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Review: Jekyll & Hyde - Teachers' Musical Society

Society name: Teachers’ Musical Society Show name: Jekyll & Hyde Adjudicator date of attendance: 25/03/2026 Teachers Musical Society’s production of Jekyll & Hyde was a bold, intelligent, and deeply atmospheric interpretation of a show that demands both technical precision and emotional depth. Set in modern times while still retaining the gothic darkness at the heart of the piece, this production managed to feel both fresh and faithful simultaneously. It was immediately clear that this was...

Society name: Teachers’ Musical Society Show name: Jekyll & Hyde Adjudicator date of attendance: 25/03/2026 Teachers Musical Society’s production of Jekyll & Hyde was a bold, intelligent, and deeply atmospheric interpretation of a show that demands both technical precision and emotional depth. Set in modern times while still retaining the gothic darkness at the heart of the piece, this production managed to feel both fresh and faithful simultaneously. It was immediately clear that this was a company with a strong artistic vision, and every creative department worked cohesively to support that vision, resulting in a production that felt immersive, stylish, and emotionally compelling from beginning to end. Director EJ Reilly delivered an exceptionally strong piece of direction full of imagination and clarity of concept. The decision to modernise the setting worked remarkably well, proving just how timeless the themes of duality, repression, corruption, and violence truly are. While the influence of the Church perhaps carried slightly less impact in a contemporary setting, the trade-off was a production that felt immediate and accessible to a modern audience. One of the most effective directorial concepts was the use of Spider and his enforcers as a constant looming presence throughout Hyde’s descent into violence. Their recurring appearances created a sense of dread and inevitability that elevated the tension across the entire production. Combined with the strong use of colour symbolism, particularly the recurring use of blue and red to represent good and evil, the production developed a striking visual identity that reached its peak during “The Confrontation.” Another particularly clever choice was the treatment of the ensemble. Rather than creating fully individualised characters, the chorus functioned as a monochromatic, seething collective presence, representing the oppressive force of society itself. This imagery was especially powerful during the Wedding sequence, where the ensemble almost engulfed the principals in a wave of tension and unease. Character development throughout the production was excellent, with even smaller supporting roles feeling purposeful and well considered. Blocking was consistently strong, and the use of the set allowed scenes to flow seamlessly from one location to another without interrupting the momentum of the storytelling. Musically, the production was equally accomplished under the direction of Dermot O’Callaghan. The band produced a rich, full sound throughout the evening while remaining controlled and supportive of the performers on stage. Tempos were well judged, maintaining a constant drive and urgency beneath the score that perfectly suited the tone of the piece. The choral work was particularly impressive. Harmonies were clear, balanced, and confidently delivered, while diction remained consistently strong throughout. Cueing was excellent, especially considering the complexity of many of the entrances within the score, and the band demonstrated a strong stylistic understanding of the material without allowing the music to become overly sentimental. Serena Salmon’s choreography was highly effective and integrated beautifully into the overall concept of the production. The movement language felt contemporary and sinuous, constantly bubbling beneath scenes and transitions, creating a sense of unease and instability that perfectly complemented the themes of the show. There was a clear unity between choreography and direction, with movement emerging organically from the world of the production rather than feeling inserted for spectacle alone. “Murder, Murder” was particularly effective, with the use of umbrellas creating strong visual imagery, while “Bring on the Men” became one of the standout numbers of the evening. The inclusion of the men within the choreography added greatly to the theatricality and energy of the sequence, which was performed with confidence, precision, and charisma. At the centre of the production was an absolutely outstanding performance from Gavin Molony as Dr Jekyll and Mr Hyde. His gradual progression into madness was beautifully controlled and completely believable. Rather than presenting an abrupt transformation, he carefully charted every stage of Jekyll’s deterioration across the course of the show, allowing the audience to witness the slow collapse of a man consumed by obsession and ego. Vocally, Gavin was superb, meeting the demanding score with excellent control and stamina. What elevated the performance even further was the distinction between the two characters. The changes in physicality, posture, energy, and vocal quality between Jekyll and Hyde were phenomenal, with Hyde feeling genuinely dangerous and unpredictable. “The Confrontation” was undoubtedly one of the highlights of the evening, executed with extraordinary skill and intensity. Jacqueline Brunton delivered an excellent performance as Lucy, combining emotional vulnerability with strong stage presence and vocal power. Her rendition of “Someone Like You” was beautifully delivered and genuinely moving, creating one of the most emotionally affecting moments of the production. Her emotional journey throughout the evening was extremely strong, and she brought a raw honesty to Lucy’s desperation, fear, and hope. Particularly effective