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Review: Calamity Jane - Waterford Musical Society

Society name: Waterford Musical Society Show name: Calamity Jane Adjudicator date of attendance: 02/05/2026 Over the last two seasons, I have seen well over a hundred productions on my travels and there are certain moments that never lose their appeal. One of those has always come during the overture to ‘Calamity Jane’. Every time I see the show, the same thing happens. As soon as ‘The Black Hills of Dakota’ begins, without fail, voices start joining in from around the auditorium. It says a...

Society name: Waterford Musical Society Show name: Calamity Jane Adjudicator date of attendance: 02/05/2026 Over the last two seasons, I have seen well over a hundred productions on my travels and there are certain moments that never lose their appeal. One of those has always come during the overture to ‘Calamity Jane’. Every time I see the show, the same thing happens. As soon as ‘The Black Hills of Dakota’ begins, without fail, voices start joining in from around the auditorium. It says a great deal about the affection people have for this classic show and the assembled audience in the Theatre Royal for Waterford Musical Society’s production were right up there with the best of them as they sang through the overture with gusto, creating a wonderful sense of community. A professional touring production of the same show recently asked audiences not to sing along before the show began. Personally, I think that misses something important. Theatre is at its best when it brings people together and few shows do that as naturally as ‘Calamity Jane’. My visit began with a most enjoyable front of house experience. The Theatre Royal is one of Ireland's most beautiful theatres, full of character and atmosphere and it is always a special place in which to see a show. From the moment I arrived, there was a genuine sense of welcome, thanks to a friendly and enthusiastic front of house team who clearly took great pride in what they were doing. The various displays were very effective. Hay bales and wanted posters featuring members of the cast were a lovely touch, adding to the fun before we took our seats. Combined with the warm welcome and the unique atmosphere of the venue, it created a very positive start to the night. Ray Collins and Margaret Kavanagh worked very successfully together to bring this production to the stage. The result was an entertaining and well-paced show that benefited from their careful preparation. There was a good focus on storytelling throughout, with plenty of attention paid to smaller details, which helped to bring the production to life. Comedy was very well handled. The directors also paid close attention to what was happening beyond the principal action. The pace of the production was very good throughout thanks to good understanding of dialogue and good use of a set design that allowed for smooth changes. There were some nice directorial touches throughout. I loved the incorporation of the banjo player into ‘The Black Hills of Dakota’, which was a lovely touch. Overall, Mr. Collins and Ms. Kavanagh can be very pleased with what they achieved. They presented a show full of humour and personality, with strong pacing and thoughtful attention to detail throughout. Dressed appropriately in his checked shirt, Wayne Brown entered into the spirit of the occasion and his enthusiasm was evident from the moment the overture began. The orchestra produced a lovely warm sound throughout. The overture was excellent, setting the tone for what was to follow. Mr. Brown’s conducting was very confident and assured throughout. Choral work was particularly strong. ‘Deadwood Stage’ had a wonderful ensemble sound. The gentlemen impressed in ‘Adelaide’, with a rich, well-balanced sound, while ‘Windy City’ was another musical highlight, full of energy and performed with excellent ensemble singing. ‘The Black Hills of Dakota’ was especially memorable. The banjo playing was outstanding and added greatly to the authenticity of the number and the choral work, particularly from the gentlemen, was beautiful. Overall, a very strong musical presentation and great work from Mr. Brown. Ali Reville's choreography suited the show and the cast very well. Rather than trying to do too much, the routines focused on character and storytelling but still had plenty of energy and life. Choreography catered for a wide range of abilities, allowing cast to perform with confidence. The can-can was one of the choreographic highlights of the show. It was a lively, entertaining routine and the final splits from two of the dancers provided a memorable ending. ‘I Can Do Without You’ was great fun, with lovely interaction between Calamity and Bill. Similarly, there was a great sense of playfulness between Katie and Calamity in ‘A Woman's Touch’. ‘Windy City’ was another strong number. The decision to use different groups throughout this routine was a sensible one, particularly with so many in the ensemble. The ensemble movement during ‘The Black Hills of Dakota’ was simple but very effective. Another good example of choreography being used to enhance the storytelling. Jennifer White was most engaging as Calamity Jane, with strong stage presence, excellent comic timing and very good understanding of her character's journey. She nailed Calamity’s rough-and-ready spirit but never lost sight of the vulnerability underneath the surface. Ms. White had great comic timing, without ever overplaying things. Her singing was another strength. ‘Windy City had wonderful energy and conviction. I did feel that she was too glamorously made up from the beginning, which reduced the contrast between the two versions of the character. Her performance was excellent but a rougher, less glamorous look early on would have been more believable. Her relationship with Bill was another highlight. The rapport between the two felt very natural and their unexpected romance unfolded nicely, making ‘Secret Love’, one of the standout moments of the evening. Overall, this was a Calamity that we could laugh with, sympathise with and ultimately root for; a very intelligent performance full of sincerity and heart. Conor Lyons gave a very thoughtful performance as Wild Bill Hickok. What impressed me most was his ability to remain fully engaged, even when the focus was elsewhere. Wild Bill’s laid-back nature came across very naturally. Mr. Lyons carried himself with confidence and his excellent physicality gave him very strong stage presence throughout. His understanding of comedy was excellent, understated and subtle. There was also a real sincerity to his relationship with Calamity. The rapport between the two was beautifully played and we were totally invested in their story. ‘Higher Than a Hawk’ was performed with great honesty and warmth and his sincerity carried the song beautifully. I was surprised, however, that the melody wasn’t always secure. Greater accuracy would have helped the song to make an even stronger impact. Overall, this was a well-judged portrayal of Wild Bill. Mr. Lyons understood that less can often be more and his understated approach made him one of the production’s most memorable characters. Killian Delahunty brought a laid-back quality to Danny Gilmartin. His relaxed approach suited some aspects of the character, particularly in the more romantic scenes, where he came across as genuine and earnest. ‘Love You Dearly’ was sung with warmth and sincerity and the blend with Katie was very pleasing. For me, the performance would have benefited from a greater sense of what Danny was thinking and feeling underneath the surface. Reactions don’t always need to be large or obvious but characters do need to be fully engaged in the action at all times. Mr. Delahunty’s accent also required some work. Greater consistency here would have helped strengthen his overall characterisation. That said, this was a solid portrayal overall, particularly in the more heartfelt moments. Nicole O'Rourke gave a wonderful performance as Katie Brown. Her lovely singing voice and strong acting helped to create a character who was very engaging and believable. What impressed me most was her attention to detail as she always allowed us to see what her character was thinking. Ms. O’Rourke was constantly thinking and responding in the moment. Her musicality was very strong. The reprise of ‘Harry’ was beautifully sung, while ‘A Woman's Touch’, with Calamity, was another highlight. The contrast between Katie's uncertainty early in the story and her growing confidence later on was very well handled. She was wonderfully hesitant during ‘Keep It Under Your Hat’, capturing the character's nerves and uncertainty perfectly. By the time of the reprise, we saw a much more confident and believable Katie. A very well-observed performance from Ms. O'Rourke. Adrian Dower was excellent as Henry Miller. Henry's nervous, highly strung nature came across very clearly but Mr. Dower avoided the temptation to overplay and, as a result, the comedy was natural and believable. His facial expressions were consistently very funny throughout. There was a lovely sense of tension running through his performance, with Henry appearing to be constantly on the verge of losing control. A very enjoyable comic performance overall, full of character throughout. Mary Duggan made a wonderful impression as Susan Miller. Although it is not the biggest of roles, she made sure that every appearance counted, bringing great energy and commitment to every scene. Ms. Duggan