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UPCOMING EVENTS

Disney's Beauty and the Beast

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15 Oct 2024

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ROCK OF AGES

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30 Oct 2024

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Big Fish

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5 Nov 2024

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Sister Act

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12 Nov 2024

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Young Frankenstein

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20 Mar 2025

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LATEST NEWS

Video: Report on Development of Local & Community Arts raised in Seanad

Senator Malcolm Byrne raised in the senate - the July report from the 'Joint Committee on the development of Local and Community Arts',...

Senator Malcolm Byrne raised in the senate - the July report from the 'Joint Committee on the development of Local and Community Arts', calling for funding for Musical Theatre and Amateur Drama.   In Particular he requested a debate on the Oireachtas report, taking into consideration funding an Art Capital Grant programme similar to the Sports Capital Programme. Along with this was the recommendation that Musical Theatre be recognised by the Arts Council, as a separate Arts form, and funding be made available for the development of Musical Theatre and Amateur Drama throughout Ireland. In addition to this a further key recommendation, was that funding be made available to the National representative bodies of A.I.M.S for Musical Theatre, along with the D.L.I. & A.D.C.I   for Amateur Drama to allow them to develop these arts forms.   Senator Byrne, who in acknowledging the work of Minister Catherine Martin, called upon the Minister to come before the House and respond on these issues.   Feargal Cavanagh, AIMS President 04.10.2024

Crazy for You as presented by Jack Cunningham Productions

Jack Cunningham Productions  Crazy For You  Saturday 7th September  There is something really special about the ambience of the Theatre...

