Overview
Synopsis
In the kooky, upside-down world of the Addams Family, to be sad is to be happy, to feel pain is to feel joy, and death and suffering are the stuff of their dreams. Nonetheless, this quirky family still has to deal with many of the same challenges faced by any other family, and the spookiest nightmare faced by every family creates the focus Lippa, Brickman, and Elice’s musical: the Addams kids are growing up. The Addamses have lived by their unique values for hundreds of years and Gomez and Morticia, the patriarch and matriarch of the clan, would be only too happy to continue living that way. Their dark, macabre, beloved daughter Wednesday, however, is now an eighteen year-old young woman who is ready for a life of her own. She has fallen in love with Lucas Beineke, a sweet, smart boy from a normal, respectable Ohio family — the most un-Addams sounding person one could be! And to make matters worse, she has invited the Beinekes to their home for dinner. In one fateful, hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face up to the one horrible thing they’ve managed to avoid for generations: change.
Show Information
- Book
- Rick Elice , Marshall Brickman
- Music
- Andrew Lippa
- Lyrics
- Andrew Lippa
- Category
- Musical
- Age Guidance
- Youth (Y)/General Audiences (G)
- Number of Acts
- 2
- First Produced
- 2010
- Genres
- Comedy, Dark Comedy
- Settings
- Contemporary, Multiple Settings
- Time & Place
- new york city. the present.
- Cast Size
- medium
- Orchestra Size
- Medium
- Dancing
- Some Dance
- Licensor
- Theatrical Rights Worldwide
- Ideal For
- College/University, Community Theatre, Diverse Cast, High School, Large Cast, Professional Theatre, Regional Theatre, Star Vehicle Female, Star Vehicle Male, Mostly Male Cast, Includes Adult, Late Teen, Young Adult, Child, Early Teen, Mature Adult Characters, Medium Cast
Context
The Addams Family is a musical based on the characters created by cartoonist Charles Addams. While many television and film adaptations have been made, the musical is the first stage production based on Addams’ concept and takes all inspiration from the original cartoons with a completely original plot, separate from the characters’ on-screen story lines.
Work began on The Addams Family in 2007, when producers first gained rights to write a musical about these beloved characters from the
to read the context for The Addams Family and to unlock other amazing theatre resources!Plot
NOTE: This synopsis is based on the script for the original Broadway production.
Act One
(“Addams Family Theme/Overture”)
The eccentric, morbid, fun-hearted Addams family — patriarch Gomez, his wife Morticia, their children Wednesday and Pugsley, Grandma, Uncle Fester, and servant Lurch — are celebrating their yearly ritual of summoning their ancestors from the dead. As they do so, they explain to the audience what it means to be an Addams: one must have a sense of humor, a taste for
to read the plot for The Addams Family and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Baritone, Bass |
|
|
Lead |
Female |
Mezzo-Soprano, Alto |
|
|
Lead |
Female |
Soprano, Mezzo-Soprano |
|
|
Supporting |
Female |
Soprano |
|
|
Supporting |
Male |
Tenor, Baritone |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Male |
Tenor |
|
|
Supporting |
Male |
Tenor, Baritone |
|
|
Featured |
Female |
Soprano |
|
|
Featured |
Male |
Bass |
|
|
Ensemble |
Either Gender |
Soprano, Mezzo-Soprano, Alto, Tenor, Bass |
Songs
BROADWAY PRODUCTION
Act One
- “Addams Family Theme / Overture” — Orchestra
- * “When You’re an Addams” — Addams Family, Ancestors
- “Pulled” — Wednesday, Pugsley
- “Where Did We Go Wrong” — Morticia, Gomez
- “One Normal Night” — Company
- “Morticia” — Gomez, Male Ancestors
- “What If” — Pugsley
- “Full Disclosure” — Company
- “Waiting” — Alice
- “Full Disclosure (Part 2)” — Company
Act Two
- “Entr’acte” — Orchestra
- * “Just Around the Corner” — Morticia, Ancestors
- “The Moon and Me” — Fester, Female Ancestors
- “Happy/Sad” — Gomez
- “Crazier Than You” — Wednesday, Lucas
- * “Let’s Not Talk About Anything Else But Love” — Gomez, Mal, Fester
- * “Let’s Not Talk About Anything Else But Love (Reprise)” — Grandma, Gomez, Fester
- “In the Arms” — Mal, Alice
