The Washington Post called the new Addams Family musical "this year's answer to the question, How many talented people does it take to screw up a concept?"
The New York Times was even less kind: "A tepid goulash of vaudeville song-and-dance routines, Borscht Belt jokes, stingless sitcom zingers and homey romantic plotlines that were mossy in the age of Father Knows Best, The Addams Family is most distinctive for its wholesale inability to hold on to a consistent tone or an internal logic."
And Variety wrote that "it's a bad idea to have Fester wonder at intermission if the audience will 'leave in an hour feeling vaguely depressed,' and a worse one to start the show with 15 seconds' worth of that finger-snap theme from the sitcom, which turns out to be the evening's catchiest musical moment."
But guess what? When it came time to buy tickets, none of those opinions mattered. In the face of withering reviews, The Addams Family has turned out to be a critic-proof smash, selling $851,000 in tickets last weekend alone in addition to the $15 million advance sales, according to The New York Times. Most of the credit for this seems to go to Tony -award-winning Nathan Lane, who's something of a Broadway insurance policy.
So what do you think? Would you willing to, as the Wall Street Journal put it in one of the more positive reviews, go see "a goodish musical whose tickets are so expensive that you can buy an iPad for less than the price of four orchestra seats"?