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LATEST NEWS

Review: Annie - SONG

Public Adjudication Society name: SONG Show name: Annie Date of attendance: 23 rd  November 2025 There is something in the water in and around Dundalk and that ‘something’ could be seen in abundance on the Táin Arts Centre stage as a most appreciative audience watched in awe whilst an incredibly talented group of young performers sang, danced and acted up a storm in SONG’s production of ‘Annie’. It was a production full of confidence and heart, which radiated a warmth which was balanced with...

Public Adjudication Society name: SONG Show name: Annie Date of attendance: 23 rd  November 2025 There is something in the water in and around Dundalk and that ‘something’ could be seen in abundance on the Táin Arts Centre stage as a most appreciative audience watched in awe whilst an incredibly talented group of young performers sang, danced and acted up a storm in SONG’s production of ‘Annie’. It was a production full of confidence and heart, which radiated a warmth which was balanced with meticulous preparation. Exceptionally good vision and leadership was in evidence at every turn and there was a remarkable level of commitment from everyone on stage, particularly the younger cast members. The result was an exceptionally well-performed show which was entertaining and heartwarming from start to finish. There was always a focus on telling the story clearly and intelligently. The production team knew the material and knew how to get the very best out of the talented cast. The foyer of the Táin Arts Centre was busy but never chaotic, creating an atmosphere of excitement and anticipation from the outset. There was a most welcoming atmosphere and a very palpable positive energy as the audience arrived. The display of photographs of red and white kids’ troupes was a nice touch, giving the talented youngsters deserved recognition before the show even began. Programmes and raffle tickets were in high demand, adding to the buzz in the foyer. Things appeared to run very smoothly, thanks to the efficiency of the volunteers. Terese Dunne and Moya Hodgers direction was a real strength of the production. Direction was clear and confident throughout. Storytelling was always front and centre and there was great attention to the narrative detail. ‘Annie’ can be deceptively difficult to stage, due to its episodic structure. However, both directors ensured that the story unfolded with great clarity and momentum, never allowing things to become disjointed. The direction work with the younger members of cast was exceptional. The orphans were consistently focused and engaged in every scene. Comedy was played cleanly and was never forced. There was great sensitivity in more emotional scenes, without ever resorting to sentimentality. Excellent work from two directors who knew the material, the tone and how to harness the superb talent at their disposal. Patrick Dunne’s musical direction was strong throughout, with the vocal standard of the cast standing out as a major achievement. The children, in particular, sang exceptionally well thanks to great work from Mr. Dunne. The ensemble was full and impressively balanced, producing a really strong sound in their numbers. Mr. Dunne led a three-piece band supported by tracks. While this was clearly a practical decision, it was the one area where the musical presentation felt slightly constrained. Underscoring was handled with good care and it was refreshing to see an MD who was sensitive to this crucial performance element. Tempos were well-judged, if occasionally restricted a little by using tracks. Overall, the musical direction was secure and supportive, allowing cast to perform with confidence throughout. There were no less than four choreographers working behind the scenes on this production. The choreography, created by Sarah Dunne, EJ Dunne, Tara Gill and Terese Dunne, was exceptional and contributed enormously to the show’s success. Routines were dynamic and very well-rehearsed. Larger ensemble numbers were very clean, with great synchronicity and excellent performance levels. ‘It’s the Hard Knock Life’ was a standout moment, right at the top of the show. The energetic movement captured the orphans’ frustrations and resilience in what was a brilliantly performed number which set the bar very high at the top of the show. The Hooverville sequence was equally effective, with the excellent ensemble conveying hardship and solidarity through a very sharply moved routine. ‘NYC’ was vibrant and full of life, with strong pictures and clear focus points. ‘Never Fully Dressed Without a Smile’, performed by the orphans, was the highlight of the performance, bar none. It was joyful and confident, delivered with exceptional polish and performance levels that would give most of us a good dose of impostor syndrome. Outstanding work from all. Tess Kierans gave an outstanding performance as Annie and was, without a doubt, the centre of this production. From her first appearance, she held the stage with confidence and ease, projecting warmth and sincerity in what was an exceptionally clever performance for one so young. Vocally, Tess sang with confidence and clarity, handling the score comfortably and with strong emotional connection. Dramatically, she listened well, reacted honestly and was always in tune with the narrative as it unfolded around her. A wonderful portrayal which showcased Tess’s talents perfectly. Sources tell me that Liadan Corry’s performances during the week had been equally impressive.  Tony Markey gave a strong and dignified performance as Daddy Warbucks. His portrayal avoided caricature, instead presenting Warbucks as a controlled, private man whose emotional development unfolded gradually, giving us glimpses of vulnerability and emotional softness as the story progressed. Mr. Markey’s acting was confident and measured. He was strong vocally. ‘Something Missing’ was sung with a full, warm tone and infused with heartfelt emotional intent. He worked very well with Tess but I did feel that a deeper emotional connection could have been explored. All of that said, this was a very impressive portrayal all round from a very skilled actor. Fiona Mullen was excellent as Grace Farrell, bringing much warmth and elegance to the role. Grace is the emotional bridge between Annie and Warbucks and Ms. Mullen played this with sensitivity and intelligence. Her characterisation was caring and engaged throughout and she was always involved, whether she was merely observing or the audience’s direct focus. Vocally, she was a strong and confident singer. Her musical numbers were delivered with polish and control and this was particularly true in ‘I Think I’m Gonna Like It Here’. Her impressive soprano contributed significantly to the show. Ms. Mullen’s interactions with Annie were particularly warm, establishing trust and affection in a way that felt very natural.  