'The Addams Family Young@Part' Opens Dec. 6 at OIS

Total Page：16

File Type：pdf, Size：1020Kb

LAMORINDA WEEKLY | 'The Addams Family Young@Part' opens Dec. 6 at OIS Published November 14th, 2018 'The Addams Family Young@Part' opens Dec. 6 at OIS Submitted by Jeanette Lipp Orinda Intermediate School's Bulldog Theater proudly presents the musical, "The Addams Family Young@Part" Dec. 6-8 at OIS. 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 of 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, Ghoul cast crew Photos provided however, is now an 18-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. There are three casts, comprising approximately 80 OIS students along with an additional 22 OIS students serving on tech crew. Performances will run Dec. 6-8 at the OIS Bulldog Theater. The performance lasts approximately 90 minutes, with one intermission. For show time information and to purchase tickets, visit www.showtix4u.com. Tickets are also available at OIS Theater one half hour prior to show times. Vampire cast crew Reach the reporter at: [email protected] back Copyright Lamorinda Weekly, Moraga CA file:///C/...s/Andy/Documents/Web/Lamorindaweekly/archive/issue1219/pdf/The-Addams-Family-Young-at-Part-opens-Dec-6-at-OIS.html[11/13/2018 11:42:34 AM].

Copy Link

Recommended publications

Addams Family Values: a Campy Cult Classic
Addams Family Values: A Campy Cult Classic By: Katie Baranauskas The Addams family is quite the odd bunch. Created by Charles Addams in a 1938 comic strip, the family has received countless renditions of their misadventures, including the 1993 sequel to The Addams Family: Addams Family Values. This is a rare instance in which the sequel is better than the original. The cast is by far one of the best, including greats like Anjelica Huston as Morticia, Christina Ricci as Wednesday, and Christopher Lloyd as Fester, as well as so many others. Every actor plays to their strengths, as well as their character's strengths, to craft a wonderful mix of comedy and drama. Some characters such as Fester and Gomez Addams have extreme slapstick comedy, whereas other characters such as Wednesday and Morticia Addams have a dry humor that also makes the audience chuckle: no laugh track needed. Along with all these fantastic characters comes an equally fantastic villain in Debbie Jelinsky, played by Joan Cusack. Debbie is immediately explored as a two-faced black widow, who will do anything to get the wealth and opulence she desires. Joan Cusack did the absolute most in this performance, and she looked fabulous as well. All of this is topped with an amazing script, which produced hundreds of lines I use to this day. A whole other article could be written on the iconic quotes from this movie, but my all-time favorite has to be when Morticia tells Debbie in the most monotone voice, "All that I could forgive, but Debbie… pastels?" This movie has just the right balance of creepiness and camp, reminding me of a Disney story set in a Tim Burton-esque world, where being "weird" is the new normal and everything is tinged with a gothic filter.
[Show full text]
Cast Script & Vocal Book
- CAST SCRIPT & VOCAL BOOK - Book by Marshall Brickman & Rick Elice Music and Lyrics by Andrew Lippa 570 Seventh Avenue, Suite 2100 New York, NY 10018 866-378-9758 toll-free 212-643-1322 fax www.theatricalrights.com Like us! Follow us! www.facebook.com/TheatricalRightsWorldwide @theatricalright The materials contained herein are copyrighted by the authors, are not for sale, and may only be used for the single specifically licensed live theatrical production for which they were originally provided. Any other use, transfer, reproduction or duplication including print, electronic or digital media is strictly prohibited by law. 12/11/13 THE ADDAMS FAMILY © copyright, 2010 by Marshall Brickman, Rick Elice & Andrew Lippa. All Rights Reserved The Addams Family Scenes, Characters, Musical Numbers and Pages Act I Scene 1…………………………………………………………………………………………………………………………1 Full Ensemble (except Beinekes) #1 Overture/Prologue (Ancestors, Gomez, Morticia) #2 When You’re An Addams (Ensemble except Beinekes) #2A (We Have) A Problem (Underscore) #3 Fester’s Manifesto (Fester) Scene 2…………………………………………………………………………………………………………………………8 Gomez, Lurch, Morticia, Wednesday #3A Two Things (Gomez) #4 Wednesday’s Growing Up (Gomez) #5 Trapped (Gomez, Morticia) Scene 3…………………………………………………………………………………………………………………………17 Full Ensemble #5A Honor Roll (Pugsley) #6 Pulled (Wednesday, Pugsley) #6A Four Things (Gomez, Morticia) #7 One Normal Night (Full Ensemble) Scene 4………………………………………………………………………………………………………………………26 Full Ensemble (#7 One Normal Night cont.) Scene 5…………………………………………………………………………………………………………………………35
