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LATEST NEWS

Review: All Shook Up - Killarney Musical Society

Society name:  Killarney Musical Society Show name:   All Shook Up Adjudicator date of attendance:  11/02/2026 Killarney Musical Society’s All Shook Up  delivered a lively, colourful evening of musical theatre that embraced the cheerful spirit of this Elvis-inspired jukebox show. From the outset, the production established a bright and inviting tone, creating a theatrical world that felt playful, welcoming, and full of enthusiasm. The company clearly relished the material, and that enjoyment...

Society name:  Killarney Musical Society Show name:   All Shook Up Adjudicator date of attendance:  11/02/2026 Killarney Musical Society’s All Shook Up  delivered a lively, colourful evening of musical theatre that embraced the cheerful spirit of this Elvis-inspired jukebox show. From the outset, the production established a bright and inviting tone, creating a theatrical world that felt playful, welcoming, and full of enthusiasm. The company clearly relished the material, and that enjoyment translated easily to the audience, who responded warmly throughout. It was, above all, an evening grounded in sincerity and commitment, with a cast eager to entertain and a creative team intent on presenting a cohesive and engaging production. Visually, the show made an immediate impression. The overall design concept was vibrant and appealing, with a strong opening stage picture that drew the audience into the story at once. There was a pleasing sense of unity across set, projections, and costumes, suggesting careful planning and a clear stylistic vision. This coherence helped establish the tone of the piece and supported the storytelling effectively, particularly in a show that relies on a playful sense of theatricality rather than strict realism. Director Oliver Hurley took a gentle, unobtrusive approach that allowed performers space to inhabit their roles comfortably. That ease often benefits a show like All Shook Up , where charm and personality are as important as precision. There were moments, however, where a little more sculpting of movement and interaction could enhance clarity. At times performers drifted slightly upstage of scene partners or shifted backward during dialogue, softening the focus of the dramatic moment. Small adjustments in positioning and spatial awareness would help sharpen relationships and ensure that important exchanges remain visually and emotionally centred. Pacing, too, is an area that could be refined. Some dialogue sections, particularly early scenes such as Jim and Sylvia’s first bar encounter, settled into a slower rhythm than the narrative requires. Tightening cue pickups and keeping conversational energy moving forward would help maintain momentum and sustain the lively tone that suits the show so well. Likewise, consistency in how performers navigated the set would strengthen the storytelling logic. At times scenic pieces were treated as solid structures, while at other moments within the same scene actors passed through them as stylised frames. Clarifying this stage language would help the audience instinctively understand the environment and remain fully immersed in the action. The comic transformation of Natalie into “Ed” is one of the script’s most theatrical opportunities and orienting that moment more toward the audience would allow its humour to land with even greater impact. Similarly, encouraging subtler reactions from the chorus during group scenes would enrich the stage world. Ensemble performers often default to broader gestures, but a slightly more naturalistic style can add texture and authenticity while still supporting the show’s heightened tone. Musically, the production was one of the strongest aspects of the evening. Under the direction of Jimmy Brockie, with Sorcha O’Connor as Chorus Mistress, the band played with confidence and cohesion, providing a steady, well-rehearsed foundation for the cast. Tempos were reliable, accompaniment was supportive, and there was a reassuring sense of coordination between pit and stage. The principals sang with pleasing tone and musicality, and ensemble harmonies were particularly impressive, giving several numbers a rich, satisfying sound. “Can’t Help Falling in Love” stood out as a highlight, delivered with warmth and sensitivity that drew the audience fully into the moment. The chorus produced a full, resonant sound and clearly benefited from careful vocal preparation. There were occasional instances, most noticeably in “Jailhouse Rock”, where a few ensemble members appeared to miss entrances or were not singing, but these were minor details within an otherwise strong musical showing. A few underscored dialogue passages ran slightly long, leaving performers momentarily waiting for vocal cues; trimming these transitions would help maintain flow and dramatic pacing. Overall, however, the musical team provided a polished and enjoyable score that formed a solid backbone for the production. Choreographically, the cast approached the movement with enthusiasm and commitment, which is half the battle in a dance-driven show. The numbers were energetic and clearly enjoyed by those performing them. Some sequences relied on repeated step patterns, and introducing more variation in movement vocabulary could bring additional visual interest. Likewise, greater attention to unison, consistent arm lines, shapes, and turn directions, would enhance the overall finish. Dance breaks occasionally felt more transitional than fully choreographed and expanding these sections with clearer structure could heighten their impact. The ensemble’s willingness to commit physically suggests that, with focused cleaning and detail work, the choreography could become an even stronger feature. Among the principals, Eoghan Cantillon-Mann’s Chad was engaging and charismatic, with confident stage presence and expressive reactions that communicated humour effectively. His vocal delivery was pleasing, and his physicality captured the character’s swagger without exaggeration. Katrina Galvin’s Natalie sang with power and assurance and moved confidently across the stage. Exploring stronger physical contrast between Natalie and her alter ego Ed would further highlight the role’s comic potential. Dominik Hurley’s Dennis was gentle and likeable, with posture and movement that conveyed shyness effectively. Leaning further into the character’s emotional journey, especially the tension between friendship and romantic feelings for Natalie, would deepen audience investment. Shinann Buckley O’Sullivan’s Miss Sandra offered strong, well-placed vocals and a determined stage presence. Lily MacMonagle’s Sylvia was a particularly memorable portrayal, combining expressive acting with a resonant voice. She charted the character’s emotional journey clearly, allowing the audience to share both her joy and vulnerability. Michael Cunningham’s Jim brought warmth and sincerity, settling into the role after a slightly tentative start. His duet “Don’t Be Cruel” was especially charming, capturing the character’s awkward humour. Strengthening the father-daughter connection with Natalie would make that relationship more affecting. Supporting roles were well handled. Caoimhe Murray’s Lorraine was sweet and sincere, sung with a clear tone and performed with maturity beyond her years. Jaidon Ward Barrett’s Dean was endearingly awkward, with physical comedy that landed well. Orna Cleary O’Shea’s Mayor Matilda showed solid characterisation and good comic timing, and a slightly stronger initial entrance and more commanding physical presence would heighten her authority. Conor O’Leary’s Sheriff Earl generated genuine laughs; allowing a fraction more space after punchlines would ensure every line is heard. The ensemble contributed greatly to the show’s lively atmosphere. Their enthusiasm was infectious, and vocally they were one of the production’s greatest strengths, producing a rich sound that supported the principals beautifully. Encouraging more individualised character choices and slightly subtler acting would add nuance and variety, helping each performer feel distinct within the group. This is an area where workshops or improvisation exercises can make a noticeable difference. Behind the scenes, the production was well supported. The set design was simple but highly effective, particularly for a show with many locations. Framed units on dollies allowed for swift transitions that kept the story moving, and projections were bright and thoughtfully designed, complementing the colour palette and reinforcing the visual world. Stage managers Pam Brosnon and Frank Ashe oversaw proceedings smoothly, with efficient scene changes that maintained pace and continuity. Lighting included several attractive elements, especially the LED tape integrated into the frames and some beautifully lit Act Two moments such as “There’s Always Me” and “I Don’t Want To.” Because the stage extended quiet, front lighting occasionally left faces in shadow at the extreme edge, and additional upstage face light would help maintain visibility across the full playing area. Cueing was accurate and the use of moving lights added variety. Sound was generally balanced, though a little more overall presence would strengthen musical numbers, and at times principals could sit more clearly above the chorus. Some dialogue was difficult to catch, suggesting that small adjustments to projection or mixing could improve clarity. Costumes established an attractive palette that suited the tone of the show, with solid foundations that successfully indicated period and character. Additional detailing, accessories or finishing touches, would add polish, and refining layering would prevent second costumes from being visible beneath opening outfits. Hair styling showed good effort and period awareness; slightly larger shapes would enhance stage impact. Make-up was neat overall, though a more natural look for Natalie would better match her mechanic persona, and footwear choices at the end could reflect her tomboy character more closely. The audience experience was supported by a welcoming and efficient Front of House team, whose friendly organisation created a relaxed and positive atmosphere from arrival. This sense of hospitality contributed greatly to the evening and helped set the tone before the curtain even rose. Taken as a whole, Killarney Musical Society’s All Shook Up  was a bright, enjoyable production with strong musical credentials, appealing design, and a cast whose enthusiasm shone through. The show already possesses many of the qualities that make community theatre special: commitment, warmth, and a genuine love of performance. With continued attention to detail, tightening pacing, refining staging clarity, polishing choreography, and making small technical adjustments, the society has every opportunity to build on this solid foundation. Most importantly, the production radiated goodwill and enjoyment, leaving the clear impression of a company that delights in sharing theatre with its audience, and that spirit is its greatest strength.