found plenty of personality in her characterisation which was both amusing and entirely believable. She also had a natural sense of timing and listened and reacted well to those around her. Superb character work from a talented young actress with enormous potential for the future. Timmy Moloney was excellent as Francis Fryer, giving one of the most entertaining performances of the evening. He brought a great sense of fun to his larger-than-life characterisation. His physicality and facial expressions were excellent. Musically, he impressed throughout. ‘Everyone Complains About the Weather’ was performed with confidence and style and ‘An Eye Full of Honey’ was a highlight of the evening. An excellent all round performance. Anne Marie Collins was the personification of there being no such thing as a small role. Although Adelaide Adams appears only briefly, Ms. Collins made a wonderful impact. Drawing on her considerable experience, she created a memorable character in a very short space of time. Her stage presence was wonderful as she established Adelaide's glamour and theatricality without falling into the trap of overplaying. ‘It's Harry I'm Planning to Marry’ was a real highlight, delivered with style and confidence. An excellent contribution from a talented performer who made the most of every second she was on stage. Kieran Walsh made the most of his appearance as Rattlesnake and left a very strong impression. He ensured that every moment counted. What stood out most was his stage presence. Even when he was not the centre of attention, he was fully engaged with the action. Rattlesnake may not have a great deal of stage time but this was a polished, memorable performance that showed how important the smaller roles can be in bringing a production to life. Paul Corcoran was equally impressive as Doc Pierce, giving a performance full of character and authenticity. This was a clever and most believable performance from a very clever actor. How lucky WMS was to have someone of this calibre in a relatively minor role. An excellent piece of character acting from a performer who understood how to make an impact without needing to overstate what is on the page. There was strong support too from Brian Flynn as Joe, Joe Shanahan as Hank, Kenneth Dixon as Pete and Ultan Hayden as Colonel. There was good work throughout from the ensemble. Performance levels were generally strong and, for the most part, the cast worked hard to create a believable community on stage. Movement was well performed throughout and choral singing was of a very good standard. The gentlemen impressed in ‘Careless With the Truth’, singing with confidence and commitment. There was strong work too during ‘An Eye Full of Honey’, with the cast embracing the fun of the number and helping to make it one of the highlights of the evening. ‘The Black Hills of Dakota’ was another standout moment. The sound was excellent but what impressed most was that the cast never forgot they were performing a story rather than just singing a song. Jean Upton and her stage crew did a very good job throughout. Scene changes were handled smoothly, helping to keep the show moving at a good pace from start to finish. Crew benefited greatly from a very clever and practical set design, which allowed many of the changes to happen quickly and efficiently. Cast and crew worked well together to ensure transitions were completed seamlessly and, as a result, the story flowed very naturally. The only noticeable issue came at the end of Act One, when there appeared to be a delay before the curtain came in. Aside from that, however, everything ran very smoothly, with slick transitions and a strong sense of organisation throughout. The set design was one of the production's greatest strengths. The design was authentic, attractive and, most importantly, highly practical. Every element appeared to have been carefully considered, allowing the story to move smoothly from location to location without the need for lengthy scene changes. The timber-fronted buildings, saloon frontage and various pieces of scenic dressing created a believable frontier town. The design made excellent use of the limited space. One of the most impressive features was the upstage performance area, which was beautifully realised. Complete with traditional footlights, it evoked the atmosphere of a travelling theatre perfectly. What impressed me most was the flexibility of the design. The same basic structure gave us many different settings and contributed greatly to the excellent pace of the show. The lighting design helped create some lovely stage pictures throughout the show and played an important part in establishing the different moods and locations required. The soft-edged follow spot was used very effectively throughout. The star cloth was very effective during ‘The Black Hills of Dakota’. I wasn't entirely sure it would suit the number but it did create a lovely atmosphere and worked very well. One thing I did notice was that many of the solos and duets were lit in a similar way, with a coloured wash across the stage and principals picked out in follow spot. There is nothing wrong with this approach, and it worked well, but a little more variety might have helped some of those songs feel more visually distinct. Overall, however, this was a strong lighting design that supported the storytelling well. The sound design was generally of a very high standard. One of the things that stood out most was the quality of the band sound. The orchestra produced a lovely warm tone throughout, and there was an excellent balance between the musicians and performers on stage. Cueing was excellent from start to finish. Dialogue levels were also very well judged. There was a slight issue at the top of the show, during ‘The Deadwood Stage’, where Calamity's vocals were difficult to hear. Fortunately, this settled, and balance was much improved as the show progressed. There were relatively few sound effects required and for the most part they worked well. Overall, this was a strong sound design, with excellent cueing and a beautifully balanced orchestra. Costumes were excellent overall and helped create a convincing picture of life in the American West. There was a good variety of looks on stage, from the practical daywear worn by the townsfolk to the more theatrical costumes associated with the Golden Garter and Adelaide Adams. Hats, waistcoats, boots and long skirts all contributed to the frontier atmosphere, with enough variation to avoid everyone looking the same. The can-can costumes were excellent and suited the style of the number perfectly. I did feel that Calamity’s tight leggings worn in the earlier part of the show gave a more feminine appearance than one would expect for that stage of Calamity's journey. In contrast, her wedding dress was stunning and perfectly appropriate for the end of her journey. The props team did exceptional work throughout, with a huge amount of thought and care that really added to the atmosphere of the show. The saloon scenes were very well detailed, with whiskey shots, playing cards, trays and plenty of other small touches helping to bring things to life. Francis Fryer's suitcase was another standout piece, with excellent branding that showed the care that had gone into the prop department's work. There was similar attention to detail in Adelaide's dressing room, with flowers, hand mirror and hat boxes helping to create a believable backstage setting. Calamity's cabin was equally impressive, with baskets of logs, lanterns, brooms and flowers all helping to make the space feel very authentic. Hair and makeup were generally of a good standard. The ladies’ hairstyles were particularly good, with ribbons, ringlets and bangs helping to create a convincing period feel. Danny's arm injury was also very well realised and looked suitably authentic, showing good attention to detail. Frances Fryer’s blonde wig was suitably ridiculous and added to the comedy. I felt that more attention to detail was needed for Calamity in the early part of the show. She appeared quite polished from the beginning, with eye makeup and an overall look that felt more glamorous than would normally be appropriate at that stage of the story. The performance itself was never in question but a rougher, less glamorous approach initially would have strengthened the storytelling, in my opinion. One of the things I will take away from this production is the sense of community that surrounded it. From the audience joining in with familiar melodies before the show had even begun, to the cast working together on stage to bring Deadwood to life, there was a real feeling of people coming together to share something they loved. Waterford Musical Society should be very proud of what they achieved. It was an entertaining production of a much-loved classic; a show that sent its audience home smiling and that is one of the greatest compliments that can be paid to any production. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Jesus Christ Superstar - Wexford Light Opera Society

Society name: Wexford Light Opera Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 02/05/2026 Wexford Light Opera Society’s production of Jesus Christ Superstar was an ambitious, visually striking, and musically thrilling interpretation of one of musical theatre’s most iconic rock scores. From the opening moments, it was clear that this was a company with a strong artistic vision and a determination to fully immerse its audience in the world of the piece. Embracing a...