Jack Cunningham Productions  Crazy For You  Saturday 7th September  There is something really special about the ambience of the Theatre Royal in Waterford. This classical Victorian theatre has such a unique atmosphere, and it is always a pleasure to attend a show at this historic venue. And so, I was very excited to see Jack Cunningham Productions stage one of musical theatre’s greatest crowd-pleasers, ‘Crazy for You.’ With its brilliant Gershwin score, side-splitting comedy routines and huge production numbers, it was a given that the audience would leave with smiles on their faces, singing and tap dancing down Waterford’s Mall.  The foyer was extremely busy just before curtain-up as bumper-to-bumper traffic and limited parking caused mayhem for people trying to get to the theatre on time. The front of house team did a great job putting everyone at ease as they rushed in and we were soon seated, in anticipation of a great night’s entertainment.  Jack Cunningham directed, co-produced, choreographed, danced, co-ordinated costumes and probably even made the cast tea at the interval! I have utmost admiration for anyone taking on even one of these elements for such a huge show. To co-ordinate all of the above is nothing short of superhuman and is to be applauded on every level!  Mr. Cunningham’s direction was generally sound. He was blessed with a talented front line who bought into his vision, and he got some really good comic performances out of his cast. Sightlines were an issue throughout the show with dialogue and action often being obscured by the downstage tables in the saloon scenes. Positioning of performers, when delivering dialogue in crowd scenes, also needed attention at times. The iconic Zangler/Bobby mirror scene, although well performed, could have been more original in its conception. There was very funny business with the guys trying to pick up the dance moves going into ‘Slap that Bass’ and great marshalling of cast for the slick scene changes.  Choreography was exhilarating in its execution. The show requires a highly energetic ensemble of terrific dancers and that is exactly what Mr. Cunningham had at his disposal. The big tap sequences were superb in their percussive precision. All of the bigger numbers were exceptionally well rehearsed, and it was refreshing to see these routines performed with such gusto and expression from all. ‘I Got Rhythm’ was an absolute triumph. The acapella tap sequence was quite superb and audience members were given more than a nudge to rise to their feet before the number built to the climactic end of Act 1. The Follies were excellent as the eight showgirls of Bobby’s subconscious and Mr. Cunningham had done great work to ensure that they always moved with great synchronicity.  Musical Director, Emma Walsh, didn’t have an orchestra to manage, as accompaniment was tracked. These recordings were of a very high quality. Unfortunately, the track did run away from the ladies’ ensemble in the very wordy, up-tempo section of ‘Entrance to Nevada.’ But, in general, cast did well working with the tracks. There was a great wall of sound from the large cast in the bigger numbers but some of the more intricate harmony lines were missing, on occasion, as the safer option of singing in unison was chosen. Principal singing was of a high standard throughout.  Casting the stagestruck Bobby Child, a New York banker with dreams of becoming a dancer, is always a difficult task. How lucky the production team was to have a triple threat like Conor Lyons in the role. Mr. Lyons brought a wealth of experience and talent to the part and was clearly enjoying every minute. His dancing was excellent, and he sang with a lyrical quality straight out of the golden age of musical theatre. Mr. Lyons had great comic timing and, even if he occasionally over-egged things as an almost Borat-esque ‘Zangler,’ he relished the rapturous audience reaction to his comic antics.  Jennifer White was equally strong as the feisty Polly Baker, apparently the only woman left in Deadrock, Nevada. Blessed with a delightfully clear voice, Ms. White had such a lovely, natural presence as she delivered her songs with real heart and a genuine understanding of Ira Gershwin’s gorgeous lyrics that drew us in as she told the story. ‘Someone to Watch Over Me’ was a highlight as was the touchingly poignant ‘But Not For Me.’Ms. White was quite the dancer too and the chemistry between herself and Mr. Lyons was so clear.  The eccentric, Hungarian theatre impresario, Bela Zangler, was played with great energy by Jonathan Kelly. Mr. Kelly had the audience in stitches with the corniest of one-liners, the most memorable being in his very well-played, drunken mirror scene with Mr. Lyons – “I am beside myself!” Singing in ‘What causes That?’ was full of character and drunken hilarity.  Kieran Walsh squeezed everything out of the role of saloon owner Lank Hawkins, who had his eye on Polly but hadn’t a snowball’s chance of success. Mr. Walsh had great presence and delivered lines with conviction and strong comic timing. His reactions in ‘Naughty Baby,’ as he slowly caved in to being seduced by Irene, were very funny.  Trish Orpen was a delight as the overbearing fiancée of the hen-pecked Bobby. Ms. Orpen was perfectly bossy and brash, leaving no doubt as to why Bobby felt the need to switch off and lose himself in the blissful world of his imagination, where he could dance his troubles away with eight visions of loveliness. Ms. Orpen threw herself into ‘Naughty Baby’ with vampish glee and Mr. Walsh really had no choice but to succumb to her advances. Apart from being an excellent comic turn, the number was superbly sung by Ms. Orpen.  