{"id":7735,"date":"2026-03-26T17:01:18","date_gmt":"2026-03-26T16:01:18","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=7735"},"modified":"2026-03-26T17:01:43","modified_gmt":"2026-03-26T16:01:43","slug":"la-familia-addams-musical-legado-nueva-produccion","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/la-familia-addams-musical-legado-nueva-produccion\/","title":{"rendered":"La Familia Addams: ya no son los raros que viven al margen"},"content":{"rendered":"

El regreso al escenario de La Familia Addams, el musical<\/em>: un primer acercamiento a su legado y a la nueva producci\u00f3n.<\/h3>\n

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La normalidad es una ilusi\u00f3n; lo que es normal para la ara\u00f1a es el caos para la mosca.<\/p>\n<\/blockquote>\n

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\u00bfQu\u00e9 es \u00ablo normal\u00bb?<\/strong><\/h4>\n

El regreso de la familia Addams a los escenarios reabre una cuesti\u00f3n que su propio universo lleva d\u00e9cadas poniendo en crisis: la idea de normalidad. Su reaparici\u00f3n nos obliga a preguntarnos qu\u00e9 entendemos por \u00abnormal\u00bb o, m\u00e1s bien, si algo as\u00ed ha existido alguna vez.<\/p>\n

Pocas sagas han atravesado tantas \u00e9pocas y formatos sin diluir su identidad como los Addams. Resulta significativo que una familia construida desde \u00abla anomal\u00eda\u00bb haya logrado atravesar generaciones sin perder coherencia, encontrando cada vez una nueva forma de encajar.<\/p>\n

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Im\u00e1genes de la anterior producci\u00f3n de La Familia Addams<\/em> (2017). Foto: LETSGO<\/p>\n

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Charles Addams: el origen<\/strong><\/h4>\n

Sin embargo, su vigencia no responde \u00fanicamente a un ejercicio de nostalgia. Si los Addams siguen funcionando es, precisamente, por su capacidad de mutaci\u00f3n: por c\u00f3mo han sabido desplazarse entre \u00e9pocas, lenguajes y formatos sin traicionar su esencia.<\/p>\n

Esa capacidad de transformaci\u00f3n tiene un origen muy concreto. Antes de convertirse en un fen\u00f3meno transmedia, los Addams fueron el reflejo de una mirada muy particular sobre el mundo: la de Charles Addams.<\/p>\n

Desde ni\u00f1o, Addams mostr\u00f3 una fascinaci\u00f3n poco habitual por lo macabro \u2014exploraba cementerios, dibujaba esqueletos en las paredes de su vecindario\u2014, una sensibilidad que m\u00e1s tarde canalizar\u00eda a trav\u00e9s de su formaci\u00f3n art\u00edstica en instituciones como Colgate University, la University of Pennsylvania o la Grand Central School of Art de Nueva York. En 1933 vendi\u00f3 su primer dibujo a The New Yorker<\/em>, iniciando una trayectoria que superar\u00eda las 1 300 vi\u00f1etas publicadas.<\/p>\n

Fue en 1938 cuando empezaron a aparecer, de forma a\u00fan dispersa, los primeros esbozos de esa familia exc\u00e9ntrica de est\u00e9tica f\u00fanebre que funcionaba como parodia de la clase media estadounidense, con un peculiar deleite por lo macabro y un disfrute de lo aterrador o \u00ablo extra\u00f1o\u00bb. La l\u00f3gica de su funcionamiento parec\u00eda querer convertir lo siniestro en cotidiano y lo cotidiano en algo profundamente extra\u00f1o.<\/p>\n

La formalizaci\u00f3n llegar\u00eda a\u00f1os despu\u00e9s, en 1964, cuando junto al productor David Levy esos personajes dieron el salto a la televisi\u00f3n. Fue entonces cuando adquirieron identidad definitiva \u2014G\u00f3mez, Morticia, Mi\u00e9rcoles o el T\u00edo F\u00e9tido\u2014 y cuando el universo Addams se consolid\u00f3 como un imaginario reconocible, preparado para iniciar un recorrido que lo llevar\u00eda mucho m\u00e1s all\u00e1 de su formato original.<\/p>\n

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Im\u00e1genes de la anterior producci\u00f3n de La Familia Addams<\/em> (2017). Foto: LETSGO<\/p>\n

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De vi\u00f1eta a fen\u00f3meno cultural<\/strong><\/h4>\n