were her interactions with Hyde, where the fear radiating from her performance was palpable. In contrast, “Bring on the Men” showcased her charisma and versatility, proving hugely entertaining while still remaining sharply controlled. Fiona McManus brought warmth, dignity, and sincerity to the role of Emma. Her relationship with Jekyll felt authentic and caring, grounding the emotional core of the story effectively. Vocally, she possesses a beautiful, legitimate soprano voice ideally suited to the role. There were occasional moments where a more modern belt quality crept into the vocal style during “In His Eyes”, but this was a minor observation within an otherwise lovely and heartfelt performance. Ben Cully demonstrated a very nice singing voice as Utterson and clearly understood the loyalty and integrity of the character. There were moments where some nervousness affected the confidence of the acting performance slightly, and a little more energy and dynamism would strengthen the portrayal further, but he remained musically strong throughout. Among the supporting cast, John Sweeney gave a solid performance as Simon Stride, bringing a commanding presence to the role and delivering an enjoyable drunken moment during the Engagement Party. Jim Walsh brought warmth and appropriate fatherly authority to Sir Danvers Carew, while Paul Laycock captured the pompous self-importance of the Bishop of Basingstoke particularly well, especially during his interaction with Nellie before his death. Caoilfhionn Ní Dhúlaing gave a particularly strong supporting performance as Nellie. Her physicality was excellent, and the drug-addled nature of the character felt believable without becoming exaggerated. Fully invested in every moment on stage, she demonstrated exactly how much impact can be made from a smaller role through commitment and detail. Rob Gallagher was genuinely chilling as Spider, delivering one of the most memorable supporting performances of the evening. He maintained a constant sense of menace whenever he appeared on stage, and his interactions with the wider cast clearly established the fear his character inspired. The performance remained grounded and believable throughout, never tipping into caricature. Emily Larkin was very effective as Lady Beaconsfield, capturing the character’s pompous self-importance while also delivering strong vocals. Joanne Logue’s portrayal of Poole worked particularly well, with the decision to cast the role as female adding an interesting dynamic to the household structure. She brought authority and intelligence to the performance throughout. Spider’s enforcers — Kevin Johnston, Ueslei Morgan Monterio, Darren O’Reilly, Sean Lonergan, and Brandon Wright — were excellent both individually and collectively. Their physical presence and movement quality created a constant atmosphere of intimidation and danger that became central to the production’s aesthetic. The ensemble as a whole was exceptionally strong. Vocally, they produced a rich, confident sound with excellent harmonies and diction throughout. Choreographically, movement was clean and unified, while dramatically, they fully embraced the stylised world of the production. Their transformation into a seething mass during the Wedding sequence became one of the most visually striking moments of the evening. The technical and visual aspects of the production were equally impressive. The set design was simple but highly intelligent, using a largely static structure combined with a few moving elements to create numerous locations fluidly and efficiently. The screens were particularly effective, both in terms of image quality and conceptual cohesion, while the use of live camera footage for Jekyll’s video diary sequences added a contemporary and deeply personal dimension to the storytelling. Lighting played a vital role in establishing the atmosphere throughout the evening. The use of LED strips, wireless tubes, and strong sidelight created striking stage pictures, particularly during “Bring on the Men” and “The Confrontation.” There were a handful of moments where cueing lagged fractionally behind rapid character switches, but overall, the lighting design was highly accomplished and visually dynamic. Sound was generally strong, with a good balance maintained between pit and stage. There were occasional moments where some principal voices became slightly overwhelmed by the strength of the ensemble sound, and a few solo entrances were clipped, but overall, the soundscape supported the production effectively. Costumes, hair, and make-up all contributed strongly to the production’s cohesive visual identity. The monochromatic grey palette for the chorus reinforced the oppressive collective nature of society, while the contrasting blue and red associated with Emma and Lucy continued the show’s strong symbolic language. Jekyll’s costumes were particularly well chosen, charting his progression effectively throughout the story, while the gradual darkening beneath his eyes provided a subtle but powerful visual representation of his psychological decline. Front-of-house operations also contributed positively to the overall experience. The audience was welcomed warmly and seated efficiently, creating a strong sense of anticipation before the performance began. The professionalism and friendliness of the volunteers reflected the care and pride clearly invested in every aspect of the production. Overall, Teachers Musical Society delivered an exceptionally intelligent and atmospheric production of Jekyll & Hyde. It was visually striking, musically accomplished, and dramatically compelling throughout, supported by a company fully committed to a clear and cohesive artistic vision. Combining strong principal performances, inventive direction, and highly effective technical work, this production succeeded in creating a theatrical experience that was both emotionally engaging and visually memorable.

