top of page

UPCOMING EVENTS

Sweeney Todd - The Demon Barbar of Fleet Street

​

16 Feb 2026

More...
​

​

​

More...
Anything Goes

​

14 Apr 2026

More...
The Witches of Eastwick

​

17 Feb 2026

More...
Annie

​

20 Nov 2025

More...

LATEST NEWS

Review: Jesus Christ Superstar - Odd Theatre Company

Society Name: ODD Theatre Company Show Name: Jesus Christ Superstar Adjudicator Date of Attendance: 25/10/2025 ODD Theatre Company’s Jesus Christ Superstar was an electrifying and profoundly creative reinvention of Andrew Lloyd Webber and Tim Rice’s iconic rock opera. Performed in an intimate venue, this production stripped the show back to its emotional core while amplifying its raw, visceral energy. The company’s decision to stage it as an actor-musician production proved a stroke of...

Society Name: ODD Theatre Company Show Name: Jesus Christ Superstar Adjudicator Date of Attendance: 25/10/2025 ODD Theatre Company’s Jesus Christ Superstar was an electrifying and profoundly creative reinvention of Andrew Lloyd Webber and Tim Rice’s iconic rock opera. Performed in an intimate venue, this production stripped the show back to its emotional core while amplifying its raw, visceral energy. The company’s decision to stage it as an actor-musician production proved a stroke of genius, an audacious concept that fused performance and instrumentation into a single, organic storytelling language. The result was not merely a retelling of the Passion, but a living, breathing act of theatre: unpredictable, deeply human, and often spellbinding. From the moment the audience entered the space, it was clear that something special was about to unfold. The industrial, stripped-back set, set an anticipatory mood. The atmosphere was charged, the space brimming with creative tension.  Director Cian O’Dowd demonstrated both bold imagination and technical mastery in a production that managed to feel intimate yet epic. His actor-musician concept was perfectly suited to the piece: the performers not only acted, sang and danced, but also played their own instruments, weaving the score into the storytelling. It was a seamless merging of form and function that made every beat of music feel personal, every lyric grounded in lived emotion. The decision to place the High Priests on an elevated platform, instruments in hand, was a particularly inspired image. Watching them look down on the action, sometimes descending to interfere, like sinister puppet masters, gave a chilling sense of omnipresent control. This visual idea of manipulation and hierarchy ran through the entire staging, a testament to Cian’s precision in visual storytelling. Despite the small space, the production never felt confined. Movement was purposeful and fluid, transitions were beautifully timed, and each scene bled effortlessly into the next. The relentless drive mirrored the inevitable path to Jesus’s crucifixion, creating a sense of building intensity that was both thrilling and harrowing. Cian’s decision to cast women in several traditionally male roles was handled with intelligence and care. Rather than drawing attention to itself, it expanded the story’s humanity and power dynamics, offering new shades of authority and empathy. Similarly, allowing Jesus and Judas to accompany themselves on piano and guitar during key moments lent a disarming intimacy, music literally became their means of prayer, reflection, and doubt. The choice to end without a Resurrection was bold but entirely fitting. The production’s emotional crescendo reached its peak with the crucifixion, and to follow that devastation with an epilogue of hope would have diluted the intensity that had been so carefully built. The silence that followed the final moments felt both reverent and devastating. Every detail of the character work was carefully considered. Performers who played multiple roles were distinct and unrecognisable from scene to scene, a credit to sharp direction, attentive costuming, and a company entirely committed to storytelling. This was direction of exceptional maturity: emotionally intelligent, conceptually brave, and beautifully executed. The dual musical direction of Keelin Kilduff and Cian O’Dowd was nothing short of extraordinary. To have a cast not only perform one of musical theatre’s most demanding rock scores but do so while playing the instruments themselves required monumental discipline. The level of preparation and musical understanding was astonishing. Vocally, the small ensemble achieved a remarkably full and balanced sound. Harmonies were rich and well-blended, and even when the cast were in constant motion, their tuning remained precise. The vocal energy sustained throughout the piece gave the score new texture and freshness. Under the assured leadership of Ben Cooke, the onstage musicianship was thrilling. Rather than hidden in a pit the onstage musicians enhanced the sense of immediacy, reminding us that music itself was the driving force of the narrative. Though the lack of clear sightlines occasionally caused slightly uneven entrances, these moments were fleeting and forgivable given the complexity of the setup. Sound balance was generally excellent, though the keyboards sometimes overpowered the vocals, particularly in quieter, more introspective moments. In such a small space, a touch more restraint could have brought greater clarity to the