Society name: Wexford Light Opera Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 02/05/2026 Wexford Light Opera Society’s production of Jesus Christ Superstar was an ambitious, visually striking, and musically thrilling interpretation of one of musical theatre’s most iconic rock scores. From the opening moments, it was clear that this was a company with a strong artistic vision and a determination to fully immerse its audience in the world of the piece. Embracing a dark post-apocalyptic aesthetic, the production combined industrial imagery with bold symbolic choices and a relentless musical drive that created an atmosphere of tension and inevitability throughout the evening. This was a production marked by enormous commitment from every department. The demands of Jesus Christ Superstar are immense, requiring exceptional vocal stamina, emotional clarity and ensemble discipline, and the company rose impressively to the challenge. There was a strong sense of cohesion across the performance, with direction, choreography, technical design and musical interpretation all working towards a unified concept. While a handful of creative choices occasionally distracted or felt slightly less fully realised, the overall achievement was highly commendable and resulted in an engaging and memorable theatrical experience. Christine Scarry delivered a confident and thoughtfully constructed production with very clear storytelling throughout. Maintaining emotional clarity in a sung-through rock musical is no small feat, yet this production handled the balance between spectacle and character exceptionally well. The blocking was consistently strong, with excellent use of space, levels and movement. Characters travelled clearly not only through the physical environment but also through their emotional arcs, and the relationships between characters, particularly Jesus and Judas, were developed with real care and complexity. The emotional trajectory of the piece was handled with restraint and maturity. Rather than leaning into melodrama, the production trusted the material and allowed the emotional conflicts to emerge naturally, giving many scenes considerable impact. There were a few directorial choices that perhaps could have benefited from slightly greater clarity in execution. The use of the Fates during the opening of the titular number was imaginative and visually interesting, though the connection between Greek mythology and the biblical narrative was not immediately apparent, with the significance of the thread-cutting moment becoming clearer only in retrospect. Similarly, the choice to have one of the High Priests physically manhandle Jesus during Act Two was an unusual directorial decision. Having a figure of such status and authority take on a role more traditionally associated with guards created an interesting visual contrast. Judas’ death sequence also aimed for striking theatrical imagery, although the mechanics of the electrocution effect slightly weakened the realism of the moment. Nevertheless, the production’s willingness to take creative risks and pursue bold visual storytelling was admirable and contributed greatly to its unique identity. Musically, the production was exceptional. David Hayes and Chorus Mistress Eithne Corrigan achieved something truly impressive with the score, capturing the raw rock energy that makes Jesus Christ Superstar so iconic. From the opening notes, the orchestra drove the production relentlessly forward, creating a feeling of inevitability that perfectly suited the material. Particularly effective was the decision in places to move directly from one number into the next without pausing for applause, creating an almost cinematic flow and reinforcing the sense that Jesus was on an unstoppable journey toward his fate. Vocally, the production was outstanding. There was tremendous power across the company, from principals to ensemble members, while still allowing room for intimacy and softness in quieter moments. The chorus produced a rich, cohesive sound throughout the evening, demonstrating excellent stamina in what is an exceptionally demanding score. Harmonies were full and resonant, and the musical direction remained one of the strongest aspects of the entire production. Therese O’Sullivan’s choreography was distinctive and highly integrated into the overall aesthetic of the show. Rather than relying on conventional movement styles, the choreography developed its own physical language that reflected the darker and more militaristic tone of the production. The opening number leaned heavily into organised, almost ritualistic movement patterns, with repetitive arm sequences and shifting formations creating some visually arresting stage pictures. Everything was executed with remarkable precision by the ensemble, demonstrating excellent rehearsal discipline and commitment. At times, that precision created a more controlled feeling than one might traditionally associate with the followers of Jesus, where productions often lean more heavily into freedom and spontaneity. However, this appeared to be a conscious stylistic choice that aligned with the production’s broader vision. The choreography also made several brave staging decisions, with performers frequently facing upstage or side-on to the audience. This requires considerable confidence in the cast’s ability to maintain engagement without direct audience connection, and the company rose to that challenge very successfully. The use of lighting tubes during “Herod’s Song” created atmosphere and visual interest, although the surrounding spectacle occasionally competed with Herod himself for focus. By contrast, the choreography during “Superstar” was packed with energy and delivered with exceptional precision. The principal performances anchored the production extremely well. Aidan Byrne delivered a strong and compelling portrayal of Jesus, offering a grounded and charismatic interpretation that remained emotionally accessible throughout. His gradual emotional progression was handled with great control, capturing the increasing weight and exhaustion of the character while still maintaining authority and presence. His scenes with Judas were particularly effective, filled with tension, frustration and genuine affection beneath the conflict. Vocally, he was extremely impressive, navigating the notoriously difficult score with confidence and control. His rock scream in “Gethsemane” was exactly what audiences hope for in the role: raw, emotional, and thrilling. Thomas Furlong brought a constant nervous energy to Judas that worked very effectively within the darker aesthetic of the production. His portrayal clearly communicated the character’s internal conflict and emotional instability, sustaining that tension consistently throughout the performance. His relationship with Jesus formed one of the strongest emotional threads within the production. Niamh Cullen offered a refreshingly grounded interpretation of Mary Magdalene, avoiding the softer and more traditionally feminine portrayal often associated with the role. Instead, she brought a more practical and understated energy to the character. While at times a slightly greater sense of warmth toward Jesus may have deepened the emotional connection further, the performance nevertheless felt sincere and thoughtful. “I Don’t Know How to Love Him” was delivered with strong vocal control and emotional honesty. Among the supporting performances, Tony Carty delivered one of the evening’s most impactful portrayals as Pontius Pilate. Commanding the stage whenever he appeared, he captured the character’s external authority and internal conflict with nuance and subtlety. Stephen Byrne’s Herod leaned away from the more traditionally camp interpretation of the role, instead presenting a grittier rocker aesthetic that contributed effectively to the chaotic energy of the sequence. Jonathan Kelly brought warmth and sincerity to Peter, while Joshua Higginbotham delivered strong vocals and a genuine sense of devotion as Simon Zealotes. Seamus McManus was particularly commanding as Caiaphas, combining calm authority with an underlying menace, while his impressive bass notes added greatly to the impact of the role. Eric Hayes offered a heightened and stylised interpretation of Annas, creating a clear contrast to the more restrained performances surrounding him. The High Priests functioned very effectively as a collective force throughout the production, reinforcing the increasing pressure surrounding Jesus during Act Two. The Soul Girls also provided excellent vocal support during “Superstar”, blending beautifully and fully embracing the style and energy of the sequence. The ensemble work throughout the production was exceptional. Every member of the company appeared fully invested in the world of the show, creating a strong and consistent atmosphere from beginning to end. The choreography was performed with tremendous energy and precision, while vocally the ensemble produced a rich, blended sound that supported the principals beautifully. Even during quieter scenes, the level of focus and commitment never wavered. Visually, the production created a fascinating world. The combination of ruined industrial steelwork and remnants of frescoes established a compelling post-apocalyptic environment that immediately set the tone. The prominent Statue of Liberty head was certainly a bold design choice and, while perhaps more direct than some of the subtler visual elements elsewhere in the production, it nevertheless contributed effectively to the dystopian aesthetic. Colin Murphy and the stage management team handled the largely static set with great efficiency, allowing cast movement and staging to remain fluid and dynamic throughout. Lighting was one of the major highlights of the evening. Sharp beams and carefully utilised shadow created a striking visual landscape, while the recurring image of the single moving light behind Jesus first as a full beam on his first entrance, and later fractured behind the cross, provided beautiful symbolic imagery that encapsulated the emotional arc of the production. Sound was equally impressive, balancing the power of the rock score with vocal clarity throughout the large venue. Costumes, hair and make-up all contributed strongly to the overall visual identity of the production. The post-apocalyptic desert-rock aesthetic worked particularly well for the apostles and ensemble, while the High Priests provided stark visual contrast. The Herod sequence embraced a more contemporary style, adding further variation to the visual palette. While the gold costumes during “Superstar” perhaps appeared slightly less refined than some of the other costume choices, they still added to the theatrical spectacle of the number. Hair and make-up were both executed to a very high standard and tied the overall aesthetic together successfully. The Front of House team also contributed greatly to the overall experience of the evening, creating a warm and welcoming atmosphere from arrival. The audience was efficiently managed throughout the performance, and the professionalism and friendliness of those greeting patrons helped establish a positive tone before the opening notes. It was clear that a great deal of care had gone into ensuring the audience experience ran smoothly, adding to the overall polish of the production. Overall, this was an ambitious, visually inventive and musically powerful production of Jesus Christ Superstar. Wexford Light Opera Society approached the piece with confidence, creativity and enormous commitment, resulting in a production filled with memorable imagery, emotional intensity and exceptional musical achievement. The willingness to take creative risks and present such a distinctive interpretation of this iconic musical was admirable. A highly commendable achievement from the company. Photo credit: Paula Malone Carty Photography

Review: Annie - Ratoath Musical Society

Society name: Ratoath Musical Society Show name: Annie Adjudicator date of attendance: 01/05/2026 “She's not a nice lady!” The young boy sitting a few rows ahead of me at Ratoath Musical Society's production of ‘Annie’ in the Venue Theatre couldn’t contain his disgust any more. Miss Hannigan's treatment of the orphans had struck a nerve and his spontaneous outburst summed up exactly what live theatre is all about for me. He was totally engrossed and believed everything he was seeing. That’s...