AIMS Choral Festival 2026 Results & Recap

Another incredible weekend in the books as choirs from all corners of the country descended on New Ross. The streets were absolutely alive with sweet harmonies, brilliant banter, and pure, wholesome energy. Whether you were competing, supporting, or just taking it all in, thank you for making the AIMS Choral Festival 2026 so special and thanks to Festival Admin Lizzy Heffernan and her subcommittee / volunteers for all the hard work! Below is a quick summary of the weekend's antics, along...

Another incredible weekend in the books as choirs from all corners of the country descended on New Ross. The streets were absolutely alive with sweet harmonies, brilliant banter, and pure, wholesome energy. Whether you were competing, supporting, or just taking it all in, thank you for making the AIMS Choral Festival 2026 so special and thanks to Festival Admin Lizzy Heffernan and her subcommittee / volunteers for all the hard work! Below is a quick summary of the weekend's antics, along with all the official photo albums and video playlists to help you relive the magic! Please find PDF of the results below. Friday Jr Competition Photos Facebook Album Sunday in New Ross -> Official Album YouTube Playlist featuring some of the fantastic Choirs performing in the Theatre on Sunday (Sorry I wasn't able to get to the Church! - maybe next year.. - DC) YouTube Dates for next AIMS Choral Festival 21st to 23rd May 2027

Review: The Drowsy Chaperone - Rush Musical Society

Society name: Rush Musical Society Show name: The Drowsy Chaperone Adjudicator date of attendance: 21/03/2026 Rush Musical Society’s production of The Drowsy Chaperone embraced the charm, wit, and layered theatricality of this unique musical with confidence and creativity. This is a piece that lives and dies by its precision of tone, balancing parody with genuine affection for the Golden Age of musical theatre, and this production clearly understood the assignment. What emerged was a...

