![]() Heather Nathans suggests that when done well the music and movement will let you know what you should be feeling even if you don’t get the words. ![]() Why do you think this is a good way to start off a story? How does knowing the heart’s desire of main character make you care about that character? Why might it matter to you what the main character wants? Does it make you think of going for what you want in life? Shortly after we meet the main character we find out something very important about that character when they sing what Heather Nathans calls their “I want” song. Can you make any connections or draw parallels between musical theater and these trends?Ī musical is not a cabaret show and it’s not an opera, Join Heather Nathans as she deconstructs the musical and examines the distinct elements that make it unique.Įvery musical starts out this way. Describe the parallels growth patterns that you see in musical theater, society, technology and the human sciences like medicine and psychology. Think about the evolution of the simplistic forms of theater when our country was young which pre-dated the musical up to the technologically advanced and sophisticated shows that are produced today as our democracy has matured some 240 years. What do you think inspired its creators at that particular moment in time to shift away from the old style of theater without making a complete break from the past? Think of the example that Heather Nathans gives about Showboat which she identified as a “hybrid” musical. Can you describe the progression which led to this modern version of the musical in terms of the music that was used over the years? Later on, the music became more tied to the story until the song had a story and character of its own and then to the point that the music could be both light hearted and soulful. The early forms of theater in America which led to the birth of the musical incorporated popular songs that were easy to sing and that didn’t necessarily help tell the plot of the story. What: “The Addams Family: The Musical,” presented by Tibbits Summer Theatre.From minstrel shows and Vaudeville to the modern stage, a look at the trends and ideas that shaped American Musical theater. “The Addams Family,” is directed by Charles Burr, choreographed by Dougie Robbins and under the musical direction of Lisa Lawrence. Portraying the ancestors, who form the chorus of dancers, are Michelle Carter, Jacklyn Collins, Tim Eidman, Sean Thomas Noonan, Drew Porrett, Cesar Razza, Catherine Skojec, Alec Talbott, and Emma Thomas. In one hilarious night, secrets are disclosed, relationships are tested, and the Addams family must face the one horrible thing they’ve managed to avoid for generations: change.Īlso in the cast are RJ Magee as Fester, Donna Schulte as Grandma, Mitch Voss as Lurch, and Will Thomason as Pugsly. Lucas’ parents, Mal and Alice (Peter Riopelle and Suzanne Marie Ogden), come to meet the Addams Family. Ben Shimkus plays Lucas a sweet, smart young man from a respectable family. Jennifer Barnaba portrays daughter Wednesday, the ultimate princess of darkness, who has grown up and fallen in love with a man her parents have never met. ![]() ![]() 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 parent is that of their children growing up. In the world of Morticia (Maureen Duke) and Gomez Addams (Joey Gugliemelli) to be sad is to be happy, to feel pain is to feel joy, and death and suffering are the stuff of their dreams. It opens July 28 at the Tibbits Opera House in Coldwater.Ī humorous story of an eccentric family coping with their daughter’s growing up involves classic characters and plenty of song and dance. “The Addams Family: The Musical” is the next play in the 2016 Tibbits Summer Theatre series.
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