Lucie Lynch delivered a very funny and well-controlled Miss Hannigan. Her performance balanced strong comic business with dramatic intent, ensuring that her character was always entertaining without ever overplaying, which can undermine a comedic role so easily. Timing was sharp throughout, and comic moments landed cleanly. ‘Little Girls’ was a standout comedy moment of the show, performed with confidence, clear characterisation and impressive vocal control. Dialogue was energetic and clear and Ms. Lynch was very in tune with the narrative. A super portrayal which contributed greatly to the overall success of the show. EJ Dunne brought huge energy and presence to the role of Rooster. He was an excellent singer and a particularly strong dancer, using physicality to give the character swagger and confidence. Rooster needs to be played with both charm and ‘divilment’. Mr. Dunne delivered both very convincingly, giving us an antagonist that was both despicable and likable in equal measure. This was a performance that showcased enormous potential for the future. Mr. Dunne’s technical skill and his instinctive style augurs very well for future roles. A superb interpretation all round. Freya Walsh’s portrayal of Lily was very well characterised and very comically effective. The high-pitched vocal delivery worked well for the role, giving Lily a comic identity that stood out every time we saw her. Timing was always excellent and her expressive reactions were very funny indeed. Vocally, Ms. Walsh did very well in the brilliant ‘Easy Street’, which also showcased her excellent movement skills. Overall, a very intelligent, funny performance. James Brennan gave a poised and assured performance as Drake. His delivery was clean and confident, and his resonant voice added to his quietly authoritative air in the mansion scenes. Mr. Brennan fulfilled this role with ease, in what was a strong, reliable performance with great credibility. Tony Dolan impressed as Bert Healy with a very good vocal performance. His singing was perfectly suited and appropriate to the required showmanship of the role. His performance style suited the character well, capturing the sense of a media personality without becoming exaggerated. It was a polished performance that supported the overall energy of the show. The adult ensemble work throughout the production was of a very high standard. The Hooverville sequence was particularly effective, both visually and vocally. The ensemble sang superbly in this number, creating a strong sense of hardship and community. Movement was excellent and the ensemble was clearly on the same page as the production team in terms of the show’s overall vision.  The city scenes were lively and energetic, supported by strong choreography and lighting. The ensemble brought character and variety to all of their moments on stage, adding great clarity, life and pace to the show overall. The Red Troupe of orphans, were outstanding from start to finish. Their performance levels were exceptionally high in their acting, singing and movement. They were always focused and engaged throughout, even in quieter moments. Their ensemble sound was exceptionally strong. Singing was confident, well balanced and full of energy. Numbers such as ‘It’s the Hard Knock Life’ and ‘Never Fully Dressed Without a Smile’ were exceptionally well performed by all. The energy, confidence and commitment of the orphans lifted the entire production and there really aren’t enough superlatives to describe the standard of their work.  The set was practical and flexible, supporting the fast pace and frequent scene changes required by the show. The design allowed the production to move smoothly between the orphanage, Warbucks’ mansion, Hooverville, New York City and the political scenes without interrupting the flow of the story. The stage never felt cluttered, and there was always enough space for movement, choreography and clear sightlines. The use of projections on the upstage screen was key to the design concept, allowing for changes in location and mood very quickly, without having to overly rely on large, physical set changes. Projections were excellent, adding so much texture and realism to the various settings. With the addition of just beds or a desk, locations were allowed to change fluidly, maintaining excellent momentum throughout.   Stage management by Moya Hodgers was excellent and played an important role in the success of the production. The show ran smoothly and confidently, indicating strong organisation and clear communication backstage, which must have been a very busy environment, with so many performers involved. Scene changes were efficient and well timed, ensuring that the pace of the show was never disrupted. Transitions between locations were handled very well.  Lighting was one of the most impressive technical aspects of the production, both in design and execution. The lighting designer showed a clear understanding of the story and knew exactly how to use colour, intensity and movement to tell this story. Cueing was sharp and precise throughout. Lighting changes were well timed to musical and choreographic moments, adding wonderful energy and clarity to the staging. The use of haze was particularly effective, giving depth and texture to the lighting  and enhancing the show’s overall theatricality.  Sound was of a very high standard throughout the production and added much to the show’s polished feel. Balance across principals, ensemble and orchestra was well judged, allowing lyrics to be clearly heard at all times. This was especially important in a show with a large number of children, where amplification can easily become challenging if not carefully controlled. The orphans’ singing was particularly impressive. Their sound was full, confident and well blended.  Props were used with great care and attention to detail, adding authenticity to the production. The use of mops, buckets and rags in ‘Hard Knock Life’ was particularly effective. These items were fully integrated into the choreography, requiring careful coordination between performers, choreographers and stage management. Other props were equally well chosen. The laundry basket, Miss Hannigan’s antique radio, wooden tennis racquets and the Mona Lisa all contributed to a clear sense of time and place. This kind of detail helped to reinforce the contrast between Annie’s orphanage life and the wealth of Warbucks’ world.  