A partir de ese momento, los Addams iniciaron un camino que los conducir\u00eda a habitar distintos lenguajes sin perder su identidad. La televisi\u00f3n de los a\u00f1os sesenta los convirti\u00f3 en un fen\u00f3meno reconocible para el gran p\u00fablico, fijando una primera imagen colectiva de la familia que, sin embargo, no tardar\u00eda en evolucionar.<\/p>\n

Las adaptaciones cinematogr\u00e1ficas de los noventa reforzaron su dimensi\u00f3n est\u00e9tica y sofisticaron su universo visual, consolidando una iconograf\u00eda que hoy sigue funcionando como referencia. M\u00e1s adelante, su salto al teatro musical supuso una nueva reformulaci\u00f3n del material original, trasladando ese equilibrio entre lo macabro y lo cotidiano a un lenguaje esc\u00e9nico donde la exageraci\u00f3n, el ritmo y la partitura ampliaban sus posibilidades expresivas.<\/p>\n

El universo Addams ha seguido encontrando nuevas formas de dialogar con el presente. El fen\u00f3meno reciente de Wednesday<\/em> ha vuelto a situar a la familia en el centro de la cultura popular, conectando con una generaci\u00f3n que no necesariamente hab\u00eda crecido con sus versiones anteriores. En esta relectura, la l\u00f3gica interna parece respetarse a\u00fan y se recupera una mirada que sigue encontrando en lo extra\u00f1o una forma de cuestionar lo establecido.<\/p>\n

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De izq. a dcha.: I\u00f1aki Fern\u00e1ndez (CEO de LETSGO), Natalia MIll\u00e1n (caracterizada como Morticia Addams) y Dar\u00edo Regattieri (CEO de beon.Entertainment). Foto: LETSGO.<\/p>\n

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Volver a escena: reinterpretar a los Addams hoy<\/strong><\/h4>\n

En este contexto, recuperar La Familia Addams<\/em> para los escenarios no implica simplemente revisitar un t\u00edtulo conocido, sino enfrentarse a un material que ha demostrado una capacidad inusual para resignificarse. Cada nueva encarnaci\u00f3n arrastra consigo un imaginario previo, pero tambi\u00e9n la exigencia de dialogar con el presente.<\/p>\n

La nueva producci\u00f3n que llegar\u00e1 esta temporada asume precisamente ese reto: explorar qu\u00e9 significa hoy ese equilibrio entre lo oscuro y lo cotidiano, entre la tradici\u00f3n del universo Addams y las sensibilidades de una nueva generaci\u00f3n de espectadores.<\/p>\n

Las decisiones creativas \u2014desde la propuesta escenogr\u00e1fica hasta el tratamiento musical\u2014 apuntan en esa direcci\u00f3n: una revisi\u00f3n que busca actualizar los c\u00f3digos sin romper con la esencia. En un momento en el que el fen\u00f3meno de Wednesday Addams ha reconfigurado el acceso de nuevas audiencias a este universo, la escena se convierte en un espacio privilegiado para ampliar esa experiencia y devolverla a su dimensi\u00f3n m\u00e1s f\u00edsica y compartida.<\/p>\n

En el centro de esta relectura se sit\u00faa Natalia Mill\u00e1n<\/strong>, que asume el papel de Morticia desde una aproximaci\u00f3n que recupera uno de los rasgos m\u00e1s definitorios del personaje: su sofisticaci\u00f3n. Lejos de una caricatura, su interpretaci\u00f3n se construye desde la contenci\u00f3n, la precisi\u00f3n y una elegancia que funciona como contrapunto al caos que la rodea. La propia actriz ha subrayado, adem\u00e1s, el atractivo de enfrentarse a un personaje con un imaginario tan consolidado, pero a\u00fan abierto a nuevas lecturas.<\/p>\n

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Natalia Mill\u00e1n caracterizada como Morticia Addams. Foto: LETSGO.<\/p>\n

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Contexto industrial: un regreso estrat\u00e9gico<\/strong><\/h4>\n

Recuperar La Familia Addams<\/em> en este momento no es casualidad. De la mano de LETSGO y beon.Entertainment, se trata de un proyecto que combina decisi\u00f3n art\u00edstica y estrategia industrial: capitalizar una IP consolidada, pero al mismo tiempo reposicionarla para nuevas audiencias. En un sector donde los reboots<\/em> teatrales y los universos reconocibles se han convertido en tendencia, este musical se inserta en un circuito que busca equilibrar innovaci\u00f3n y familiaridad, atrayendo tanto a quienes crecieron con la familia como a quienes la descubren a trav\u00e9s de fen\u00f3menos recientes como Wednesday<\/em>.<\/p>\n