Review: Follies - GUMS

Society name: Galway University Musical Society Show name: Follies Date of attendance: 7 th  February 2026 Galway University Musical Society’s decision to stage Follies in Galway’s Black Box   Theatre was, on paper, a bold, maybe even audacious, undertaking. Follies is one of Sondheim’s most intricate works, reflecting on memory, regret and romantic disillusionment. It is a piece steeped in middle age and regrets around roads not taken. Confession time…When I heard that it would be tackled by...

Society name: Galway University Musical Society Show name: Follies Date of attendance: 7 th  February 2026 Galway University Musical Society’s decision to stage Follies in Galway’s Black Box   Theatre was, on paper, a bold, maybe even audacious, undertaking. Follies is one of Sondheim’s most intricate works, reflecting on memory, regret and romantic disillusionment. It is a piece steeped in middle age and regrets around roads not taken. Confession time…When I heard that it would be tackled by a cast comprised largely of performers in their late teens and early twenties, my initial reaction was one of trepidation rather than anticipation. I spent my drive to Galway asking myself how I might best frame such reservations. I arrived prepared to admire the group’s ambition and to forgive their limitations. However, what unfolded was something altogether different. I was mistaken and I am delighted to admit it. Thanks to Keith Hanley’s strikingly clear and intelligent direction, I became oblivious to the fact that I was watching ‘students performing Sondheim’ and found myself fully absorbed in characters navigating the challenging emotional landscape.  Front of house on the evening was competently overseen by the Black Box Theatre’s in-house team, who ensured that patrons were admitted and seated efficiently. There was a relaxed atmosphere in the foyer, with a real cross-section of attendees, from enthusiastic student supporters to proud parents who, judging by the mix of car registrations in the car park, had travelled from the four corners of Ireland to see this ambitious production. There wasn’t much in the way of displays but some effort had been made to acknowledge the rehearsal process, with photographic displays visible in the foyer. With a little more thought, this could have further heightened the sense of event surrounding the performance.  Making your directorial debut with ‘Follies’ might be considered brave. To do so with assurance and flair is something most directors can only aspire to. Keith Hanley ripped up the rule book, taking on Sondheim’s beast of a show for his first outing at the helm and from the beautifully staged opening prologue, it was clear that this was a production in very good hands. Character work was exceptional. The performers’ grasp of text, subtext and tone indicated detailed work on the rehearsal room floor. Nothing was thrown away. The narrative of ‘Follies’ is notoriously challenging for audiences unfamiliar with the piece to absorb, as it constantly drifts back and forth between present reality and ghostly reflection. It relies heavily on atmosphere and, in particular, on lighting states that need to suggest past memories bleeding into the present. Mr. Hanley’s collaborative work with the lighting department was a high point of this production. Without his theatrical understanding and the designer’s technical expertise, this would have been a very different production.  Under the guidance of musical director Abbie Flannery, assisted by Ben Donohoe, the notoriously intricate score was delivered with great clarity and confidence. From the opening bars, it was clear that much work had been done by Ms. Flannery and her team to ensure that everything was musically secure. She conducted her thirteen-piece orchestra, an impressive blend of talented student musicians alongside seasoned professionals, with flair. They produced a sound that was full and controlled, never overwhelming the vocals. Particular attention had been paid to dynamics, with superb balance throughout, whether in sensitive accompaniment or more climactic moments. Chorally, the production was exceptional. The balance and clarity of each line was an indication of much hard graft in rehearsals. Principal vocal performances were strong throughout. A wonderful job from Ms. Flannery and a huge contributary factor to the overall success of the production. Choreography was in the capable hands of Emily Smith, assisted by Mary Roe and there were many moments of flair and imagination that contributed to the overall polished presentation of this challenging show. There were many nods to golden-age Broadway and good focus on storytelling which tied in with Mr. Hanley’s clear vision. There were several standout sequences. The umbrella tap sequence was visually charming and the kick line within the montage sequence captured expectations of a Follies reunion. “Who’s That Woman?” was particularly memorable. It was sharp and cleverly staged as the ‘older’ performers were joined by their younger, ghostly counterparts. Overall, I did feel that bigger production numbers were not as precise. At times, more uniform sharpness in arms and footwork would have elevated some ensemble routines from good to excellent. That said, what the movement occasionally lacked in polish it more than compensated for in wholehearted investment.  Jonathan Newman delivered an exceptional performance as Ben Stone. He exuded authority and restraint, with the confidence of a man accustomed to being in control. And yet it was such a cleverly masked front. Vocally, Mr. Newman was very assured. His richly resonant baritone lent warmth and gravitas to the role. Despite playing a character significantly older than himself, Mr. Newman captured Ben’s nuances with impressive maturity. There was no hint of caricature. Instead, his portrayal felt deeply truthful and thoughtful. In ‘Live, Laugh, Love’ he revealed a more unsettling dimension, delivered with sound theatrical instinct. Cane in hand, he became the consummate, charismatic showman before allowing the facade to disintegrate as he descended into panic and anger. A wonderful performance all round. Robert Cosgrove delivered an outstanding performance as Buddy Plummer, likable, insecure and clearly hiding something under his upbeat demeanour. It was a performance loaded with subtext as Mr. Cosgrove presented a man who knew he was never really first choice. Vocally, he impressed throughout. ‘The Right Girl’ was particularly impressive, both musically and dramatically. However, it was the emotional undercurrent that really sold this number. His physicality and his suppressed anger added so much to the tension. In the ‘Loveland’ sequence, Mr. Cosgrove unveiled Buddy’s vaudevillian side, with sharp comic timing, but the underlying sadness was always there. The tension between showmanship and desperation was beautifully played. Overall, a highly confident and intelligent portrayal that balanced humour with pathos in what was a standout performance of the evening.  Ella Conneff gave a superbly judged performance as Phyllis Rogers Stone, the sophisticated former showgirl who becomes Ben’s emotionally bruised wife. Ms. Conneff had impeccable timing and an instinctive understanding of Sondheim’s wit. Her delivery was measured and precise, always thoughtful. What impressed me most was the sincerity she brought to the role. She avoided the caricature of sophistication, giving us a very human portrayal underpinned by intelligence and self-awareness. She had a wonderfully expressive singing voice. ‘Could I Leave You?’ was, quite simply, a highlight of the production. Acting through song at its best, Ms. Conneff ensured that every lyric had intention and clarity.  Kate Timothy was an exceptional Sally, the romantic dreamer whose heart is stuck in a past that no longer exists. Ms. Timothy captured Sally’s fragile fixation on Ben with great sensitivity. She too avoided caricature. The longing behind her optimism was skilfully played. Vocally, she was superb. ‘Don’t Look at Me’ was delivered with great clarity and control. ‘In Buddy’s Eyes’ showed the complexity of Sally’s existence as we were slowly drawn into her emotional journey in what was a truly beautiful performance. But it was in ‘Losing My Mind’ that Ms. Timothy truly excelled. Her connection to the lyric was deeply affecting as we witnessed the slow, emotional unravelling of a woman trapped in romantic delusion.  