Anne Marie Collins showed just why there is no such thing as a small part in theatre. She was always in character as Tess, always reacting to everything and was so strong acting through her dance numbers. Her knowing manipulation of Zangler in Act 2 was skilfully played.  Dermott Sullivan did well in the role of Everett, always reminiscing about his late wife’s prowess on the Gaiety Theatre stage. Cueing was a bit of an issue in the opening Deadrock scene on the night that I attended but, once he settled, Mr. Sullivan gave a well-rounded, confident performance. His falling for Lottie was a nice, cute comic moment.  Clare Smith was a domineering presence as Lottie Child, Bobby’s business driven, overbearing mother and Holly Grant gave a suitably ditzy performance as Patsy, whilst also shining as one of the Follies.  Joe Shanahan, Mark Rellis and Liam Steenson were a strong trio as Moose, Mingo, and Sam, three layabout citizens of Deadrock. Collectively, they sang well in unison, but I would love to have heard them tackle the harmonies of the ‘French Reprise.’ Phil Erskine and Ciara Giles were perfectly matched as the eccentric British double act, Eugene, and Patricia Fodor. Their arrival in Deadrock is met with disappointment as it becomes apparent that nobody is coming to see the show which can potentially save their theatre. Mr. Erskine and Ms. Giles were hilarious as they tried to convince the townsfolk to grin and bear it in the brilliant ‘Stiff Upper Lip.’  The ensemble in this show was young, enthusiastic, and incredibly talented. Their dancing was a triumph from start to finish. Mr. Cunningham’s cast lived every moment in their faces and that was what we, as an audience, felt the most. The energy, the commitment and the unbridled joy from this large cast was simply exhilarating. They committed themselves fully to the singing also and were particularly impressive in ‘I Got Rhythm’ and ‘Stiff Upper Lip.’  Set design was simple but effective for the most part, with the exception of the opening backstage scene which lacked impact set against blacks. The Deadrock trucks were very well designed, turning slickly to create the interior of Lank’s saloon, which was really well dressed. Using the back wall of the Theatre Royal stage as the dilapidated Gaiety stage, was an inspired choice. However, the visibility of a modern red fire alarm upstage left was unfortunate.  Stage manager, Shane Taheny, kept things moving along at a brisk pace with the help of cast moving trucks and set pieces very efficiently. There was a lot of movement of the front tabs during the interval as the saloon tables were being set for ‘The Real American Folk Song.’ It might have worked better to set these as part of the action once the curtain was out.  Props needed more attention to detail, in general. Some were excellent. The disused Gaiety Theatre stage looked amazing with the old-style organ, ropes, costume rails etc. However, not everything was this good. Lank’s toy gun with its red plastic tip, paper plates in the saloon mirror scene, the Fodor’s empty laundry bag and Zangler’s extremely small cheques were a few of the items that jarred.  Lighting was generally good, playing things safe for the most part. With the exception of a timing glitch going into Bobby and Polly’s finale dance, cueing appeared solid. There was good use of follow spot in ‘Shall We Dance?’ up to the point where Bobby and Polly separated and were too far apart to follow both. Unfortunately, there was a significant issue with the overzealous use of haze machines.  Sound was very good for the most part. Dialogue was clear and vocal balance was generally good. Dialogue in ‘Tonight’s the Night’ was barely audible as it was overpowered by the backing track, and we missed some very funny lines as a result.  Costumes were excellent throughout, from the gorgeous uniformity of the Follies, to the stunning showgirl costumes of the finale. Daywear for ‘Entrance to Nevada’ was perfectly impactful and there was good attention to detail in coordinating the identical costumes of the real Zangler and Bobby’s ‘Zangler.’  Hair and make-up needed some attention. Whilst the styling of ladies’ own hair was very authentic for that 1930s look, there was an issue with some wigs as hair was visible underneath. I was disappointed in the look for the two ‘Zanglers.’ Having these two characters looking as identical as possible is a crucial plot point. Unfortunately, with both devoid of facial hair, it was very difficult to buy into the idea that Bobby had duped a whole town into believing that he was Zangler. A beard and moustache for both would have made the world of difference and Irene’s line to Bobby, “You look like Karl Marx,” would have made sense. This was a very entertaining production of one of the all-time great musical comedies that literally has everything. The dancing was just electric and there were many fine comic moments from an extremely talented cast who delighted a visibly enthusiastic and responsive audience. With a little more attention to detail in the technical aspects and a more focused approach to positioning for dialogue, this very talented company will continue to build on what has been a meteoric rise to date. Who could ask for anything more?!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photographer : Colin Shanahan (DigiCol)

