They’re creepy, they’re kooky, they’re altogether spooky, and they’ve arrived in Franklin looking better than ever. Studio Tenn’s production of THE ADDAMS FAMILY MUSICAL, on stage through Sunday, October 25, at The Turner Theater inside The Factory at Franklin, is a wickedly entertaining reminder that when it comes to theatrical spectacle, impeccable casting, and deliciously dark comedy, this beloved family knows how to make an entrance. With Broadway-worthy production values, eye-popping costumes, powerhouse vocals, and director Patrick Cassidy keeping the macabre merriment moving at just the right pace, this is one family reunion you won’t want to miss.
Based on the iconic characters created by Charles Addams, with a book by Marshall Brickman and Rick Elice and music and lyrics by Andrew Lippa, THE ADDAMS FAMILY MUSICAL finds Wednesday Addams (Anna Jones) in the unfamiliar territory of being in love. Her chosen beau, Lucas Beineke (Dylan James), is a perfectly respectable young man from a perfectly respectable family. Naturally, Wednesday’s idea of domestic bliss involves introducing him to her delightfully dysfunctional clan, while asking her parents to keep their more unusual tendencies under wraps. What could possibly go wrong? Well, when Gomez (Brian Michael Jones), Morticia (Sandra Allen), Uncle Fester (Jacob Waid), Grandma (Rachel Agee), Pugsley (James Hodgin), and Lurch (Scott Patrick Wilson) are involved, practically everything—and that’s precisely the fun of it.
At the helm, Cassidy understands that the trick to a successful ADDAMS FAMILY isn’t simply to deliver a parade of familiar characters and macabre sight gags. The comedy works because the characters are played with conviction, the relationships feel genuine, and the absurdity is never treated as an excuse to phone in the performances. Cassidy’s direction allows the physical comedy, romantic entanglements, and musical numbers to coexist without one overwhelming the others. The result is a production that feels polished, purposeful, and gloriously larger than life. There’s a confidence to this staging that recalls the kind of professional sheen audiences associate with Broadway, and the company delivers on that promise.
As Gomez Addams, Brian Michael Jones is the consummate master of ceremonies for this gloriously peculiar household. Familiar to Studio Tenn audiences, Jones marks his fourth production with the company, and his turn as the amorous, quick-witted patriarch is another welcome addition to that relationship. Gomez must balance his devotion to Morticia with his protective instincts as a father, all while navigating the family’s increasingly complicated affairs. Jones handles the character’s comic timing and romantic sincerity with ease, giving Gomez the charm and theatrical flair the role demands. He makes it clear that, beneath the pinstripes and the mischief, this is a man who adores his family—even when that family makes his life considerably more complicated.
Sandra Allen’s Morticia Addams is a vision of dark glamour and commanding theatricality. Allen possesses a voice that is every bit as alluring as Morticia herself, and she uses it to glorious effect throughout the production. Her movement is equally impressive, particularly in “Tango de Amor,” where she brings the character’s sensuality and precision together in a number that practically sizzles. And then there’s that dress. Yes, that dress, cut down to Venezuela! It’s a jaw-dropping bit of costuming that would make even Morticia’s famously expressive eyebrows arch in approval. Allen understands that Morticia’s power lies in her composure, her wit, and her ability to command a room without appearing to exert the slightest effort. She is the very definition of dark elegance, with a vocal presence and physical confidence that make every entrance an occasion.
Jacob Waid’s Uncle Fester is an absolute delight, combining vocal strength, romantic exuberance, and an endearingly off-kilter sincerity that makes the character impossible not to love. Fester’s devotion to the moon is one of the musical’s most wonderfully ridiculous romantic conceits, and Waid embraces it with the enthusiasm of a man who has finally found his celestial soulmate. During “The Moon and Me,” he looks positively the bee’s knees in his swimsuit, an unexpected visual treat that only adds to the number’s goofy charm. But Waid’s performance is more than a collection of laughs and eccentricities. His commitment to Fester is evident in every detail, right down to the transformation required for the role. Usually quite hirsute, Waid has shaved his head AND his lumbersexual beard to become the bald, delightfully peculiar Fester. That’s dedication, folks! His performance once again backs up why he was named Best Stage Actor in Nashville Scene’s recently announced annual Best of issue. Between the vocals, the physical comedy, and the sheer joy he brings to the role, Waid makes a compelling case for the honor all over again.