Society name: Ratoath Musical Society Show name: Annie Adjudicator date of attendance: 01/05/2026 “She's not a nice lady!” The young boy sitting a few rows ahead of me at Ratoath Musical Society's production of ‘Annie’ in the Venue Theatre couldn’t contain his disgust any more. Miss Hannigan's treatment of the orphans had struck a nerve and his spontaneous outburst summed up exactly what live theatre is all about for me. He was totally engrossed and believed everything he was seeing. That’s what it’s all about at the end of the day; telling a believable story and affecting an audience. Ratoath Musical Society had clearly done so for this young man. It was an entertaining production, with many highlights and, while there were a few issues that occasionally prevented the show from reaching its full potential, there was plenty for the audience to enjoy as this much-loved story was brought to life. Front of house ran smoothly on the night I attended. The box office operation appeared to run well, with audience members being dealt with very efficiently. There was a pleasant atmosphere in the foyer which set a positive tone for the evening. A cast member sold raffle tickets at the interval, in character, and this was a nice touch which helped to create a fun and immersive experience. Sharon McNamara directed with confidence and a good understanding of the show's humour and heart. Her best work was with the very talented younger members of the cast who, from the opening moments of the overture, were full of energy and personality. The relationship between Annie and Warbucks was beautifully portrayed. There was great sensitivity in their scenes and the bond between the two was very natural and heart-warming. There was also some lovely work with the staff in Warbucks’ mansion, where background action was full of purpose without ever becoming distracting. Comedy was very well judged throughout. It is often the smaller details that stand out. Little touches, like Lily helping herself to the pearls in Miss Hannigan's office, only for Hannigan to later retrieve them from Lily's ‘creative’ hiding place, showed great attention to detail and were very funny. Overall, this was a very well-paced show that moved smoothly from scene to scene. The minimalist staging allowed for excellent fluidity, ensuring that the story never lost momentum. Very strong work from Ms. McNamara. Aisling Rountree's choreography was also at its best when working with the younger members of the cast, who performed some of the most polished and energetic routines of the evening. ‘It's the Hard-Knock Life’ was excellently performed by this very talented group of children. The number was slick, sharp and full of character, with the orphans showing great focus and commitment throughout. Ms. Rountree cleverly tailored her choreography to the abilities of the cast. While the adult ensemble did not always display the same level of polish as the children, she made sure that routines were always achievable. ‘Hooverville’ was a good example of this, with manageable choreography that suited the performers well and a fun kick line adding to the energy to the number. One of the standout routines of the evening was ‘Easy Street’, as choreography was character-driven and allowed the personalities of the three performers to shine through. There was also superb work from the orphans in ‘You're Never Fully Dressed Without a Smile’, which again showcased the strengths of the younger cast members. Dave O'Connor led an accomplished eight-piece orchestra that gave strong musical support throughout. Owing to the space restrictions in the Venue Theatre, musicians were positioned underneath the tiered seating. Principal singing was solid throughout and there were some very good ensemble moments too. The orphans had a fabulous sound in ‘It's the Hard-Knock Life’, full of enthusiasm and confidence. The adult ensemble had a spirited sound in ‘Hooverville, and ‘You're Never Fully Dressed Without a Smile’ was another highlight, with the younger cast members once again producing an excellent vocal performance. There was good work too from the Boylan sisters whose harmony work was well blended and nicely performed. On the evening I attended, there was a handful of musical mishaps that impacted what had otherwise been a solid musical presentation. Most noticeably, the ‘Tomorrow’ encore at the end of the show suffered from a disconnect between cast and the orchestra, creating noticeable uncertainty in what should have been the big musical conclusion. All of that said, it would be unfair to allow these isolated incidents to overshadow the many positive elements. Throughout most of the performance, the orchestra provided excellent support and there were many examples of strong singing too. Taking on the title role, Grace Carolan gave a most engaging performance as Annie. This is a very demanding role for any young performer, requiring strong vocals and acting ability. Grace rose to that challenge so well. Vocally, she was excellent. Her singing was confident and she showed a lovely understanding of the lyrics throughout. ‘Tomorrow’ was particularly strong, full of sincerity and warmth. Her work with Sandy was equally impressive. Sharing the stage with a dog can present challenges for any performer but she had a lovely rapport with her four-legged co-star. This was a very accomplished performance from a talented young performer who will have gained a great deal from the experience of playing such an iconic role. Sinead Butler was a very strong Miss Hannigan, giving a performance full of character and comic flair. She had a wonderful presence on stage and kept her characterisation consistently throughout. Ms. Butler had excellent comic timing and fully embraced the larger-than-life nature of Miss Hannigan, ensuring that she was both despised and likeable at the same time; a difficult balance to achieve. ‘Little Girls’ was a highlight. The number was sung very well and performed with great humour as she fully captured Hannigan's comic absurdity. Her comic timing was excellent throughout. She was also a very strong mover, especially in ‘Easy Street’, where the character-driven choreography suited her perfectly. Her physicality throughout the show was excellent and it was apparent that every gesture and reaction had been carefully considered. Excellent work all round. Andrew Docherty gave an excellent performance as Oliver Warbucks, bringing both authority and warmth to the iconic role. Mr. Docherty was a very strong actor with an excellent understanding of text. He captured Warbucks' boisterous and authoritative nature very well but also ensured that glimpses of vulnerability and humanity emerged as the story progressed. His relationship with Annie was so well played and Mr. Docherty and Grace were so engaging in their scenes together. He sang with a warm baritone voice which suited the character perfectly. ‘You Won't Be an Orphan for Long’ was an excellent example of storytelling through song. A very thoughtful and thoroughly enjoyable performance overall from Mr. Docherty. Charlene Masterson brought a refreshing, somewhat different interpretation to the role of Grace Farrell. Rather than presenting Grace as the sweet, overly polished character that audiences often see, Ms. Masterson gave us a strong, professional woman, someone who was more than capable of dealing with Miss Hannigan when required. There was warmth and kindness there but she avoided making the role overly sentimental and this felt natural and authentic. She sang very well, with a lovely, clear soprano voice, especially in ‘I Think I'm Gonna Like It Here’. Colm Shalvey was excellent in the role of Rooster, with plenty of energy and humour from start to finish. Rooster can often become a caricature but Mr. Shalvey made the character both entertaining and believable. His singing was very impressive in ‘Easy Street’. There was a real sense of fun in his performance and it was clear that Mr. Shalvey was enjoying every minute on stage. A thoroughly enjoyable performance from a very talented performer with strong comic timing throughout. Sinead McKernan gave a very enjoyable performance as Lily St. Regis, bringing plenty of personality to the role of Rooster's glamorous but somewhat dim-witted sidekick. Her comic timing was strong and she worked well alongside Rooster and Miss Hannigan, especially in ‘Easy Street’ which was performed with great energy and commitment to the comedy. A very humorous and entertaining