The four younger counterparts are such a key part of the challenging narrative of ‘Follies’. They are the living representations of memory and regret. Edward Wilson (Young Ben), Liam Farren (Young Buddy), Erin Doyle (Young Phyllis) and Holly Prestage (Young Sally) were a haunting, ever-present reminder of choices made by our four protagonists. Mr. Wilson brought a lovely warmth to Young Ben, his vocal in ‘You’re Gonna Love Tomorrow’ was particularly impressive. Mr. Farren was very convincing as Young Buddy, aided not only by an uncanny physical resemblance to Mr. Cosgrove but by well-studied similarities in tone and delivery. Ms. Doyle delivered a confident and vocally assured performance as Young Phyllis, shining especially in ‘You’re Gonna Love Tomorrow’. Holly Prestage was an outstanding Young Sally, utterly believable as Ms. Timothy’s younger self. Her wonderful physicality and vocal quality made this another strong pairing.  Esther Moore brought great vitality to the role of Hattie Walker, the optimist who refuses to let go of her youth and her place in the spotlight. Her performance of ‘Broadway Baby’ was a genuine highlight of the evening, delivered with energy and a wonderful belt, the number was brassy and thoroughly entertaining. Mark Regan undertook the dual roles of Dimitri Weissmann and Roscoe with impressive versatility. As Weissmann, he was fabulously flamboyant, commanding the stage with authority and theatrical flourish. His performance of ‘Beautiful Girls’ was delivered with energy and expressive clarity. In contrast, his Roscoe was more controlled and assured.  Ciara Doherty brought poise and dignity to the role of former opera singer Heidi Schiller. There was such grace in her portrayal, perfectly suited to a character confronting the fading of what was a glorious career now confined to memory. Her performance of ‘One More Kiss’ was quite stunning. Joined by Sarah O’Dowd as her younger self, the duet became one of the production’s most haunting moments.  Clodagh O’Sullivan delivered a commanding performance as Carlotta Campion, lifting the roof of the Black Box Theatre with a rousing rendition of ‘I’m Still Here’. Ms. O’Sullivan’s voice was powerful yet controlled, with a belt that soared effortlessly.  Aela Daly delivered a strong and assured performance as Stella. She relished her featured moment in ‘Who’s That Woman?’, leading from the front with great confidence and poise.  Eimear Gormally portrayed Solange with great charm, wisely avoiding the temptation to play the role as a caricature of age. Instead, she allowed Solange’s personality to emerge through nuance rather than exaggeration.  There was also solid support from Mike O’Sullivan as Theodore and Caitlyn Coyne as Emily. Mr. O’Sullivan brought a gentle warmth to Theodore and Ms. Coyne’s Emily was engagingly portrayed. The ensemble proved to be one of the production’s greatest strengths. What impressed me most was the palpable sense of collective focus, with every performer appearing fully tuned into the narrative. Vocally, the group was superb, as the ensemble navigated Sondheim’s challenging harmonies with confidence. Balance within choral numbers was particularly impressive. The ensemble brought energy and purpose each time they appeared. Movement was full of purpose and well woven into the storytelling. Excellent work overall from a highly committed and talented ensemble. The set design was simple and functional. A series of red brick walls, framed by scaffolding, created a large, open playing space, with an upper level and staircase providing useful options for the director and choreographer. The upstage platform was used effectively throughout the show and offered various staging opportunities. Overall, I felt that the design served the practical mechanics of the show well. However, I did feel that it was perhaps too pristine for a show set within a theatre which was about to be demolished. I also felt that a more transformative design choice for the ‘Loveland’ sequence was required, as we were transported to a surreal fantasy world. Budgetary constraints can often be an obstacle, especially for student productions. However, some modest changes, adding colour to reflect the surreal shift of the sequence, could have made a big difference. Stage management was in the capable hands of Anna Tracey, assisted by Caoimhe Rogers, and their work played a big part in maintaining the production’s impressive pace and fluidity. Scene transitions were efficient, ensuring that momentum never stalled. The use of cast members, and the ‘waiters’ in particular, to move furniture and other elements was very effective. Instead of concealing these changes with blackouts, the decision to incorporate them into the action was both practical and theatrically interesting, allowing the production to flow seamlessly.  Lighting design and operation were excellent throughout. Establishing the boundaries between memory and reality in ‘Follies’ can be a significant challenge and lighting is one of the most important storytelling tools used to communicate this with clarity. The clear distinction between the warmer tones used to represent the present and the cooler tones that accompanied the ghostly figures of the past was beautifully effective. Batten lights embedded within the scaffolding were used to striking effect. The use of haze added to the otherworldliness of the ghostly sequences. Bold colour choices also worked well, with the vibrant reds and blues of ‘Buddy’s Blues’ being particularly effective.  Sound design and operation were exemplary. It’s always a challenge trying to achieve the appropriate balance in a score as intricate as ‘Follies’ but, on this occasion, it was handled exceptionally well. The orchestra was beautifully balanced, never overwhelming the performers on stage. Microphone levels were set with great care, both in terms of overall volume and EQ. Soloists were consistently clear and well supported. Ensemble singing was particularly impressive. Underscoring was extremely well handled. Cueing throughout was consistently accurate, rounding out a superb piece of work that greatly complemented the overall polish of the production. It was not an overly busy show props wise but those used were generally well chosen and appropriate to the period. There was good attention to detail in general. One small detail did momentarily break the otherwise convincing illusion. The glasses carried on the waiters’ trays were clearly empty, despite being distributed and subsequently ‘drunk’ from by various characters. It is often the smallest details that draw attention when the overall standard of a production is so strong.  Costume design was thoughtful with good attention to detail and authenticity for the period. The past was subtly distinguished with creams, whites and greys, a choice that reflected careful attention to detail. The reunion guests themselves were suitably opulent in appearance. I loved the way Young Heidi’s green feather echoed the green dress worn by her older counterpart and the ballerinas’ green ribbons connected both worlds visually. Such details demonstrated a keen eye within the costume department. The ‘Loveland’ sequence introduced colour and accessories, including flowers and the somewhat unexpected but effective balloons, which contributed to the surreal atmosphere of the fantasy world.  Hair and make-up were generally well handled, with careful attention paid to period authenticity and overall character presentation. Importantly, the design team resisted the temptation to over-emphasise ageing through heavy make-up, a decision which, in this context, proved both wise and effective. Hairstyles were thoughtfully chosen to reflect slightly more mature versions of the characters, while gentle greying of hair and the occasional soft facial line hinted at age without becoming distracting. The overall look felt authentic and appropriate. As mentioned, I was initially sceptical when I heard that GUMS were staging ‘Follies’. By the final curtain at the Black Box Theatre, my doubts had long since evaporated. The production’s intelligent direction, exceptional musical standards and a remarkably talented cast put my reservations to rest and taught me a lesson about preconceived notions. This was a production team that understood ‘Follies’. The clear storytelling, the thoughtful characterisations and the collaboration between performers and production team combined to create a thoroughly entertaining production. The depth of talent on display was striking. Ambitious choices don’t always pay off. However, on this occasion, Galway University Musical Society’s bold decision was more than vindicated. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Charlie and the Chocolate Factory - Claremorris Musical Society

