top of page

UPCOMING EVENTS

Chicago Teen Edition

​

2 Apr 2026

More...
"Michael Collins" a Musical Drama

​

19 Mar 2026

More...
Legally Blonde

​

2 Mar 2026

More...
Twisted Ever After: The Musical

​

17 Apr 2026

More...
EVITA

​

24 Mar 2026

More...

LATEST NEWS

Review: The Wizard of Oz - Newcastle Glees

Society name: Newcastle Glees  Musical Society Show name: The Wizard of Oz Adjudicator date of attendance: 15/11/2025 Newcastle Glees Musical Society’s production of The Wizard of Oz  offered audiences a colourful, energetic, and warmly delivered interpretation of one of musical theatre’s most enduring classics. This is a show that arrives with enormous expectations, both from audiences who know it intimately and from the sheer scale of its visual, musical, and emotional demands. Its...

Society name: Newcastle Glees  Musical Society Show name: The Wizard of Oz Adjudicator date of attendance: 15/11/2025 Newcastle Glees Musical Society’s production of The Wizard of Oz  offered audiences a colourful, energetic, and warmly delivered interpretation of one of musical theatre’s most enduring classics. This is a show that arrives with enormous expectations, both from audiences who know it intimately and from the sheer scale of its visual, musical, and emotional demands. Its familiarity can be both a blessing and a challenge, requiring a careful balance between nostalgia and fresh storytelling, alongside a score and structure that demand clarity, ensemble unity, and confident characterisation. Newcastle Glees approached this challenge with evident enthusiasm, strong musical foundations, and a genuine affection for the material, resulting in an enjoyable and engaging evening of theatre. From the outset, the production established a strong sense of forward momentum and theatrical energy. The pacing was generally well judged, allowing the episodic nature of the story to unfold clearly while maintaining audience engagement throughout Dorothy’s journey. There was a consistent sense of movement, both physically and emotionally, that helped the narrative feel purposeful rather than meandering. Importantly, the heart of The Wizard of Oz , its emphasis on courage, compassion, friendship, and self-belief, came through clearly. While there were moments that would benefit from deeper refinement and more detailed shaping, the overriding impression was of a company sincerely committed to telling this story with warmth and charm. Laura Kerr’s direction demonstrated a solid understanding of the narrative demands of the piece, with a clear sense of pace, energy, and overall structure. The production flowed well from scene to scene and rarely felt static, maintaining a pleasing sense of continuity as Dorothy moved from Kansas into Oz and along the Yellow Brick Road. One particularly effective directorial choice was the use of the auditorium aisle as an extension of the Yellow Brick Road itself. This simple but imaginative decision reinforced the sense of constant travel, strengthening engagement and storytelling. The overall energy of the production was commendable, with scenes generally landing cleanly and transitions moving at a good pace. There was a clear effort to keep the action alive and engaging, and this served the piece well. However, the direction was not entirely consistent throughout. While some characters were clearly well developed, others would have benefited from clearer objectives, more focused guidance, and deeper character work to ensure a more even standard across the cast. Blocking emerged as a recurring area for improvement. There was a noticeable tendency for performers to drift upstage, often resulting in fellow cast members being forced to speak upstage towards them. This led to moments of unintentional upstaging and reduced clarity of communication with the audience.  The tornado sequence was another moment that would benefit from greater coordination between direction and choreography. Unfortunately, the storytelling here lacked clarity and energy, resulting in a transition that felt underdeveloped. With a clearer shared vision, stronger physical storytelling, and tighter collaboration between creative departments, this sequence has the potential to become a standout moment. Despite these issues, the production maintained good flow, and the director’s ability to sustain momentum across a large ensemble cast was evident. Musically, the production was on very strong footing under the direction of Mark Tilley. Vocal work across the cast was of a high standard, reflecting careful preparation, clear musical leadership, and a strong understanding of ensemble singing. Harmonies were particularly impressive: clean, well balanced, and confidently delivered, adding richness and texture to the overall sound. There was a consistent sense of musical security that allowed performers to focus on character and storytelling. The chorus was a major strength of the production, with the crows and the trees providing some of the strongest harmonic moments of the evening. These sections were sung with clarity, precision, and a pleasing blend, demonstrating both musical discipline and expressive engagement. Diction across the company was clear, ensuring that lyrics landed effectively and that storytelling through song remained accessible to the audience. The orchestra provided a lovely, full sound that complemented the vocals without overpowering them. Achieving this balance is no small feat, particularly with a brass- and wind-heavy score. Overall, the musical direction provided a strong backbone for the production and was one of its most consistent strengths. Amy Blackshaw’s choreography revealed a production of contrasts. At its best, the movement was imaginative, engaging, and well matched to both the performers and the style of the show. Munchkinland was a particular highlight, with choreography that was clearly designed with care, well-rehearsed, and executed with confidence and clarity. The use of space was clever and visually interesting, creating dynamic stage pictures. These routines were lively, characterful, and full of detail, contributing significantly to the sense of magic and celebration in this section of the show. The snowflakes in the poppy field were also handled thoughtfully, with movement that created a sense of atmosphere and flow. However, this only served to highlight the relative lack of development in the poppy choreography itself, which felt underwhelming by comparison. The tornado sequence again stood out as an area lacking energy and theatricality. As a crucial storytelling moment, it required greater imagination, stronger physical storytelling, and a heightened sense of spectacle. Greater consistency in choreographic ambition and refinement would significantly strengthen the overall impact. As Dorothy, Anna Moore delivered a strong vocal performance with a beautiful, legit tone well suited to the score. Her presence was confident and commanding, and she moved comfortably and naturally. Vocally, she sang with assurance and clarity. A pronounced Judy Garland–style accent proved distracting and somewhat artificial, creating a barrier to emotional connection. Allowing her own voice and interpretation to emerge more fully would help Dorothy feel more