Costume design was excellent across the production and played a key role in defining character and social contrast. The orphans’ costumes were a carefully judged mish-mash of dresses, suggesting poverty and wear while still allowing each child a sense of individuality. This balance was handled with skill, ensuring that the group looked coherent without appearing uniform. The adult characters were equally well dressed. Staff at Warbucks’ mansion were dressed with formality, reinforcing the contrast with the orphanage and Hooverville scenes. Annie’s red coat was beautiful and suggested a transformational moment. Overall an excellent costume plot which contributed greatly to the visual impact of the show. Hair and make-up were also of a very high standard. Annie’s wig was particularly effective, sitting naturally and supporting the performance rather than drawing attention to itself. Across the cast, styling was consistent and appropriate, contributing to a very polished overall visual. This was a top-tier production of ‘Annie’ from start to finish. Clear, confident direction, strong musical direction, exceptional choreography and high-quality technical presentation, combined to create a superbly paced, funny and often emotional presentation. Extraordinary work from the children and a very strong ensemble, added significantly to the show’s polished feel. It was a show full of heart and optimism. And I certainly appreciated its warm message. Thank you all for such a superb production. Pat McElwain Sullivan Adjudicator 2025/2026

Review: West Side Story - Light Opera Society of Tralee

*Public Adjudication by Ciarán Mooney Light Opera Society of Tralee West Side Story 22 nd  of November 2025 ________________________________________________________________________ As the audience entered Siamsa Tíre, sweeping red chairs and shadow-casting light revealed a fully realised set already drawing us into the world of West Side Story . Posters for the high-school dance and clotheslines around the auditorium subtly pulled us into the neighbourhood. The band sat ready to launch into...

*Public Adjudication by Ciarán Mooney Light Opera Society of Tralee West Side Story 22 nd  of November 2025 ________________________________________________________________________ As the audience entered Siamsa Tíre, sweeping red chairs and shadow-casting light revealed a fully realised set already drawing us into the world of West Side Story . Posters for the high-school dance and clotheslines around the auditorium subtly pulled us into the neighbourhood. The band sat ready to launch into Bernstein’s soaring score, while an eerily silent start created a hovering sense of foreboding. LOST, it turned out, were not one bit lost with this very good production.  Gráinne O’Carroll’s direction gave the production a gentleness and naïveté not always present in modern tellings. Hard edges softened, revealing the innocence of teenagers trying to grow up and get by—while getting it wrong. Tony and Maria’s meeting in the gym felt like a dream, their whispers drawing us into the tenderness and secrecy of their union. The warmth within each community was palpable, with older characters showing that they genuinely cared for the younger generation. This softness made the tragedy hit harder, the deaths feeling more wasteful and affecting. Leaving the bodies onstage for the entire interval was a bold touch, allowing the audience to sit with the horror before Act Two began. Maria and Anita’s Act Two duologue, though musically triumphant, might have benefitted from more physical expression to embody the tension between them. And while the Jets delivered energy, commitment and fun, the Puerto Rican sequences seemed a touch reserved. America  could have been messier (in the right way) with more youthful exuberance and heat. Similarly, I Feel Pretty  - beautifully rehearsed – might have needed that extra 10% of sass. The Tonight  ensemble at the end of Act One was vocally excellent but visually static; a small adjustment in staging could have added dynamism. Still, these notes were minor within an otherwise very strong directorial outing by Ms Carroll. Character work was excellent, the pacing slick, the accents spot-on, the casting just right. The entire production felt secure and well-shaped under O’Carroll’s leadership. Musical Director Aidan O’Carroll led with clarity, occasionally enriching the texture from the piano, and the balance between stage and pit was almost perfect. Softly spoken lines floated clearly over the orchestra. The only moment where underscoring distracted slightly was in the Act Two scene between Tony and Doc, likely something only noticeable from the auditorium. Beautiful singing featured throughout, with principals showing off impressive voices and the ensemble producing a rich, confident sound. Chorus Mistress Caitríona Fitzmaurice clearly had the ensemble in fine form. Choreography by Aileen Murphy, drew firmly from the original West Side Story  sentiment. The stylised fighting never tried to chase realism yet carried powerful symbolism, and the male dance sequences were genuinely impressive. Movements were sprawling and fully extended, filling the stage with dynamic shapes. One or two girls appearing late in Cool  felt a touch artificial, but the number itself—complete with a breathtaking cartwheel—was a great achievement. The strong attack from the cast made the dance sequences consistently exciting. Front of House extended the world of the show with a warm welcome and displays including photos and a mood board of period hairstyles, helping to set the tone. The set design embraced the classic West Side Story  look: redbrick buildings with windows, balconies and fire escapes, laundry lines stretching into the auditorium, and flats evoking a dilapidated tenement district. Doc’s interior was convincingly established, and the gym decorations were appealing and atmospheric. The wedding shop, with mannequins, sewing machine and patterned wallpaper, felt authentically rooted in the era, while Maria’s bedroom was dressed in religious imagery and Puerto Rican pop culture. Using each side of the stage for these spaces allowed slick transitions, though one might wonder whether placing Maria’s room stage right would have made more visual sense. Still, the speed with which she appeared at the balcony was