Society name: Claremorris Musical Society Show name: Charlie and the Chocolate Factory Date of attendance: 31 st  January 2026 There are very few pieces of music that can transport me back to my childhood in the same way that the opening notes of ‘Pure Imagination’ do. Every time I hear those unmistakable strains, something deep and nostalgic is stirred within me as I recall the anticipation of my siblings and I waiting for our favourite film to come on our rented television set, many moons...

Society name: Claremorris Musical Society Show name: Charlie and the Chocolate Factory Date of attendance: 31 st  January 2026 There are very few pieces of music that can transport me back to my childhood in the same way that the opening notes of ‘Pure Imagination’ do. Every time I hear those unmistakable strains, something deep and nostalgic is stirred within me as I recall the anticipation of my siblings and I waiting for our favourite film to come on our rented television set, many moons ago. And so, making my way to Claremorris Musical Society’s production of ‘Charlie and the Chocolate Factory’, I was so excited to see how this story would unfold on stage. My excitement was rewarded with a most vibrant, often exhilarating piece of theatre. It would have been easy, perhaps, to dismiss Roald Dahl’s beloved tale as lightweight entertainment with little substance beneath the surface. But nothing could have been further from the truth. Claremorris Musical Society invited its audience to suspend cynicism and to embrace ‘pure imagination’. The result was a truly memorable theatrical experience. From the moment we arrived in Claremorris Town Hall Theatre, the front of house experience was warm and genuinely welcoming. The tone was set by colourful décor that reflected the vibrant look of the show itself. Bright colours and playful touches created an atmosphere of anticipation, suggesting that something magical awaited us. There was a notable buzz in the foyer, with a large number of children present. The front of house crew was exceptionally friendly and efficient, managing the lively crowd with ease and warmth.  Donna Ruane’s direction was excellent throughout. Her vision was clear and she had a real understanding for the spectacle required and, importantly, the heart of the show. Her work with the children, in particular, was outstanding, as they each delivered exceptionally clever performances. Her work with the ensemble was equally impressive. Pace was slick throughout, with scenes flowing seamlessly into one another, ensuring that the story’s momentum was always the priority. Comedy was handled extremely well. Lovely directorial touches raised the bar throughout. Charlie throwing his letter into the audience as a paper aeroplane was delightfully theatrical. The image of Willy Wonka placing the top hat on Charlie’s head was beautifully symbolic, a simple yet powerful gesture that bookended Charlie’s magical journey.  Deirdre Lee did a superb job as musical director, conducting eight very talented musicians from her keyboard with great assurance and precision. The orchestra produced an excellent sound throughout, at times creating an almost cinematic soundscape that complemented the storytelling perfectly. The balance between pit and stage was carefully managed, never overwhelming the performers. Principal vocals were consistently strong. The children’s singing was particularly impressive, with every younger member of the cast singing with remarkable confidence and musicality. Ensemble vocals were excellent, exactly as one would expect from a musical director with such extensive choral experience. ‘The Candy Man’ set a high bar, with a gorgeous, full-bodied sound that drew us in from the very start. The decision to have the full company reprise ‘Pure Imagination’ after the bows proved to be the perfect musical conclusion. It was sung with such warmth and was so chorally impressive, that we left on a tidal wave of nostalgia. The very talented Jay Molyneux devised choreography that was clever, engaging and perfectly tailored to the abilities of his cast. Preparation, creativity and careful rehearsal were evident throughout, ensuring that routines were confidently executed whilst always supporting and driving the narrative. ‘The Candy Man’ was a lovely opening number, with choreography that was simple in structure yet sharp and highly effective in execution. ‘The Queen of Pop’ was brilliantly moved, with the Beauregardes and the fabulous troupe of dancers performing a number bursting with personality and flair. The celebratory excitement of ‘I’ve Got a Golden Ticket/Grandpa Joe’ radiated pure joy and ‘It Must Be Believed to Be Seen’ stood out as a very strong ensemble piece.  Niall Conway gave a standout performance in the iconic role of Willy Wonka. Mr. Conway’s portrayal was eccentric, intelligent and very funny indeed. From his very first appearance, there was a glint in his eye and an unmistakable undercurrent of mayhem. His comic timing was wonderful, never overplayed. His dual portrayal as both eccentric chocolatier and sweet shop owner was cleverly differentiated. Vocally, Mr. Conway brought a fine baritone voice to the role which was warm, resonant and wonderfully expressive. His interactions with Charlie were beautifully pitched. A memorable portrayal which captured the complexity and fun of Dahl’s iconic character with great nuance and charisma. David Alexander turned in a superb performance as Grandpa Joe, creating a character that was warm, believable and very funny. He embodied the frailty of a man who had been confined to bed for decades. His physicality was excellent. Every small movement had thought behind it and Mr. Alexander, not an elderly man himself by any means, was entirely believable as the aging grandfather. His gradual move from doddery infirmity to celebratory glee was brilliantly judged. His connection with Charlie was heartfelt and sincere. There was genuine warmth and affection in his performance, and the bond between the two felt so authentic.  Ronan Egan as Grandpa George, Mairéad McDonnell as Grandma Josephine and Josie Gallagher as Grandma Georgina were a wonderfully cast trio as Charlie’s other three bedbound grandparents. The strength in depth of this cast was highlighted by these three performers who brought great individuality and comic intelligence to what could easily have been throwaway characters. Confined physically to the bed in the loft of the Bucket household, they nevertheless created a dynamic and highly entertaining presence whenever they appeared.  Mary Dempsey’s performance as Mrs. Bucket was, for me, a highlight of the show. Ms. Dempsey radiated a natural sincerity that made every moment utterly believable. Her maternal instinct was palpable, with every glance towards Charlie, every protective gesture showing a depth of feeling that was never exaggerated. In ‘If Your Father Were Here’, she delivered one of the most heartfelt moments of the evening. It was sung with longing for her absent husband, for a better life, and for Charlie’s happiness. Vocally, she had a beautifully expressive singing voice. Her delight when Charlie found the Golden Ticket was heartwarming. A most memorable portrayal. Nicole Scott was hilarious as Mrs. Gloop, enjoying every moment of outrageousness whilst keeping control of the comedy at all times. She commanded attention with her very funny physical choices and wonderfully exaggerated presence. She understood the tone and style required and leaned into it with confidence, with a larger than life, hilarious portrayal. Ms. Scott’s facial expressions were a masterclass in comic characterisation and she milked each comedy moment without ever overcooking things. Vivienne Lee gave a highly entertaining performance as Mrs. Teavee, fully embracing the frazzled intensity of a mother at the end of her tether. It came as no surprise that she was frequently swigging from her hipflask. Each discreet (and sometimes not so discreet) sip spoke volumes about her coping mechanisms! Ms. Lee’s interactions with Mike were a believable mix of frustration and denial. Her wonderful comic timing and expressive reactions were so sharp.  Paul Singleton’s incredibly elastic physicality in the role of Mr. Beauregarde was hilarious. It was clear from the outset that his body was going to be as expressive as any line of dialogue. He didn’t so much walk as slink and slide across the stage, his limbs seemingly made of rubber, bending and stretching with gloriously exaggerated control. Mr. Singleton was particularly brilliant in ‘The Queen of Pop’. What an amazing mover he proved to be in this number. His sharpness, rhythm and style was superb throughout.  Joff Manning cut an imposing figure as the Russian Mr. Salt, bringing a commanding stage presence to the role. He was every inch the self-made magnate, accustomed to getting his own way. His Russian accent was wonderfully sustained and added both colour and comedy to the character. Vocally, he impressed greatly in ‘When Veruca Says’. It was an excellent portrayal overall, confidently delivered with superb presence and control throughout. Rose Murphy and Ailbhe Gallagher were an hilarious duo as roving reporters Cherry Sundae and Geri Jubilee, injecting sharp bursts of comedy every time they appeared. Their gleeful sensationalism and animated delivery gave us a perfectly pitched parody of media hysteria. To have two such skilled comediennes in these roles underlined the remarkable strength in depth of this cast.  