Anna Jones, a recent Lipscomb University graduate making her Studio Tenn debut, has the unenviable task of making Wednesday Addams her own while following in the footsteps of one of the most recognizable characters in contemporary musical theatre. Consider that challenge conquered. Jones gives Wednesday a wonderfully deadpan exterior, but there’s just enough vulnerability beneath the black lipstick and killer stare to make her emotional journey believable. Her performance in the Act One fan favorite “Pulled” is a particular highlight, capturing Wednesday’s bewilderment as love begins to interfere with her carefully cultivated darkness. Jones delivers the number with an appealing blend of comic frustration and genuine feeling, making it easy to understand why Wednesday’s sudden brush with normal teenage romance feels so catastrophic to her. She doesn’t merely imitate the character audiences already know; she makes Wednesday her own. If director Cassidy knows what’s good—and I’m quite certain he does—this won’t be Jones’ last outing with Studio Tenn.
As Wednesday’s unsuspecting romantic interest, recent Belmont University graduate Dylan James makes for a charming Lucas Beineke. Last seen in Studio Tenn’s JERSEY BOYS ensemble, James steps into a featured role with an appealing combination of youthful sincerity and romantic determination. His Lucas is a teen dream, and that’s saying something, considering the nightmarish circumstances that meeting the creepy, kooky, ooky, spooky Addams Family might present to a young man expecting a relatively ordinary introduction to his girlfriend’s parents. James makes Lucas more than a straight-laced foil to Wednesday’s eccentricities. He brings enough personality and warmth to the role to establish why these two seemingly incompatible young people might actually be a perfect match. Their budding romance provides the emotional engine for the evening, and James is a winning partner for Jones.
Rachel Agee’s Grandma Addams is one of the production’s many highlights. Almost completely unrecognizable beneath the wig, makeup, glasses, and that wickedly wonderful, intricately detailed costume, Agee disappears into the character with gleeful abandon. And yes, I’m fairly certain one layer of Grandma’s skirt features a zombie print, because apparently even the undead need a little fashion flair. Agee has a knack for making every moment count, whether she’s delivering a perfectly timed reaction or simply occupying a corner of the stage with the air of someone who has seen everything, done most of it twice, and probably poisoned the rest. If she’s onstage, she’s commanding the audience’s attention. Agee, as directed by Cassidy, is a deadly combination—in the very best way.
James Hodgin, the Pugsley I saw, is perfection as the bratty little brother who would rather torture his sister than see her fall in love and leave him behind. As a self-admitted bratty little brother myself, I feel uniquely qualified to recognize the authenticity of this particular sibling dynamic. Hodgin captures Pugsley’s gleeful mischief and underlying desperation with just the right balance, making his attempts to reclaim Wednesday’s attention both funny and oddly sympathetic. There’s something deliciously familiar about a younger sibling who considers torment a legitimate expression of affection, and Hodgin mines that relationship for every laugh. Lucas Goodfriend also shares the role of Pugsley at alternating performances. With these two young actors, rest assured that the Addams’ pint-sized agent of chaos remains a force to be reckoned with throughout the run.
As Lurch, Scott Patrick Wilson breathes life—and a generous helping of heavy sighs—into the Addams family’s towering butler. Lurch is a character whose impact often depends on stillness, timing, and the occasional perfectly placed vocalization, and Wilson understands the assignment. His imposing presence and unhurried delivery provide a terrific counterpoint to the household’s more animated personalities. But don’t mistake his near-silent demeanor for a lack of theatrical contribution. Spoiler alert: Wilson is front and center in the show’s “Move Toward the Darkness” finale, proving that he’s not just a tall drink of Acrimonium. His contribution to the closing number is a particularly satisfying payoff for audiences who have watched this seemingly stoic servant hover in the background.