authentic and relatable. Allen Gordon gave an excellent performance as the Scarecrow, marked by outstanding physicality and strong comic timing. His floppy, loose-limbed movement was sustained consistently, even through dance sequences, demonstrating impressive physical control and commitment. Lively facial expressions added depth to his characterisation, and his vocal performance was confident and secure, making this a thoroughly enjoyable portrayal. Josh Clarke offered a warm and relatable Tinman, with well-observed physical movement and a sincere, grounded characterisation. There was an opportunity to push the comedy further, particularly in the crying and rusting moments. Leaning more fully into these physical jokes would heighten their impact and add extra sparkle to an already solid performance. Francis McKinney was a standout as the Cowardly Lion, delivering a confident, funny, and deeply likeable performance. His comic instincts were excellent, his character arc was clear, and his relationships with Dorothy and the other companions felt genuine and well established. Every comedic moment landed effectively, resulting in a highly accomplished and engaging portrayal. Emma-Jane McKnight brought a strong vocal instrument to the role of Glinda, delivering with a rich, warm tone. However, the characterisation felt oddly cold and disconnected. Visible tension in facial expression worked against Glinda’s inherent warmth, and greater relaxation and emotional openness would help align the performance more closely with the character’s intention. Emma Nugent delivered a commanding and highly effective performance as both Miss Gulch and the Wicked Witch. The connection between the two characters was clear while still allowing each to remain distinct. Her stage presence was powerful, and she held focus effortlessly in every scene. Overall, this was a real highlight of the production. Sean Trainor gave an enjoyable and well-judged performance as both Professor Marvel and the Wizard. His physical comedy as the Wizard was particularly effective, with a charming sense of bumbling humour. Both characters were clearly defined, and his comic timing and stage presence served the production well. Among the supporting roles, Aunt Em and Uncle Henry would benefit from more detailed character development and stronger emotional grounding. Lines often felt recited rather than lived, accents were inconsistent, and the relationship between the two characters lacked warmth and clarity. Elsewhere, smaller roles were handled with confidence and clarity. Katy Keaveney’s Munchkin Mayor and Chris Mooney’s Coroner added humour and character to the Munchkinland scene, while Finbar Finnegan as Emerald City Guard delivered a particularly funny and engaging performance with strong audience connection. The ensemble demonstrated strong energy, enthusiasm, and commitment throughout the production. Vocally, the chorus was excellent, with clear diction and well-blended harmonies. Munchkinland again stood out as a showcase of the ensemble at its best. Movement was generally strong, though slower, more fluid sections would benefit from greater extension, focus, and precision. Simpler choreography demands even greater clarity, and refining this would elevate the ensemble work further. Behind the scenes, the stage management and set design supported the storytelling well and helped maintain the production’s pace. The set was functional and serviceable, making effective use of multipurpose elements and turning flats that allowed scenes to shift without becoming laborious. The opening backdrop was particularly well painted and created a strong first impression, immediately establishing a sense of place and theatrical intention. Some design elements, such as wrinkled fabric pieces and tree designs that felt less refined, slightly detracted from the overall polish. Stage Manager Clair Williams played an important role in keeping the evening moving. Scene changes were well managed and rarely intrusive, and the transitions generally maintained momentum rather than interrupting it. This sense of flow is vital in a show with many locations and quick shifts in tone, and the work here contributed significantly to the overall smoothness of the performance. Technically, the production was well supported by reliable lighting and sound. Sound was particularly well balanced, especially given the size of the space and the nature of the band. Vocal and instrumental balance remained strong throughout, allowing singers to be heard clearly while still preserving the richness of the orchestration. The overall effect was controlled and supportive, enhancing the musical storytelling without becoming overpowering. Lighting design was straightforward, dependable, and competently executed. While it did not lean heavily into especially stylised stage pictures, it was well focused and accurately cued, providing consistent visibility and mood support without drawing attention away from the performance. The fundamentals were strong and, importantly, never caused issues or distractions. Visually, the production was genuinely eye-catching and played a major role in establishing the magical world of Oz. Costumes were vibrant and imaginative, particularly in Munchkinland, creating a joyful explosion of colour on stage and helping the audience immediately understand the heightened world of the story. While the Tinman costume showed signs of wear and would benefit from maintenance to restore its original polish, the concept remained effective. The poppy costumes, though creatively conceived, felt slightly at odds with the wider design language of the production; adjusting these to align more closely with the overall palette and style would strengthen visual continuity.  Make-up was an absolute standout and one of the strongest elements of the evening. The artistry, detail, and execution were exceptional, with clear character definition and confident design choices that elevated the production’s overall aesthetic. The Tinman’s make-up was particularly striking, showcasing impressive precision and craftsmanship, while the Munchkins benefitted from intricate details that gave individuality and depth to the ensemble. The speed and efficiency of the transformations, from Oz characters back to farmhands, was genuinely impressive and speaks to the professionalism and organisation of the team backstage. Hair styling was equally well executed, polished, and well suited to each character, adding another layer of finish and cohesion to the visual storytelling. The audience experience was supported from the moment of arrival by a calm and well-organised Front of House operation. Patrons were welcomed in a friendly and efficient manner, with clear systems in place to manage seating and audience flow. The atmosphere before the performance was relaxed and inviting, setting a supportive tone for the evening. Overall, Newcastle Glees Musical Society delivered a production with strong musical foundations, high visual standards, and several excellent individual performances. This company has every reason to feel proud of what they achieved and is well placed to continue growing artistically, producing increasingly polished and cohesive work. Photographer Toby Watson