Another standout performance came from Hazel McGlynn in her delightful portrayal of Mrs. Green, the mouldy vegetable peddler whose entrepreneurial instincts kicked into overdrive during the chocolate ‘boom’. Though very much a cameo role, it was played with such flair that it became one of the most memorable character turns of the evening. It was the work of a skilled actress, proving that, in the right hands, even the briefest appearances can leave a lasting impression. Perhaps the most remarkable aspect of this production was the extraordinary calibre of the children who were cast in principal roles. At the centre of it all stood Ryan McDonnell as Charlie Bucket, delivering an exceptional performance that held the show together. What a talented young man he proved to be. He brought sincerity, warmth and emotional intelligence to the role, capturing Charlie’s optimism and resilience so well. Musically, Ryan was very impressive. He had a beautiful singing voice with great expression and control. In ‘Willy Wonka! Willy Wonka!’   he shone as he expertly guided us through Wonka’s origin story with confidence beyond his years. Ryan also had a lovely comic touch, handling lighter moments with impressive timing.   Ódhran Morley Manning delivered a very funny and confident performance as Augustus Gloop. Complete with padding and traditional lederhosen, he was wonderfully exaggerated from the outset. Ódhran looked like he was enjoying every minute on stage with gluttonous enthusiasm. He had a lovely singing voice too that balanced nicely with his comic characterisation.  Hazel Cheevers gave a brilliant performance as the Russian ballerina and thoroughly spoiled Veruca Salt. Hazel radiated entitlement and was every inch the over-indulged daughter accustomed to getting everything she wanted. In ‘When Veruca Says’, Hazel showcased her brilliantly expressive singing voice to tremendous comic effect. Her accent was strong and consistent, complementing the excellent physicality she brought to the role. Every gesture was carefully judged.  Abbie Flatley was quite fabulous in the role of Violet Beauregarde. From the outset, she captured Violet’s fierce competitiveness and larger-than-life confidence with conviction. There was a boldness to her performance that suited the character perfectly. Abbie gave a fully committed portrayal that never dipped in intensity. ‘The Queen of Pop’ was brilliantly performed and showcased what a tremendous voice she had. A superb all-round performance from another wonderful young talent.  Just when it seemed that the well of young talent couldn’t possibly run any deeper, along came eleven-year-old Michael Farrell in the role of Mike Teavee. What followed was an astonishingly good performance. He captured the over-indulged, screen-obsessed youth with such great skill and intelligence that we couldn’t help but warm to him. Michael showed impressive musicality, excellent phrasing and a confidence well beyond his years. He even managed to get in a moonwalk!  The ensemble, made up of a talented bunch of adults and children, showed excellent acting and reacting throughout the production. They were fully engaged in each scene, listening and responding at all times. The dancers in ‘The Queen of Pop’ were wonderfully sassy and brimming with confidence. The ensemble was particularly outstanding in the brilliant Act One finale, ‘It Must Be Believed to Be Seen’, where their exceptional vocals combined with fantastically sharp and precise movement to create a show-stopping moment. Special mention must also go to the Oompa Loompas, whose wonderful vocals and suitably quirky movement brought smiles to our faces as they rounded out an ensemble performance of the highest standard. David Keane’s stage management was brilliantly slick, ensuring that the storytelling never faltered for a moment. In a show as episodic and visually demanding as ‘Charlie and the Chocolate Factory’, seamless transitions are key and Mr. Keane achieved these with great consistency. Scene changes flowed effortlessly, allowing the story to move along at a superb pace. An excellent crew did truly Trojan work thanks to careful coordination and disciplined execution. Using well-rehearsed cast to assist with certain transitions, notably in moving the sweet shop, was very effective and often felt like an extension of the staging rather than standalone scene changes.  The set design was ambitious, imaginative and quirky; exactly what is needed for a show of this nature. The side flats were beautifully realised with industrial cogs and a chocolatey colour palette framing the action perfectly and creating an immediate sense of Wonka’s mysterious world. The sweet shop truck, painted in vibrant reds and bursting with oversized confectionery, was a child’s dream. The use of giant lollipops and Wonka bars branding added great scale and colour. The Bucket household was wonderfully contrasted with the glorious colour of Wonka’s world. The stacked bed up in the loft, cluttered with blankets, patched quilts and hanging laundry, told a story of poverty. The integration of projection and lighting within the set worked so well. The glass elevator, outlined in glowing light, was both simple and theatrically effective. There was an audible gasp when it began to rise! Overall, a wonderfully strong design which added so much to the visual appeal of the show.  The lighting design and operation were excellent throughout, always enhancing the mood and complementing the energy. There were countless highlights from a lighting perspective. ‘The Queen of Pop’ was particularly striking, with vibrant colour and dynamic movement. The use of moving lights reflected the energy and bravado of the number perfectly. In contrast, ‘If Your Father Were Here’ was beautifully lit, showing a sensitive understanding of mood and adding to the poignancy of the scene. The moving light that tracked Mrs. Bucket was perfectly timed, isolating her and providing us with emotional focus. The chasing light effect as the Golden Ticket winners fell onto the stage at the top of Act Two was a simple but clever inclusion. The use of blinders as the SS Wonka was set worked superbly.  The sound design and operation were superb throughout. No obvious cues were missed. There was always a great balance within the orchestra. Vocals were beautifully balanced against the band, ensuring that lyrics were consistently heard. Sound effects were equally impressive and added great character to the production. From Augustus’s disturbingly funny burp, to the industrial warning sirens that heightened tension within the factory scenes, each effect was chosen and executed with care. Overall, an expertly managed sound design.  The costume design was wonderfully detailed and contributed greatly to the storytelling. From the poverty of the Bucket family to the extravagance of the Golden Ticket winners, this was a most impressively costumed show. Each costume told us who these characters were before they even spoke. The Bavarian-inspired dresses were bright and playful. The Oompa Loompas’ did not disappoint those of us who grew up with the original movie. The squirrels’ soft grey costumes, complete with massive tails, were particularly effective. Wonka himself was a visual triumph. The plum coat, vibrant waistcoat, striped tie and top hat created that iconic image that we expected.  There was excellent attention to detail in the props department, with each carefully chosen item helping to bring the story to life. The Bucket household, in particular, was richly authentic. The four newspapers spelling out the headline ‘Wonka Factory To Open At Last’ was inventive and playful. Mrs. Green’s vegetable cart was another triumph. Complete with ‘mouldy’ vegetables and perfectly branded signage, it was a nicely comedic visual. Augustus’s string of sausages added to the physical comedy of his character. Wonka’s oversized list of rules was used to comic effect; the scale of the prop adding to the absurdity. Overall, the props department did a wonderful job in adding to an already powerful visual spectacle.  Hair, wigs and make-up were of a very high standard throughout. The ageing make-up and carefully chosen wigs for the four grandparents were particularly effective. The Oompa Loompas’ vivid green wigs and orange make-up were strikingly uniform and consistent, achieving a wonderfully ‘cloned’ visual. I loved Mrs. Teavee’s immaculate blonde wig, which perfectly matched her highly strung persona. Mrs. Bucket’s natural, understated look complemented her sincerity and characters such as Mrs. Gloop and the roving reporters were given more exaggerated looks to heighten comedy.  This was a wonderful production by Claremorris Musical Society. It was genuinely difficult to identify a weak link anywhere, such were the consistently high levels of performance, technical execution and artistic vision. From principal roles to ensemble, from orchestra to backstage crew, every department worked at an impressively high standard. What was most heartening of all was the society’s extraordinary work with its young performers. The platform given to these talented children allowed them to shine with exceptional confidence and skill. Nurturing such talent is so important and I have no doubt that the seeds sown will result in a dazzlingly bright future for Claremorris Musical Society as this exceptional generation of young talent continues to entertain. Space this watch!...Strike that, reverse it! Pat McElwain Sullivan Adjudicator 2025/2026