Society name: Rush Musical Society Show name: The Drowsy Chaperone Adjudicator date of attendance: 21/03/2026 Rush Musical Society’s production of The Drowsy Chaperone embraced the charm, wit, and layered theatricality of this unique musical with confidence and creativity. This is a piece that lives and dies by its precision of tone, balancing parody with genuine affection for the Golden Age of musical theatre, and this production clearly understood the assignment. What emerged was a thoughtful, engaging, and often very funny evening of theatre that demonstrated both a strong directorial vision and a committed company. At the heart of the production was a clear and intelligent directorial approach from Wilfie Pyper. The decision, in keeping with the original concept, to ground the entire narrative within the Man in Chair’s living room worked beautifully, particularly within the intimate venue. This concept allowed the audience to remain closely connected to the central character while fully investing in the heightened, nostalgic world of the musical unfolding around him. The interplay between reality and imagination was handled with care, and the overall flow of the piece felt natural and well-paced. Characterisation across the board was strong, with a clear understanding that the figures within the “show” are intentionally heightened and somewhat two-dimensional. Leaning into this stylistic choice gave the production clarity and allowed the comedy to land effectively. Each character felt purposeful, contributing to a cohesive ensemble dynamic. The humour was well judged throughout, with moments of genuine laugh-out-loud comedy balanced by quieter, more reflective beats. The slightly risqué elements of the script were handled with confidence and taste, maintaining the show’s playful tone without tipping into excess. The use of the set was particularly effective, with the space utilised to its fullest potential. Movement and staging felt intentional and well considered, contributing to strong visual storytelling. Transitions were smooth, supporting the pacing of the production. In a venue of this size, however, precision becomes even more noticeable, and there were moments where the shifts between the “real” world and the imagined musical could have been slightly sharper, particularly in relation to the operation of the record player. Tightening these transitions would further enhance the immersive quality of the piece. There was also an opportunity to deepen the storytelling in the relationship between Mrs. Tottendale and Underling. While their scenes were enjoyable and often very funny, the progression of their connection felt somewhat sudden. Allowing more development, particularly during “Love is Always Lovely,” would help the audience invest more fully in their journey. A small visual detail in the final moments, where two maids remained visible in a lighting state, slightly diluted the emotional impact of the Man in Chair’s closing scene. Refining this would help preserve the poignancy of that final image. Musically, the orchestra under Sarah Lynch Barrett brought a strong sense of energy and commitment to the production, supporting the style and rhythm of the piece. The overall sound was pleasing, though there were occasions where cohesion between pit and stage could be strengthened. Some timing discrepancies, particularly in dance numbers such as the tap sections, briefly disrupted the flow. Greater security in cueing and entrances would add polish and consistency. Balance was a key consideration in this space. At times, the orchestra overpowered the singers, making it difficult to fully appreciate the vocal performances. In an intimate venue, a lighter touch from the band would allow the voices to carry more naturally and create a more cohesive overall sound. With some careful adjustments in this area, the musical aspect of the production could reach an even higher level. Eimear Sheridan’s choreography captured the spirit of the 1920s with a clear nod to the stylised, revue-like quality of the era. There was a strong “Follies-esque” feel to many of the numbers, which suited the tone of the piece very well. The choreography was thoughtfully adapted to the available space, with creative staging that made full use of the performance area. The opening number was particularly effective in establishing energy and style, while “Show Off” stood out as a highlight. While much of the movement was clean and well executed, there were moments where greater attention to unison would enhance the visual impact. Ensuring that all performers are consistently aligned in timing, direction, and placement would strengthen the overall cohesion. One performer in particular struggled slightly with consistency, which occasionally drew focus. Addressing this would help maintain the polish of the ensemble work. There was also an opportunity to involve all members of the chorus more fully in the choreography, enriching both the visual texture and the sense of ensemble. The central performances provided a strong anchor for the production. Simon Pyper’s Man in Chair was an exceptional piece of acting, natural, nuanced, and deeply affecting. His portrayal captured the character’s childlike enthusiasm and underlying vulnerability with great authenticity, drawing the audience into his world from the outset. The emotional journey was clear and compelling, culminating in a final moment that landed with real impact. Rebecca Leonard delivered a poised and elegant Janet van de Graaf, embodying the classic 1920s leading lady with grace and precision. Her physicality and attention to detail were excellent, and vocally she brought a lovely tone to the role, delivering the expected moments with confidence and charm. Stephen Ryan’s Robert Martin was