AIMS Awards Weekend Booking Form 2026

Please find the all important booking form for this years awards weekend (attached bottom of article for file) Key points to note: The cost the Full Weekend is €450 A non-refundable deposit of €225 is due when booking opens from 9am on Thursday 12th of March 2026 Balance of €225 due on Sunday 17th of May 2026 . Please note that bookings are NON-TRANSFERABLE , Any cancelled bookings should be returned to the Awards Administrator to facilitate those on the waiting list. Non-adherence to...

Please find the all important booking form for this years awards weekend (attached bottom of article for file) Key points to note: The cost the Full Weekend is €450 A non-refundable deposit of €225 is due when booking opens from 9am on Thursday 12th of March 2026 Balance of €225 due on Sunday 17th of May 2026 . Please note that bookings are NON-TRANSFERABLE , Any cancelled bookings should be returned to the Awards Administrator to facilitate those on the waiting list. Non-adherence to this by a society or any single member of the society will jeopardise booking for future years. Those interested in the extended weekend... Thursday/Sunday: - Special rate of €75.00 PPS (each night) Must be booked in advance through AIMS. Any upgrade to The Brehon is €130 per person for the weekend. Bookings are dealt with on a strictly first come first served basis. Payment is by Bank Transfer ONLY. Please contact the Administrator for a Sterling rate at time of booking if you wish to pay in Sterling. Please note that there are no single rooms available. The AIMS National Awards Festival is a strictly over 18’s event. A limited number of Award Banquet Tickets will be available the week following the announcement of the nominations, at a cost of €100 per person. BOOKING OPENS at 9am on Thursday 12th of March 2026 for Bank Transfers& Bookings. Bookings can be made on the official booking form or an Excel spreadsheet. Please email to fiona@aims.ie . All booking forms and bank transfers must be received on 12th March.  Any booking received before 9am on 12th March will be returned to the society. Updated form below:

Review: Curtains - Clane Musical & Dramatic Society

Society name: Clane Musical & Dramatic Society Show name: Curtains Adjudicator date of attendance: 07/11/2025 Clane Musical & Dramatic Society’s production of Curtains  offered an evening filled with humour, colour, and affectionate storytelling, all delivered with the kind of energy and communal spirit that makes amateur musical theatre so rewarding to watch. Curtains  is a deceptively complex show. Beneath its playful murder-mystery conceit lies a piece that demands sharp comedic timing,...