Review: Guys and Dolls - Ballywillan Drama Group

Society name: Ballywillan Drama Group Show name: Guys and Dolls Date of attendance: 30 th  January 2026 ________________________________________________________________________ My second trip north to Coleraine this season and another most enjoyable evening of musical theatre. This production of ‘Guys and Dolls’ marked a major milestone for Ballywillan Drama Group, as it was their first show staged in Coleraine Leisure Centre following the closure of their long-established home at the...

Society name: Ballywillan Drama Group Show name: Guys and Dolls Date of attendance: 30 th  January 2026 ________________________________________________________________________ My second trip north to Coleraine this season and another most enjoyable evening of musical theatre. This production of ‘Guys and Dolls’ marked a major milestone for Ballywillan Drama Group, as it was their first show staged in Coleraine Leisure Centre following the closure of their long-established home at the Riverside Theatre. Perhaps the greatest risk taken by the production was the decision to relocate Damon Runyon’s colourful world into a modern setting. On paper, this felt like a gamble that could have undermined the charm of this classic show. However, the concept was so thoughtfully developed and so cleverly integrated into the storytelling that my initial scepticism was short-lived. It was an original interpretation that was most refreshing and highly entertaining; a fitting debut in this wonderful new theatrical space. Front of house was an immersive experience in itself, immediately drawing the audience into the world of the show. There was fabulous attention to detail throughout the foyer, with themed décor, Mindy’s Café selling refreshments and production photographs beautifully displayed. The pièce de résistance, however, was the incredible cabaret staged front of house during the interval. This was an exciting addition, transforming the break into a performance moment in its own right. It was a wonderfully classy touch that complemented the production so well. Brian Logan’s direction was brave and bold. His decision to set the show in the modern day required clear vision and careful thought. That confidence was evident from the outset in the opening Runyonland sequence, as the stage came to life with familiar characters. The Naked Cowboy strummed his guitar, while modern-day tourists, a juggling clown, joggers, shoppers, and charity collectors created a vivid and recognisable street scene. The clever integration of exceptionally designed graphics on the enormous LED video wall left no doubt as to where the action was taking place and, just as importantly, when it was happening. Pace was exceptional throughout the show. I loved the superbly reimagined crap game set in a rundown theatre as a clever nod to the closed Riverside Theatre. That sequence, in particular, was outstanding. It was fast, precise and so well-rehearsed, reflecting Mr. Logan’s meticulous attention to detail that underpinned the entire production. Musical Director Andrew Robinson was tasked with bringing Frank Loesser’s sumptuous score to life. Under his direction, an impressive eleven-piece orchestra delivered a confident and stylish performance, with Mr. Robinson himself playing piano. At times, there did feel to be scope for more bass in the overall mix, which might have added extra weight and drive to some of the numbers. Vocally, the production was extremely strong. Principal vocals were excellent, with confident delivery and clear musical storytelling throughout. The choral singing was superb, particularly from the male chorus, who sounded terrific. ‘Fugue for Tinhorns’ was sung with real vocal strength from all three talented performers. At times, however, the dynamics between the three lines felt unbalanced, with all voices operating at full intensity simultaneously. This was a minor point, however, in what was otherwise a very accomplished and polished musical presentation. Choreography was a collaboration between Laura Fisher and Sharon Logan, who worked with a cast of varying dance abilities and, for the most part, achieved strong results. They pitched numbers very well within those abilities and were always conscious of the storytelling. I felt that ‘A Bushel and a Peck’, while generally together and cleanly staged, would have benefited from greater confidence and attack from the showgirls. ‘Guys and Dolls’ was imaginatively staged, with each group springing into life in response to the lyrics. The Havana (Los Cabos) sequence, traditionally a huge burst of colour, energy, and exuberance, did not quite reach its usual impact. The decision to begin the number with a single dancing couple resulted in a quieter opening than the music demands. The omission of the ‘Crapshooters Ballet’, arguably one of the most iconic dance sequences in the show, was disappointing. ‘Luck Be a Lady’ featured simple but effective choreography, elevated by strong collective effort and conviction from the men. ‘Sit Down You’re Rockin’ the Boat’ was a standout, brilliantly conceived, confidently performed and very well-rehearsed.  Alan McClarty delivered an astonishingly good performance as Nathan Detroit, one that felt thoroughly professional from start to finish. It was a performance that was polished, confident and consistently funny throughout. From his first appearance, he captured Nathan’s restless energy and constant scheming with ease. Mr. McClarty immediately set a high bar for the rest of the cast. His sense of pace was superb throughout, driving scenes forward with momentum and purpose. Comic timing was razor sharp, and he held the audience in the palm of his hand, knowing exactly when to push the comedy and when to let it breathe. Nathan is not a vocally challenging role, however, Mr. McClarty had a fine singing voice, most notably in ‘Sue Me’.  Laura Fisher took on the role of Adelaide, one of musical theatre’s most iconic female comedy characters, and brought many strengths to the performance. Vocally, she was excellent, with ‘A Bushel and a Peck’ superbly sung and delivered with confidence and control. ‘Adelaide's Lament’ was also very well sung. Lines such as “Tell him I never want to talk to him again… and have him call me here!” were perfectly delivered, with excellent timing and instinctive comic rhythm. Her reprise of ‘Adelaide’s Lament’ was beautifully heartfelt and genuinely poignant, revealing a touching vulnerability. There was also wonderful comic intent in her scene with Nathan before ‘Sue Me’, and in the number itself she really let go, showing true comic flair and confidence.  Adam Goudy was a very cool and assured Sky Masterson. His acting was exceptionally strong and he was always in tune with the narrative throughout. Mr. Goudy had a confident command of dialogue, rhythm, and pace. He drove scenes forward with ease, most notably in the abandoned theatre sequence, where his control of tempo and intent helped to drive the action and maintain momentum. Vocally, Mr. Goudy brought a beautifully rich and expressive baritone to the role. ‘I've Never Been in Love Before’ was beautifully sung, with sensitivity and warmth, displaying an emotional side that contrasted nicely with Sky’s outward confidence. Throughout the show, his vocal work was consistently strong and well supported. This was very evident in ‘Luck Be a Lady’, which was a standout musical number.  Clare Campbell delivered an excellent performance as Sarah Brown, with superb command of dialogue and great clarity. Every word made sense, and it was clear that much thought had gone into the text. Ms. Campbell brought a beautifully expressive soprano to the role, with exceptional tone and emotional nuance. Her voice was at its best in ‘I'll Know’ and ‘I've Never Been in Love Before’, both of which were sung with sensitivity, control, and excellent storytelling. Her work in the Los Cabos sequences showed a different and equally impressive side to the character. The catfight was brilliantly performed and she proved to be a very funny and entirely believable drunk.  Patrick Connor was very impressive in the role of Nicely Nicely Johnson, giving a performance full of character and sharp comic instinct. He was an excellent character actor, with superb comic timing and a natural sense of comedic physicality that never felt forced or overplayed. ‘Sit Down You're Rockin' the Boat’ was sensationally performed and was unquestionably the best number of the night. His vocals were full of character and control, combining strong musicality with his flair for storytelling.  