warm and engaging, with a particularly strong tenor voice. His high notes were impressive, and his ease of movement, including the roller-skating, added to a confident and appealing stage presence. His relationship with Janet felt genuine and comfortable, supporting the central narrative. Niamh Banim’s Drowsy Chaperone was vibrant and full of energy, with a powerful vocal presence and strong comedic instincts. Her facial expressions and character choices were highly entertaining, and while the portrayal of intoxication could be refined slightly to feel more natural, the overall performance was memorable and effective. The supporting cast added depth and variety to the production, with many strong individual contributions. Noreen Fynes brought a clear sense of character to Mrs. Tottendale, leaning into the confusion and eccentricity for strong comic effect. Her interactions with Brian Magennis’s Underling were particularly enjoyable, with Magennis delivering a very funny, well-controlled performance grounded in excellent deadpan timing. There is scope to further develop the emotional progression of their relationship, but the foundation is strong. Mark Flynn’s George was a confident and well-characterised performance, with effective physicality and a pleasing vocal contribution. Daniel Farrell’s Adolpho was a standout, fully embracing the exaggerated, flamboyant nature of the role with confidence and flair. His performance was both vocally strong and physically dynamic, with his rendition of “Adolpho” providing a clear comic highlight. Gary Finegan’s Mr. Feldzig delivered a very good performance, capturing the character’s panic and urgency with clarity. His interactions with Kitty and the Gangsters were effective and well timed. The Gangsters themselves presented an interesting contrast; Kevin Twohig brought strong energy and engagement, while Helen Farrell appeared less comfortable, particularly in maintaining eye-line and connection with the audience. With increased confidence and commitment to the physical comedy, these roles could unlock even more humour. Nora Farrell’s Kitty was a very funny and characterful performance, with strong vocal and physical choices that reflected the style of the role. While diction was occasionally impacted by the character voice, her interactions with Mr. Feldzig were excellent, and her “premonition” moments were particularly memorable. Aoife Parkes made a strong impression as Trix, delivering a confident and vocally powerful performance, while Barry Kavanagh’s Superintendent demonstrated excellent comic timing and characterisation, proving that even a smaller role can have significant impact. The ensemble brought strong energy and enthusiasm to the stage, contributing positively to the overall pace and atmosphere of the production. Their commitment was evident, and they were particularly effective in their handling of entrances, exits, and set transitions. Vocally, there were moments where the chorus was difficult to hear, often due to balance and microphone considerations. Ensuring consistent amplification would allow their contribution to be more fully appreciated. Movement was generally well executed, though, as with the choreography overall, a greater focus on precision and unison would strengthen the visual impact. Stage management, led by Connie Murray, was clearly well organised and thoughtfully executed. The decision for the cast to manage set changes worked very effectively, with transitions integrated smoothly into the performance. The set itself was a real highlight, creative, detailed, and highly functional. The use of elements such as the fridge as an entrance point added a playful and imaginative touch, while the overall set dressing demonstrated a strong attention to detail. The inclusion of cast photos within the album concept was a particularly nice touch, and maintaining consistency in their visual style would further enhance the aesthetic. Lighting contributed some lovely stage pictures and supported the atmosphere of the piece. With sharper cueing, particularly in the transitions between the real and imagined worlds, the storytelling could be even clearer. Sound presented more noticeable challenges, particularly in balance. The orchestra frequently overpowered the singers, and there were moments where dialogue, especially from the Man in Chair during musical numbers, was difficult to hear. A more balanced approach would significantly improve clarity and audience engagement. Visually, the production was outstanding. The costumes were beautifully designed and perfectly suited to the period, with a cohesive colour palette and excellent attention to detail. The maids’ costumes in particular were thoughtfully coordinated. Hair and make-up were equally strong, capturing the style of the era with precision and adding significantly to the overall authenticity of the production. From an audience perspective, the experience was enhanced by a warm and welcoming atmosphere on arrival. Front of House operations were efficient and well organised, ensuring a smooth seating process and contributing to a sense of anticipation in the space. The intimacy of the venue worked very much in the production’s favour, allowing for a strong connection between performers and audience and supporting the immersive nature of the piece. Overall, this was a highly enjoyable and thoughtfully realised production that demonstrated a clear understanding of The Drowsy Chaperone and its unique theatrical voice. With some refinement in technical balance and precision, particularly in sound and timing, this production has all the elements to reach an even higher standard. The talent and dedication within Rush Musical Society are evident, and this was a performance full of charm, creativity, and heart.

