The members of the Addams Family pose in black dress, surrounded by those in lighter colors.
The cast of The Addams Family strikes a pose. Photo credit Chris Record

Flora Konz ’25 (She/Her)

Over the weekend, Davidson music and theatre students performed in the spring musical, The Addams Family. The show featured Tim Schietroma ‘25 as the flamboyant patriach Gomez Addams, Maddy Wolfenbarger ‘22 as the elegant and protective Morticia Addams, Zoe Bock ‘22 as the in-love Wednesday Addams, Breanna Suarez ‘25 as little sister Pugsley Addams, David Kilde ‘25 as the narrating Uncle Fester Addams, and Florence Cuomo ‘23 as the drug-dealing grandma. The “normal” Beineke family featured Hollis Plexico ‘24 as the happy-go-lucky mother Alice, Joseph Santi-Unger ‘23 as the father Mal, and Jacob Schorsch ‘25 as Wednesday’s love interest, Lucas.

The first act opened with the audience snapping their fingers, followed by the iconic opening song “When You’re an Addams.” Ancestors and the rest of the cast began to walk onstage, interacting with one another and introducing their individual characters through individual verses. As the family began to talk, Wednesday revealed that her “friend” Lucas and his family were coming over for dinner, foreshadowing a night full of chaotic attempts at normalcy. 

From the start of the show, it was clear that it would be filled with humorous subtleties that took the already engaging show to the next level. Wednesday walked on stage wearing a bright yellow dress covered in white hearts to meet Lucas and his parents, which was a stark juxtaposition to her usual dark gray dress. Funnily enough, Alice took off her coat to reveal a dress of the same color, right as Morticia made a comment about her distaste for bright colors. Another notable moment was the butler, Lurch, attempting to describe his name. He tried different methods of lurch-ing, making the audience laugh at the ambiguity of the word ‘lurch.’ 

During the same scene, Pugsley walked in the door decked out in Girl Scout gear, supposedly coming from “bible study,” and collected donations from the Beinekes for purposes that she refused to disclose. Fester, for his own interpretation of what was perceived as “normal” in this family, strolled in shouting, “are you ready for some football?” The scene wouldn’t be complete without Gomez making a witty, yet slightly disturbing comment: when Alice Beineke inquired about a “little girls’ room,” he nonchalantly replied, “we had to let them go.” Lines such as this one kept the audience in suspense and made for an enthralling performance. The chaos of this scene laid a foundation for the rest of the show, introducing a mix of complicated storylines. 

The show took on deeper meanings of love and loyalty as it progressed through the first act, and the seriousness of the relationship between Wednesday and Lucas was revealed. Gomez had a personal crisis of guilt when deciding between lying to his wife or keeping his promise to Wednesday about her secret engagement. Pugsley, too, was no longer messing with everyone, and instead wondered “what if Wednesday never tortured me anymore?” The first act ended with a dinner setting akin to that of painter Michelangelo’s Last Supper, with Gomez stating, “this is where salvation resides.” Morticia, sensing Gomez’s dishonesty, demanded that they play “Full Disclosure,” a game in which players drink from the “sacred chalice” and tell their deepest secrets. The set and dialogue seemed to foreshadow the troublesome events about to occur, particularly since the audience knew that Pugsley had poisoned the common chalice in hopes of Wednesday drinking it and disclosing that she no longer loved Lucas. During Fester’s turn, the moonlight sonata began to play in the background as he confessed his love for the moon. This continued the cheesiness that his character portrayed in between scenes of the show, breaking up otherwise tense moments. At the end of act one, Alice accidentally drank the poison instead of Wednesday, releasing her dark side. She confessed to her husband, Mal, that the spark between them was gone. Finally, Wednesday gave in and told Morticia that she and Lucas were engaged. The ancestors created a storm, locking everyone inside the house for the night to resolve all of their problems.

Act II opened with fighting amongst the couples. Wednesday wanted to run away, and Lucas wanted her to be more rational, while Morticia was mad at Gomez for betraying and lying to her. However, of course, an element of humor was used to lighten the mood: it appeared that Morticia and Gomez were unsure whose mother was the grandma. Furthermore, Alice seemed to have lost her natural ability to make rhyming poetry on the spot. She took on the “full disclosure” rule to the extent that she told her husband, Mal, “you wanna act like a tool? Go sleep in the shed.” 

Fester took on his role of cheesiness and comedy by going outside to ‘meet’ the moon, where three of the ancestors danced about his love, followed by a shadow puppet show of Fester going up to and interacting with the moon. This scene transitioned into a similarly loving scene between Gomez and Wednesday, in which she expressed her love and anger for Lucas’ leaving her, and he advised her to not give up, stating that “love conquers all.” Naturally, when Lucas came back, Wednesday tested his love for her, and they made up. Mal and Alice agreed to be ‘crazy’ again, and the two couples danced in celebration of the reconciliation. Likewise, when Gomez ran after Morticia who was leaving for Paris, she agreed to tango with him as part of his efforts to win back her love and trust. During the sensual song, “Tango De Amor,” she whipped off her long skirt, and the strong dancing skills of the whole cast were revealed. Even Lurch went through growth when he finally showed his voice and sang as one would expect from a supposedly dead butler: deeply, loudly, and droning. The show ended with a finale song entitled “Move Toward the Darkness,” encouraging all to look into their dark side and feel all emotions.

Tim Schietroma ‘25, who played Gomez, spoke on his experience being part of the show. He said that the first phrase that comes to mind when thinking about his experience is “remarkably intense.” He noted how “three-hour rehearsals five days a week, and an additional four-hour rehearsal a week as well, certainly did take over [his] life.” However, he conceded that, “with any show, it’s the little moments between scenes” that made the entire process “a blast.” He said that his favorite song was “Not Today,” also known as Gomez’s crisis song when choosing between his wife and daughter, because crisis is “always the most fun thing” to portray in a show. His favorite scene is when he greets the Beineke family because he has “a great monologue with joke after joke.” Finally, he commented on how he hopes the show impacted the Davidson community:

“I hope this show, above all else, gave the [Davidson] community an opportunity to come together and laugh. I’m so glad that the first show coming out of COVID was a show as uplifting and funny as this, and I’m honored [to] have had the opportunity to play a part like Gomez in my first year here.”

Flora Konz ‘25 (she/her) is an intended English major from Asheville, NC. She can be reached for comment at