performance from Ms. McKernan overall. Caroline McNally, Melissa Connolly and Siobhán Mooney worked very well together as the Boylan Sisters, as an entertaining and energetic trio. The chemistry between the three was evident and all three made great use of facial expression and were fully engaged at all times. Vocally, they did very well, with their accurate, well-blended harmonies. Ms. Connolly also impressed as Star-to-Be in ‘NYC’, performing the number with confidence and optimism. Peter Finnegan took on the roles of Bert Healy and President Roosevelt, making a strong impression in both. As Bert Healy, he brought great energy and personality to the stage. In the role of President Roosevelt, he was a believable and authoritative figure without losing the warmth and humanity that is required. He had a strong voice and wasn’t afraid to belt things out with confidence. Dave Quinn made the most of his role as Drake. Mr. Quinn was very animated throughout. I loved his very funny reaction to Annie's impending adoption. Mr. Quinn's genuine delight at the news was both heartwarming and amusing. Dave Grey made a good impression in the role of Bundles, the laundry man who finds himself the object of Miss Hannigan's affections. A relatively small role within the overall production, Mr. Grey approached it with commitment and good humour and had good fun in doing so. The ensemble work in this production was divided between the orphans and the adult ensemble. The orphans brought wonderful energy, focus and commitment to every scene in which they appeared. Singing, dancing and acting were all of a very high standard and it was so obvious that a considerable amount of rehearsal had gone into their work. The adult ensemble also made a strong contribution. They adapted well to their various roles, whether appearing as the staff in Warbucks' mansion, the residents of Hooverville or the other myriad characters from NYC to Washington DC. They were engaged in the action around them and their dedication and enthusiasm were evident throughout. Stage manager Niamh Travers and her team did a very good job of keeping the production moving smoothly throughout the evening. Changes appeared slick and well rehearsed, ensuring that transitions between locations were generally very fast and well organised. This was particularly important in a production that moved through so many different settings, and the stage management team should be commended for the fluidity achieved. Overall, Ms. Travers ensured that the production ran very smoothly throughout. The set design made excellent use of a large LED screen, which allowed the production to move quickly and easily between the many locations required. The graphics were of an exceptionally high standard. The orphanage dormitory looked suitably bleak and Hooverville created a convincing picture of hardship. The interiors of Warbucks' mansion successfully indicated the scale and wealth of his world, with the grand staircase being a particularly strong image, perfectly suited to the setting. The practical pieces worked well too. The orphanage beds looked very authentic, as did the furniture in Warbucks' mansion. One thing that kept catching my eye was the gap between the bottom of the screen and the stage floor. While not a major issue, it sometimes broke the illusion and reminded us that we were looking at a screen. I wondered whether some form of low-level cityscape or similar, across the base of the screen, might have helped disguise this gap. The lighting design was strong throughout, with plenty of colour and movement used to help suggest different locations and moods. There was some lovely use of colour. Lighting was used to good effect picking out the radio in Miss Hannigan's office, helping to focus the audience's attention. There was frequent tracking of performers using moving lights. This can be very effective when it works well and there were numerous occasions where it worked perfectly. However, tracking performers like this can be very challenging and requires a lot of tech time and consistently timed movement by performers. On a few occasions, the tracking light was fractionally behind the performer it was following. There was a lot to admire in the lighting design overall which, with some fine tuning, could have been elevated even further. The sound design was excellent throughout. There was a very good balance between the band and cast. Instruments blended together very well, creating a very warm, full sound. The vocal mix was equally impressive. Ensemble singing was well balanced. EQ levels were well set with voices sounding natural and clear. Sound effects were particularly well handled. Effects such as the telephone and applause cues were very well timed and really helped to support the storytelling. Overall, this was excellent work from the sound department. The quality of the mix and the excellent balance between cast and orchestra ensured that this was one of the strongest elements of the production. There was great attention to detail from the costume department. The orphan costumes worked particularly well. They were suitably worn without appearing overly exaggerated and there was enough variation between the costumes to give each orphan a sense of individuality. The servants and maids in Warbucks’ mansion were very well presented in their smart, tidy uniforms, creating a very polished. Hooverville was equally successful, with coats, scarves and worn clothing helping to create a believable picture of life during the Depression. There were some lovely individual character costumes such as Rooster's sharp suit and spats. Bert Healy's bowler hat was a nice finishing touch and Annie herself looked wonderful in her iconic red dress. Overall, the costume department did very good work. The props department also did great work throughout, with very good attention to detail. Annie's all-important was perfect. Other props were equally effective, including the laundry basket, Miss Hannigan's hip flask, Grace's briefcase and the antique telephone, all of which felt appropriate to the period. The radio in Miss Hannigan's office was especially authentic, while the microphone used in the NBC radio scene was another standout prop. The Christmas presents helped to create a lovely festive atmosphere during the later scenes. One small point concerned Miss Hannigan's "medicine", as it was noticeable that she was ‘drinking’ from an empty glass. This is only a minor observation but a small amount of liquid would have made this moment even more believable. The hair and makeup department did very good work throughout. Annie's wig looked great. As one of the most recognisable characters in musical theatre, there are certain expectations and Grace Carolan’s red curls helped to create the classic image. Wigs used for the principal characters were well chosen. Lily St. Regis's blonde wig perfectly suited her personality. Miss Hannigan's dramatic red wig was another excellent choice. Miss Hannigan's makeup was also very effective. The stronger, more exaggerated approach suited her character perfectly. There was great attention to detail with Warbucks. The bald cap was exceptionally convincing and looked completely natural. It is often difficult to achieve this effect successfully but the work here was of a very high standard. Overall, this was very good work from the hair and makeup team. As I reflected on the performance afterwards, I found myself returning to the young audience member whose spontaneous outburst was a lovely reminder of the unique power of live theatre. For that child, the world on stage was completely real. That is what every production should strive to achieve. Ratoath Musical Society can be proud of what they achieved and I wish them every success as they continue to bring live theatre to audiences and create those magical moments that only theatre can provide. Pat McElwain Sullivan Adjudicator 2025/2026

Review: The Clockmaker’s Daughter - St. Mary’s Choral Society

Society name: St. Mary’s Choral Society Show name: The Clockmaker’s Daughter Adjudicator date of attendance: 01/05/2026 St. Mary’s Choral Society presented a warm, heartfelt, and visually enchanting production of The Clockmaker’s Daughter, capturing the whimsical spirit and emotional sincerity of this beautiful musical with great care and affection. From the opening moments, the audience was drawn into a world that felt both magical and intimate, filled with warmth, humanity, and strong...