[Show full text]
Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960S and Early 1970S
TV/Series 12 | 2017 Littérature et séries télévisées/Literature and TV series Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy Electronic version URL: http://journals.openedition.org/tvseries/2200 DOI: 10.4000/tvseries.2200 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Dennis Tredy, « Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s », TV/Series [Online], 12 | 2017, Online since 20 September 2017, connection on 01 May 2019. URL : http://journals.openedition.org/tvseries/2200 ; DOI : 10.4000/tvseries.2200 This text was automatically generated on 1 May 2019. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modiﬁcation 4.0 International. Light Shadows: Loose Adaptations of Gothic Literature in American TV Series o... 1 Light Shadows: Loose Adaptations of Gothic Literature in American TV Series of the 1960s and early 1970s Dennis Tredy 1 In the late 1960’s and early 1970’s, in a somewhat failed attempt to wrestle some high ratings away from the network leader CBS, ABC would produce a spate of supernatural sitcoms, soap operas and investigative dramas, adapting and borrowing heavily from major works of Gothic literature of the nineteenth and early twentieth century. The trend began in 1964, when ABC produced the sitcom The Addams Family (1964-66), based on works of cartoonist Charles Addams, and CBS countered with its own The Munsters (CBS, 1964-66) –both satirical inversions of the American ideal sitcom family in which various monsters and freaks from Gothic literature and classic horror films form a family of misfits that somehow thrive in middle-class, suburban America.
[Show full text]
Scary Movies at the Cudahy Family Library
SCARY MOVIES AT THE CUDAHY FAMILY LIBRARY prepared by the staff of the adult services department August, 2004 updated August, 2010 AVP: Alien Vs. Predator - DVD Abandoned - DVD The Abominable Dr. Phibes - VHS, DVD The Addams Family - VHS, DVD Addams Family Values - VHS, DVD Alien Resurrection - VHS Alien 3 - VHS Alien vs. Predator. Requiem - DVD Altered States - VHS American Vampire - DVD An American werewolf in London - VHS, DVD An American Werewolf in Paris - VHS The Amityville Horror - DVD anacondas - DVD Angel Heart - DVD Anna’s Eve - DVD The Ape - DVD The Astronauts Wife - VHS, DVD Attack of the Giant Leeches - VHS, DVD Audrey Rose - VHS Beast from 20,000 Fathoms - DVD Beyond Evil - DVD The Birds - VHS, DVD The Black Cat - VHS Black River - VHS Black X-Mas - DVD Blade - VHS, DVD Blade 2 - VHS Blair Witch Project - VHS, DVD Bless the Child - DVD Blood Bath - DVD Blood Tide - DVD Boogeyman - DVD The Box - DVD Brainwaves - VHS Bram Stoker’s Dracula - VHS, DVD The Brotherhood - VHS Bug - DVD Cabin Fever - DVD Candyman: Farewell to the Flesh - VHS Cape Fear - VHS Carrie - VHS Cat People - VHS The Cell - VHS Children of the Corn - VHS Child’s Play 2 - DVD Child’s Play 3 - DVD Chillers - DVD Chilling Classics, 12 Disc set - DVD Christine - VHS Cloverfield - DVD Collector - DVD Coma - VHS, DVD The Craft - VHS, DVD The Crazies - DVD Crazy as Hell - DVD Creature from the Black Lagoon - VHS Creepshow - DVD Creepshow 3 - DVD The Crimson Rivers - VHS The Crow - DVD The Crow: City of Angels - DVD The Crow: Salvation - VHS Damien, Omen 2 - VHS
[Show full text]
The Addams Family
