The Addams Family

What a jerk.

P.S. Jim Borlstelman's Broadway credits, if you're curious, include his debut in Jerome Robbins' Broadway, for which he served as a replacement, as well as the producers, Young Frankenstein, The Addams Family, he was an understudy for Uncle Fester, You Sunk My Battleship, he was also in Chaplin, and the 1996 revival of Chicago.

I enjoyed you in this show, Jim.

Jim, take the wheel! Ruff!

Well, today we are joined by an incredible performer who has worked across some productions.

She's previously appeared as Pat in Kinky Boots and her career has also included shows such as Guys and Dolls, Curtains, Cats, Chitty Chitty Bang Bang and The Addams Family, as well as work for television and screen.

And there's also some very exciting news about what she's doing next.

So stay tuned.

[laughs]

Actually, aren't they doing The Addams Family in Wanoo Mata at the moment?

I don't know.

Or it's coming up or something.

Not at all

...

I don't think they were doing The Addams Family.

Oh.

But they're there to support you and they've been doing what they've been doing for a while.

Listen, the last theatre I did was The Addams Family.

I don't know if you've ever seen that show.

A really fun show.

But trying to make a Halloween show all year round is a challenging task.

The Addams Family has toured the UK, has done concerts in London, but has never managed to mount a full West End production.

And here's another thing to consider.

Back before Beetlejuice was the number one show fans wanted to see transferring from Broadway to the West End, everyone was talking about Mean Girls the musical.

And if we go all the way back to the start of that journey, Addams Family may not have been characterized as a Broadway success, may have never made its way to a Western run of any kind, but it's now one of the most licensed musicals worldwide.

It occupies a very specific place in its identity, and it has this huge popularity now around the world.

There are so many productions of the Addams Family, many of them around the Halloween season.

But I was speaking to composer Andrew Lipper about this a few years ago, And it really made me reconsider how I frame musical success because something flopping on Broadway doesn't necessarily mean it's doomed for all time or it can't go on to make a significant amount of money and be seen by a great many people, more people in fact, in more places.