Steve Setterfield gave another very skilled performance as Benny Southstreet, bringing intelligence and humour to the role. His comic choices were sharp and well judged. He worked particularly well with Mr. Connor, bouncing off him effortlessly. The rapport between the two performers was excellent. Mr. Setterfield was also very strong in the vocal department. Combined with his acting skill and comic awareness, this helped Mr. Setterfield deliver a very memorable portrayal. Paul Sleet was very strong in the role of the hard-nosed Lieutenant Brannigan, delivering a suitably authoritative performance. Another good character actor, he projected control and confidence whenever he appeared on stage, his presence in stark contrast to the silliness around him. Mr. Sleet’s delivery was very impressive, with excellent diction and dialogue that was always delivered with purpose and precision. It was a very solid, well-judged performance that supported the narrative throughout with a no-nonsense delivery and a light comic touch.  Harry Stinson’s performance as Arvide was a standout portrayal, for me. His clear understanding of the narrative was reflected in his clever delivery throughout. His beautiful performance of ‘More I Cannot Wish You’ was one of the most memorable moments of the show. The genuine warmth and gorgeous connection with Sarah was heartwarming. A superb performance. Jim Everett gave an excellent cameo performance as Harry the Horse, making a strong impression despite limited stage time. He displayed superb comic timing, judging pauses and delivery with real confidence and instinct. His offer to lend Nathan his getaway car was particularly funny, landing perfectly with the audience.  Stevie Black was an imposing presence as Chicago “scout leader” Big Jule, combining genuine menace with a strong comic edge. He struck an excellent balance between intimidation and humour. His gravelly delivery of “which nobody can deny” was particularly funny, landing with deadpan precision.  Una Culkin was an excellent General Cartwright, bringing authority and strength to the role from the moment she appeared on stage. She was a very strong actress, commanding attention with a very confident delivery. and a clear sense of purpose, which grounded the character and gave weight to her scenes. She also showed a terrific comic side, particularly in her wonderfully funny dance with Nicely as she lost herself in the euphoria of ‘Sit Down You're Rockin' the Boat’.  Tom Waddell enjoyed his moment as mechanic Joey Biltmore. It was a strong turn, in spite of a momentary lapse where he thought he was talking to himself! Greg Edwards was a charismatic Hot Box MC and I loved his integration into the bows as he introduced each group and principal performers. This was a really nice touch. The ensemble was generally strong throughout the production and added greatly to the overall energy of the show. The opening Runyonland sequence, in particular, gave them the opportunity to inhabit an eclectic mix of characters, from the Naked Cowboy to juggling clowns and modern-day tourists. The Hot Box girls brought good energy to their scenes, although the numbers would have benefited from a stronger sense of confidence and a more performative style that these showgirls require. There was excellent ensemble commitment in ‘Guys and Dolls’, as each group came to life. Strong ensemble work continued in the mission scene and carried through into the superb ‘Sit Down You're Rockin' the Boat’, where the cast fully lost themselves in the joy and spirit of the performance.  David Wray and his stage crew did sterling work throughout the production, delivering an impressively slick and well-coordinated operation. Crew movement was precise and efficient, with transitions handled smoothly and confidently, ensuring the show maintained its strong sense of pace. The level of organisation and communication showed thorough preparation and clear leadership from the stage manager. ‘Guys and Dolls’ is a particularly challenging show to manage, given the frequent transitions in and out of the mission and the need to shift locations quickly without disrupting the flow. Overall, stage management was of a very high standard and played an important role in the success of the production. The set design was large in scale, making full use of the large performance area available in the venue. Three platforms formed the backbone of the staging, offering flexibility and varied playing levels. These platforms were used intelligently throughout. The LED video wall was central to the design. Its graphics were sharp, vibrant, and exceptionally well chosen, establishing location and time while supporting the modern-day concept of the production. Smaller scenic elements were used very effectively. The mission scene was clearly defined with excellent furniture and dressing and the Hot Box benefited from striking, light up lettering which was a clever touch. Another inspired design choice was the relocation of the crap game to an abandoned theatre space, a clever nod to the closed Riverside Theatre. The trucked pieces for this scene added greatly to the visual and the tongue-in-cheek reference to the group’s former venue.  The lighting design did a very good job overall, delivering some beautifully atmospheric work that supported both the storytelling as well as the modern setting of the production. ‘I’ll Know’ looked particularly well, with breakup gobos adding texture and depth that enhanced the intimacy and mood of the scene. The use of two follow spots here was especially effective. There was also some very imaginative lighting work in ‘A Bushel and a Peck’, where moving lights were used to create a more stylised, theatrical state appropriate to the show-within-a-show setting. The lighting for the Los Cabos fight sequence was well judged, reflecting the chaotic onstage action with a busy, aggressive quality that mirrored the confusion of the scene effectively.  Sound design and operation were excellent throughout the production, contributing significantly to the overall technical polish of the show. There was a consistently strong balance within the band. While some of the heavier numbers would have benefited from a little more bass presence to add extra weight and drive, this was a minor consideration within an otherwise impressive orchestral mix. The balance between band and vocalists was superb. There were some nicely chosen sound effects, all of which were well timed and integrated smoothly into the action.  The modernised setting required a shift from the norm in terms of props, and this was handled with confidence by the props team. Props added greatly to the contemporary take, leaving us in no doubt that the production was set firmly in the present day. The Naked Cowboy’s guitar proved vital in preserving his modesty while also serving as a strong visual gag. In the opening Runyonland sequence, a wide array of appropriate modern props added great realism. The mission was especially striking in its updated appearance. Modern furniture, an electric keyboard and a laptop blended with the mission’s signage, creating a believable, contemporary environment. The Hot Box tables were attractively dressed, complete with candles that added to the atmosphere. Props for the “kitchen shower” sequence were perfectly chosen, adding to the humour to the scene.  The costume design continued the contemporary vision established elsewhere in the production. It was a very clever overall concept. Traditional elements such as trilby hats and tailored jackets were there, but these were often paired with T-shirts, braces, and more contemporary trousers and footwear. The balance between old and new really worked, especially for the gamblers, whose costumes kept their iconic shape but felt very current. The Hot Box numbers were especially striking. The ‘A Bushel and a Peck’ cowgirl look was sassy and stylish, with black and silver costumes that added glamour. The girls’ long blue dresses that ripped away to reveal blue basques were very classy. The Salvation Army uniforms also worked very well, with a contemporary feel.  Hair and make-up were well handled, with nothing standing out for the wrong reasons or appearing out of place within the modern setting. The overall look was clean, consistent, and appropriate to character. There was particularly good attention to detail for the Hot Box girls, whose hair and make-up reflected the glamorous nature of their professions. In contrast, the Salvation Army performers were presented in more muted tones, far from the glitz and glamour of the Hot Box. Overall, hair and make-up contributed to what was a very impressive visual presentation. This production of ‘Guys and Dolls’ was a bold and imaginative piece of theatre that demonstrated what can be achieved when strong creative vision is matched by careful execution. The decision to modernise the setting was thoughtfully realised, resulting in a version of the show that felt fresh while remaining true to its spirit. Principal performances were exceptionally strong, with great strength in depth throughout the cast. Much credit is due to the technical team who transformed an unconventional venue into a fully realised theatrical space. Ballywillan Drama Group should be immensely proud of a production that not only met a significant challenge head-on but delivered a memorable, engaging, and thoroughly entertaining night of musical theatre. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Spring Awakening - Trinity Musical Theatre