Society name: Clane Musical & Dramatic Society Show name: Curtains Adjudicator date of attendance: 07/11/2025 Clane Musical & Dramatic Society’s production of Curtains  offered an evening filled with humour, colour, and affectionate storytelling, all delivered with the kind of energy and communal spirit that makes amateur musical theatre so rewarding to watch. Curtains  is a deceptively complex show. Beneath its playful murder-mystery conceit lies a piece that demands sharp comedic timing, clear vocal storytelling, and an ensemble capable of shifting swiftly between backstage realism and exaggerated theatricality. Clane approached these challenges with obvious enthusiasm and a sincere love for the material, resulting in a performance that, while not without its inconsistencies, ultimately proved warm, vibrant, and thoroughly enjoyable. The production’s aesthetic was quickly and confidently established: evocative lighting, a thoughtfully designed set, and a lively preshow atmosphere all communicated a company ready to tell its story with flair. Although technical issues and vocal clarity occasionally interrupted the experience, the underlying commitment from cast and crew was unmistakable, and the audience responded with appreciation for both the humour and heart on display. Jennifer O’Brien’s direction shaped the production with care and inventiveness. She demonstrated an acute sense of Curtains’  unique comedic rhythm, crafting moments that landed cleanly and steering her cast toward characterisations that embraced the show’s playful, heightened tone. Many scenes exhibited strong structure and dynamic interplay, with emotional beats, whether sincere or satirical, expressed clearly. While a handful of transitions sagged slightly, and some actors had a habit of drifting upstage, these moments were exceptions in an otherwise confidently paced and well-organised staging. Jennifer’s eye for character relationships was particularly strong, allowing meaningful interactions to surface even in the midst of comedic chaos. Diction proved to be a recurring challenge, especially in the opening number and early dialogue, where articulation issues obscured some important set-up information. Fortunately, this improved notably as the production continued. Accents, while generally well-maintained, fluctuated at times. Even with these inconsistencies, Jennifer’s overall vision remained clear: she used the set imaginatively, employed the walkway purposefully, and staged the hanging sequence with impressive theatricality and control. With a little more focus on clarity and consistency, her already confident direction could reach an even higher level of polish. Musically, the production benefited from Barry Power’s steady and assured direction. The band performed with strength, creating a sound that was lively, stylistically appropriate, and well-paced. Barry’s chosen tempos kept the show buoyant and prevented scenes from dragging, while the balance between cast and orchestra, after some early teething issues, settled into a comfortable and supportive mix. The ensemble harmonies were strong and clearly well-rehearsed, though diction again caused some losses in clarity, particularly during “He Did It”. Nevertheless, Barry’s musical leadership provided a solid, confident backbone for the performance. Áine Foley’s choreography was neat, achievable, and inclusive, giving performers of varying abilities a chance to shine. The routines were performed cleanly and with conviction, contributing significantly to the show’s energy. The opening number felt stylistically muddled. Wide Open Spaces  benefits from a clearer “Western” movement vocabulary to support the musical’s framing device, but the blend of contemporary and mixed-style choreography made the number feel less cohesive. By contrast, A Tough Act to Follow  was pitch-perfect: warm, theatrical, well-structured, and perfectly aligned with the humour of the scene. The deliberate awkwardness in Cioffi’s dancing was handled with charm, and the formations and transitions were elegant and effective. With a more unified stylistic approach to the bigger ensemble pieces, Áine’s choreography could become even more impactful. The leading performers carried the story with confidence and individuality. Cormac Malone, as Frank Cioffi, delivered an outstanding performance, effortless in humour, full of charm, and vocally rich. His ability to switch between comedy, romance, and detective-like intensity made his portrayal endlessly engaging, and his warm, resonant baritone was a delight. His comedic dancing in A Tough Act to Follow  was executed with just the right blend of bumbling character and technical control, creating one of the evening’s most memorable moments. Alanna Keane brought sincerity and vocal warmth to Nicki Harris, blending beautifully with Cormac in their duet passages. She moved gracefully and delivered a gentle, pleasant performance. The role of Nicki is rooted in the archetype of the 1940s ingénue, and more commitment to the era’s mannerisms, softened gestures, coy charm, wide-eyed optimism, would have given her character a stronger, more distinct presence onstage. Emma Stack gave Georgia Hendricks an elegant and understated portrayal. Her vocal tone was lovely, and her acting carried a quiet emotional truth. Her dancing seemed less confident, not due to lack of ability but hesitancy. With greater physical assurance, her