For the uninitiated, Acrimonium is the potion Pugsley swipes from Grandma to dose Wednesday in an attempt to return his suddenly besotted sister to her former tormenting self. Unfortunately, when Megan Murphy Chambers‘ Alice Beineke accidentally swigs the elixir, an otherwise hopefully uneventful family dinner erupts into a euphoric, laugh-riot awakening. Chambers is absolutely in her element as Alice, the buttoned-up suburban mother whose carefully maintained composure goes spectacularly off the rails. Watching her unleash a liberated, uninhibited version of Alice is one of the evening’s comic pleasures. Chambers knows how to turn a scene into an event, and her transformation gives the production one of its most memorable bursts of hilarity.
As Alice’s husband, Mal Beineke, Geoff Davin holds his own beautifully, proving that Alice’s straight man knows how to bend. Davin supplies the grounded reactions that make Chambers’ increasingly outrageous antics all the funnier, and the pair’s chemistry feels earned rather than manufactured. Both are beloved members of the Nashville-area theatre community, having shared the stage from time to time over the years, and their pairing here allows them to shine in roles that demand both comic precision and a convincing portrayal of a marriage under pressure. Their scenes are a reminder that the show’s central conflict isn’t simply about a supposedly normal family meeting a supposedly abnormal one. It’s about what happens when everyone’s carefully guarded secrets, insecurities, and expectations come spilling out at the same dinner table.
Rounding out the cast as the Addams Ancestors is a virtual who’s who of area up-and-comers and established favorites: Kelsey Brodeur, Maria Logan, Ryann Katherine Perkins, Meggan Utech, O’Neal Black, Alex Dee, Jonah M. Jackson, and Douglas Waterbury-Tieman. They provide the production with much of its visual richness and theatrical energy, helping establish the sense that the Addams family’s eccentricities stretch far beyond the living. The ancestors are more than atmospheric decoration; they contribute to the musical’s sense of tradition, history, and delightfully unconventional family values. Their collective presence gives the ensemble sequences added dimension and helps make the world of the show feel fully populated.
Of course, a musical of this scale succeeds only when the production values can match the performers’ energy, and Studio Tenn has assembled an impressive theatrical package. The costumes, designed by Devon Renee Spencer, are a particular triumph. The Addams family has an unmistakable visual identity, and these designs honor that legacy while giving each character a distinctive silhouette and personality. Homage without without exact duplication and it’s appreciated. Gomez’s tailored darkness, Morticia’s dramatic glamour, Wednesday’s severe monochrome aesthetic, Fester’s gloriously peculiar look, Grandma’s layered eccentricity, and Lurch’s imposing presence all contribute to the production’s cohesive visual language. The ancestors add another dimension of detail, with costumes that reward a closer look and reinforce the show’s macabre sensibility. Look and you’ll find a powdered-wigged dandy, a cowgirl, a flapper and more among the deliciously decked-out deceased. There’s a fine line between spooky and silly, and the wardrobe consistently lands on the right side of both. Makeup and wig design by Bailey Dorflinger-Slee is primarily spot-on, save a couple questionable wig choices—Wednesday’s Karen-ish flyaway nape fringe circa 2020, is…an interesting choice, but Grandma’s fright wig is chaotically crisp and frightfully right. The makeup, especially Fester’s sleepless hollowed eyes, Morticia’s ghoulish glam and the Ancestors’ ghostly glow, all add to the spooktacular look of the show.
The Broadwayesque scenic design by Andrew Cohen, perfectly mood-enhancing lighting design by Stephen Moss , choreo by Anna Claire Perry, music direction by Scott Brons and sound design by Danny Northup all come together brilliantly to further elevate the experience, creating a theatrical world that feels suitably grand without overwhelming the performers. The production’s visual atmosphere shifts to accommodate the show’s romantic, comic, and supernatural elements, while the lighting helps focus attention where it belongs, whether on an intimate exchange or a full-company musical number. The overall aesthetic is polished and purposeful, lending the evening the kind of professional finish that makes Studio Tenn’s larger-scale productions so satisfying. The design elements work in concert with Cassidy’s direction, allowing the performers to remain the focus while surrounding them with an appropriately extravagant Addams universe.