Review: Michael Collins – A Musical Drama - Limerick Musical Society

Society name: Limerick Musical Society Show name: Michael Collins – A Musical Drama Date of attendance: 21st March 2026 Limerick Musical Society presented the epic ‘Michael Collins – A Musical Drama’, a gripping dramatisation of a crucial period in Irish history, in University Concert Hall, Limerick. It is a powerful story, filled with political tension, violence, and an intriguing love triangle, charting both the political and personal life of one of Ireland’s most iconic figures, Michael...

Society name: Limerick Musical Society Show name: Michael Collins – A Musical Drama Date of attendance: 21st March 2026 Limerick Musical Society presented the epic ‘Michael Collins – A Musical Drama’, a gripping dramatisation of a crucial period in Irish history, in University Concert Hall, Limerick. It is a powerful story, filled with political tension, violence, and an intriguing love triangle, charting both the political and personal life of one of Ireland’s most iconic figures, Michael Collins, the Big Fella. This is a very special piece of theatre and those who are lucky enough to work on it always know what a privilege it is to bring it to the stage. That sense of responsibility was clearly understood by both cast and crew throughout the production. The show is a wonderful legacy to the late Bryan Flynn, whose work reflects a deep understanding of both the man at the centre of the story and the important historical context. Like Collins himself, Bryan Flynn was taken far too soon, and there is always something particularly poignant in seeing his work brought to life. There was much to admire in Limerick Musical Society’s production, with moments that captured both the scale and emotional weight of the story. While some elements could have benefited from greater polish, the overall impression was one of commitment, ambition, and a strong sense of pride in the story. With a little more attention to detail, it could have been a truly outstanding production. This was my first visit to this wonderful space and what an impressive venue it is. The large, open foyer was full of energy on arrival, with a real sense of anticipation building ahead of the performance. Front of house was handled very well, with theatre staff who were both friendly and efficient, ensuring that everything ran smoothly. A particularly nice touch was the tribute to Bryan Flynn included in the front of house announcements, setting a tone that was celebratory and poignant as well as reminding the audience of the significance of the work they were about to experience. Des Henn took on the dual role of director and movement coordinator, bringing a number of thoughtful and imaginative ideas to the production. The opening sequence of projections, featuring moments of Irish historical, political, cultural and sporting significance, was certainly striking, though it did feel slightly disconnected from the context of the story being told. The use of the extended apron was a particularly strong directorial choice, allowing action to flow continuously while new scenes were prepared on the main stage. Attention to detail was occasionally an issue. The misspelling of Eaomon (sic) de Valera on screen was an unfortunate oversight and small moments such as Harry Boland offering a toast without a drink in hand stood out more than they should have. Movement was used very effectively in places, particularly in ‘Prison Song’ which was very strong from the male ensemble, while ‘Fly the Flag of Freedom’, though vocally strong, would have benefited from more dramatic intent and connection. The Treaty debates and Civil War sequences were particularly effective, creating a great sense of drama. Some moments, however, lacked clarity, particularly in transitions of time, and sightlines were not always ideal in busier scenes. Overall, this was a solid piece of direction from Mr. Henn, with many strong ideas and moments of quality. With some tightening of detail and greater consistency in execution, it had the potential to become an excellent production. Michael Young did an excellent job as both musical director and choral director. Integrating the show’s pre-recorded tracks with a live band is no small task, presenting both technical and musical challenges. However, Mr. Young’s experience was evident throughout and he handled this balance with confidence and skill. The standard of principal singing was very high. Solos and duets were delivered with control and sensitivity and all principal performers gave strong vocal performances. Choral work was very strong throughout. The male ensemble in ‘Prison Song’ and ‘Fly the Flag of Freedom’ sounded most impressive, while numbers such as ‘Listen to the Voice of Reason’ and ‘Every Heart Awaken’ were excellent from a choral perspective. Barry Danaher took on the iconic role of Michael Collins, the Big Fella. Vocally, he was very well able for the demands of the role, with his fine tenor voice, impressive range, and a strong, confident delivery throughout. Dramatically, however, the performance took a little time to fully settle. In the earlier stages of the show, there were moments where more fire and passion were needed to capture the charismatic and commanding presence associated with Collins. That said, there were glimpses throughout of what the performance could become. There was a noticeable shift in Act Two. The scene leading into ‘Stepping Stone’, and the song itself, showed Mr. Danaher at his strongest, delivering with conviction, emotion and power. This showed his clear potential in the role. His speech in the Dáil was another highlight, full of sincerity and authority. With greater consistency and more focused collaboration with Mr. Henn