Society name: St. Mary’s Choral Society Show name: The Clockmaker’s Daughter Adjudicator date of attendance: 01/05/2026 St. Mary’s Choral Society presented a warm, heartfelt, and visually enchanting production of The Clockmaker’s Daughter, capturing the whimsical spirit and emotional sincerity of this beautiful musical with great care and affection. From the opening moments, the audience was drawn into a world that felt both magical and intimate, filled with warmth, humanity, and strong storytelling. Director Des Henn guided the production with a clear understanding of the heart of the piece, allowing the emotional narrative to unfold naturally while maintaining a lovely pace and energy throughout. The storytelling was handled thoughtfully, with quieter moments given time to breathe while still sustaining momentum. Relationships between characters felt believable and lived-in, helping to create a convincing sense of community within the village setting. The production balanced comedy and emotion particularly well. The humour never felt forced, instead emerging naturally from character interactions and situations. Scenes involving Ma Riley brought genuine warmth and laughter to the performance, providing welcome moments of levity that complemented the more emotional aspects of the story beautifully. There was a strong emotional clarity throughout much of the production, particularly in the central relationship between Constance and Will. Their connection developed with tenderness and honesty, giving the audience a relationship they could fully invest in. The wider ensemble also contributed enormously to the authenticity of the world being created onstage, with many characters feeling fully fleshed out and grounded within the village community. At times, some aspects of the physical storytelling around the set could perhaps have been defined with slightly more precision, particularly around the stream and bridge area, where distinctions between water and land occasionally became a little blurred. However, these moments were minor within an otherwise cohesive production and could easily be refined further in future performances. One particularly interesting aspect of the direction was Constance’s journey from automaton to human. The initial physicality established her mechanical nature very effectively, immediately creating a sense of “otherness.” As the production progressed, there may have been room to allow that physical transformation to unfold even more gradually, heightening the emotional impact of her development. Nonetheless, the concept was clearly considered and remained engaging throughout. Accent work across the production leaned toward a broad Irish sound rather than a clearly defined regional dialect. While consistency varied slightly, the warmth and sincerity of the performances ensured the charm of the production remained fully intact. Musically, the production was exceptionally strong. Niall Kelly’s musical direction was a major asset to the evening, with the orchestra delivering a lush and emotionally rich interpretation of the score. The flowing melodies were handled beautifully, while the more rhythmic sections maintained strong drive and energy throughout. Tempos were extremely well judged, supporting both the pacing of the storytelling and the emotional atmosphere of the piece. The positioning of the orchestra was also a particularly effective choice. Having the musicians facing stage right, with the standing Musical Director positioned to the side, ensured the audience maintained clear sightlines to the stage while still allowing excellent communication between cast and pit. It was an inventive staging solution that worked well within the venue. Vocally, the production was outstanding. The ensemble harmonies were rich, balanced, and beautifully blended, creating a glorious choral sound throughout the evening. The opening and closing numbers were especially moving, filled with emotional phrasing and excellent clarity of diction. Entrances and cut-offs remained consistently secure, demonstrating the strength of rehearsal preparation and musical discipline across the company. Barbara Meany’s choreography worked extremely effectively within what was clearly a limited stage space. Rather than overcrowding the stage, the movement remained purposeful, character-driven, and visually engaging throughout. Changing formations were used cleverly to maintain visual interest, while the choreography itself complemented the intimate nature of the musical beautifully. “Raise A Glass” stood out in particular as a wonderfully energetic and entertaining number. The cast performed it with enthusiasm and confidence, creating a lovely sense of celebration and community. Throughout the production, the ensemble appeared comfortable and well-rehearsed in the movement, contributing significantly to the warmth and vitality of the show. Saoirse Scully delivered a beautifully sincere and emotionally engaging performance as Constance. Vocally, she was strong, singing with maturity, sensitivity, and a lovely emotional nuance that suited the score. Her portrayal captured Constance’s innocence and fascination with the world beautifully. There was a wide-eyed curiosity to the performance that made the character immediately endearing. Her initial mechanical physicality was particularly effective and clearly established the character’s unique nature from the outset. As the production progressed, the transition toward more human movement perhaps developed a touch quicker than expected, though the emotional honesty of the performance ensured the audience remained fully invested throughout. Her scenes with Emmett Donlan’s Will were especially touching. The chemistry between the pair felt entirely natural and believable, and together they created the emotional heart of the production. Emmett Donlan gave a wonderfully gentle and sincere performance as Will Riley. He brought an effortless warmth and authenticity to the role, creating a character that felt grounded, kind, and emotionally open. Vocally, he was superb, with a tenor voice that soared beautifully through the score while maintaining clarity, sincerity, and emotional connection. There was a lovely softness and vulnerability to his acting that suited the role perfectly. He appeared completely at ease onstage, allowing the audience to connect instantly with the character. His vocal blend with Saoirse Scully was particularly beautiful, and together they elevated many of the show’s key emotional moments. James O’Donovan delivered a thoughtful and emotionally layered portrayal of Abraham Reed. He effectively conveyed the internal conflict of a man struggling with pride, fear, responsibility, and emotional attachment. At times the performance leaned more heavily toward frustration and anger, though there were also some lovely glimpses of vulnerability that added further depth to the character. Vocally, he performed strongly throughout the evening, with “You’re Still Here” proving particularly moving and emotionally sincere. Sheena Fennessy brought tremendous humour and personality to the role of Ma Riley. Her portrayal captured the recognisable qualities of a classic Irish matriarch well, and her comic timing generated many genuine laughs throughout the evening. Her transitions between irritation, warmth, nosiness, and hospitality were handled naturally, particularly when realising there may be financial gain involved in the situation. Vocally, some of the higher material appeared slightly outside her most comfortable range, but this was more than compensated for through strong characterisation and expressive storytelling. Her emotional turn following her shooting of Will was especially well handled and brought an added layer of humanity to the character. Nicole Butler and Cormac Maher were extremely charming as Amelia Kelly and Henry Glynn. Their chemistry felt natural and relaxed, and they brought humour and warmth to the wedding dress storyline without ever overplaying it. Vocally, both blended beautifully with one another and with the wider ensemble. Cian Corcoran brought a gentle warmth to Mayor Glynn and contributed nicely to the atmosphere of the village community. While there were moments where additional vocal confidence would further strengthen the performance, the sincerity and commitment of the portrayal remained evident throughout. The group of seamstresses, Rhiannon – Eabha Morrissey, Moll – Rachel Browne, Cara – Aoibhe Condon, Jane – Nicole Kennedy, Mary – Siobhan Scanlon, and Lucille – Aine Purcell, worked wonderfully together as a unit. Their gossiping was particularly entertaining, filled with expressive reactions while remaining grounded within the world of the piece. Vocally, they blended extremely well and consistently enhanced the texture of the ensemble numbers. Featured ensemble members, Mab – Gillian Scully, Sam – Nathan Dalton, and Mr. Reed – George Barry, all contributed strongly, remaining focused and engaged throughout while integrating seamlessly into the wider company. Indeed, the ensemble as a whole was one of the greatest strengths of the production. Their singing throughout the evening was stunning, producing rich harmonies and an exceptionally well blended sound. The opening and closing numbers were especially moving, creating powerful emotional moments through the strength of the ensemble vocals. Acting within the ensemble was equally strong. Every performer appeared fully invested in the storytelling, helping to create a believable and fully realised stage world. Background interactions remained engaged and authentic throughout, while the choreography was performed confidently and with ease. Visually, the production was absolutely beautiful. The set design demonstrated enormous attention to detail and perfectly complemented the whimsical, fairytale atmosphere of the piece. The downstage houses that opened to reveal Abraham’s workshop and Ma Riley’s shop were particularly effective, while the hidden access doors built into the set, for the stage crew to rearrange the internal decor, reflected a very impressive level of technical thought and craftsmanship. The moving bridge also worked extremely well, enhancing both the storytelling and the physical environment of the show. Jimmy Trehy’s stage management was excellent throughout. Scene changes were executed swiftly and smoothly, ensuring the production maintained momentum even during larger transitions. Lighting and sound were both of an extremely high standard. The lighting design created several genuinely beautiful stage pictures, particularly during solo moments where mood and atmosphere were enhanced very effectively. The moon projected onto the back wall was a lovely touch, while the fairy lights woven across the stage through branches and rooftops created an utterly magical atmosphere for Will’s special place. Sound quality remained consistently polished throughout the evening. The balance between orchestra and vocals was excellent, particularly important in the intimate venue, and individual vocals were always clear and well supported. Costumes, hair, and makeup all complemented the production beautifully. The costume palette worked wonderfully alongside the set design, while the styling remained thoughtful and appropriate to the world of the show. Hair and makeup were neat, effective, and suitably period appropriate without becoming distracting. Front of house operations also contributed positively to the overall experience. The audience was welcomed warmly on arrival, and the organisation throughout the venue helped create a lovely atmosphere of anticipation before the performance even began. There was a clear sense of pride within the society that extended beyond the stage and into the overall audience experience. Overall, St. Mary’s Choral Society delivered a heartfelt, visually stunning, and musically accomplished production of The Clockmaker’s Daughter. The warmth and sincerity at the centre of the performance ensured the audience remained emotionally invested throughout, while the strength of the ensemble, the beauty of the score, and the detailed visual presentation combined to create a truly memorable evening of theatre. The company should be extremely proud of what they achieved with this production.