impressive. Stage management by Alex Hindmarsh was smooth and unobtrusive. The gym décor flew in and out with slick efficiency, and Doc’s shop, symbolised by tables, chairs and a jukebox, appeared with ease. John Hurley’s lighting brought gorgeous touches throughout. The gym sequence glowed with moody atmosphere, Cool  washed in appropriately chilled tones. The two bodies at the end of Act One were hauntingly lit, and the petrol blue of the dream ballet was striking against the browns and beiges of the dancers, shifting into vivid reds for the fight. A subtle path of light guided Tony’s body in the final moments with great delicacy. Sound design by Shane Murphy provided a near-perfect blend of whisper-soft intimacy and orchestral fullness. With many microphones and cues in play, the production never faltered. The sound contributed significantly to the overall softness and mood of the staging. Costumes enriched the storytelling. The Jets’ cool denim and muted colours contrasted clearly with the Sharks’ rustic and vibrant palette. A-line dresses, ties and jackets set the gym scene beautifully, giving the choreography extra swish and shape. There were occasional inconsistencies - some lads felt firmly rooted in the era while others seemed more modern - but when it worked, it worked very well. Tony’s everyday costume could have evoked the period more, though his final white T-shirt captured the classic look. Jamie Cleary Lynch as Tony was full of likeability and charisma and gave us a rounded character full of naturalism. He matched Maria beautifully with loving tenderness that made their ending all the more tragic. He was a good pal to his mates and a great help to Doc, making us all want him to survive at the end. Good breathing and support were evident, and one could tell that, as he produced warm round vowel sounds, that he had good training. He had all the ingredients for a pitch-perfect Tony. That said, seven shows in four days (yikes) and no alternate (unlike some of the other leads) meant that fatigue showed in those upper notes. I would have loved to have seen him earlier in the week and I’m convinced that it would have been an A+. Jayda Kahraman as Maria met the role’s challenging soprano lines with a sweet voice, clear as a bell, giving her performance a gentle, appealing quality. Her nymph-like innocence early in the story felt authentic, and she transitioned nicely into a more mature, stoic presence at the end. The black-shawl exit underscored her growth, fulfilling the role’s emotional breadth with quiet, effective confidence. Her relationships with Anita, Tony and her friends all rang true, and I could have closed my eyes to listen to her sing. Well done. Katrina Galvin’s performance as Anita seemed to get better and better as the evening went on, growing in confidence and emotional nuance. She met the role’s demanding singing and acting arc with increasing assurance, offering warmth, humour, and a touch of grit. Her work felt thoughtful and steadily impactful, becoming a strong anchor in the second act. Her decision to lie was well-earned and we felt the tragedy of it. I do not need to comment individually on the singing and dancing from the Jets. Their work was consistently top-notch and meticulously rehearsed, and my congratulations go to all  in this unit for their sock-it-to- ‘em show of unity and excellence. Jerry Lynch as Riff delivered a consistently focused performance, meeting the role’s rhythmic precision and leadership demands with clarity. His physicality and vocals were well-measured, and his complete stillness during the interval showed impressive commitment to the role. Liam Brick as Bernardo showed great presence, handling the role’s physical and acting demands with confidence. His strong, acrobatic work added excitement, while his stillness beside Riff during the interval created a tense reminder to the audience. He maintained a firm, composed authority throughout, supporting the Sharks’ dynamic with steady, well-shaped intention and clear physical control. Jaidon Ward Barrett as Action brought an imposing yet spirited energy to a role requiring sharp timing and punchy vocals. He delivered a lively but controlled performance that suited the character well. He contributed humour and edge to the Jets, offering a reliable, engaging presence that kept scenes moving effectively. Michalel Pingo as Chino delivered a restrained, heartfelt would-be suitor for Maria, balancing quiet loyalty with tragedy, grounding pivotal moments such as the visit to Maria with gravitas. Elizabeth O’Shea as Anybody’s captured determined resilience, restless energy, and longing for recognition within the gang’s rigid world. Her characterisation and choices helped us feel that she neither fully belonged with the boys nor the girls, yet she stood firmly in her own self as her own person. Sean Slabys as Big Deal brought energetic swagger, mixing impulsive humour, enjoyable camaraderie, and credible street tension to enhance the scenes with his fellow Jets. Dan O’Connor commanded attention as Diesel, delivering disciplined force, solid leadership, and controlled aggression that shaped the Jets’ internal hierarchy. Denis Moroney portrayed A-rab with spirited humour and raw edge, balancing bravado and underlying fragility to deepen the Jets’ emotional presence. Sam Gleasure as Baby John gave us a touching innocence and nervous wit, capturing vulnerability, moral discomfort, and growth amid the Jets’ escalating conflict. Daithi O’Sullivan as Snowboy brought sharp energy to this character, blending quick wit, streetwise confidence, and reactive tension that heightened the Jets’ collective volatility. Marcus Nolan was fantastic as Doc, embodying compassionate steadiness, moral clarity, weary wisdom, and human warmth that anchored the story’s escalating tensions. Almost Santa Claus-like with his white beard and rosy cheeks, he leaned slightly (and effectively) into the “village idiot” he pretends to be. It was an endearing and beautifully measured performance, capturing the weariness and frustration of this elder generation desperately hoping to knock some sense into those hell-bent on ruining lives. Very enjoyable indeed.  