Review: Spring Awakening // North Wexford Musical Theatre

North Wexford Musical Theatre - Spring Awakening Date of Adjudication: Friday 6th September My first show of the season and expectations...

North Wexford Musical Theatre - Spring Awakening Date of Adjudication: Friday 6th September My first show of the season and expectations were high as I hit the road for Gorey to see North Wexford Musical Theatre’s ‘Spring Awakening’. This award-winning group, still in its relative infancy, has quickly established itself as quite the theatrical force in the vibrant South East region. The air of anticipation in Gorey Little Theatre was quite electric. Front of house was a hive of bustling efficiency and I was given a very warm welcome before being shown to my seat. Based on Frank Wedekind’s controversial play, penned in 1891, ‘Spring Awakening’ is a powerful, hard-hitting, often darkly humorous commentary on repressive culture and the tragic repercussions of sexual ignorance. Over a century on from Wedekind’s play being banned for its assault on the moral senses of Victorian-era Germany, ‘Spring Awakening’ continues to shock and to resonate strongly today. Burning themes of sexual abuse, self-harm, abortion, masturbation and suicide are all presented through the eyes of disconnected teens as they navigate their lives through a minefield of authoritarian suppression and its catastrophic consequences. Stephen Acton’s provocative production was beautifully directed throughout. He designed a minimalist set, against a blackboard backdrop which screamed “Blah, Blah, Blah” in angry, scrawled chalk – a hint of the anarchy to come. The simplicity of his design allowed for great fluidity between scenes as Mr. Acton’s exceptionally well-drilled cast arranged simple, black boxes to create various locations. I loved the originality of the branch motif - a nod to Wendla’s being “like a tree-nymph fallen from the branches”. The use of branches embedded in the set, becoming handheld microphones, Melchior’s blade and Moritz’s grave was a bold, original choice and a refreshingly clever theatrical device. A huge part of success of this production was the way in which Roisin Currid’s excellent choreography enhanced the storytelling. Clearly there was close collaboration between Ms. Currid and Mr. Acton, as the stylised routines and fluid movement of a hugely committed cast drove the narrative in an organic and theatrically stylish manner. The ensemble was mesmerising, moving almost as one in such numbers as the beautifully staged ‘I Believe’. And then there was the joyous anarchy of the frenetic ‘Totally F*cked’ – the fully invested young cast hitting us between the eyes in an energetic, precise and angst-ridden hormonal rage. Musical direction by Conor McCarthy was equally top-notch. His seven-piece band was incorporated into the set, inhabiting the very world they helped to conjure through their wonderful playing, in a very still and focused way. Mr. McCarthy’s meticulous attention to detail in the choral aspects of the show was evident throughout. There was a wonderfully balanced, accurate and powerful choral sound from the ensemble. Principal singing was excellent throughout and, for the most part, there was a good balance between orchestra and cast vocals. The rebellious Melchior, unafraid to question his authoritarian elders, was played by the very talented Jordan Bass. Mr. Bass’s singing was a joy throughout. From the haunting ‘Left Behind’ to the full-on ‘Totally F*cked’, this was an excellent vocal performance. Mr. Bass really showed his acting chops too as the show progressed. His struggles to come to terms with having beaten Wendla, his grief at Moritz’s death and his distraught reaction to discovering Wendla’s grave, were poignant and powerful. Mr. Bass’s distinctly Irish accent did feel like a rather incongruous choice. It may well have been a directorial decision but, for me, it jarred at times as it lacked consistency with Mr. Bass’s singing accent and with the more neutral accents around him. Initially, I felt that April Kelly needed to focus more on the innocence and naivety of fourteen-year-old Wendla. However, as the show progressed, this very talented lady delivered a very polished, nuanced and emotional performance as the confused adolescent whose tragic demise stems from suppression of youthful curiosity. The beautifully sung and melodic ‘Whispering’ was a standout moment, underlining Ms. Kelly’s wonderful talent for telling a story through song. Her superb diction was crystal clear throughout and her emotional range was most impressive. Andrew O’Grady’s sensitive portrayal of the misfit Moritz, haunted by the increasingly sexual nature of his dreams, was a highlight of the show. His distinctive hairstyle set him apart as an outsider from the start and we were totally invested in his story and the cruelty of his tragic fate. His isolated, angst-ridden ‘Don’t do Sadness’ was just heartbreaking. But my abiding memory of Mr. O’Grady’s performance wasn’t scripted at all. His reactions to each of the mourners placing flowers in his grave during his funeral scene, were just mesmerising. This scene was a theatrical triumph of direction, lighting, movement, music, ensemble acting and Mr. O’Grady’s perfectly-pitched emotional commitment. Alex Kavanagh attached some semblance of hope to her dishevelled Ilse. Yes, she had suffered at the hands of an abusive father