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UPCOMING EVENTS

Muse Productions present "Shakespeare in Love"

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30 Oct 2024

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The Witches Of Eastwick

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19 Nov 2024

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Disney's Beauty and the Beast

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15 Oct 2024

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Everybody's Talking About Jamie

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16 Apr 2025

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Young Frankenstein

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20 Mar 2025

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LATEST NEWS

Forever Plaid as presented by Muse Productions

Muse Productions  Forever Plaid  Saturday 14th September 2024  PUBLIC REVIEW   A café, in an industrial estate in Shannon, Co. Clare, was...

Muse Productions  Forever Plaid  Saturday 14th September 2024  PUBLIC REVIEW   A café, in an industrial estate in Shannon, Co. Clare, was the venue for Muse Productions’ Irish premiere of ‘Forever Plaid’. It’s always refreshing to see something new and in an ‘alternative’ venue too. But I have to admit to feeling a little apprehensive at the prospect of seeing a cast of only four actors, with a band consisting of only keyboard and bass guitar, perform for 90+ minutes with no interval. In a café. In an industrial estate. I smiled an ironic little grin as I entered the Hope Café, HOPING that what lay ahead would manage to keep the attention of myself and the small, sold-out audience; every one of whom must have fancied their odds in the raffle. I needn’t have worried. Not one little bit.  Front of house was most efficient, and it wasn’t long before we were all seated looking at four covered microphones on a very small stage. The minimalist set consisted of two flats, two nicely framed ‘Forever Plaid’ logos, a wooden, barnlike back wall, a few stools and…eh…that was kind of it. The band, all two of them, were tucked away on-stage right, with the keyboard player in full view and the shy bassist partially visible behind one of the aforementioned flats.  First, some context for those unlucky enough not to have seen this production. ‘Forever Plaid’ introduces us to a 1950’s Pennsylvania-based, vocal quartet (The Plaids) who, we soon learn, have been wiped out in a terrible traffic accident, on their way to their first professional gig. Slammed by a bus full of Catholic schoolgirls en route to see The Beatles’ first performance on The Ed Sullivan Show in 1964, The Plaids have been given a second chance. A chance to return to earth 60 years later to perform the gig that eluded them when they met their tragic demise. And that’s where we find them. We are the audience for this, their one-off performance. Their opportunity to see what might have been. “The biggest comeback since Lazarus!” What unfolds over the course of the next hour and a half is delightfully entertaining, often hilarious and, at times, unexpectedly poignant.  Director, Martin McNelis knew the gig. He pitched this charming, revue-style show pretty much perfectly, eliciting superb performances from his four cast members and leaving no stone unturned as he squeezed every last comic nuance from this exceptionally talented quartet. Sometimes, there can be a small detail at the top of a show that makes you sit up and think “this is going to be a good one!” For me, that moment came right at the start as Smudge, Jinx, Sparky and Frankie removed the dust covers from their microphones and slowly folded them with deft precision and in perfect sync. It set the perfect tone for the evening’s entertainment and was a fitting overture to what would continue to be a very cleverly directed show, peppered with so many comic highlights and a fair dollop of nostalgia to boot. Audience participation and interaction was a key element to the comedy of the show. Even the AIMS President got in on the act, as did the delightful Rose who unexpectedly joined the guys on piano for an impromptu jam. How delighted Rose was to receive her plaid patterned dental floss and her personalised certificate.  Gary Loughnane’s choreography was not your usual musical theatre fare. There wasn’t a jazz hand or a ‘kick, ball, change’ in sight. But what we did see was in perfect keeping with 1950s, doo-wop style, precise moves. A very high level of collaboration with Mr. McNelis was evident in Mr. Loughnane’s work. There were brilliant comic touches built into the choreography. Going wrong on purpose is a very difficult thing to pull off convincingly. However, throughout this show, we had exactly that from our four talented, barbershop terpsichoreans; their perfectly synchronised moves being purposely thrown out of kilter by someone false starting on a box step or going right when the other three had gone left, or having to discreetly switch a microphone from right hand to left hand, mid-routine, in the hope that nobody had noticed. These ‘mistakes’ were cleverly incorporated into the moves and were the source of much hilarity throughout. What was so utterly clever about the execution was the subtlety of these deliberate errors and how we second guessed ourselves at times as to whether or not it was intended before seeing an equally deliberate, awkward attempt to fix said error.  Musical direction was in the hands of Shannon Hegarty. Ms. Hegarty also made up one half of the band. And, as strange as it may sound, this two-piece combo of piano and bass was more than adequate to bring the myriad musical numbers to life. Of course, their excellent musicianship was always apparent as they navigated through the many musical highlights, from the upbeat ‘Crazy ‘Bout Ya Baby’, to the Caribbean medley to the emotionally charged and uplifting finale ‘Love is a Many Splendored Thing’. The sparseness of the band also allowed us to relish the delicious four-part harmonies which were simply breathtaking at times.  