Padraig Harrington as Shrank handled the acting demands with competent, no-nonsense authority, bringing the required tough-guy stance without pushing too far. His scenes felt solid and grounded, providing an adult counterweight that helped frame the youthful chaos. He offered a reliable, steady presence whenever he entered, supporting the dramatic tension and moving the plot along exactly as the role requires. Jean Farrell as Rosalia sang and acted well and showcased a very good accent throughout. Noel King as Gladhand brought presence and experience to evoke the fuddy-duddy qualities of his teacher-trying-to-make-the-kids-see-sense role, offering an effective counterpoint to the surrounding youthful turmoil. Seán Lyons as Officer Krupke leaned into his Irish brogue to bring humour and adult wisdom to this gang of misguided youths. This casting of the more adult roles with age-appropriate actors brought a welcome texture to the evening.  Ad-libbing from the ensemble cast in the opening sequences was very well-measured – not too obvious, with mere suggestions of slurs that established an unnerving creepiness. Accent work across the cast was excellent throughout, especially helpful in signalling the differences in cultural backgrounds. A good part of the ensemble work was provided by a hugely committed set of Jets. It was clearly evident how much work had gone into Gee, Officer Krupke  and its competent delivery was a real crowd-pleaser. The singing by all during the Tonight  sequence near the end of Act One was impressive. The Puerto Ricans never put a foot wrong in their moves or vocals, but a touch more convincing abandon would have really made these sequences hop off the stage. Characterisation in Cool  was excellent, with zombie-like eeriness on show. What stood out across the evening was the clear presence of a large, energetic and talented group of younger performers, both onstage and in the pit. This production was shaped with care and filled with strong performances, gorgeous design, and an intention to capture this tragedy of the story through soft and innocent eyes. This was a confident, affecting and beautifully realised production. It felt like a space where emerging talent could stretch itself, take on responsibility and shine. LOST’s West Side Story  found tenderness, precision, atmosphere and genuine heart.

Review: The Wedding Singer - UCD Musical Soc

Society name:  UCD Musical Society Show name:   The Wedding Singer Adjudicator date of attendance:  19/11/2025 UCD Musical Society’s production of The Wedding Singer  offered an energetic, vibrant and genuinely affectionate celebration of this much-loved show, capturing both the playful nostalgia of the 1980s and the emotional sincerity that underpins its comedy. From the moment the audience arrived, there was a strong sense that this was a company eager to entertain and to fully immerse its...

Society name:  UCD Musical Society Show name:   The Wedding Singer Adjudicator date of attendance:  19/11/2025 UCD Musical Society’s production of The Wedding Singer  offered an energetic, vibrant and genuinely affectionate celebration of this much-loved show, capturing both the playful nostalgia of the 1980s and the emotional sincerity that underpins its comedy. From the moment the audience arrived, there was a strong sense that this was a company eager to entertain and to fully immerse its audience in the heightened, joy-filled world of the piece. The atmosphere surrounding the performance was lively and welcoming, with a clear sense of occasion that suited the wedding-centred narrative perfectly. As a whole, the production succeeded in delivering an enjoyable and engaging evening of musical theatre. It balanced humour, romance and spectacle with confidence, and while there were technical and detail-oriented elements that would benefit from further refinement, the overriding impression was of a committed, talented and hard-working student company who clearly care deeply about both their craft and their audience. Direction by Niamh O’Brien and Julie Bowell, along with Producer Brian Higgins, was thoughtful, imaginative and largely very well-judged. One of the strongest directorial choices was the use of a preamble to open the show, beginning with the cast already mid-party. This was an excellent idea, immediately placing the audience within the heightened world of weddings, celebration, and chaos that defines the piece. It brought the setting vividly to life and established tone, energy, and context in a way that felt organic rather than imposed. The use of space throughout the production was strong, particularly given the challenges often posed by student venues. Large ensemble moments were staged with clarity and confidence, while more intimate, character-driven scenes were allowed the space they needed to breathe. The show flowed well overall, with scenes transitioning relatively smoothly and the narrative remaining clear and accessible. Importantly, the key musical and emotional moments landed effectively, giving the audience the big beats they expect from this score. Character development was another notable strength of the direction. Relationships were clearly defined, and there was a strong sense that careful work had been done to ensure interactions felt specific and believable. Robbie and Julia’s journey, in particular, was supported by thoughtful blocking and considered moments of connection, allowing their relationship to grow naturally over the course of the show. At times, however, greater attention to smaller details would have further elevated the production. There were occasional moments that felt slightly under-polished, with minor inconsistencies in focus, gesture or staging that briefly disrupted the otherwise strong flow. These were relatively small issues, but with additional refinement, the overall impact of the direction could be even stronger. Musical direction by Dario Regazzi, supported by Vocal Director Brianna Kelly, was a clear strength of the production. The band captured the unmistakable sound and style of the 1980s with confidence and flair, delivering a lively, rhythmically driven accompaniment that kept the show moving at an engaging pace. The fact that the orchestra was made up entirely of students made this achievement all the more impressive, and there was a palpable sense of musicality, commitment and enjoyment coming from the pit. Tempos were well chosen and consistent throughout the evening, helping to maintain momentum and ensuring that musical numbers never dragged. The energy of the band contributed significantly to the dynamism of the show, particularly in ensemble numbers and dance-heavy sequences where drive and rhythmic clarity are essential. Vocal work across the cast was strong, with harmonies generally well learned and confidently delivered. Unfortunately, the effectiveness of this work was at times undermined by balance issues. Whether through sound mixing or microphone