performance could have landed with even more depth. Gavin Molony offered a grounded and natural Aaron Fox. His voice was expressive and resonant, particularly in “I Miss the Music,” which became a highlight of the production. His physicality was relaxed and authentic, and although a fuller exploration of chemistry between Aaron and Georgia would strengthen the story arc, his overall performance was both nuanced and compelling. As Carmen Bernstein, Gráinne Uí Lúing commanded the stage with unapologetic force. Her confidence, vocal power, and comic instinct lit up every scene she entered. Her performance occasionally veered into a broader comedic style, but Carmen’s bold personality allowed room for this larger-than-life interpretation. “It’s a Business” was delivered with intensity, humour, and vocal assurance, one of the evening’s stand-out moments. Aaron Stone brought exceptional comedic flair to Christopher Belling. His meticulously timed reactions, expressive face, and sharp vocal work made his portrayal polished and consistently entertaining. His presence lifted every scene he was part of, adding significant comedic polish. Among the supporting roles, Bronwyn Goulding’s Bambi was delivered with charm, clear commitment, and impressively consistent accent work. Though her solo choreography didn’t fully flatter her strengths, she remained engaging throughout. Eric Nolan’s Oscar Shapiro had moments of sincerity but often appeared self-conscious, a reminder of the importance of grounding character choices. Patricia Voon shone as Jessica Cranshaw, capturing the comedic awkwardness of a bad performer with skill and confidence. Eamonn O’Callaghan’s youth and limited dance maturity made him less suited to Bobby Pepper, a role that demands both authority and dance precision, though he sang well. Sean Lennon’s Sid would benefit from greater menace and definition, while Cian Dowling gave a warm and unobtrusively strong performance as Harv. Alan Lau brought energy to Randy but struggled with diction, and Brian Patrick Gallagher’s weary Johnny Harmon was well judged. Paddy Munds, as Daryl Grady, could strengthen his performance with improved relaxation, accent consistency, and line security. The ensemble proved a lively and essential backbone to the production. Their harmonies were confidently delivered, and their energy throughout each group number kept scenes engaging. Some lacked clarity in diction, particularly during “He Did It,” where uncertainty around lyrics occasionally surfaced. Character work within the ensemble varied; while some performers crafted fully realised backstage personas, others fell into neutral behaviour, missing opportunities to enrich the onstage world. That said, Thataway  was an ensemble triumph, smartly performed, cleanly layered, and genuinely entertaining. Stage management, led by Tom Kavanagh, was excellent. Scene changes were swift, smooth, and disciplined, maintaining momentum throughout the show. The set design was attractive, functional, and detailed, with thoughtful touches that created a convincing backstage environment. The timber stage door and cleat and rope systems added authenticity, and the curtain mechanism was visually striking. Only the colour clash between purple and red brick felt unusual, but this did not detract significantly from a highly effective design. Technically, lighting created many striking and atmospheric visuals, using bold colour choices and theatrical framing to great effect. A few cues felt out of sync with the action, and the persistently flickering festoon bulbs became a distracting issue that ideally should be addressed. Sound faced early difficulties, with missed cues and unbalanced levels impacting dialogue clarity. As the show progressed, the audio mix settled into a far stronger balance, allowing both cast and orchestra to shine. Costume, hair, and make-up represented the production’s least consistent area. Some costumes were wrinkled or ill-fitting, and certain styling choices, such as opera gloves with day dresses or overly tight men’s trousers, felt mismatched to the period or tone. “Show within a show” costumes lacked a cohesive aesthetic. In contrast, Carmen’s costumes were consistently superb, stylish, flattering, and entirely fitting for the character. Hair styling varied significantly, with some beautifully crafted looks contrasted by others that appeared untidy for the era. The wigs for Bambi and Nikki, were visibly ill-fitted, drawing attention when they should have blended seamlessly. Make-up too was often light, and not fully period-appropriate; stronger eyeliner and bolder definition would have enhanced visibility and authenticity.  The evening began with a welcoming and professional Front of House experience. Patrons were greeted warmly, guided clearly, and made to feel immediately at ease. That sense of friendly organisation set a positive tone before the curtain even rose.  Clane Musical & Dramatic Society’s Curtains  was a joyful, lively production full of humour, commitment, and genuine theatrical affection. It showcased strong musical and comedic instincts, highlighted several excellent performances, and possessed an infectious sense of ensemble spirit. With additional attention to vocal clarity, stylistic cohesion, technical consistency, and visual detailing, the society is well placed to continue building on this already enjoyable and engaging standard of performance.