Review: Little Shop of Horrors - St. Brendan’s Choral and Dramatic Society

Society name: St. Brendan’s Choral and Dramatic Society Show name: Little Shop of Horrors Adjudicator date of attendance: 29/04/2026 ‘Little Shop of Horrors’ is packed with catchy songs, larger-than-life characters and a rather unusual story. Underneath all the comedy and fun, it is a show about ambition, temptation and the dangers of chasing success at any cost. It can also be a challenging show to stage, with the ever-present difficulty of bringing Audrey II convincingly to life. St....

Society name: St. Brendan’s Choral and Dramatic Society Show name: Little Shop of Horrors Adjudicator date of attendance: 29/04/2026 ‘Little Shop of Horrors’ is packed with catchy songs, larger-than-life characters and a rather unusual story. Underneath all the comedy and fun, it is a show about ambition, temptation and the dangers of chasing success at any cost. It can also be a challenging show to stage, with the ever-present difficulty of bringing Audrey II convincingly to life. St. Brendan's Choral and Dramatic Society presented their production in the Temperance Hall, Loughrea. I attended on opening night and, while there were aspects of the production that needed a night or two to settle and improve as the run progressed, there was no shortage of commitment from those involved. What stayed with me most was the potential within the society. There was no shortage of talent and promise. Every production fosters greater confidence and skills and, no doubt, the experience gained will reap rewards for many more productions to come. Front of house provided a very positive start to the evening. Audience members were greeted by friendly and welcoming personnel who helped create a very relaxed and enjoyable atmosphere in the Temperance Hall. There was a lovely sense of warmth about the venue as we were shown to our seats, setting the tone nicely for the performance ahead. Ronan Lardner directed the production and did a very good job overall with a young and developing cast. It was clear that he recognised the potential within the society and worked hard to create an environment in which performers could grow in confidence and enjoy their time on stage. Mr. Lardner's strength, as always, lay in his handling of the comedy and for the most part the humour was handled very effectively. There was thoughtful work with the principal cast, helping them to deliver performances with confidence and commitment. The ensemble was used well. ‘Little Shop of Horrors’ does not normally lend itself to a lot of ensemble activity, however, members were given many opportunities to contribute and to shine throughout. Overall, very good work from Mr. Lardner facilitating a positive step forward for the society. Musically, the show was in very good hands with Shane Farrell as Musical Director and Eilís O'Neill as Chorus Mistress. Mr. Farrell, on keyboard, was joined by six accomplished musicians who created a very strong sound throughout and gave the production a very professional feel from a musical perspective. Principal singing was secure for the most part, and there were a number of very enjoyable choral moments during the show. Good work was also done with the three urchins. Their commitment was a very important part of the musical success of the production. One aspect of musical direction that particularly stood out was Mr. Farrell's professionalism when dealing with a small number of moments that went slightly awry on stage. These moments were managed calmly and effectively and showed the value of an experienced musical director at the helm. Overall, this was excellent work from Mr. Farrell, Ms. O'Neill and everyone involved. Ronan Lardner also took on the role of choreographer and devised routines that suited the cast well. Movement was kept within the abilities of the cast, giving everyone opportunities to contribute and ensuring that performers with different levels of experience were able to participate fully. The three urchins brought great energy and commitment to their movement throughout. Their enthusiastic movement helped to drive many of the musical numbers. The ensemble's strongest choreographic work came during ‘The Meek Shall Inherit’. This was a very effective number, full of purpose, and it allowed some of the more experienced performers to really shine. ‘Mushnik and Son’ was particularly funny with great work from both performers, especially in their hilarious tango sequence. At just 17 years of age, Adam Broderick is a relative newcomer to musical theatre but I have a feeling he is a name we will be hearing more of in the years ahead as he continues to develop as a performer. Taking on the role of Seymour is a significant challenge for anyone and the biggest takeaway from this performance was the wonderful potential that Mr. Broderick has. As he settled into the role, he became increasingly comfortable with the comedy and began to throw himself fully into Seymour's more humorous moments. Vocally, there was wonderful potential too. He gave a particularly strong performance in ‘Feed Me’, handling the higher notes with impressive confidence. There was also good work during the scene in Orin's surgery, where he conveyed Seymour's nerves and growing panic as events spiralled out of control. This was a performance full of promise from a young actor with super potential and I have no doubt that Mr. Broderick will have gained a great deal from it. Sarah Dowd gave a very strong performance in the role of Audrey. As the flower shop assistant with dreams of escaping Skid Row for a better life, Ms. Dowd found a lovely balance between the humour and the heart of the role. She captured Audrey's vulnerability and innocence well, while also embracing the character's comic qualities with great confidence. This was particularly evident in ‘Somewhere That's Green’, where she struck a lovely balance between poignancy and humour. Audrey's dream of a better life away from Skid Row was genuine and heartfelt, while still keeping the charm and understated comedy that make the song so memorable. Vocally, Ms. Dowd did very well. Her performance in ‘Suddenly Seymour’ was particularly strong, making the number the musical highlight of the evening. There was some interesting casting in the role of Mrs. Mushnik, played here by Yvonne Earls. I will admit that I was a little bit unsure about the choice to gender swap the character initially. However, Ms. Earls quickly won the audience and myself over with a performance that drew upon her vast talent and experience. She brought intelligence, confidence and a very strong comic instinct to the role. What impressed me most was the assurance that comes with experience. There were moments where onstage ‘hiccups’ could easily have disrupted scenes but Ms. Earls covered things seamlessly. Vocally, there were some challenges outside of Ms. Earls’ control. As the songs were not transposed, numbers such as ‘Ya Never Know’ and ‘Mushnik and Son’ sat in a lower register than would have been ideal. With good support from the sound department, however, she successfully navigated both numbers. Sinead Murphy was very strong as the voice of Audrey II. Although we didn’t see Ms. Murphy until the finale, her presence was certainly felt through a wonderfully rich vocal performance that provided the man-eating plant with plenty of personality. Her delivery was bold and commanding. She nailed the plant's sinister nature but never lost the humour that makes this absurd character so entertaining. Her singing in ‘Feed Me’ was particularly impressive. It was one of the show's standout numbers as Audrey II began to exert her control. Overall, wonderful work from Ms. Murphy, who made a big impact on the production despite spending most of the show unseen. The urchin trio of Crystal, Ronnette and Chiffon were played by Sadhbh Mechan, Sophie Smith and Raphael McKenna Short. These three young performers approached their roles with great energy, confidence and commitment throughout. The urchins have a significant responsibility within the show, acting as Greek chorus while singing some challenging harmonies on top of their many choreographed sequences. All three rose to the challenge and will have learned a huge amount from the experience. Vocally, they acquitted themselves very well. Their harmonies were, for the most part, secure, and they made a particularly strong contribution to ‘Suddenly Seymour’. The experience gained from taking on roles of this scale will stand to all three and I have no doubt they will continue to build on this in the years ahead. Oisín Dowling was another talented young performer who made a strong impression as the sadistic dentist, Orin Scrivello DDS. Orin is a wonderfully