Winchester Musicals & Opera Society [WMOS] 
Theatre Royal Winchester, Winchester 
Mark Ponsford 
5 November 2025
When The Addams Family first made its/their Broadway bow in 2010, not all the initial reviews may have been raves, but the public took the show to their hearts. It’s been produced on both sides of the Atlantic, and particularly since the advent of the Netflix series Wednesday, has become a staple on the amateur circuit. And quite right that it should. It’s a delightful concoction, and if the occasional line still causes the occasional raised eyebrow (and kudos to the Director for not cutting anything!) it remains a splendid outing for all the family. If memory serves, the current production is the sixth I have seen, and it’s to the credit of WMOS that the show comes up as deliciously as ever, greeted by full-on cheers from the audience at the end of (and regularly throughout) an opening night performance that had hit the ground running.
In truth, you’d have to be a real grump not to warm to such a non-stop series of subversive delights, particularly when served up with such gleeful relish. Andrew Hodgson’s production goes at a cracking pace, well-drilled and full of excellent comic moments, and is performed on a first-rate and atmospheric set. The show is an all-round technical triumph, not least with regard to the countless sound and music cues which, on opening night, were all bang-on. At every turn, and in every department (not least the Backstage team) there’s clear evidence of painstaking preparation, and the genuine sense of a company who can’t wait to get going and share the fun.
And what fun it all is. Right from the get-go, when we immediately and instinctively start snapping our fingers at the sound of the original TV theme, we’re caught up in this utterly bonkers yet strangely endearing world, in which Family and Family Values remain paramount. The “Meet the Parents” plot (also dealt with in the equally captivating La Cage Aux Folles) makes for excellent musical fodder, and Andrew Lippa’s songs range from the out-and-out crowd-pleasers to the genuinely touching – one of the second act numbers, ‘Happy/Sad’, evokes a sentiment sure to reach every parent in the room. But there’s much to be gone through before the show builds to this point, and the cracking opener, ‘When You’re An Addams’, leaves us in no doubt as to what we’re in for. It’s led by Connor Handstock’s splendid Gomez, full of fourth wall-breaking bonhomie, and with a comic technique that also marks him out as an excellent performer of farce. His gorgeous Morticia is Jade Nicholas, who brings absolute class to her every moment, and delivers gloriously her big number ‘Death Is Just Around The Corner’, and I’m not joking when I say I want this song played at my funeral!
The “other” parents, Mal and Alice Beineke, are given strong and delightful characterisations by Max Bullough and Fiona Willshire respectively, and each has a pricelessly “defining” moment (no spoilers, but Fiona’s “Full Disclosure” and Max’s act two “rediscovery” have to be seen!). Wednesday and Lucas, the younger couple, played by Tahlia Horwood and Angus Cockburn, are beautifully matched, and sweetly appealing as they navigate what is clearly going to be a lifetime commitment with never a dull moment. Sweetness is, in fact, a major factor in both plot and performance – Georgia Pidgley’s Fester has huge charm and appeal (there’s a touch of Ellen DeGeneres at her most winning); and Jess Herrity’s Pugsley manages to be both charming and hilarious – never before can a masochistic streak have been quite so oddly encouraging! Jess’s talents are shown to terrific effect throughout the production – in addition to her acting performance, she is also the show’s choreographer, and the routines are not only clever, but superbly drilled and performed by everyone. Rounding off the principal cast to great comic effect are Carolina Scott’s Grandma, bringing full weight to some of the show’s most outrageous lines (you wait!), and David Viira’s not-quite-mute Lurch, the omnipresent Butler, understated, and all the more effective for being so.
The hard-working ensemble, frequently present onstage (and frequently assisting with the simply yet highly effective scene changes) have again been excellently drilled by the Director and Choreographer, and their singing, not least with regard to the harmony work, is a constant pleasure to hear. And that goes for everyone, principals included. The show’s Musical Director, Charlotte Da Silva, has coaxed some fantastic work from the company. I’ve mentioned the splendid set, which is also splendidly and atmospherically lit; and the costuming of the show (not least the detailed ensemble creations) also adds to the overall effectiveness. It’s an excellent value-for-money outing, and, coming hard off the heels of Hallowe’en, makes a dark evening considerable jollier. Happy, Darling? “Oh, yes. Yes. Completely!”
PS: If any regular fans of The Addams Family are wondering why I haven’t mentioned Thing – fear not, you’ll catch a glimpse of him at the end of the show… but you’ll have to be quick!