Review: RENT - Muse Productions

Society name: MUSE Show name: Rent Adjudicator date of attendance: 01/11/2025 MUSE’s production of Rent  was an exceptionally powerful and deeply affecting evening of theatre, one that demonstrated not only the company’s immense artistic capability but also their collective willingness to meet this famously demanding musical with honesty, bravery, and emotional intelligence. From the moment the audience entered the space, there was an unmistakable charge in the air, a sense that this...

Society name: MUSE Show name: Rent Adjudicator date of attendance: 01/11/2025 MUSE’s production of Rent  was an exceptionally powerful and deeply affecting evening of theatre, one that demonstrated not only the company’s immense artistic capability but also their collective willingness to meet this famously demanding musical with honesty, bravery, and emotional intelligence. From the moment the audience entered the space, there was an unmistakable charge in the air, a sense that this production would not merely restage Jonathan Larson’s iconic work, but reinterpret it, inhabit it, and live inside its tension, its sorrow, and its hope. It takes a remarkable level of maturity to handle a show that grapples so openly with grief, addiction, illness, poverty, and the fierce, complicated love that defines chosen family. This young company rose to that challenge with astonishing sensitivity. The atmosphere of the production had an organic immediacy that suited Larson’s raw rock-opera score completely. Rather than leaning into gloss or decorative staging, the creative team embraced a stripped-back, emotionally centred approach that placed the performers and the relationships at the core of the storytelling. As a result, the audience experienced a version of Rent  that felt urgent, intimate, and alive. Moments unfolded with the sense that emotions were being discovered in real time, and that energy created a palpable link between those onstage and those watching. At the heart of this exceptional production was the direction of Martin McNelis, whose work was nothing short of extraordinary. What emerged onstage was not simply a polished staging of a well-known musical, but a cohesive, deeply considered artistic statement. McNelis’s use of the thrust stage was particularly inspired. Working in such a format can easily result in fractured staging or blocked sightlines, yet here the space was used with intuitive intelligence. Every angle offered new depth, and the blocking-maintained audience engagement no matter where one was seated. The intimacy of the configuration allowed the emotional reality of the piece to circulate freely, giving the production an immediacy that drew viewers completely into its world. Martin’s attention to character development was equally impressive. Every person onstage felt fully realised, possessing a history and emotional landscape that informed their every interaction. Relationships, whether romantic, platonic, strained, or newly discovered, were handled with rich nuance. The pacing of the production was also superb. High-energy ensemble moments were contrasted with stillness when the story demanded it, creating a natural ebb and flow that carried the audience through the highs and lows of the narrative without ever feeling manipulated. The emotional arcs felt organic, earned, and profoundly human. The seamless cohesion between direction, musical direction, and choreography made the artistic team’s collaboration appear effortless. Musical director Mary-Rose McNally crafted a sound world that honoured both the rock pulse and the tender vulnerability of Larson’s score. The small band produced a wonderfully rich sound, never overwhelming the cast yet offering full support to their vocal and emotional delivery. The coordination between Roger’s onstage musical moments and the live guitar was handled with impressive precision, particularly in the opening sequence, which can so easily go astray. Throughout the show, the balance between band and vocals was finely tuned, allowing every lyric to be heard clearly, essential in a show where storytelling lives in the musical phrasing. The ensemble harmonies were exceptional: warm, well-blended, and confidently sustained. Mary Rose ensured that each vocal moment served the narrative and emotional truth of the story, and the ensemble responded with a unity that felt deeply rooted in shared purpose. Tempos were steady, thoughtful, and always in service to the heart of the moment, guiding the show’s momentum without ever rushing its dramatic beats. Choreographer Jay Molyneux contributed movement that felt inseparable from the storytelling. Rather than layering dance on top of the action, the choreography emerged naturally from the characters’ emotional states. One of the most striking examples was the canon movement in “Will I?”, executed with a kind of quiet transcendence that amplified the collective fear and fragility expressed in the song. The piece rippled with empathy. Conversely, high-energy numbers such as “Rent” and “La Vie Bohème” burst onto the stage with explosive joy and youthful electricity. The energy was chaotic in all the right ways yet always controlled, carrying the frenetic pulse of the characters’ world. Jay demonstrated a sophisticated understanding of when movement should drive the narrative and when it should simply support it, and the ensemble delivered that vision with conviction. Among