but Ms. Kavanagh clung to a glimmer of hope, having escaped institutionalism. Her ‘Don’t do Sadness/Blue Wind’ was a superbly sung duet with Mr. O’Grady and she led the powerful ‘The Song of Purple Summer’ with a much-needed optimism at the end of the show. Another standout performance for me, was Grace Shesgreen’s portrayal of the abused and damaged Martha. Her carefully delivered account of her father’s abuse was intensely disturbing. Theatre resonates differently, depending on the social context of the time. Ms. Shesgreen’s powerful performance came on the heels of shocking revelations of historic abuse of children in Irish schools and I’m sure that I wasn’t the only one who viewed her performance through that horrific lens. ‘The Dark I Know Well’ showed Ms. Shesgreen’s excellent vocals and her ability to tell her disturbing story through song. Eimear Wolohan as Anna and Áine Kinch as Thea were both very strong in their respective roles. Their movement and blend of vocals in ‘Mama Who Bore Me (Reprise)’ were wonderful. Their playful, innocent banter with Wendla as they discussed their crushes was nicely played, creating a stark contrast to what lay ahead for their friend. Richard O’Toole and Colin Doran, who played Georg and Otto respectively, managed to join the band as well as play their roles with aplomb. Mr. O’Toole’s keyboard playing was most impressive, as was Mr. Doran on guitar. It was a lovely touch to feature both talented men in this way. Mr. O’Toole’s scene with Fraulein Grossebustenhalter was a nice bit of comic relief. Yet another highlight of the show, was the exceptionally well-staged and played scene between Luke Burke as Hanschen and Robert Hogan as Ernst. We knew where this was going from the very self-aware Hanschen’s ‘Achilles and Patroclus’ analogy onwards. Their chemistry was palpable – sensually and sensitively directed. Superb vocals from both rounded off two very strong portrayals. Nicola Roche and Rónán P. Byrne as Adult Woman and Adult Man, played the myriad, often despicable, authoritarian figures. Ms. Roche’s abridged version of the facts of life for Wendla (“…she must love her husband with her whole heart”) was humorous yet tragic as the consequences of Wendla knowing no different played out. Ms. Roche was at her best as Frau Bergman, dealing with the doctor’s crushing ‘diagnosis’. I found Mr. Byrne difficult to understand in his opening schoolhouse scene. However, this was short-lived and he proceeded to skilfully jump from character to character with superb changes of physicality, voice, accent and superb diction to convincingly play a multitude of roles. His mouthed “She’s pregnant” provided a much-needed release for us all before the trauma that would befall Wendla. The ensemble in this show was exceptional. From their very first lean forward to listen to Frau Bergman talk birds and bees to Wendla, we knew that this was an extremely committed and focused group, working together, often as one, in a stylish, theatrical manner. They rarely left the stage and the subtlety from every single performer as they observed, reacted and interacted, never taking focus from where it was meant to be, was simply breathtaking at times. Of course, these things don’t happen by accident. What appears simple in performance often requires the most work in rehearsal. Stage manager, Nigel May, had a relatively quiet night. Cast orchestrated the smooth transitions from scene to scene, ensuring fluidity and pace throughout. A low fog machine, concealed under the upstage rostrum, was used very effectively in the graveyard scene. The superb lighting design and, in particular, the meticulous timing of its operation, was a joy to behold. Indeed, the lighting in this show was as much a part of the dramatic action as any cast member. LED batons, built into the set, were used most effectively, as was the strobe in ‘Totally F*cked’. There was beautiful isolation of Melchior and Wendla in ‘The Word of Your Body’ with the ensemble almost silhouetted in the background. Haze was used to create suitably ethereal mood, when required. What must have taken days of collaboration between director and designer were so evident and paid off greatly. Sound was generally very good, with clear dialogue and good cueing throughout. The choral sound was warm and full, with superb balance across all vocal parts. Some minor issues with Mr. Byrne’s mic were quickly rectified. The few sound effects were suitable and well-timed. Occasionally, in higher octane numbers, the band had a tendency to overwhelm soloists but, generally, the balance between music and vocals was well handled in what can be a challenging show dynamically. Costumes were simple and true to the Victorian era with good attention to the boys’ school uniforms, the girls’ dresses and various changes for the adults. Braces and ties might have been a nice addition for the band to blend into the space even more. Make up and hair were well presented with Moritz’s distinctive hairstyle setting him apart from the outset. This was a theatrical feast of a show from North Wexford Musical Theatre. They are to be applauded for their talent, originality and the bravery of their choices in bringing this wonderful production to the Gorey stage. It was a privilege and a pleasure to attend. Bravo all! Pat McElwain Gilbert Adjudicator 2024/2025 Some photos kindly provided by the society - Photography by Darragh Carroll