Society name: Trinity Musical Theatre Show name: Spring Awakening Adjudicator date of attendance: 24/01/2026 Trinity Musical Theatre’s production of Spring Awakening  was in many respects an outstanding achievement. This is a musical that demands extraordinary sensitivity, musical precision, emotional honesty, and clarity of storytelling. Its subject matter is heavy, complex, and often deeply uncomfortable, and when mishandled it can quickly become overwrought, confusing, or emotionally...

Society name: Trinity Musical Theatre Show name: Spring Awakening Adjudicator date of attendance: 24/01/2026 Trinity Musical Theatre’s production of Spring Awakening  was in many respects an outstanding achievement. This is a musical that demands extraordinary sensitivity, musical precision, emotional honesty, and clarity of storytelling. Its subject matter is heavy, complex, and often deeply uncomfortable, and when mishandled it can quickly become overwrought, confusing, or emotionally alienating. What made this production such a success was the care, intelligence, and restraint with which it was approached. Overall, the production demonstrated an impressive level of maturity, showing confidence in the material, trust in the creative team, and a clear collective commitment to emotional authenticity. This Spring Awakening  was raw, open, and deeply resonant, without ever tipping into discomfort or sensationalism, no small feat for a piece of this nature. Juliet Hill’s direction was excellent. Spring Awakening  is notoriously difficult to stage well, with its exploration of sexual repression, adolescence, authority, and societal cruelty requiring a director of both emotional intelligence and theatrical discipline. Juliet demonstrated both in abundance. What stood out most was her sense of trust: trust in the text, trust in her performers, and trust in the audience. The production never felt awkward or forced, which is often the greatest danger with this material. Instead, moments of brutality, vulnerability, confusion, and awakening were allowed to exist honestly, without being over-emphasised or softened unnecessarily. The result was a production that felt truthful, open, and raw, while never crossing into discomfort or exploitation. The pacing of the show was particularly strong. This is a musical that can easily become bogged down under the weight of its own seriousness, but here it flowed beautifully from scene to scene. Energy was rarely allowed to drop, transitions were smooth and purposeful, and the emotional rhythm of the piece was well understood. Heavy moments were given space to breathe, allowing their impact to land fully, while lighter moments were embraced and used to provide necessary contrast. This balance kept the audience engaged throughout and spoke to a strong grasp of the work’s structure and emotional arc. Juliet’s use of space was another notable strength. The multi-level staging was employed intelligently to suggest location, power dynamics, and emotional distance. Rather than relying on literal set changes, storytelling was embedded in blocking and spatial relationships, adding sophistication and clarity to the production. Relationships were clearly defined, and the audience always understood who these people were to one another, a testament to detailed character work and careful rehearsal. Attention to detail was evident throughout, with specific and consistent relationships, well-shaped emotional beats, and confidence in allowing moments to sit without rushing to the next plot point. Juliet is a director to watch, and this production showcased not only her creative instincts but also her restraint, a quality that is often harder to master. One directorial choice that did not land as successfully was the inclusion of hurling for the reformatory boys. While the impulse to localise or culturally ground the piece is understandable, this moment felt more like a trope than an integrated storytelling choice. The lack of correct technique, particularly in puck control and hand-passing, drew focus away from the scene rather than enhancing it. In a production otherwise so committed to truth and authenticity, this moment stood out. That said, it was a small blemish on an otherwise beautifully directed and thoughtful production. Musically, the show was of an exceptionally high standard. Sarah Doherty’s command of the score was immediately apparent, and the level of precision she achieved with both band and cast was remarkable. The orchestra was tightly controlled, responsive, and stylistically cohesive, with Sarah conducting with clarity and authority, often guiding the musicians with nothing more than a glance or subtle lift of the hand. This level of connection speaks to deep knowledge of the score and strong trust between musical director and musicians. Dynamics were beautifully shaped, with each musical moment pitched exactly where it needed to be emotionally and dramaturgically. One of the great challenges of Spring Awakening  is balancing its rock-influenced score with its more lyrical and introspective moments. This production navigated that balance superbly. The band never overwhelmed the performers, and emotional moments were supported rather than over-scored. A cohesive musical world was created that felt intentional from start to finish.  Hayden Kline’s work as vocal technician was extraordinary. The vocal quality across the cast was exceptionally high, with harmonies that were rich, balanced, and thrilling. This was particularly evident in the finale, “The Song of Purple Summer,” where the ensemble sound reached a level of clarity and emotional resonance that was genuinely moving. Vocal technique was clearly prioritised, allowing performers to sustain demanding material without strain while still delivering emotionally charged performances. Together, Sarah and Hayden provided a musical foundation that elevated the entire production and allowed performers to take emotional risks with confidence. Grace Skowronski’s choreography was intelligent, expressive, and deeply connected to the storytelling. The movement language felt entirely appropriate to the piece, blending lyrical and commercial styles in a way that enhanced the emotional landscape rather than distracting from it. Group numbers were visually compelling, particularly those featuring multiple strands of choreography happening simultaneously. These moments added texture and complexity without becoming cluttered, demonstrating strong spatial awareness and compositional skill. The contrast between numbers was handled with sensitivity and purpose. The simplicity and restraint of “I Believe” allowed the emotional weight of the moment to come through unimpeded, while the explosive energy of “The Bitch of a Living” was sharp, visceral, and perfectly matched to the emotional chaos of the characters. The clean canons and precise unison work in “All That’s Known” further demonstrated a strong understanding of how choreography can reflect internal conflict and momentum. Across the cast, execution was consistent, lines were clean, transitions smooth, and physical commitment unwavering. The ensemble movement clearly reflected a structured rehearsal process and high expectations. The principal performances were strong and emotionally grounded. Sean Hughes delivered a gentle, nuanced portrayal of Melchior, supported by a warm and expressive tenor voice. His navigation of the character’s emotional journey, the push and pull between innocence and emerging adulthood, was particularly effective, adding depth and vulnerability. His relationship with Wendla felt genuine and tender, and their scenes together were among the most watchable and emotionally grounded in the production. Molly Terrins’ portrayal of Wendla was truly outstanding. Her performance was grounded, emotionally intelligent, and deeply moving, capturing innocence without naivety, and allowing the audience to fully invest in her journey. Vocally, she possesses a striking and distinctive tone, which she used to great effect throughout the show. Her emotional control was exceptional, particularly in moments of heightened distress, and her guttural screams were harrowing and unforgettable. This was a performance of great sensitivity and courage that left a lasting impression. Isaac Casey brought strong energy and presence to the role of Moritz. His physicality and emotional commitment were clear, and his relationship with Melchior was well established and believable. While there was scope for a more pronounced character arc leading to Moritz’s eventual demise, particularly in earlier scenes, his torment in “And Then There Were None” was fully convincing and genuinely affecting. Aoife McCormack’s Ilse was haunting, bringing delicate fragility underpinned by emotional depth. Her performance was layered and nuanced, conveying pain and resilience with remarkable subtlety. The supporting cast contributed strongly to the overall impact of the production. Emma-Jane Mammetti’s Martha was grounded and quietly affecting, with trauma allowed to sit just beneath the surface. Anthony Daly brought confidence and charm to Hänschen, contributing strongly to ensemble numbers and creating genuine, earned interactions with Ernst. Philip Walshe delivered an engaging Ernst, though a more restrained approach might have allowed the character’s repression to emerge more clearly. Luke Micallef demonstrated excellent comic timing, particularly in his scene with the piano teacher, without undermining the seriousness of the wider piece. Eoin Daly was exceptional in the Adult Man role, executing character switches with clarity and emotional truth. His transition from sobbing father to authoritarian Headmaster was particularly striking and anchored the adult world of the play with authority. Sarah Webb offered several strong characterisations as the Adult Woman, though greater differentiation in some transitions would strengthen clarity. Her interpretation of Fraulein Knuppledich was especially well judged. The wider supporting ensemble, Anna (Genevieve McCollum) and Thea (Anna Stevens) brought clear characterisation and strong stage presence, working naturally with each other and the wider cast to support the social world of the play. Otto Lammermeier (Nathan Young), Dieter (Toby Burns), Reinhold (Tomas Hartnett), Ulbrecht (Senan McCloskey), and Rupert (Thomas Rush), each established distinct characters, collectively creating a grounded and convincing reformatory environment. The ensemble as a whole was one of the greatest strengths of the production. Vocally they were exceptional, with balanced, resonant harmonies and strong emotional engagement. Physically, they demonstrated a high standard of movement and commitment, clearly well-rehearsed and deeply invested in the storytelling. Every ensemble member felt purposeful and present, contributing to a cohesive and believable world. The set design was well suited to the piece, with varied levels enabling fluid transitions and clear storytelling. Clean lines kept the design unobtrusive, while the trees adorned with pages added softness and movement to an otherwise stark environment. One element that detracted from the overall polish was the poorly hung black fabric beneath the levels, which undermined the cleanliness of the design. Stage management was efficient and unobtrusive, with smooth, swift scene changes that allowed the story to flow uninterrupted. Lighting showed strong conceptual thinking, with effective use of sharp angles and downlighting, though execution lacked the same attention to detail. Several live moves would have benefited from being programmed out, and the Front of House wash was poorly focused, resulting in uneven coverage and inconsistent colour temperature. Sound, by contrast, was excellent, with confident management of microphones, strong balance, and clean cueing throughout. Costumes were excellent, with a well-chosen colour palette, period-appropriate styling, and thoughtful detail. Hair and make-up were subtle and effective, supporting the aesthetic without drawing focus. Visually, the production was cohesive and well considered. While the Front of House experience was somewhat disorganised and unclear, this did little to detract from the quality of the performance that followed. Once the show began, it was immediately apparent that the society had invested significant thought and effort into telling this story truthfully and respectfully. Overall, this was an exceptional production of Spring Awakening , particularly impressive given it was mounted by a university society. The level of care, artistry, and professionalism on display speaks to a society that holds itself to a high standard. With continued attention to technical detail, particularly in lighting execution, and an ongoing commitment to authenticity in storytelling, Trinity Musical Theatre is clearly capable of work of an extremely high calibre. This was a thoughtful, emotionally resonant, and artistically mature production, and everyone involved should be immensely proud. Photos by Connie Angela McGowan

GILBERT SOCIETIES

Below is our comprehensive list of GILBERT societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

Society
MTU Musical Society
9 Arch Musical Society
Aghada Centre Theatre Group
Athlone Musical Society
Ballinrobe Musical Society
Bosco Drama Group
Bravo Theatre Group
Carnew Musical Society
Carrick-on-Suir Musical Society
Cecilian Musical Society, Limerick
Clane Musical & Dramatic Society
Clara Musical Society
Coolmine Musical Society
Dun Laoghaire Musical & Dramatic Society
Ennis Musical Society
Enniscorthy Musical Society
Entr'acte Musical Theatre Society
Fermoy Musical Society
Galway Musical Society
Glencullen Dundrum MDS
Gorey Musical Society
Jack Cunningham Productions
Kilcock Musical & Dramatic Society
Kilkenny Musical Society
Killarney Musical Society
Kilmainham Inchicore Musical Society
Leixlip Musical & Variety Group
Letterkenny Music & Drama Group
Londonderry Musical Society
Malahide Musical & Dramatic Society
Marian Choral Society, Tuam
Maynooth University Musical and Dramatics Society
Mitchelstown Musical Society
Muse Productions
Nenagh Choral Society Youth Academy
Newcastle Glees Musical Society
North East Musical and Dramatic Society
North Wexford Musical Theatre
Oyster Lane Theatre Group
Pop-Up Theatre, Sligo
Portlaoise Musical Society
Quayplayers Musical & Dramatic Society
Rush Musical Society
SGPA
South Eastern Theatre Group
St. Agnes Choral Society
St. Mary's Choral Society, Clonmel
St. Marys Musical Society, Navan
St. Mel's Musical Society, Longford
Teachers' Musical Society
The Odd Theatre Company
Thurles Musical Society
Tipperary Musical Society
Tralee Musical Society
Trim Musical Society
Trinity Musical Theatre Society
Tullamore Musical Society
UCD Musical Society
Ulster Operatic Company
Waterford Musical Society
Wexford Light Opera Society
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