over-the-top character, who takes great pleasure in the misery of others and thrives on intimidation and control. Mr. Dowling embraced those qualities and gave a performance full of energy and confidence. One of Mr. Dowling’s greatest strengths was his physicality. He moved very well and brought a wonderful, larger-than-life quality to the role. His accent was strong throughout, and he clearly enjoyed the character's darker side as he created a most unpleasant and intimidating figure. Musically, he had great fun with the role. He enjoyed his ridiculously long-held note in ‘Dentist’, which went down a treat with the audience. There were some timing issues during ‘Now (It's Just the Gas)’, which can be a difficult number to get right but, to his credit, Mr. Dowling got things back on track thanks to some good musical awareness. Special mention must go to Gavin Treacy who manipulated the plant puppets. It is a pretty thankless and physically demanding task but Mr. Treacy did well in helping to create the illusion. The ensemble contributed well throughout the evening and brought plenty of energy and commitment to the production. There was a nice mix of experienced and less experienced performers on stage and, while that naturally brought varying levels of confidence and polish, it also created good opportunities for learning. A number of cameo performances stood out. Samuel Nicolas made a positive impression as Customer No. 1, while Paul Callanan was a sleazy Skip Snip. Vincent Hays gave a well-characterised performance as Mr. Bernstein. While some of his timing could have been a little sharper, his characterisation was solid. Daniel Cronin also impressed as Patrick Martin, demonstrating excellent diction and strong characterisation during his scene. The wider ensemble came into their own during numbers such as ‘Call Back in the Morning’, which featured some enjoyable stage business and good engagement from the cast. There was also strong work from all in ‘The Meek Shall Inherit’. Chorally they did very well throughout, especially during the excellent ‘Suddenly Seymour’. Strong work throughout and plenty to build on for the future. The set design worked well overall and created a believable Skid Row setting for the action. The flower shop was clearly established as the main location, with the counter, shelving and various pieces of dressing helping to create the feel of a small business struggling to survive. I really liked the use of the back wall of the stage. It’s rough, textured appearance was very effective and perfectly suited the rundown world of the show. It gave the set a worn and weathered look and helped to create the sense of a neglected part of town without needing anything overly elaborate. Importantly, the design allowed cast plenty of room to work with, which helped scenes to move along smoothly. Christina McKeogh was stage manager and ensured that the production ran smoothly throughout the evening. There was evidence of good organisation behind the scenes, with scene changes carried out efficiently and without disrupting the flow of the show. The various stages of Audrey II's growth were managed well, which is no small task in a production of ‘Little Shop of Horrors’ and credit is due to the backstage team for the coordination required to make this happen successfully. The lighting design was strong throughout and made a strong contribution to the atmosphere of the production. One of its greatest strengths was the way it used the rough, textured back wall of the stage. This surface took colour exceptionally well and helped to create some nice states throughout. Lighting was particularly effective during some of the darker moments of the story. The end of Act One was superb, with the lighting reflecting the drama and violence as Orin was fed to Audrey II. There was also some beautiful backlighting during ‘Somewhere That's Green (Reprise)’. Overall, this was very good work from the lighting team. The sound design was very strong throughout. Vocal levels were generally set very well, allowing dialogue and lyrics to be heard clearly, while the overall EQing across the cast was of a good standard. Band levels were also well managed, with a very balanced sound for the most part. There was also good work in the mixing of ensemble vocals. The bigger numbers came across very well. The three urchins particularly benefited from good sound levels, ensuring that their narration was always clear. The use of sound effects was particularly impressive. These were well chosen and very well timed. Orin's motorcycle was very effective, while the ringing phones during ‘Call Back in the Morning’ were perfectly timed and helped bring the scene to life. Audrey II's well-timed burp provided a lovely comic moment and the coordination of the gunshots during the latter stages of the show was handled superbly. Costumes were a little hit and miss for me overall. While there were some very strong individual costumes, I felt there was a lack of consistency at times, particularly amongst the ensemble and even within the urchin trio. That said, there was plenty to like. Audrey's leopard-print skirt suited her character perfectly. Orin's leather jacket was another strong piece and helped to emphasise his swagger and confidence. I loved the green overalls worn by Orin, Mushnik, Seymour and Audrey when they returned under Audrey II's control. Their ivy-covered costumes looked great, while the plant-inspired headpieces were particularly effective. I also thought it was lovely to see Ms. Murphy so well costumed when she finally appeared on stage as the voice of Audrey II. The green sequinned costume was a classy touch and ensured that she got a well-deserved moment in the spotlight after carrying the role vocally throughout the show. Props were one of the strongest aspects of the production and there was some really good attention to detail throughout that helped bring both the flower shop and Skid Row to life. Simple items such as Mushnik's radio, the trash can, the cash register and the various flowers around the shop all added authenticity. There were also some nice comic touches. The order for the Shivas was hilariously oversized. Orin's motorcycle was a fabulous addition. The dentist's chair looked very well and the blood-spattered sheet added great visual comedy. The phones used during ‘Call Back in the Morning’ worked very well, while smaller items such as Mushnik's magnifying glass helped add to the detail. The all-important bullets, rat poison and machete in the latter stages were also most effective. Hair and makeup worked well in places and there were some nice character touches throughout. I particularly liked the dramatic white streak in Mrs. Mushnik's hair. It suited the character well and helped give her a very distinctive look. Audrey's blonde wig looked a little untidy during the opening scenes, although it was noticeably neater by Act Two. I also felt that the black eye makeup for her “shiner” didn't quite work as intended. It looked very artificial and drew attention to itself for the wrong reasons. I also felt that the three urchins could have benefited from a more coordinated look. They all worked hard and had plenty of energy but some common styling might have helped them stand out more clearly as a trio. Overall, there were some good ideas and a little more attention to a few of the finer points might have helped to lift the overall presentation. What stayed with me most as I left the Temperance Hall was the potential within this cast. It felt very much like a society that is growing, learning and building towards the future. Not everything worked perfectly on opening night but that should never take away from the achievement of staging a challenging show such as ‘Little Shop of Horrors’. There was plenty of talent on display, particularly amongst the younger members of the cast, and there was a genuine sense of enthusiasm and commitment running through the production. The experience gained from this show will stand to everyone involved and will undoubtedly help the society continue to move forward. St. Brendan's Choral and Dramatic Society should take great encouragement from the many positives on display throughout. With each production comes greater confidence and experience and I have no doubt that the lessons learned from this show will help the society continue to develop. I look forward to seeing where that journey leads in the years ahead. Pat McElwain Sullivan Adjudicator 2025/2026

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
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
SONG Dundalk
Shannon Musical Society
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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