Launch of Schools Musical Theatre Mentoring Pilot Programme

AIMS are delighted to announce that our Schools Musical Theatre Mentoring Pilot Programme 2024-2025 has launched! This will be an...

AIMS are delighted to announce that our Schools Musical Theatre Mentoring Pilot Programme 2024-2025 has launched! This will be an opportunity for schools to get advice from a professional working in the Musical Theatre space to help develop, sustain and affirm the work on musical theatre in their school or to help establish a musical theatre practice. Our Mentor for 2024-2025 is no stranger to AIMS Audiences...Peter Kennedy will be our Mentor of the upcoming season. He has years of experience and guidance for young performers around the country. He is also the Director of the AIMS Youth Summer School for more than 25 years so he will use this expertise to guide, mould and bring his expertise to this programme. We have over 30 schools signed up to the Mentorship Programme with the first show being Adjudicated in October and we are looking forward to sharing further updates, images and news from this scheme as the year goes full steam ahead! Wishing all the schools taking part the very best of luck and here’s to a successful year of this exciting mentorship programme ahead!

INFO: Registration for 24/25 is now open

With the new season upon us - have you booked your adjudication? (thanks to Clodagh Farrell who put together this very helpful...

With the new season upon us - have you booked your adjudication? (thanks to Clodagh Farrell who put together this very helpful infographic!)

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
Athlone Musical Society
Avonmore Musical Society
Ballinrobe Musical Society
Banbridge Musical Society
Belfast Operatic Company
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
David Hennessy Musical & Dramatic Society
Dunboyne Musical Society
Ennis Musical Society
Entr'acte Musical Theatre Society
Galway Musical Society
Galway University Musical Society
Gorey Musical Society
Harolds Cross Tallaght Musical Society
Jack Cunningham Productions
Kilcock Musical & Dramatic Society
Kilkenny Musical Society
Killarney Musical Society
Kilmainham Inchicore Musical Society
Leixlip Musical & Variety Group
Malahide Musical & Dramatic Society
Marian Choral Society, Tuam
Maynooth University Musical and Dramatics Society
Mitchelstown Musical Society
Muse Productions
Nenagh Choral Society Youth Academy
New Ross Musical Society
Newbridge Musical Society
Newcastle Glees Musical Society
North East Musical and Dramatic Society
North Wexford Musical Theatre
Oyster Lane Theatre Group
Portlaoise Musical Society
Rush Musical Society
SGPA
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
St. Patrick's Choral Society, Downpatrick
Teachers' Musical Society
Thurles Musical Society
Tipperary Musical Society
Tralee Musical Society
Trim Musical Society
Trinity Musical Theatre Society
Tullamore Musical Society
UCD Musical Society
Waterford Musical Society
Wexford Light Opera Society
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