And then there are the voices. This is, after all, a musical, and the company delivers the vocal goods. Lippa’s score moves between big ensemble moments, character-driven comic numbers, and romantic passages, giving the cast ample opportunity to demonstrate its range. Jones’ “Pulled,” Allen’s commanding vocals, Waid’s spirited musicality, and the ensemble’s contributions make the score feel vibrant and alive. The music is never simply an interlude between jokes; it advances the story, deepens the characters, and gives the production its emotional momentum. The choreography and physical staging add further polish, with the company maintaining the precision necessary to make the larger numbers feel exciting rather than chaotic.
What impresses most about Studio Tenn’s THE ADDAMS FAMILY is the way it balances spectacle with character. The familiar black-and-white iconography, the dark humor, and the outrageous family dynamics are all present, but they’re supported by performances that understand the people beneath the eccentricities. Gomez and Morticia are devoted partners. Wednesday is a young woman discovering that love may be more complicated than she imagined. Lucas is a romantic caught between affection and bewilderment. Alice and Mal must confront the distance between the lives they present and the lives they actually lead. Even Pugsley’s desperate attempts to keep his sister close spring from a recognizably human fear of being left behind.
That emotional grounding gives the comedy room to land. The production never asks its audience to choose between laughing at the Addamses and caring about them. Instead, it recognizes that the family’s peculiarities are precisely what make them such enduring theatrical and pop-culture favorites. In this household, being normal would be the real horror.
Studio Tenn’s THE ADDAMS FAMILY MUSICAL is a terrific showcase for a talented local company working at the top of its game. Cassidy’s assured direction, the cast’s spirited performances, the sumptuous costumes, the polished production values, and the score’s infectious theatricality combine to create an evening that feels every bit as ambitious and entertaining as the material deserves. From Allen’s show-stopping Morticia to Waid’s irresistible Fester, Jones’ winning Wednesday, and a supporting company that makes every corner of the Addams universe feel alive, this production delivers the goods.
The Addams family may have built its reputation on darkness, but Studio Tenn has found plenty of light in the shadows—and a whole lot of fun along the way. If you’re looking for a musical with Broadway-worthy polish, memorable performances, and enough kooky charm to make even the most buttoned-up Beineke loosen their collar, head to The Turner Theatre before the family packs up and returns to the crypt. Studio Tenn’s THE ADDAMS FAMILY MUSICAL is on stage now through Sunday, October 25, at The Turner Theatre inside The Factory at Franklin, 230 Franklin Road. CLICK HERE for tickets.
From Spooky Season to the most wonderful time of the year, following THE ADDAMS FAMILY MUSICAL, Studio Tenn rings in the holiday cheer with a return engagement of It’s a Wonderful Life: A Live Radio Play onstage at The Turner Theatre December 3-20. CLICK HERE for tickets or more information. Wanna keep up with the latest from Studio Tenn? Be sure to check out Studio Tenn online at StudioTenn.com or on social media at Facebook, Instagram and X.
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RAPID FIRE WITH THE SOUND OF MUSIC‘s CAPTAIN GEORG VON TRAPP, KEVIN EARLEY 
RAPID FIRE WITH THE SOUND OF MUSIC‘s ELSA SCHRAEDER, KATE LOPREST
RAPID FIRE WITH 
RAPID FIRE WITH THE SOUND OF MUSIC‘s HERR ZELLER, DANIEL ROBERT SULLIVAN
Norah Younger’s Shelby Holcomb might not be in the opening scene, but once onstage, immediately commands attention. Younger gives Shelby an appealing intelligence and quickness, but wisely show restraint and uncertainty. There is something more complicated happening underneath Shelby’s rapid-fire observations, and Younger gradually reveals those layers with an impressive combination of confidence and vulnerability.
Advika Ravishankar’s Raelynn Nix is equally compelling. Ravishankar finds the humanity in a character who has spent much of her young life navigating expectations—expectations about who she should be, how she should behave and what her relationships should look like. Watching those assumptions begin to crack is one of the production’s more affecting journeys, and Ravishankar handles that evolution with considerable sensitivity. One of my personal favorite Raelynn moments comes early on in the play when she fires off a rapid succession monologue of exposition to catch up Nell, the newest student, she ends the fast-paced info dump with “and that’s what you missed on Glee”—taking a cue from the intro phrase from the iconic teen-driven TV series that always started each episode.