the principal cast, there was not a single weak performance. Each actor approached their role with sincerity, vulnerability, and a clear understanding of their character’s emotional pulse. Conor McNelis gave a beautifully nuanced portrayal of Mark Cohen, the filmmaker forever one step removed from the world he documents. His performance captured Mark’s longing to belong without compromising the character’s gentle observational quality. Conor’s vocal delivery was effortless and clear, but it was his grounded emotional restraint that made the portrayal particularly compelling, a subtle masterclass in quiet, introspective performance. As Roger, Nathan Canning offered a raw and deeply felt portrayal of the tortured musician battling grief and fear while yearning for connection. His interpretation never once felt melodramatic; instead, it carried an authenticity that made his pain and hesitation profoundly moving. “Your Eyes” was sung with such emotional fracture that the audience felt every ounce of heartbreak woven through his voice. His chemistry with Mimi was electric, tender, and at times turbulent, exactly as the relationship demands. Aoife McNelis delivered an extraordinary Mimi: seductive yet vulnerable, playful yet broken, fighting her way through addiction while clinging desperately to love. Her portrayal was layered with subtle choices that revealed the character’s fragility beneath her bravado. Vocally, she possessed a smoky depth perfectly suited to the role, and her emotional delivery was compelling in every moment. Cian Ryan’s performance as Tom Collins was a standout of exceptional emotional truth. His love for Angel radiated from him with absolute authenticity, crafting a romantic connection that felt painfully real. His grief during “I’ll Cover You (Reprise)” was almost unbearable in its honesty, a quiet, devastating display of heartbreak that left the audience breathless. As Angel, Ethan Doyle lit up the stage with warmth, joy, and emotional generosity. Every choice was sincere, every movement imbued with purpose. His relationship with Collins felt gentle and deeply lived-in, adding a powerful emotional anchor to the production. Aoife Daly’s Maureen balanced comedic flair with a vulnerable emotional core, capturing the character’s contradictions with intelligence and wit. “Over the Moon” provided much-needed levity and was performed with fearless humour. Shauna Byrne’s Joanne complemented her beautifully, grounding the relationship with strength and emotional clarity. Her vocals were rich and assured, offering a compelling counterpoint to Maureen’s chaotic charm. Cillian Fahy’s Benny was sharply defined: smarmy, entitled, and dripping with well-placed charm that always felt slightly too slick to trust. His portrayal added necessary tension to the story, highlighting the moral divergence between him and the group he left behind. The ensemble formed the backbone of the production, lifting every scene with their vitality, specificity, and unity. Each performer crafted a distinct character, making the world feel inhabited rather than populated. Their vocal blend was consistently strong, and their commitment to the choreography, regardless of natural ability, was admirable. They never felt like an extension of the principals but rather an indispensable part of the story’s heartbeat. Stage management, led by Brian Dowling, ensured absolute fluidity throughout. With cast-led transitions, precision was essential, and the team achieved seamless shifts that preserved the emotional pulse of the narrative. The set design embraced simplicity, using the thrust staging and minimal props to create an adaptable, multi-locational environment. This choice encouraged the audience to fill in visual detail while allowing the performers’ relationships to remain central. Technically, the production excelled. The lighting design was atmospheric and deeply evocative, using shadows, colour, and beam direction to heighten moments of intimacy, chaos, or despair. It never distracted from the story but enhanced it with artistic sensitivity. The sound design was flawless, no easy task in a rock musical. Every line, every harmony, every instrumental layer was clear and balanced, creating a sonic landscape that allowed the emotional nuance of the performances to shine. Costumes, hair, and make-up were meticulously conceived, capturing each character’s identity and journey. The ensemble’s transformations were handled with precision, allowing for quick shifts in role that remained visually coherent. Front of House operations contributed significantly to this experience. Patrons were greeted with a sense of warmth and clarity, guided through the space with ease, and welcomed into an environment that felt safe and inclusive, an important consideration for a production so heavily rooted in themes of belonging, vulnerability, and community. The FOH team set the tone beautifully, establishing a sense of calm professionalism that allowed the audience to settle into the emotional terrain of the piece before a single note was played. In every respect, this was a remarkable production, emotionally courageous, artistically cohesive, and performed with rare sincerity. MUSE delivered a Rent  that honoured the soul of the piece while offering a deeply personal and contemporary interpretation, leaving the audience profoundly moved and reminded of the enduring power of community, love, and chosen family.