this could have been elevated from a very good portrayal to an excellent one. Kellie Murphy, who appeared as a child in the original 2009 production, stepped into the role of Kitty Kiernan, the woman at the centre of the love triangle. It is not an easy role to fully realise, as despite its importance, it offers limited opportunities to navigate a clear character arc. However, Ms. Murphy proved more than equal to the challenge. A skilled and thoughtful performer, she brought depth to the role through subtle but clear character choices. Her thought processes were always visible, making Kitty feel very real. Vocally, she was excellent. Her clear soprano voice was controlled and appeared quite effortless. ‘For Nothing Else I Cared’ was performed with strong dramatic intent, while her duet with Michael, ‘Our Love Will Never End’, was a musical highlight of the evening, sung with great warmth and connection. Stephen O’Ríaín delivered a very strong performance in the role of Harry Boland. He understood the complexity of the character, capturing the inner conflict between his loyalty to Michael and his love for Kitty with wonderful sensitivity and control. Vocally, he was consistently excellent. ‘Not That Man’ stood out as a particularly memorable moment, showcasing his excellent voice, while also conveying the character’s internal struggle. Brian Curtin brought a strong sense of authority to the role of Éamon de Valera, delivering a suitably statesmanlike figure throughout. His letter scene was nicely delivered, although it felt slightly rushed at times and might have benefited from better pacing. Vocally, he was impressive, particularly in ‘Confrontation’, where he was both powerful and controlled. Mr. Curtin kept a consistently authoritative demeanour throughout, with just the right amount of political formality. Eoghan Cantillon-Mann was a standout performer in the role of Joe Emmett. This was a performance full of warmth, honesty, and emotional depth. He brought a natural ease to the stage, creating a character who felt genuine and sincere throughout. In a story filled with tension and conflict, Mr. Cantillon-Mann provided welcome moments of lightness, driven by Joe’s loyalty, good nature, and quiet strength. His heartbreaking ‘Ár nAthair’ prayer as Collins lay dying was deeply moving. One of the most distinctive features of ‘Michael Collins - A Musical Drama’ is its use of the play-within-a-play device, drawing on characters from Yeats’s ‘Cathleen Ní Houlihan’ to help narrate Collins’s story. It is a highly clever and effective theatrical idea and a key part of what gives the piece its unique performance style. In this production, however, that concept was adapted, with the roles divided between five actors in the Yeats play and four separate narrators. The four narrators, Emma Culhane, Aidan O’Connell, Hilary Phayer, and Thomas Coneran, gave excellent performances. Collectively, they worked beautifully, with a well-balanced blend of voices and a strong sense of shared purpose. Dramatically and musically, they were consistently superb, drawing the audience into the story with great clarity. Mary Claire Ryan delivered a truly memorable performance as Mother Ireland in the play-within-a-play. She brought a strong presence to the role, embodying the weight and turmoil of Irish history with great assurance. Her sean-nós style vocals were hauntingly delivered. Dramatically, she embraced the heightened style required, creating a character that felt otherworldly and deeply rooted in Ireland’s past. The four actors in the ‘Cathleen Ní Houlihan’ play delivered strong performances and contributed well to this important element of the production. Ber Hickey was a thoughtful Bridget, bringing a nice sense of detail and understanding to the role. Brian Quinlivan’s delivery as Peter was clear and assured, giving the character a strong presence. Josh Lyons showed good potential as Michael, with good stage presence that will no doubt continue to grow. Holly Purtill was excellent as Delia, giving a brief but confident performance in the closing stages of the show. Her final emotional release was heart-wrenching. Glen Carr brought strong presence and conviction to the role of Arthur Griffith, giving the character a clear sense of political authority. The Treaty Debates section is a particularly demanding one, and while there were a few slight slips in timing, he handled things well overall. Similarly, Garry Murphy impressed as Cathal Brugha in the same scene, carrying himself with confidence and stature. His performance was full of power and conviction, and he had a strong stage presence throughout. There was a strong supporting cast who contributed positively to the overall standard of the production. Kitty’s three sisters, Sinéad Quinn, Meadhbh O’Hara and Holly Purtill brought good energy to ‘Toast to the Host’, with their well-coordinated movement and confident vocals. Aoife Henn did well as Sinéad de Valera in the letter scene and Brendan Coleman made a strong impression as the Viceroy. There was solid work from the ensemble throughout, particularly vocally, with choral singing proving to be one of the standout strengths of the production. There was good energy in many of the larger crowd scenes, such as ‘My Grand Design’. ‘Fly the Flag of Freedom’, while musically impressive, would have benefited from greater conviction to fully match the intensity and rousing patriotic intent of the number. Ensemble members really came into their own during the Treaty Debates, bringing excellent energy, focus, and discipline. Ray Burke and his stage management team did good work in keeping the production running smoothly. The use of both the extended apron and the main stage was handled effectively, allowing for a good flow