And then there are the adults of the piece Lucas Calhoun as Mr. Carter Smith and McKenna Steel as Ms Bailey. Lucas Calhoun’s Carter Smith, who finds just the right balance in the production’s adult male presence. As the English teacher and faculty advisor to the girls’ newly formed feminism club, Carter occupies an interesting position within the story. Calhoun doesn’t make him a conveniently enlightened adult who always knows exactly what to say. Instead, there is a humanity to his performance that allows Carter to listen, learn and occasionally realize that the most useful thing he can do is get out of the way. That makes Calhoun’s performance considerably more interesting—and considerably more believable. Calhoun’s Mr. Smith is the teacher we all remember from high school. Just a little older than the students, good looking, interested, but not hovering…again reference Glee, think Matthew Morrison as Mr. Will Schuester. 
Rounding out the cast and reppin’ the boys, Lorenzo Rivera’s Mason Adams and Brent Bentley’s Lee Turner provide some of the production’s lighter moments without ever allowing their characters to become broad caricatures. In the hands of less skilled young actors, both roles could easily be stereotypes…Mason the jokester, Lee the cocksure jock, but as played by Rivera and Bentley, they reveal layers of uncertainty, self-doubt and eventual understanding, not only of themselves but of their female counterparts. Don’t get it twisted though, this play is about the young women. That said, it is an impressive company from top to bottom.
Because Belflower’s play is ultimately about authenticity. It’s about the difference between the story we’ve been handed and the story we experience ourselves. It’s about the danger of accepting a narrative simply because it has become familiar. It’s about the uncomfortable realization that the people we have been taught to admire may not always deserve our admiration—and that people we’ve been taught to dismiss may have considerably more to say than we ever bothered to hear.
Belflower’s writing is smart enough to leave room for disagreement, while Shouse’s direction keeps that disagreement rooted in character rather than turning the production into a lecture. And that’s an important distinction. This isn’t a play telling an audience what to think. It’s a play encouraging an audience to think. 
The thread connecting the personal drama to the larger historical elements is masterfully presented by Matthew Carlton’s Storyteller. As with any show in which he appears, Carlton’s presence assures those familiar with his work that they’re in for quite the performance. His Storyteller keeps the audience grounded in the broader story without turning the production into a some sort of yawn-fest history lesson. OK, OK, I admit it. History was never my strong suit, but with this cast and this story, it’s just as much an evocative tale as it is a tale of yesteryear as well as a bit of a cautionary tale of the plight of today’s agricultural foundation in homegrown products far beyond the scope of the tobacco industry.
Playwright David Alford, who also wrote the music and lyrics, has created a Broadway-worthy bluegrass score with a dark side.
Following SMOKE, the 
The Bell Witch Fall Festival then culminates October 22–31 with the annual presentation of David Alford’s spellbinding SPIRIT: The Authentic Story of the Bell Witch, presented on the hallowed grounds where the legendary Bell Witch is said to have roamed. Festival grounds open nightly at 6pm, with seating at 7pm and the show at 7:30pm, giving visitors time to explore vendors, grab dinner and settle in for an evening of history, entertainment and a little supernatural intrigue. SPIRIT tickets range in price from $27.38 to $43.14. 
RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN‘s LUCAS CALHOUN
RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN‘s
RAPID FIRE WITH JOHN PROCTOR IS THE VILLAIN
And then there are the three people at the center of that world. DéYonté Jenkins, as Henry Jekyll and Edward Hyde, takes on one of musical theatre’s great dual-role challenges and makes the transformation between the two personalities feel like an actual psychological unraveling rather than a theatrical gimmick. With the seemingly simple act of letting down his hair, increasing his audible breathing, snarling and yes, a bit of sweat and snotting, Jenkins transforms from Jekyll to Hyde in a scarily brilliant manner. Jekyll’s idealism, desperation and obsession gradually give way to Hyde’s darker liberation, and Jenkins makes that descent increasingly compelling. Again, the intimacy of this venue works with the show, not against it. Let’s not sleep on Jenkins’ vocals either. From Jekyll’s first musical number “Lost in the Darkness” to his final public transformation during “The Wedding”, whether as the meek and smooth as silk voiced Jekyll or the growling, guttural Hyde, Jenkins’ vocal control is enchanting. Those familiar with the musical can rest assured when Jenkins tackles “This is The Moment”, it’s not just a song title, it is the truth.