Review: Beauty & The Beast - BOSCO Drama Group

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm,...

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm, colourful, and uplifting performance in which every young person embraced their role with commitment. Even in the occasional moments where confidence wavered or execution needed more refinement, the cast’s passion for performing shone through. They collectively created that special, unmistakable atmosphere unique to youth theatre, one built on community, encouragement, and the sheer thrill of stepping into a story together. At the heart of the show was the directorial vision of Corinna McCaughey, who approached this well-loved musical with thoughtful ideas and a clear sense of story. The production moved smoothly from moment to moment, and the essential beats of the narrative were easy to follow. Corinna demonstrated an understanding of the emotional core of the piece: the contrast between Belle’s vibrant, curious world and the Beast’s lonely, isolated one; the themes of compassion, transformation, and acceptance; and the playful rhythm of the village scenes. She created a production that allowed young performers to explore these elements within a safe, structured framework. There were moments that would benefit from deeper exploration in the future, especially in terms of energy, intention, and character specificity. Some scenes lacked the momentum needed to maintain emotional drive, often because the performers had not yet fully discovered the stakes or objective of the moment. This is completely normal for young actors, and with further coaching in physicality, motivation, and presence, these scenes have the potential to develop into richer, more confident passages. The blocking occasionally presented challenges. Several scenes placed performers upstage, reducing the clarity of dialogue and diminishing the emotional connection with viewers. These choices are excellent teaching opportunities, helping young performers learn the importance of eyeline, positioning, and sharing their performance outward. A few moments, such as the shifting placement of the well in the village scene or interactions that overlooked the balcony seating, created minor visual inconsistencies. With small adjustments, these elements can be refined to strengthen the storytelling even further. Musical direction, led by Aislinn McGinn, brought warmth and beauty to the production. The orchestra consistently provided a rich, expressive sound that supported the cast with sensitivity. Harmonies were well prepared, and the ensemble sang with unity and confidence. Aislinn clearly guided the young performers with care, ensuring they had musical foundations strong enough to carry them through even the more challenging numbers. Transition cues between dialogue and music occasionally felt extended, with underscoring beginning slightly too late or introductions lingering too long after lines had ended. Greater coordination between Director and MD would help tighten these transitions and keep the pacing crisp. Balance between orchestra and cast also presented a small challenge, as the band sometimes overpowered dialogue. This is an entirely common issue for young performers still building projection skills and simply requires attentive collaboration between MD and the sound team in future productions. Despite these minor issues, the musical atmosphere was vibrant and expressive, contributing greatly to the show’s overall charm. Choreography by Ann Marie Morgan elevated the production with creativity, elegance, and an evident understanding of how movement can drive story. Each number showcased clear rehearsal and clean execution, with the ensemble performing confidently and enthusiastically. Several dancers demonstrated notable ability, adding polish and dynamism to the group work. The “Prologue” was particularly striking, skilfully blending movement and narration to introduce the world of the story. “Gaston” was another standout, with clever tankard choreography and a strong sense of ensemble unity. “Be Our Guest,” while lively and colourful, occasionally lost energy in sections, suggesting an opportunity to revisit pacing and structure to sustain the full spectacle the number promises. The wolf scenes incorporated an interesting swaying motif, but the narrative clarity could be sharpened to enhance the sense of danger. Most importantly, the iconic waltz between Belle and the Beast, the moment where their relationship subtly shifts, would benefit from even closer collaboration with the director to ensure the storytelling of emotional progression is fully realised. Still, Ann Marie’s work consistently provided the cast with both structure and expressive freedom, allowing them to shine. Among the principals, Belle, played by Emily Morgan, delivered a truly lovely performance. Her beautifully controlled voice displayed excellent technique, smooth transitions, and a warm, clear tone far beyond her years. Emily’s portrayal was sincere and grounded, capturing Belle’s independence and gentleness with ease. Her calm stage presence and confident physicality contributed greatly to her character’s credibility. She is a performer with enormous potential.  As the Beast, Matthew McKinney displayed a naturally pleasant vocal tone and clear musicality. His voice will undoubtedly grow stronger with age, and the foundations of a compelling performer are already visible. Matthew connected particularly well to the Beast’s softer and more humorous qualities in Act 2, demonstrating charm and vulnerability. The darker, more explosive emotional beats of Act 1 are areas for him to explore more deeply as he continues to develop. “If I Can’t Love Her” would benefit from more grounded stillness and intensity, but the understanding is there, and Matthew’s potential is unmistakable. Patrick McAllister, as Gaston, has a strong voice and a confident presence. With greater exploration of Gaston’s exaggerated arrogance and swagger, he could truly command the stage in this role. Youth performers often need encouragement to embrace the boldness required for such characters, and Patrick is more than capable of doing so. His dynamic with Le Fou was playful and well matched. As Cogsworth, Michael McAteer brought a pleasant vocal tone and gentle presence. His comedic potential is strong, and with more emphasis on the character’s fussy pompousness and a larger physical performance, he could land the humour more effectively. His rapport with Lumiere was promising and will elevate with further playfulness and energy. Mrs Potts, played by Emilia Quinn, offered one of the most polished performances of the evening. Her strong, expressive voice and warm characterisation made both her dialogue and her rendition of “Beauty and the Beast” particularly memorable. Emilia’s confidence and grounding onstage added a lovely sense of stability to the show. As Lumiere, Conor Powell delivered energy, charm, and confidence in “Be Our Guest.” With improved diction, projection, and a greater awareness of not backing upstage, Conor’s natural stage instincts will flourish even more. He clearly enjoys performing and has excellent potential. Among the supporting cast, several performances stood out for their energy, charm, and growing technique. Le Fou, played by Shay Devlin, delivered humour, strong harmonies, and promising comedic instincts. Maurice, portrayed by Ben Furlong, showed warmth and a gentle sincerity, though greater physicality and presence would help establish the character’s age and eccentricity more clearly. Sophia Murphy’s Babette was full of life, strong physicality, and clear character choices. Her accent work was good, though diction and projection should continue to be priorities. Robyn Cunningham’s Madame de la Grande Bouche impressed especially through her elegant vocal tone and will benefit from keeping her head lifted to reveal more facial expression. The Silly Girls, Eabha Monaghan, Molly McNally, and Orla Byrne, were a genuine highlight of the production, offering sass, humour, excellent harmonies, and wonderful stage presence. Jack Doherty’s Monsieur D’Arque could benefit from leaning further into the sinister qualities of the character, while young Aidan McCaughey was utterly charming as Chip. The ensemble was an enormous asset to the production, performing with unity, enthusiasm, and clear enjoyment. Their movement quality was consistently strong, with standout dancers lifting the overall visual impact. Vocally, they produced a warm, blended sound with lovely harmonies. They remained engaged throughout, supporting the principals and driving the larger numbers with commitment. Technical elements contributed significantly to the success of the production. Under the direction of Ruairi Gorman, stage management was exceptionally slick and professional, with smooth transitions and well-handled backstage coordination. The set design was visually stunning, with the stained-glass windows and the library piece standing out as particularly beautiful elements. These design choices added sophistication and depth to the storytelling. Lighting design supported the production well, creating atmospheric scenes and clear storytelling moments. A few cueing issues and follow spot inconsistencies occurred, but these are normal developmental moments for a youth crew. Sound design was generally effective, though balancing the orchestra with young performers remains an area for ongoing attention. No cues were missed, and the overall soundscape complemented the world of the show. Costumes were vibrant, detailed, and well suited to the story, with principal costumes and the “Be Our Guest” plates standing out especially. Some village costumes lacked finishing touches, and the decision to dress village girls as boys was interesting. Hair and makeup were good overall but would benefit from more refinement, particularly ensuring visibility of facial expressions, such as adjusting the Beast’s wig curl, which obscured his face. Before the first note ever sounded, the Front of House team helped establish a welcoming tone for the evening. Patrons were greeted warmly and guided efficiently, creating a sense of organisation and friendliness that helped the audience settle comfortably. For many young attendees and families, these early interactions can be fundamental to their overall experience, and Bosco Drama Group succeeded in providing an environment that felt cheerful, inclusive, and well managed. Their attentiveness supported the production beautifully, ensuring the evening began on a positive and reassuring note. Bosco Drama Group’s Beauty and the Beast  was a heartfelt and joy-filled production, elevated by dedicated young performers, strong musical and visual elements, and a team committed to creating a supportive and celebratory environment. It showcased the developing talents of its cast and offered a memorable evening of youth theatre at its most charming.

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
bottom of page