distribution, some harmonies were lost or uneven, meaning that the considerable effort invested by the cast did not always translate clearly to the audience. This is an area that would benefit from closer collaboration between musical and technical teams in future productions, ensuring that vocal textures are consistently supported and heard. Choreography by Niamh O’Brien brought fantastic energy and stylistic clarity to the production. From start to finish, the movement work was lively, well-rehearsed and performed with impressive precision. The ensemble danced with confidence and commitment, and the overall cleanliness of execution was a real credit to both the choreographer and the cast. The 80s styling was strong throughout, with movement choices that felt era-appropriate without tipping into parody. “Saturday Night” was a particular highlight, bursting with character, drive and infectious fun. The choreography captured the spirit of the song beautifully and became one of the standout moments of the evening. There were, however, moments where greater coordination between choreography and direction would have enhanced clarity. In particular, the decision for principals to dip in and out of choreography during certain numbers occasionally disrupted focus. There were also a few instances where counts were left empty, creating small pockets of inactivity that broke momentum. Tightening these moments would help maintain flow and polish, but overall, the choreography made a vibrant and valuable contribution to the production. At the centre of the show, Fionn McGrath delivered a very strong performance as Robbie Hart. Vocally assured and emotionally engaging, he brought warmth, humour and vulnerability to the role. His characterisation was affable, lovable and delightfully goofy without ever becoming caricatured, and he interacted naturally with the rest of the cast, grounding the show with a believable and sympathetic central presence. Aine Kinch’s Julia Sullivan was equally charming. Her portrayal was soft, sweet and sincere, supported by a lovely vocal quality that suited the role beautifully. By the end of the show, her love for Robbie felt genuine and earned, a testament to her thoughtful acting and strong chemistry with her leading partner. Ben Schachne’s Sammy struck an excellent balance between comedy and restraint, finding humour through timing and interaction rather than excess. His portrayal of Sammy as suitably clueless and idiotic was clear and consistent, particularly in his scenes with Holly. Yvette McDonnell was a standout as Holly, bringing powerhouse vocals, confident movement and a commanding stage presence. She embodied the quintessential party girl with style and flair, owning every moment she was on stage. Joseph Gibney’s Glen Guglia was perfectly pitched: smarmy, self-centred and physically confident, with a strong understanding of the character. His performance in “All About the Green” was particularly effective, combining physicality and vocal confidence with clear intent. Among the supporting cast, Doireann McAuley’s Linda was an absolute highlight. Her characterisation was fresh, detailed and genuinely hilarious, making this one of the most entertaining interpretations of the role in recent memory. Connor Kirwan’s George was beautifully understated, with a gentle sincerity and subtle humour that allowed the sarcasm of the role to land effectively. Lia Mullan’s Angie showed commitment and energy, though the performance occasionally felt a little forced; greater ease and trust in the material would help this role feel more grounded. Irina Agotha’s Rosie was vocally and physically very funny, though the make-up design pushed the character slightly too far into caricature, detracting from the strength of her acting. Rose Smithet, Robert Hogan, and Jack Byrne, as Crystal, Ricky and Bum/Mookie respectively, were all well-realised ensemble characters, with Jack Byrne in particular delivering a standout performance in “Single” that lifted the number significantly. The ensemble as a whole was one of the great strengths of the production. Their energy consistently lifted the show, and there was a noticeable surge in momentum whenever they entered the stage. They moved as a tight-knit unit, with strong rehearsal evident in their clean choreography and unified performance style. Vocally, they were well prepared and committed, though let down by sound mixing issues that prevented harmonies from being fully appreciated. Visually, the production was largely very successful. The use of wedding fabric swags as a static backdrop was inspired, immediately establishing the theme and atmosphere. Costumes were generally excellent and authentically 80s, with Holly’s “Saturday Night” look a particular standout, though Robbie’s equivalent costume would benefit from more attention. Hair design was strong and period-appropriate throughout, while make-up was mostly effective, despite some outdated ageing techniques and practical issues such as the bride’s repeatedly slipping hair extension. Technically, the show faced some significant challenges. Lighting issues, including the loss of a follow spot early in the performance, led to inconsistency and overuse elsewhere, and cueing would benefit from refinement. Sound proved to be the weakest element overall, with missed cues, feedback issues and imbalance between band and vocals undermining otherwise strong musical work. These are solvable issues, but they require focused planning, rehearsal and communication. Front of House operations, while delivered with warmth and good intention, would benefit from greater structure and clarity in future performances. On this occasion, the absence of clear signage or a defined focal point within the foyer meant that audience members were occasionally unsure how best to navigate the space. The late opening of the house resulted in a delayed start to the performance, and some proactive communication with the waiting audience would have helped to manage expectations. That said, the Front of House team themselves were consistently friendly, upbeat and welcoming. Their warm greetings and positive attitude went a long way, and their enthusiasm contributed meaningfully to the overall sense of enjoyment. Ultimately, this was a joyful, ambitious and heartfelt production that showcased the considerable talent within UCD Musical Society. This company has the potential to reach an even higher standard. The heart, commitment and enthusiasm are clearly there, and with refinement, future productions could be truly outstanding.