Cliodhna McNelis, as chorus mistress, must have taken great personal pride in the well deserved standing ovation at the end of this show. Yes, she had four extremely talented young gentlemen to work with but those superbly sung, intricate, tight harmonies required a huge amount of hard work, drilling, guidance and, I’m sure, an infinite amount of patience before they were unleashed upon an audience. The Plaids’ local newspaper critic cuttingly declared “This group’s sound is to contemporary music as Formica is to marble”. I am so happy to report that nothing could be further from the truth!  It is almost impossible to discuss performances individually for this show as it was the cast’s collective excellence which stood out from beginning to end. Each of the four got to showcase themselves for their own star turn yet all four blended perfectly in performing this charming, ensemble piece. I think that one of the best compliments I can pay them is that, at different points in the show, each of them stood out as my favourite.  Conor McNelis as the bespectacled Smudge had exceptional comic timing and gave us a wonderful version of ‘Sixteen Tons’ whilst accompanying himself admirably on spoon and ketchup bottle. His geeky, nerdy persona was completely incongruent with his resonant, bass tones. His vocal depth was totally unexpected but, like so many unexpected elements of the show, took the audience by surprise in the best way possible. A superb performance all round.  Ethan Cassley gave a stunning performance as the timid Jinx, prone to nosebleeds when hitting the higher notes. The sight of a pitiful Mr. Cassley trying to bravely continue his performance with tissue-stuffed nostrils, had me howling with laughter. He too was a wonderful, natural comedian and this contrasted beautifully with his melancholic realisation that he would never have the opportunity to tell someone that he loved them. Mr. Cassley’s ‘Cry’ was a vocal highlight of the evening for me.  Colm Hogan played the hilarious Sparky and his towering stature was utilised to great comic effect throughout. His subtle raising of his mic stand early in the show, told us all we needed to know about his magnificent comic timing and the hilarity which was to ensue. He sang brilliantly in ‘Perfidia’ and his comic subtlety in trying to discreetly read the words written on his hand was a joy. However, Mr. Hogan’s ultimate showcase arguably came as he mimicked a seal with a ball on its nose. Yes folks, it was that kind of show!  Cillian Fahy as a sincere Frankie (real name Francis!) was an equally strong comic actor. He was a great conduit between the audience and the guys and revelled in blasting the fourth wall into oblivion. He had a gloriously warm tenor voice and really came into his own during his uplifting but poignant monologue at the end of the show, as he tried to convince his fellow Plaids to sing the finale ‘Love is a Many Splendored Thing’. This, of course, was the song they had been rehearsing in their convertible when that busload of pesky Catholic schoolgirls blasted them into the obituaries. And when we heard that final number, we were swept along on the crest of a heavenly, harmonic wave as our endearing quartet prepared to leave the stage for the very last time, having fulfilled their collective dream. It was one of those ‘in the feels’ moments.  Stage management was in the hands of Brian Dowling and Ted Germaine. Whilst there wasn’t anything for them to do in the way of set changes, I’m sure that they were kept busy having a multitude of props ready for the Plaids offstage left.  Many props were in what you might call a rather outlandish category. From the giant plungers used as mics, to Sparky’s melodica, to the coloured lights that unexpectedly made their way into the audience and back on stage again in a moment of utter mayhem, to Smudge’s ketchup percussion, you just never knew what weird and interesting item was going to appear next. There was great attention to detail too, with actual Decca 45s, brilliantly designed, mocked up album covers and, later in the show, more authentic album covers.  Lighting was basic but effective, utilising a small, compact rig. But there didn’t need to be any bells and whistles for this performance-driven piece, and everything was well lit throughout. Sound, although deceptively simple on the surface, must have taken some time to perfect. Four wireless handheld mics were used for most of the show. However, some of the show was unamplified. I have to admit that I was unsure about this aspect when it was announced before the show, but it worked perfectly in the intimate surroundings of the Hope Café. Balance between the band and vocals was always very good. What was most impressive though was the excellent balance between the four vocals. This was maintained even as lead vocals swapped between the four; something which would have taken quite some time in tech rehearsal to bed in.  Hair and makeup requirements were quite minimal apart from some obligatory hair grease. Costumes were excellent, from the classy white tuxedo jackets, plaid bow ties and matching cummerbunds of the opening scene to the iconic, long-awaited, plaid tuxedo jackets presented by a very competent delivery lady, living her best cameo life. The novelty sombreros were a humorous addition, adding nicely to the fun.  I can’t finish this review without mentioning the brilliant but utterly bonkers Ed Sullivan Show sequence, during which our crazy crooners hysterically performed a range of novelty acts at breakneck speed. They threw themselves into their roles as juggler, flamenco dancer, plate spinner, trick shooter, dog trainer and Mr. Hogan’s sublime ball-balancing seal.  This was a great production, superbly directed and brilliantly performed. I laughed, I had a speck of dust in my eye which needed wiping, and I laughed some more. A thoroughly entertaining night from four exceptionally talented young men, guided by a very strong production team, all of whom certainly gave Lazarus a run for his money! Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Darragh Carroll