- “Live Before We Die” — Gomez, Morticia
- * “Tango de Amor” — Morticia, Gomez, * Ancestors
- “Move Toward the Darkness” — Company
- “Bows/When You’re An Addams (Encore)” — Company
US TOURING PRODUCTION
Act One
- “Addams Family Theme / Overture” — Orchestra
- * “When You’re an Addams” — Addams Family, Ancestors
- “Fester’s Manifesto” — Fester
- “Wednesday’s Growing Up” — Gomez
- “Trapped” — Gomez
- “Pulled” — Wednesday, Pugsley
- “One Normal Night” — Company
- “But Love (Reprise 1)” — Fester, Ancestors
- “But Love (Reprise 2)” — Fester, Ancestors
- “Secrets” — Morticia, Alice, Female Ancestors
- “Gomez’s ‘What If’” — Gomez
- “What If” — Pugsley
- “Full Disclosure” — Company
- “Waiting” — Alice
- “Full Disclosure (Part 2)” — Company
Act Two
- “Entr’acte” — Orchestra
- * “Just Around the Corner” — Morticia, Ancestors
- “The Moon and Me” — Fester, Female Ancestors
- “Happy/Sad” — Gomez
- “Crazier Than You” — Wednesday, Lucas, Mal, Alice
- “Not Today” — Gomez
- “Live Before We Die” — Gomez, Morticia
- * “Tango de Amor” — Morticia, Gomez, * Ancestors
- “Move Toward the Darkness” — Company
- “Bows/When You’re An Addams (Encore)” — Company
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
A low female vocal range used in opera and musical theatre, often assigned to mature or dramatic roles.
A male vocal range between tenor and bass, often used for romantic leads, villains, or father figures in opera and musicals.
The lowest male vocal range, typically associated with characters of authority, wisdom, or villainy in opera and musicals.
In musical theatre, the script or spoken text of the show, not including the music or lyrics.
A character type marked by odd or unusual behavior, often used for comedic or dramatic effect.
An additional performance or musical number requested by the audience after the conclusion of a show.
A literary and dramatic style emphasizing horror, emotion, and the supernatural. This term plays a vital role in understanding theatrical structure and is commonly encountered in stagecraft or performance settings.
The complete text of an opera, musical, or other extended vocal work, including all spoken dialogue and lyrics. The libretto provides the dramatic structure and narrative arc, serving as a guide for both performers and directors to align story and music.
Relating to the gruesome or morbid, often used in theatrical works that explore death or horror. Macabre themes are prevalent in Gothic drama and add emotional weight through dark imagery and mood.
A powerful female figure who leads a family or social group, often featured in dramatic works as a symbol of strength, tradition, or authority. Matriarchs play pivotal roles in both classical and contemporary theatre as central moral or emotional anchors.
Short for mezzo-soprano, a female voice type that sits between soprano and contralto, common in opera and musical theatre.
Relating to death or disease, often used to describe the tone or themes in dark or tragic plays. Morbid elements in theatre provoke reflection and emotional impact.
A character or voice that tells part of the story, offering commentary or background. Narrators are frequently used in children’s theatre and epic productions.
The process of assigning musical parts to instruments in an ensemble. Orchestration helps shape the sonic texture and emotional tone of a score.
An instrumental introduction to a musical or opera, presenting themes that will appear throughout the production. Overtures set mood and anticipation.
The male head of a family or group, often dramatized in theatre to explore power, legacy, and traditional authority.
The repetition of a song or theme earlier introduced in a musical, usually to reflect character change or emphasize emotional development.
The written music for a theatrical or operatic work, including vocal and instrumental parts. The score is essential for rehearsals and performances.
The highest female vocal range in classical and musical theatre, often associated with youthful or romantic leads.
A male vocal range above baritone, commonly featured in opera and musical theatre for romantic or heroic lead characters.
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Themes, Symbols & Motifs
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