Review: Anything Goes - Coolmine Musical Society

Society name: Coolmine Musical Society Show name: Anything Goes Adjudicator date of attendance: 18/11/2025  Coolmine Musical Society’s production of Anything Goes  offered audiences a lively, buoyant, and thoroughly enjoyable evening of classic musical theatre. Cole Porter’s effervescent score remains one of the great cornerstones of the genre, brimming with wit, melodic charm, and infectious energy, and this production demonstrated a clear understanding of the joy and theatricality that sit...

Society name: Coolmine Musical Society Show name: Anything Goes Adjudicator date of attendance: 18/11/2025  Coolmine Musical Society’s production of Anything Goes  offered audiences a lively, buoyant, and thoroughly enjoyable evening of classic musical theatre. Cole Porter’s effervescent score remains one of the great cornerstones of the genre, brimming with wit, melodic charm, and infectious energy, and this production demonstrated a clear understanding of the joy and theatricality that sit at the heart of the piece. From the opening moments, there was an immediate sense of confidence and cohesion, with a company that knew exactly what kind of show they were presenting and committed fully to delivering it with pace, warmth, and good humour. The overall tone of the production was upbeat and engaging, with a strong sense of momentum carrying the audience effortlessly through the story. The comedy was well-shaped, the narrative clearly told, and the performers worked hard to keep the audience onside throughout. While the production may not have delivered a single, defining “wow” moment that reimagined the material in a bold new way, it succeeded admirably in what it set out to do: provide a polished, entertaining, and characterful evening of theatre that respected both the score and its audience. There was a genuine affection for the material on display, paired with a willingness to embrace its silliness, charm, and larger-than-life characters without embarrassment. The production itself was thoughtfully structured and energetically paced under the direction of EJ Reilly. One of the strongest elements of the direction was the attention paid to storytelling and comic detail. Anything Goes  lives and dies by its rhythm, not only musically, but comedically, and this production demonstrated a strong understanding of how to keep scenes moving, jokes landing, and momentum sustained. The show whipped along at a lively pace, with smooth transitions, ensuring that the evening never felt overlong or self-indulgent. Comedy benefited particularly from this sense of flow. Jokes were clearly set up and paid off, and physical comedy was integrated naturally into scenes rather than feeling bolted on for effect. The choice to place the band onstage was an appealing and effective conceptual decision, enhancing the sense of theatricality and reinforcing the show’s jazz roots. Visually and atmospherically, it suited the playful nature of the piece and worked well with the overall design of the set. While the production was undeniably enjoyable and well-crafted, it stopped just short of feeling truly inspired or revelatory. This is not a criticism of its quality, but rather an observation that there were moments where the production could have pushed further, emotionally, visually, or stylistically, to elevate it from very good to truly memorable. Nevertheless, the direction delivered a cohesive, entertaining, and well-judged production that respected the material and served its audience well. Musically, the show was in very safe hands. Under the direction of Caitríona Ní Threasaigh, the band sounded polished, cohesive, and stylistically assured throughout the evening. Balance across sections was particularly strong, with the brass kept firmly under control. This allowed the music to sparkle and swing without overwhelming either the singers or the space. Tempos were well judged and consistently held, giving the score a light, buoyant quality that perfectly suited the show’s tone, which supported both the choreography and the comic timing on stage. Vocal support for the cast was strong throughout, with well-blended harmonies and several ensemble moments standing out for their clarity and balance. Diction across the cast was notably crisp, allowing Porter’s densely packed and often rapid-fire lyrics to land cleanly and effectively. Overall, the musical direction was a real strength of the production, creating a sound world that felt authentic to the period while remaining lively and present. Choreographically, the production benefited from energetic, well-shaped work by Nicole McDonald. The choreography consistently supported both the storytelling and the musical style, with an emphasis on clean lines, strong formations, and musicality. The tap sequence closing Act One, set to the title number Anything Goes , was a particular highlight. It was tight, precise, and joyfully executed, bringing the first half to a rousing and satisfying conclusion. The clarity of rhythm, unison, and confidence on display here reflected both strong choreography and effective rehearsal. Elsewhere, there were some lovely uses of space and shaping within the ensemble numbers, with formations that were visually pleasing and helped maintain clarity on stage during larger scenes. Blow, Gabriel, Blow  was well staged and benefited from the inclusion of the full company, creating a strong sense of scale and communal energy. That said, this number also highlighted an area for development, as not all performers appeared equally secure in the choreography. In a show as dance-driven as Anything Goes , ensemble confidence is crucial, and even small moments of uncertainty can draw focus. With