between scenes and helping to maintain momentum throughout most of the show. The physical set design was clear and thoughtful, capturing the feel of early 20th-century Dublin. The brick and stone structures created a strong sense of place and gave good historical context through Georgian-style elements, which added nicely to the overall atmosphere. It was a very practical design given the need for fluidity in this show. The space was well laid out, with the extended apron and main stage working together to allow for continuous action. This helped the flow of the production and gave the cast plenty of room, particularly in the larger ensemble scenes. The use of the upstage screen played a big role in the visual storytelling. Historical images and settings helped to place the action within a wider context and, at times, added real depth to the production. However, there were moments where the projections became too dominant, drawing focus away from the performers rather than supporting them. In ‘My Grand Design’, the use of historical footage of the real Michael Collins addressing crowds felt overly busy. The audience was being asked to invest in Mr. Danaher’s portrayal while being presented with footage of the actual Michael Collins at the same time. This risked overshadowing his performance. More jarring still were the AI-generated images used in certain sequences. One example, showing a crowd celebrating outside the GPO during ‘Every Heart Awaken’, felt out of keeping with the overall aesthetic and stood out for the wrong reasons. Overall, while there were many effective and appropriate images which complemented the set, the use of projections lacked consistency. Lighting was the technical area that required the most attention in this production. In a show like ‘Michael Collins - A Musical Drama’, where shifts in time, place, and mood are so central to the storytelling, lighting plays a crucial role in guiding the audience. At times, it felt as though insufficient technical rehearsal time had impacted the overall finish, as the lighting lacked the consistency, timing and atmosphere needed. There were, however, some effective moments. The use of green, white, and orange lighting at the end of Act One created a strong and striking image, adding a welcome sense of colour and symbolism. While there were some glimpses of effective design, lighting lacked consistency and polish overall. With more technical time and a greater focus on atmosphere and coordination, lighting could make a significant contribution to future productions. Sound was generally well handled throughout. There was effective use of sound effects, with sirens, gunshots, and explosions adding to the atmosphere and supporting the action on stage. For the most part, these were well timed, though one gunshot in ‘Dublin Killings’ wasn’t timed with the onstage action. The choral sound was a particular strength, with an excellent balance and blend across the ensemble. Cueing for dialogue and singing was always secure. At times, however, the band lacked some impact, particularly given the size of the auditorium. Some of the bigger musical moments would have benefited from a fuller, more powerful sound to really fill the space and match the scale of the production. There was good work from the costume department, with a clear effort made to reflect the period accurately. Michael’s military attire was particularly effective, capturing the look and authority of the character very well. The daywear across the ensemble also helped to establish the early 20th-century setting. There was a nice visual contrast in the more formal scenes, particularly with the tailored suits of the politicians in Dáil Éireann, which added to the sense of status and occasion. The only minor issue noted was with the Viceroy’s costume, where the trousers appeared ill-fitting and slightly distracted from an otherwise well-presented look. There was very good attention to detail in the props department that added greatly to the authenticity of the show. The weaponry in particular was very convincing. Michael Collins’ Luger was a standout detail, a small but impressive touch that did not go unnoticed. One small issue was during ‘Toast to the Host’, where cast members were ‘drinking’ from glasses and bottles that were clearly empty. This was a small detail but moments like this can stand out and break the illusion. Hair and makeup were well handled throughout, with styles that were appropriate to the period and consistent with the overall look of the production. Wigs were used effectively where required. Nothing felt out of place throughout in what was very solid work from the hair and makeup department. ‘Michael Collins - A Musical Drama’ is an ambitious piece of theatre and Limerick Musical Society approached it with the respect and commitment it deserves. There was much to admire in this production. While there were areas that would have benefited from greater consistency and attention to detail, particularly on the technical side, the foundations of a very strong production were always there. What stood out most was the immense sense of pride and dedication from all involved as they flew the flag whilst telling this hugely important story. Pat McElwain Sullivan Adjudicator 2025/2026

And the nominees are...... 2025/26 AIMS Awards Nominations

A massive congratulations to all the nominees... PDF! Stream Playback Click here to purchase Stream for the AIMS Awards available in association with Gr8Events .

A massive congratulations to all the nominees... PDF! Stream Playback Click here to purchase Stream for the AIMS Awards available in association with Gr8Events .

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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