Shrek as presented by Fermanagh Musical Theatre

Society name: Fermanagh Musical Theatre Show name:   Shrek The Musical Adjudicator Date of Attendance: 22/08/2024 Front of House & Venue...

Society name: Fermanagh Musical Theatre Show name:   Shrek The Musical Adjudicator Date of Attendance: 22/08/2024 Front of House & Venue I’m envious of the stunning setting surrounding the Ardhowen Theatre. Nestled in by the river, the views from the front of house are breathtaking, and despite the large glass windows, the foyer feels warm and welcoming. The space is well laid out, and Fermanagh Musical Theatre (FMT) is fortunate to perform in such a facility. The Front of House team matched this warmth with their approach—greeted with smiles and friendly chats, they were clearly on top of their game, ensuring everyone felt welcome upon entering the building. The theatre’s layout works in its favor, with no bad seats in the house. The intimate setting drew the audience into the world of Shrek The Musical . The production was light, fun, and filled with energy from start to finish.  Every performer on the stage was clearly enjoying themselves, and fully invested in telling the story. The show bounced along, never letting the energy drop, and never missing a beat. All in all, a very enjoyable evening's entertainment. Direction & Production Sam McElgunn was fortunate to have a talented cast to work with, though that can be both a blessing and a challenge for an inexperienced director. Overall, the pacing and flow of the show were strong, with no awkward pauses or lulls. The production followed a fairly traditional interpretation of the story. However, there were moments where the staging could have been stronger. most noticeably in the first scene with Shrek and the Fairytale characters where most of the scene was spent looking at Shrek’s back as he tried to address all the characters who remained stationary, often hidden, as they delivered their lines. The concept of having the characters turn the pages of the book was an interesting one and mostly worked, but consistency is key—either all characters should have participated in funky moves while changing the pages, or none at all. While the principal cast members were clearly talented, I felt Sam could have pushed them further, encouraging more exaggerated fairy-tale emotions and physicality. With each chorus member playing a distinct character, spending time developing their quirks and traits would have elevated the production, pushing the ensemble to maintain their characters throughout the show. Though time-intensive, such work adds layers and depth to a production. Sam clearly has a creative mind, but I’d suggest picking through all the ideas and focusing on the ones that truly serve the show and seeing them through completely. Musical Direction & Orchestra Moya Sweeney’s band was tight and well-rehearsed, with no missed cues or timing issues. She held them tight, feeling the ebb and flow of the show throughout. The tempos fit the energy of the show, bouncy when needed and held back when appropriate, always in sync with the action on stage. However, the balance between electric and acoustic instruments was an issue. This meant some of the score’s clever harmonies and instrumentation were lost. Vocally, the principals were strong throughout, handling the range of songs with ease. The chorus was equally tight, with well-rehearsed harmonies that blended beautifully. It helped that each cast member was mic’d, allowing every vocal moment to be heard clearly. Choreography Choreographers Chloe Martin and Cara Murphy delivered well-rehearsed routines with clean lines and high energy. It was evident that the cast had been drilled. Given their youth, I believe they could have been pushed even further. When youth is on your side, you can afford to take more risks with the complexity of the routines. There were some standout moments in the choreography, particularly the quirky "What’s Up Duloc" and the comedic "Ballad of Lord Farquaad." The use of fans in "Forever" was inventive, though I would have loved to see even more of them. Overall, the choreography flowed smoothly within the scenes, never feeling out of place or forced, though I suspect the cast has more to give if challenged further. Leading Principles John Og Cathcart (Shrek) : John captured Shrek’s softer side well, especially in the second act when his character falls in love with Fiona. He has a lovely tone to his voice and didn’t shy away from the bigger moments in the songs. However, I didn’t quite feel the full extent of Shrek’s annoyance, frustration, or anger, which would have provided more contrast between his gruff exterior and softer interior. John struggled a bit with the shoes, and I wonder if a different interpretation of Shrek’s physicality—perhaps using wider, more padded elements—could have avoided the awkwardness caused by the extra weight of the platform