Harvard’s “The Addams Family Musical” Delivered a Fun, Heartwarming, and Delightfully Weird Experience

On the final official day of 2025 Family Weekend, Harvard community members of all ages made their way to the Agassiz Theatre to watch the last performance of “The Addams Family Musical,” which came to campus just in time for Halloween. Presented by the Office for the Arts, the Harvard rendition of the classic story, first imagined by cartoonist Charles Addams in The New Yorker Magazine in 1938, was directed by Riley Jackson ’27 and Mia Schenenga ’27, music directed by Leyna Blume ’27 and Sebastian Lennox ’27, and choreographed by Paola Lee-Vega ’26.

“The directors are super cool and a constant positive presence,” violinist Feodora Douplitzky-Lunati ’28 said in an interview with the Harvard Independent. “The directors were incredibly organized and facilitated a lot of rehearsals and even offered time outside of the standard conventional rehearsal time to work on stuff together,” added Soldier Ancestor Matteo Markel ’28.

The Addams family is an eccentric, unorthodox, black-donning clan that prides itself on traditions, trust, and honoring their ancestors. Addams’s cartoons have since been adapted into live-action television shows, films, a Netflix spin-off, an animated series, and a Broadway musical written by Marshall Brickman and Rick Elice, with music and lyrics by Andrew Lippa. 

With little understanding of the musical adaptation or story itself (only more familiarity with Jenna Ortega’s “Wednesday”), I was looking forward to seeing Harvard’s take on this classic. My expectations were exceeded, and the two hours and 45 minutes that followed were funny, emotional, and simply great theater.

The musical centers on the unlikely romance between Wednesday Addams (Lexi Sexton ’29) and Lucas Beineke (Brady Rafferty ’27). Wednesday’s dark sarcasm contrasts sharply with Lucas’s cheerful optimism, yet their chemistry shines. Sexton and Rafferty make the audience root for their relationship despite their families’ disapproval, their quirky and awkward connection tested as the story unfolds.

Wednesday prepares her family to host Lucas and his parents—Alice (Chelsea Bohn-Pozniak ’27) and Mal (Adam Stone ’29)— for dinner. Her one request is for her family to be on their best behavior to make a good impression (“One Normal Night”). Wednesday tells her father Gomez (Arthur Câmara ’28) that the two are engaged, but requests he keep it a secret from her mother Morticia (Andreea Haidau ’26), which Gomez finds an impossible task (“Two Things”). The night is going well until Morticia requests they play a game called “Full Disclosure,” a family tradition in which they drink out of a special chalice and tell a secret to the group. Gomez attempts to hide his knowledge of the engagement, which Morticia quickly sniffs out.

Meanwhile, protective of his older sister and worried she will begin to ignore him, Pugsley (Nell Ranalli ’29) plots to spike Wednesday’s chalice with a secret serum. The concoction would make her act erratically, which Pugsley hoped would force Lucas to fall out of love with his sister (“What If”). Pugsley steals the serum from Grandma Adams (Frances Yee ’28)—who actually may not be anyone’s grandmother, an especially funny twist revealed toward the end of the show—and sneakily adds it to the chalice. Chaos breaks loose when the spiked drink accidentally ends up being taken by Alice instead, who subsequently performs a heart-wrenching number about the frustration and disillusionment she has felt with her marriage and the discontent in her own life (“Waiting”).

Bohn-Pozniak’s performance is desperate and captivating. Her angst and longing for excitement were palpable and moving, especially when contrasted with the strong independence of Morticia. The two at first glance were entirely different, yet as the plot developed, flaws and cracks in both marriages were revealed and related (“Secrets.”) Haidau was intriguing, seductive, and commanded the stage with her presence. It was truly remarkable to watch her become Morticia, with her line delivery and interactions with the cast both charming and frightening.

“Morticia’s external personality is about as polar opposite from my own as you can get, which is exactly why it was so much fun to embody. One of my friends told me it took them a solid 15 minutes to recognize me onstage. That was the best compliment,” Haidau said in an interview with the Independent. 

“Though her character risks appearing outwardly cold or apathetic, fundamentally Morticia’s story is that of a woman hurt by and concerned for her family. All of her actions come from a place of love, or concern, or betrayal, or her questioning her own values. I wanted to allow that warmth and feeling to be tangible alongside the untouchable poise she’s most recognizable for,” she continued.

After Wednesday and Lucas announce their engagement, Gomez’s secret is exposed. Morticia and Mal disapprove due to the couple’s youth, while Alice is supportive. Lucas ends things with Wednesday, believing their families’ dysfunction makes their relationship impossible. Morticia vows to leave Gomez for lying, but he wins her forgiveness (“Not Today,” “Live Before We Die,” “Tango de Amor”). Finally, Mal, Alice, Wednesday, and Lucas simultaneously rekindle their relationship in a vulnerable number about trust and acceptance (“Crazier Than You”).

The show concludes with the marriage of Wednesday and Lucas, while Uncle Fester (Chloe Chao ’27) departs to be with his love, the moon. A true standout, Chao anchored the musical with humorous breaks and served as a leader of the talented ensemble of various ancestors, who supported the main cast in dance, song, and technical transitions. 

Sexton and Câmara delivered incredible and fun performances. Through blank stares and impassioned arguments with her family and Lucas, Sexton conveyed the complications and qualms of being a teenage girl in love with understanding and authenticity. Câmara was hilarious and complex, and I cheered on Gomez no matter what mistakes he got himself into. It was heartwarming to watch him navigate his relationship with his daughter as she stepped into the next chapter of her life (“Wednesday’s Growing Up”), and the conflicting emotions this brought him (“Happy/Sad”). 

“The Addams Family Musical” cast perfectly encapsulated the quirkiness of the show’s characters and brought the story’s themes of change, acceptance, family, and love to life. The incredible musical direction gave guidance and passion through each of the songs. Fun and interactive choreography allowed the cast to truly fill the stage with energy and emotion. The costuming and props brought life to the characters and complemented their personalities and eccentricity, accompanied by timely and creative lighting, stage, and technical elements. 

“It was a blessing and a privilege to have been a part of this project, and it was a gift to work with the dozens of unimaginably talented people who made The Addams Family a reality,” Câmara told the Independent. “The unique thing about the show is that it’s pure fun: that meant everyone involved in the production had to have fun, both on and off stage. That brought us together in a really special way, and I cannot overstate what this community means to me.”

“The Addams Family has been the most collaboratively creative show I’ve been a part of. So many of the choices we made, be it the comedic timing within a scene or choreography tricks or fun effects, were the result of rehearsals spent experimenting with everybody’s ideas,” Haidau added. “Theatre requires trust: in each other as a cast and a team, in the audience and their willingness to laugh, in ourselves. We really trusted each other in The Addams Family.”

As the show concluded, it was clear to me not only the hard work and dedication the cast poured into the show, but the bond and community they built with one another, evident in the group hugs and cast-wide acknowledgments that filled the stage. Maybe they weren’t totally acting; the authenticity and bond of the Addams family and their companions lingered long after the curtain closed. And before it did, I, alongside the rest of the audience, gave the cast a standing ovation—one very well-deserved. 

Layla Chaaraoui ’26 (laylachaaraoui@college.harvard.edu) is the Editor-in-Chief of the Harvard Independent.