1 THE ADDAMS FAMILY C A L L B A C K S I D E S Friday April 12 – 7PM GOMEZ, MORTICIA, WEDNESDAY, PUGSLEY, LUCAS, GRANDMA Saturday April 13 – 10AM MAL, ALICE, UNCLE FESTER, LURCH AND ANCESTORS Please note: The callback sides have been edited from the original script to include certain sections of dialogue for callback purposes only. 2 GOMEZ AND MORTICIA MORTICIA: Something’s wrong with Wednesday. We have to cancel this dinner. GOMEZ: What do you mean? MORTICIA: She’s in the kitchen smiling. Like this. (SHE smiles a big smile) Maybe it is this boy. GOMEZ: This boy? Don’t be silly. Ha! I say. And double ha! Ha-ha! You yourself said: puppy love! Come darling. I feel an urge to take you in my arms. Let’s go upstairs. (HE turns to go) MORTICIA: Gomez. GOMEZ: (HE stops) On the other hand, she is a healthy young woman. Like you were…ARE! Like you are. She could even fall in love and get married. Like you did. MORTICIA: Don’t be ridiculous, Gomez. I’m much too young to have a married daughter. GOMEZ: Of course. I didn’t think of that. MORTICIA: Besides, she’ll have lots of boys. GOMEZ: How do you know? MORTICIA: Because she’s my daughter. GOMEZ: Yes, but what if – and I have no reason to say this – what if she did meet someone who stole her heart? MORTICIA: Don’t be silly. When that happens, I’ll be the first to know. Wednesday tells me everything.
[Show full text]
View the Playbill
1 2 Department of Theater & Dance The Addams Family A New Musical Book by Marshall Brickman and Rick Elice Music and Lyrics by Andrew Lippa Based on characters created by Charles Addams Director—David McCamish Music Director—Melanie Guerin Choreographer—Kate Loughlin Production Manager—Candice Chirgotis Originally produced on Broadway by Stuart Oken, Roy Furman, Michael Leavitt, Five Cent Productions, Stephen Schuler, Decca Theatricals, Scott M. Delman, Stuart Ditsky, Terry Allen Kramer, Stephanie P. McClelland, James L. Nederlander, Eva Price, Jam Theatricals/Mary LuRoffe, Pittsburgh CLO/Gutterman-Swinsky, Vivek Tiwary/Gary Kaplan, The Weinstein Company/Clarence, LLC, Adam Zotovich/Tribe Theatricals. By Special Arrangement with Elephant Eye Theatrical The Addams Family is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide, 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.theatricalrights.com Front cover poster design by Stacy-Ann Rowe Photography by Rachel M. Engelke Set illustrations by Karen Sparks Mellon 3 Safeties of any kind. occupy the aisles or the lobby during the show. ** Please note: there will be theatrical strobe lights and loud sound effects in this production.** Courtesies Please turn off all cellphones, smartphones, and other personal electronic devices, and refrain from using them during the performance. allowed in the auditorium. minutes. There will be one intermission. Per contractual requirements with the publisher, the video or audio recording of this performance by any means is strictly prohibited. This includes, but is not limited to, absolutely No PostiNg to social Media. Gratitudes for the classy and fun luncheon celebration before our Saturday matinee performance.
[Show full text]
Mirrorshade Women: Feminism and Cyberpunk
Mirrorshade Women: Feminism and Cyberpunk at the Turn of the Twenty-first Century Carlen Lavigne McGill University, Montréal Department of Art History and Communication Studies February 2008 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy in Communication Studies © Carlen Lavigne 2008 2 Abstract This study analyzes works of cyberpunk literature written between 1981 and 2005, and positions women’s cyberpunk as part of a larger cultural discussion of feminist issues. It traces the origins of the genre, reviews critical reactions, and subsequently outlines the ways in which women’s cyberpunk altered genre conventions in order to advance specifically feminist points of view. Novels are examined within their historical contexts; their content is compared to broader trends and controversies within contemporary feminism, and their themes are revealed to be visible reflections of feminist discourse at the end of the twentieth century. The study will ultimately make a case for the treatment of feminist cyberpunk as a unique vehicle for the examination of contemporary women’s issues, and for the analysis of feminist science fiction as a complex source of political ideas. Cette étude fait l’analyse d’ouvrages de littérature cyberpunk écrits entre 1981 et 2005, et situe la littérature féminine cyberpunk dans le contexte d’une discussion culturelle plus vaste des questions féministes. Elle établit les origines du genre, analyse les réactions culturelles et, par la suite, donne un aperçu des différentes manières dont la littérature féminine cyberpunk a transformé les usages du genre afin de promouvoir en particulier le point de vue féministe.