soles. Blathine Smith (Fiona) : Blathine was full of energy and comedy, easily switching between Fiona’s petulant child-like moments and her princess persona. Vocally, she sometimes slipped into nasal tones that were a little sharp, but there was no question about the power behind her voice. Confident on stage, Blathine led us through Fiona’s story arc with enthusiasm. Clodagh Sweeney (Donkey) : Clodagh was clearly comfortable with Donkey’s physicality, showing her experience as a performer. Singing in a male vocal range can be tough for someone with a female voice, but Clodagh handled it with ease. Her comic timing was spot on, though I would have liked to see her push even further, especially in her interactions with Shrek, really bringing him to his breaking point. Odhran Sweeney (Lord Farquaad) : I was delighted to see that Lord Farquaad was played kneeling, and Odhran’s portrayal was often hilarious. However, his costume and wig frequently needed adjustment, which distracted from his otherwise strong performance. Vocally, he was a great fit for the role, moving through his numbers with ease. Supporting Roles Amy Bogue (Teen Fiona)  was a standout, with some of the strongest vocals on stage. She commanded her role well but also blended seamlessly into the chorus when required. I look forward to seeing more from her in future productions. Niamh Maguire (Young Fiona)  handled her part well, though her more mature vocal and physical presence made it harder to believe she was the youngest version of Fiona. Harry Parkinson (Pinocchio)  impressed with his ability to sing in a high register without ever dropping it, and his physical portrayal of the puppet was spot-on. Niall Kerr (Gingy)  did a fantastic job handling the puppet, maintaining focus on the puppet rather than himself, and his falsetto singing never wavered. Nadia Stenson (Dragon)  managed the role vocally, but I missed the sass and swagger typically associated with the character, leaving me feeling that there was more untapped potential there. Chorus/Ensemble The chorus was vocally strong, with harmonies blending well and no individual voices dominating. This is a clear sign of a well-rehearsed group. Movement-wise, they worked well together, though some of the less experienced performers occasionally lost their character when they weren’t the focus. Maintaining those individual traits throughout would enhance their performances. Still, the cast looked like they were having a great time on stage, and their energy was infectious. Stage Management & Set Design Stage transitions were inconsistent, ranging from cast-led changes to blackouts and half-blackouts with visible stage crew. My advice here is to pick one style of transition and stick with it. The set design also suffered from a lack of cohesion. While there were some standout pieces—like the book, the fireplace, and the cloths—others lacked the finishing touches that would have tied everything together. Consistency in painting style and either fully embracing the function form of, or completely hiding, the steel deck would have improved the overall look. Technical Lighting was a disappointment. I spent the first 15–20 minutes wondering if there was any color in the lighting at all, and when it did appear, it felt too late. The difference in levels between upstage and downstage was also jarring, as characters would suddenly get brighter or darker depending on their position. Sound balance was an issue. There was a noticeable difference between the electrical instruments, and the acoustic instruments, leaving the overall sound a bit thin at times.  While every member of the cast was mic’d and the balance of vocals was good, there were numerous missed cues, which even after multiple performances was noticeable.  Costumes, Hair & Makeup Costumes were hit and miss. Pinocchio and the Dragon’s wings were well executed, but others, like the Witch and Cheshire Cat, needed more detail to elevate them to fairytale status. Fiona’s costumes were two sizes too big, which was distracting and detracted from the character. Wigs, with the exception of Lord Farquaad’s, were good, though Shrek’s crochet cap could have been improved with a bald cap. Adjudicators comments and suggestions This production had many strong creative ideas, but attention to detail and consistency would push it to the next level. Attending some technical and production focused workshops, as well as bringing on assistants in some departments would help address this. The young cast showed great potential, and with further challenges and refinement, they could produce something truly exceptional. A fun and enjoyable show that, with a few improvements, could reach even greater heights. Therese Maher Sullivan Adjudicator 2024/2025

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

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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