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Natalia Mill\u00e1n caracterizada como Morticia Addams. Foto: LETSGO.<\/p>\n

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Presentaci\u00f3n y castings en marcha<\/strong><\/h4>\n

El pasado 18 de marzo se llev\u00f3 a cabo el encuentro con los medios, que estuvo encabezado por los CEOs de LETSGO y beon.Entertainment, quienes compartieron las primeras claves del proyecto y algunos detalles de cara al estreno previsto para septiembre. Adem\u00e1s, dieron paso al escenario a Natalia Mill\u00e1n caracterizada como Morticia Addams por primera vez, quien habl\u00f3 sobre el atractivo de interpretar a un personaje que defini\u00f3 como elegante, divertido y sofisticado, y que forma parte de un imaginario muy consolidado dentro de la cultura popular.<\/p>\n

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Aspirantes reunidos en la cola para los castings de La Familia Addams, el musical<\/em> a las puertas del Teatro Calder\u00f3n. Foto: LETSGO.<\/p>\n

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La jornada coincidi\u00f3 adem\u00e1s con una fase importante del proceso de producci\u00f3n. En el propio teatro se estaban celebrando los castings presenciales para seleccionar a los int\u00e9rpretes que completar\u00e1n el reparto. Desde primera hora de la ma\u00f1ana, una larga fila de aspirantes se form\u00f3 a las puertas del Calder\u00f3n para participar en las pruebas, mientras en el interior se iban preparando los detalles de la presentaci\u00f3n del espect\u00e1culo.<\/p>\n

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Castings en marcha para La Familia Addams, el musical<\/em>. Foto: LETSGO.<\/p>\n

Durante el acto, los productores tambi\u00e9n adelantaron algunos elementos del montaje, entre ellos una escenograf\u00eda de gran formato dominada por la casa familiar y una apuesta reforzada por los efectos especiales.<\/p>\n

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Natalia Mill\u00e1n, caracterizada como Morticia Addams, en entrevista con los medios. Foto: LETSGO.<\/p>\n

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Los Addams como espejo contempor\u00e1neo<\/strong><\/h4>\n

Al final, este regreso confirma algo que la propia familia ha demostrado durante d\u00e9cadas: los Addams sobreviven porque, en cierto modo, el mundo se parece cada vez m\u00e1s a ellos.<\/p>\n

Como ya hemos abordado en otros art\u00edculos<\/a><\/strong><\/span>, vivimos en una \u00e9poca en la que lo extra\u00f1o ha dejado de descolocar. Lo que antes operaba como anomal\u00eda hoy se integra con naturalidad en el imaginario colectivo, diluyendo su capacidad de generar distancia o incomodidad.<\/p>\n

En ese contexto, los Addams dejan de funcionar \u00fanicamente como una excepci\u00f3n para convertirse en un reflejo. Ya no son los raros que viven al margen; somos nosotros quienes nos hemos desplazado hacia su territorio y son la evidencia de hasta qu\u00e9 punto \u00ablo raro\u00bb ha dejado de serlo.<\/p>\n

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https:\/\/www.letsgocompany.com\/wp-content\/uploads\/2026\/03\/LG-BLOG_ENTREVISTA-MORTICIA_1440x460.mp4<\/a><\/video><\/div>\n

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Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 26 de marzo de 2026<\/p>\n

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\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

El regreso al escenario de La Familia Addams, el musical: un primer acercamiento a su legado y a la nueva producci\u00f3n.   La normalidad es una ilusi\u00f3n; lo que es normal para la ara\u00f1a es el caos para la mosca.   \u00bfQu\u00e9 es \u00ablo normal\u00bb? El regreso de la familia Addams a los escenarios reabre […]<\/p>\n","protected":false},"author":12,"featured_media":7766,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"

[et_pb_section][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text]<\/p>

We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3>

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Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote>

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Valerio Tiberi is one of the most sought-after lighting designers in the European theatre scene. His professional range spans from opera productions in emblematic venues like the Op\u00e9ra Bastille in Paris and Teatro alla Scala in Milan, to international musicals such as The Phantom of the Opera<\/em><\/a><\/strong>, Cabaret<\/em><\/a><\/strong>, or West Side Story<\/em>; ballet (A Thousand Tales<\/em>, Alice in Wonderland<\/em>, etc.), and haute couture fashion shows for brands like Valentino and Dolce & Gabbana. He has received numerous awards, including the Italian Musical Oscar and Best Lighting Design.<\/p>