[Show full text]
“The Addams Family” Costume Plot
“THE ADDAMS FAMILY” COSTUME PLOT GOMEZ Black pinstriped suit, tie, suspenders and shirt Dinner: shawl collar or smoking jacket and bow tie Bull fighter cape Beret White button down shirt MORTICIA Long tight fitting black gown with breakaway skirt Half apron Black cape Floppy hat WEDNESDAY Black knee length dress with white collar and cuffs Yellow knee length dress with white collar and cuffs Black jacket or coat Short bridal dress and veil PUGSLEY Black and white striped tee shirt, black shorts Black and white striped pajamas Boy Scout scarf GRANDMA Loose dress, non-matching poncho or cardigan, fingerless gloves Nurse cap, candy striper apron, sleeve protectors LURCH Black suit, black bowtie, white button down shirt UNCLE FESTER Long black coat with fur trim, black pants, belly pad Black and white striped bathing suit. Goggles, aviator cap and scarf LUCAS Blazer, pants shirt and tie Page 1 of 2 “THE ADDAMS FAMILY” COSTUME PLOT MAL BEINEKE Three piece suit, tie, and white button down shirt Overcoat and hat Gomez style pajamas with spider on the back ALICE BEINEKE Yellow day dress, hat and purse Overcoat Morticia style pajamas GRIM REAPER Black hooded robe, belt Extra-long or two person grey fleece robe with hood and black out mask BATHING BEAUTIES Old fashion bathing attire STARS Black wraps skirt, black poncho and star headpiece ANCESTORS Caveman – tunic with layered fur pieces, fur caplet and rope belt Cavewoman – tunic with layered fur pieces, fur caplet and rope belt Conquistador – Cuirass, shirt with puffed sleeves, pants with puff
[Show full text]
Vampirism, Vampire Cults and the Teenager of Today Megan White University of Kentucky
University of Kentucky UKnowledge Pediatrics Faculty Publications Pediatrics 6-2010 Vampirism, Vampire Cults and the Teenager of Today Megan White University of Kentucky Hatim A. Omar University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits oy u. Follow this and additional works at: https://uknowledge.uky.edu/pediatrics_facpub Part of the Pediatrics Commons Repository Citation White, Megan and Omar, Hatim A., "Vampirism, Vampire Cults and the Teenager of Today" (2010). Pediatrics Faculty Publications. 75. https://uknowledge.uky.edu/pediatrics_facpub/75 This Article is brought to you for free and open access by the Pediatrics at UKnowledge. It has been accepted for inclusion in Pediatrics Faculty Publications by an authorized administrator of UKnowledge. For more information, please contact [email protected]. Vampirism, Vampire Cults and the Teenager of Today Notes/Citation Information Published in International Journal of Adolescent Medicine and Health, v. 22, no. 2, p. 189-195. © Freund Publishing House Ltd. The opc yright holder has granted permission for posting the article here. Digital Object Identifier (DOI) http://dx.doi.org/10.1515/IJAMH.2010.22.2.177 This article is available at UKnowledge: https://uknowledge.uky.edu/pediatrics_facpub/75 ©Freund Publishing House Ltd. Int J Adolesc Med Health 20 I 0;22(2): 189-195 Vampirism, vampire cults and the teenager of today Megan White, MD and Hatim Omar, MD Division of Adolescent Medicine, Department of Pediatrics, University of Kentucky, Lexington, Kentucky, United States ofAmerica Abstract: The aim of this paper is to summarize the limited literature on clinical vampirism, vampire cults and the involvement of adolescents in vampire-like behavior.
