever touch. The ancestor costumes were quite the departure from the norm and generally worked very well within the thematic shift. Each ancestor represented a different historical figure. For the most part, there was good cohesion in the colourful reimagining of the costume plot. However, one neon, luminous outfit appeared to clash with the overall aesthetic and, I felt, could have been toned down. 

Hair and makeup design were a visual treat throughout. From the more traditional looks to the reimagined ancestors, there was excellent work across the board in creating a rather spectacular world built around the production’s stylistic choices. The ancestors’ sugar-skull makeup was a triumph and could have worked equally well in a more traditional Addams production. The marigold flower crowns, with their vivid colours, contrasted nicely with the black and white skeletal makeup, tying in perfectly with the theme. Principals were very well presented. Fester’s excellent bald cap and pale complexion blended perfectly. Lurch’s sunken features added to the visual comedy and Morticia’s sleek black wig complemented her dark elegance. Wednesday’s iconic, gothic look was perfectly captured, right down to her fingernails and Grandma’s wild hair reflected utter chaos. 

There is no doubting that Harold’s Cross Tallaght’s production of ‘The Addams Family’ was a dramatic departure from the traditional. I cannot praise the creativity, intelligence and courage enough. Strong performances across a very talented cast contributed greatly to what was a most memorable, thought-provoking production, which fulfilled its primary purpose in providing great entertainment for its audience. Job done!

Pat McElwain

Sullivan Adjudicator 2025/2026