His work strikes a natural balance between technical precision and aesthetic sensitivity \u2014which is no small feat. In this interview, he opens up about his creative process, his reflections, and the challenges of lighting vastly different worlds: the theatre stage and the fashion runway.<\/p>

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The challenge of lighting a classic<\/strong><\/h4>

Tiberi recalls that his relationship with LETSGO dates back at least to 2016, when they produced Dirty Dancing<\/em> in Spain for the first time:<\/p>

I came with Federico Bellone; we were the original creative team. Since then, we\u2019ve done many productions [with LETSGO], but without a doubt, the most successful one is The Phantom of the Opera<\/a><\/strong><\/em>.<\/p><\/blockquote>

Being part of the first Spanish-language production of one of the most successful musicals in history was a challenge in every sense. Tiberi remembers staging Phantom<\/em> at Teatro Alb\u00e9niz as \u201ca very difficult project.\u201d This is where the intricacies of lighting design come into play, when theory meets the hard ground of practice:<\/p>

The biggest challenge was finding the physical space to place the light. We can all come up with incredible ideas, but my job is to make them into reality.<\/p><\/blockquote>

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Lighting design by Valerio Tiberi for The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p>

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It was one of those times when art has to come down to earth: adapting to budgets, technical layouts, timelines, and spatial limitations. Finding the perfect spot for the light, and projecting from there.<\/p>

We used very powerful light sources that could do several things at once: specials, washes, effects. We worked a lot with light tilting to create depth, and we also used smoke, fire... fire is light, too, of course.<\/p><\/blockquote>

An artist\u2019s greatness often lies in their versatility. Cabaret<\/em> <\/a><\/strong>is a whole different beast \u2014but naturally, Tiberi embraces the challenge:<\/p>

In Cabaret<\/em>, the approach is completely different. It\u2019s an immersive production and although we\u2019re still in the creative process, the challenge is once again the same: finding space for the lights. Only this time, the light is exposed. In Phantom<\/em>, it was hidden. The audience didn\u2019t see it. In Cabaret<\/em>, the lighting is part of the set. Everyone will see it.<\/p><\/blockquote>

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Thinking like the audience<\/strong><\/h4>

Lighting design is not just a technical craft. How do you think about a show when you\u2019re a creative but can\u2019t lose sight of the surgical precision that light demands? Luckily, artistic environments are fertile ground for questioning and transformation.<\/p>

Tiberi is clear: the key is thinking like the audience. In the end, it all comes back to emotion and to human reaction:<\/p>

There\u2019s no one rule. I adapt to each situation. For example, with Cabaret<\/em>, I started from the tools: I knew I needed dynamic, effect-driven lighting. In Phantom<\/em>, it was the opposite: storytelling was my starting point.
But in both cases, I try to keep an artistic mindset from the beginning. I like to think like the audience. The audience doesn\u2019t know if it was hard or easy to achieve an effect; they only know if it moved them. That\u2019s why I try to understand how the human mind reacts to light, to color, to stimuli. And that changes depending on the type of show, the city, the society. It\u2019s not just design: it\u2019s psychology.<\/p><\/blockquote>

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Custom Gobos used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

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Rediscovering darkness<\/strong><\/h4>

Tiberi is fascinated by a deeply contemporary concern: in a world blinded by light (computers, phones...) we\u2019ve become unavailable to darkness. We live in a state of overexposure, often without even realizing it.<\/p>

Theatre, like some exhibitions, is the only place where you can rediscover darkness. That\u2019s why I always start from the dark. And from there, I build layers. I begin with the black, then work on the amount of light: the white. And if needed, the colors come after. Contrast is essential. I\u2019m not just talking about aesthetics; I\u2019m talking about creating an intimate experience, something the audience doesn\u2019t find in their daily lives.<\/p><\/blockquote>

\u201cRediscovering darkness (\u2026) an intimate experience.\u201d <\/em>To train the mind to appreciate privacy and reflective environments \u2014so often linked to solitude and twilight\u2014 has become a monumental act. In this sense, framing theatre as a space that revives our most primal thoughts and relationships isn\u2019t nostalgia: it\u2019s a new form of approach, born from our modern context.<\/p>

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Can AI understand theatre?<\/strong><\/h4>

Another hallmark of our times: new technologies and the relationships we forge with them. Tiberi acknowledges that AI has helped him streamline tasks and compare ideas:<\/p>