further attention to consistency across the ensemble, this element could be elevated even further. The principal performances were, overall, strong and engaging. Jennifer McGann delivered a commanding and assured performance as Reno Sweeney, with excellent stage presence and a confident vocal delivery that met the role’s demands with flair. She was consistently entertaining and brought a well-rounded, believable character to the stage, dancing with ease and style and anchoring the production effectively. Stuart Pollock was a delight as Billy Crocker, offering smooth tenor vocals with a rich, warm tone and a natural, unforced acting style. His chemistry with Hope felt sincere, allowing the audience to invest fully in his romantic journey, while his comic timing ensured he navigated the show’s lighter moments with ease. Alan McFeeley brought solid character work to Moonface Martin, exaggerating just enough to suit the style without tipping into caricature. His interactions with other characters were enjoyable, particularly in moments of comic partnership, and while there were slight signs of opening-night nerves in Friendship , these did not significantly detract from the performance. Vocally, he offered a strong, rounded sound that sat comfortably within the ensemble. The role of Hope Harcourt played by Nicole Lamb, proved more challenging. Although the vocal ability is present, the characterisation lacked confidence and embodiment, making it harder for the audience to fully connect with Hope’s journey. With additional support in character development, this performance has clear potential for growth. Séamus Sullivan was a standout as Lord Evelyn Oakleigh, delivering excellent comic timing, expressive facial work, and strong physical comedy. He captured the essence of the bumbling British aristocrat with great charm, and The Gypsy in Me  was a particular highlight, played with confidence and precision. Mary Gamble stole scenes as Evangeline Harcourt, delivering a riotous performance full of physical comedy, expressive character work, and impeccable timing. Even when faced with an unfortunate slip on stage, she handled the moment with complete professionalism, maintaining character and composure throughout in a way that underscored her experience and skill. The supporting cast added greatly to the richness of the production. Jenny Seery brought confidence, vitality, and infectious energy to Erma Latour, with Buddie Beware  emerging as a real highlight. Justin Parkes pitched Elisha J. Whitney’s self-importance just right, particularly in his interactions with Evangeline, while Kevin Johnston’s Captain was appropriately stiff and formal, serving the story well. The Purser, Spit, and Dippy played by Ciaran Ingle, Jennifer Flanagan and Heather Dunne respectively, were all played with clear commitment, adding texture and humour without drawing undue focus. Reno’s Angels (Purity - Aoife Parkes, Chastity - Aoife Joy Keogh, Charity - Saibh Healy, Grace – Kathryn Browne, Virtue - Katie O’Connor, Patience - Siobhan McNamara) formed an excellent troupe, dancing strongly, singing confidently, and working beautifully as a unit, their sassy energy elevating every scene they appeared in. The ensemble was strong overall, with good vocal blend and some lovely harmonic moments, though occasional uncertainty in choreography slightly undermined impact. There is also scope for deeper character work across the ensemble; Anything Goes  is at its best when every performer has a clear sense of who they are and why they are on that ship, and encouraging this level of specificity would add further richness to group scenes. Behind the scenes, the production was very well managed. Stage management under Gerry McCann ensured that the show ran smoothly and efficiently, with slick, unobtrusive scene changes that maintained momentum throughout the evening. The set design was visually appealing and thoughtfully constructed, making excellent use of space with sliding walls, multi-purpose trucks, and a raised platform that housed both the band and the ship’s upper level. The draped curtain opening was a particularly effective visual touch, setting the tone beautifully from the outset. Technically, sound design was strong, with clear balance between orchestra and vocals and effective control of the brass section. Lighting was generally reliable, though some focus issues resulted in performers moving through varying colour temperatures and intensities. While there were several attractive picture moments, greater consistency in facial lighting would enhance clarity. Visually, costumes and hair styling were somewhat inconsistent, with some chorus looks leaning more towards a 1940s aesthetic than the intended 1920s setting, creating a slight visual disconnect. Make-up was clean and unobtrusive, allowing character work to remain front and centre. Front of House operations played an important role in setting the tone for the evening, with a warm, efficient welcome and a clear sense of organisation. Audience members were greeted promptly and guided smoothly, allowing the evening to begin in a relaxed and upbeat manner. The calm and professional management of audience flow contributed to an atmosphere that felt inviting and well cared for. Overall, this was a confident, enjoyable, and well-executed production that demonstrated strong leadership, musicality, and performance quality. Coolmine Musical Society has the potential to build on this success and deliver productions that are not only entertaining, but truly outstanding. Photos by Darragh Carroll

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

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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