As Emma Carew, Dr. Henry Jekyll’s intended, Rebekah Joy brings an emotional strength to the production that keeps the character from becoming merely the devoted woman waiting for the troubled man she loves to come to his senses. There is genuine resilience beneath Emma’s affection, and Joy gives that emotional journey considerable weight. Vocally, Joy puts the opera in gothic opera. “Take Me As I Am”, Emma and Jekyll’s Act 1 duet showcases Joy’s control and power as a vocalist and as an actress. During this number you could have heard a pin drop in the sold out audience as Joy’s Emma hit that final note. Same goes for her Act 2 showstopper, “Once Upon a Dream”—goosebumps. 
Then there is Francesca Noe as Lucy Harris, whose performance may be the production’s most heartbreaking. Noe gives Lucy vulnerability without ever making her fragile, allowing us to see a woman desperately searching for a way out of a world that has offered her precious few choices. Let’s face it, Lucy is the OG Pretty Woman, a hooker with a heart. Matching her co-stars note for note Noe’s vocal performance is gorgeous, but it is the emotional storytelling underneath those vocals that makes Lucy so affecting. From the rousing, rambunctious “Bring On the Men” to the Act 1 11 o’clock showstopper, “Someone Like You” Noe’s Lucy is stunningly captivating.
Skillfully aiding our lead as he navigates the uncertainty of his transformation is Elliott Robinson as Gabriel John Utterson, who initially serves up a bit of narrative exposition. Not gonna lie…knowing Robinson was among the cast was reason enough for me to check out this production. As he has done with any role he has taken on over the last two decades that he’s been a staple of area theatre, Robinson, simply by his presence, elevates the production. While this production doesn’t necessarily need any extra help in elevation, Robinson’s Utterson is the perfect unexpected ally to Jenkins’ troubled duality. Early on, Robinson’s Utterson joins the crowd for ‘Facade’ where he sings the telling line, “Each man you meet in the street isn’t one man, but two!” And how! It’s a simple phrase that could easily be lost if uttered by a lesser performer, but in Robinson’s capable hands, you’re like…Damn right.
From the spooky frothing magic potion that turns Jekyll to Hyde to those candles that light the lab and books that become almost unnoticeably more disheveled and chaotic as the transformations become more frequent and uncontrolled…it’s those little touches by the set, scenic and props crew that bring you in this gothic world, and keep you there. Oh, and be sure and take notice of the handbills, notices and posters pasted to the wall just to the right of the main stage. My companion for the evening and I had fun during intermission figuring out what classic London lore each one represented. Nice touch! There’s also a fun, albeit completely out of place nod to our own skyline mixed in amongst the 1880s London skyline.
RAPID FIRE WITH CLINT RANDOLPH, DENNIS DUPREE IN ROCK OF AGES
RAPID FIRE WITH SMOKE DIRECTOR GALEN FOTT
SMOKE: A Ballad of the Night Riders signifies the opening of this year’s annual installment of Bell Witch Festival with performances weekends Thursday October 1 thru Saturday, October 10. Specific show dates are October 1, 2, 3, 8, 9 & 10. Each evening the grounds at the Bell School Community Complex (7517 US-41 Adams, TN 37010) open at 6pm giving attendees the time and opportunity to peruse the grounds, the gift shop and vendors, including food trucks for a delicious meal before the at Kay Bagby Theatre and Brooksher Outdoor Pavilion seating opens at 7pm for the 7:30pm showtime. Grass Lawn tickets are $22.13 to 27.38. Seating at the covered pavilion range in price from $37.89 to $27.35 (prices include fees). 
That may be the greatest compliment I can give 
As Frankie Valli, 
Peyton Schoenhofer
Harry Sperduto
Owen McCredie
The remarkable thing about