It\u2019s like a secretary: I feed it images, concepts, and ask it to try out atmospheres. But of course, AI doesn\u2019t know where to physically place a light in the theatre, or which type to use, or when. It helps optimize, expand your thinking, but not solve the essentials.
I mostly use it for dramaturgy. I create mental maps of the show, there, it\u2019s useful. But you need time. If you\u2019re working, you\u2019re working. Still, I think many professions could benefit from AI if used wisely.<\/p><\/blockquote>

Despite growing discussions about whether human creativity can be replaced by algorithms, Tiberi reminds us that some things can\u2019t be substituted. Asked about a moment where lighting was crucial to solving a dramaturgical challenge, he shares:<\/p>

In Houdini<\/em><\/strong><\/a>, in Italy, one of the last scenes was very hard to resolve. We talked for weeks about how to stage it\u2026 and in the end, I did something very simple in the theatre and it worked. Sometimes we overthink things, and the solution is in the simplest move.<\/p><\/blockquote>

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Lighting design by Valerio Tiberi for Houdini<\/a> <\/em><\/strong>(Italy production).<\/p>

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Being a designer today: the power of active experience<\/strong><\/h4>

In a world where instinct and hands-on experience make all the difference, Tiberi knows exactly what he\u2019d tell a young lighting designer starting out:<\/p>

Nowadays, with all the tech out there, it\u2019s easy to reach an average level. But getting to the top is harder than ever. The key is real experience. You need to be in the theatre, live the space, rehearse, test. Be there at least 300 days a year. And travel. See shows, museums, exhibitions. Not just modern ones, classics too. Go to the Louvre, to MoMA\u2026 Start from what\u2019s tangible. Don\u2019t stay in one country, or one style.<\/p><\/blockquote>

On his experience teaching at the Accademia Teatro alla Scala, he adds:<\/p>

I don\u2019t want to be a traditional professor. I want to speak from experience, what\u2019s worked and what hasn\u2019t. I try to involve my students directly in the theatre. That\u2019s where real learning happens.<\/p><\/blockquote>

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Color List used for the lighting design (left) and Designer\u2019s magic sheet (right), both used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

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Fashion vs. Theatre: two worlds, two timeframes<\/strong><\/h4>

As mentioned earlier, Tiberi\u2019s work isn\u2019t limited to the stage or the classroom. He\u2019s also designed lighting for fashion shows, where atmosphere and storytelling \u2014when present\u2014 play a secondary role. But where does the real difference lie between stage and runway?<\/p>

It\u2019s all about timing. In fashion, preproduction is long, but setup takes just two or three days. And the show lasts, at most, twenty minutes. In that time, you run seven or eight cues: the intro, models entering, the runway, the finale, the exit.
It may not sound like much, but it\u2019s a massive job, with last-minute changes, contradictory decisions\u2026 sometimes the day before.
Above all, it\u2019s about the clothes. You need to light the garments with natural-looking light, without altering colors, minimizing shadows. The image must be clean, sharp. Sure, you work on the mood, but ultimately, it\u2019s about showcasing the clothes. It\u2019s about showing and selling.
And the goal is completely different from theatre. In a fashion show, what matters most is what ends up on Instagram. Lighting has to be tailored for smartphones, not for the human eye. And there\u2019s the live stream too, all the major brands do it now.<\/p><\/blockquote>

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The emotional impact of light<\/strong><\/h4>

A profession that walks the line between creativity and technicality but that, above all, demands a sensibility centered on the audience. In this sense, theatre stands as a master at evoking the deepest emotions.<\/p>

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Lighting design by Valerio Tiberi for Natura Encesa <\/em>(Barcelona production). Photo: LETSGO.<\/p>

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In musical theatre, the show comes together during previews, where you polish the details. The most emotional moment is the premiere, that\u2019s when you can finally sit back and enjoy. Opening night is when you let go and just watch.<\/p><\/blockquote>

The premiere is the first glimpse into the emotional impact a piece can have, not just on the audience, but on the team behind it. In September 2024, Valerio Tiberi returned to Madrid after nearly a year, not because of Phantom<\/em>, but for unrelated reasons. Still, he went back to the Alb\u00e9niz to see the show again:<\/p>

I was crying the whole time. After a year\u2026 it made me cry. When that happens, it\u2019s a good thing.<\/p><\/blockquote>

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By<\/span> The<\/span> LETSGO<\/span> Pen<\/span>,<\/span> Claudia P\u00e9rez Carbonell,<\/span> on <\/span>July 15th<\/span>, 2025<\/span><\/span>\u00a0<\/span><\/p>

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