[Show full text]
Reexamining Monster Theory
36 Domestication in the Theater of the Monstrous: Reexamining Monster Theory Michael E. Heyes Abstract: Scholarship on monstrosity has often focused on those beings that produce fear, terror, anxiety, and other forms of unease. However, it is clear from the semantic range of the term “monster” that the category encompasses beings who evoke a wide range of emotions. I suggest that scholars have largely displaced first-person accounts of the monstrous and those accounts which do not rely upon horror or anxiety, and I propose a three-category system to correct this displacement. These categories draw from Derrida’s notion of the domestication of the monster and Žižek’s notion of a “fantasy screen” for the monstrous. These categories encourage further research, both between categories of the monstrous and categories that would not typically fit within this descriptor. Keywords: monster theory, Derrida, Žižek, comparison, Mothman There are an enormous number of creatures that fit under the umbrella of the term “monster”: vampires, Slender Man, Cookie Monster, sightings of strange creatures in the sea,1 Godzilla, and unicorns all fit within the category. However, in Monster Studies, the focus of analysis has primarily been those creatures that induce fear or disgust, and most often on those that rest comfortably within the pages of narratives and the frames of films. Yet this narrows the category to a rather small range of beings and obscures the various ways in which people interact with monstrosity. One such exempted being is Tōfu-kozō, the
[Show full text]
The Figure of the Vampire Has Been Inextricably Linked to the History Of
ENTERTEXT From Pathology to Invisibility: The Discourse of Ageing in Vampire Fiction Author: Marta Miquel-Baldellou Source: EnterText, “Special Issue on Ageing and Fiction,” 12 (2014): 95-114. Abstract A diachronic analysis of the way the literary vampire has been characterised from the Victorian era to the contemporary period underlines a clear evolution which seems especially relevant from the perspective of ageing studies. One of the permanent features characterising the fictional vampire from its origins to its contemporary manifestations in literature is precisely the vampire’s disaffection with the effects of ageing despite its actual old age. Nonetheless, even though the vampire no longer ages in appearance, the way it has been presented has significantly evolved from a remarkable aged appearance during the Victorian period through Joseph Sheridan Le Fanu’s Carmilla (1872) or Bram Stoker’s Dracula (1897) to outstanding youth in Anne Rice’s An Interview with the Vampire (1976), adolescence in Stephenie Meyer’s Twilight (2005), and even childhood in John Ajvide Lindquist’s Let The Right One In (2007), thus underlining a significant process of rejuvenation despite the vampire’s acknowledged old age. This paper shows how the representations of the vampire in the arts, mainly literature and cinema, reflect a shift from the embodiment of pathology to the invisibility, or the denial, of old age. 95 | The Discourse of Ageing in Vampire Fiction From Pathology to Invisibility: The Discourse of Ageing in Vampire Fiction Marta Miquel-Baldellou Ageing and vampire fiction The figure of the vampire has been inextricably linked to the history of humanity since ancient and classical times as an embodiment of fear, otherness, evil and the abject.
[Show full text]
Pros-A180.Pdf
TheAddAms FAmily an Evilution 1 tthehe FamilyFamily Gomez and Pugsley are enthusiastic. Morticia is even in disposition, muted, witty, sometimes deadly. Grandma Frump is foolishly good-natured. Wednesday is her mother’s daughter. A closely knit family, the real head being Morticia—although each of the others is a definite character—except for Grandma, who is easily led. Many of the troubles they have as a family are due to Grandma’s fumbling, weak character. The house is a wreck, of course, but this is a house-proud family just the same and every trap door is in good repair. Money is no problem. Strong family values are evident throughout Charles Addams’s depictions of the family from the dark side. They hang together; they feel secure with one another; they have rules and morals that keep the family unit intact. Sure, the logs they burn in their fireplace are carved to look like men; they moonbathe instead of sunbathe; they prefer gazing at the sweeping vista of a cemetery rather than sunlit rolling hills; they take their outings in Central Park in the dead of night. The point is, they do these things together. They might be scary, weird, creepy, and macabre, but The Addams Family is our secret envy. If only our family dinners could be so much fun! 2 3 “Well, he certainly doesn’t take after my side of the family.” 4 5 “it’s the children, darling, back from camp.” 6 “you forgot the eye of newt.” 7 the “evilution” of Charles Addams’s singularly eccentric family began long before the television and film interpretations made them icons of American popular culture.
[Show full text]