lyrics. Nonetheless, the sonic landscape created by the cast was breathtaking. The energy, precision, and passion of the music gave the production its heartbeat. Áine Foley’s choreography complemented the production’s intensity with sharpness and intelligence. Working in a limited space, Aine created movement that felt dynamic yet never cluttered. Her use of upper-body choreography kept the action alive without overwhelming the space. Every movement had purpose; nothing was gratuitous. The choreography worked hand-in-hand with the music, underlining shifts in tone and emotion rather than decorating them. The “Superstar” number was a particular highlight, fizzing with energy and precision. A touch more consistency in energy among the featured dancers would have tightened the impact further, but overall Aine’s work was inventive and deeply effective. At the centre of the production was Adam Trundle as Jesus. His portrayal was thoughtful and technically accomplished. His musicianship was evident from the start; his piano and guitar work added an emotional layer that grounded the character’s spirituality in humanity. His Jesus was quiet and reflective, more philosopher than zealot, though this understated approach occasionally came at the cost of magnetism. The charisma that drives others to follow him was understated rather than commanding. In Act Two, Adam’s restraint paid off: his anguish and exhaustion in the final scenes were more moving. As Judas, Liz Stears gave a performance of stunning intensity. From her first moments on stage, she exuded purpose and turmoil. Her voice, powerful, gritty, and precise, cut through the space, but it was her emotional control that truly elevated the performance. Liz conveyed the inner conflict of Judas with nuance and pain, allowing us to understand rather than simply judge him. Her renditions of “Heaven on Their Minds” and “Superstar” were electrifying. Emmagene Cooke’s Mary Magdalene broke from the usual softness of the role. Her Mary was strong, pragmatic, and self-assured, yet capable of moments of piercing vulnerability. Her belt voice was formidable, though occasionally a gentler tone might have brought additional emotional variety. Her raw, grief-stricken cries during the crucifixion sequence were unforgettable, haunting and heart-wrenching in their authenticity. Orla Williams’s Simon Zealotes radiated energy and devotion, her dynamic presence commanding the stage in her titular number. Gearóid McGauran’s Caiaphas was a study in restrained menace, his deep voice and deliberate movements giving him the authority of a figure who wields quiet but absolute power. Both offered performances rooted in clarity and control. Among the supporting cast, Cormac Malone delivered a nuanced and compelling Pilate, capturing both the public and private sides of a man burdened by moral conflict. His “Pilate’s Dream” was tender and tormented, while his later scenes were chillingly composed. Cormac Dredge’s King Herod took a dramatically different approach from the usual flamboyance, offering a darker, more sinister take that leaned into grotesque humour and violence, a fascinating, unsettling reimagining. Conor Kilduff’s Annas brought poise and precision, his singing confident and smooth, while Daniel Ryan as Peter gave a heartfelt portrayal that charted his faith and fear with sincerity. His duet with Mary in “Could We Start Again Please” was beautifully judged, a brief but emotionally resonant moment of stillness in the chaos. The ensemble were the unsung heroes of this production. Their ability to juggle singing, acting, and live musicianship while maintaining tight ensemble unity was extraordinary. Their harmonies were lush and balanced, and they maintained unwavering focus throughout. In a show where every performer was visible and constantly active, their consistency was commendable. A few smaller scenes might have benefited from slightly more even energy across the group, but overall, this was a company functioning as a single, cohesive organism. Stage Manager Clodagh Donnelly ensured a smooth, professional flow throughout. With minimal set changes, precision was key, and everything, from prop handling to transitions, was executed flawlessly. The design work was striking. The graffiti-covered platform evoked both the ancient and the post-apocalyptic, creating a world that felt timeless. It placed the story in a symbolic no-man’s-land, part rock concert, part wasteland, part temple. The layering of levels allowed for clever visual storytelling, giving status and hierarchy clear physical form. Lighting design was effective and expressive, using shadow and silhouette to great emotional impact. The betrayal and crucifixion sequences were particularly powerful, the light sculpting the actors into haunting, painterly compositions. The only minor drawback was an overuse of one chase effect that occasionally distracted from the action. Sound design was mostly excellent, managing the unusual blend of live instruments and vocals with skill. Some moments, particularly those dominated by keyboard, could have benefited from a gentler mix, but overall, the sound supported the intensity of the score without overwhelming it. The costume design leaned heavily into a Mad Max-inspired aesthetic, gritty, torn fabrics, leather textures, and asymmetrical cuts that gave the world a sense of decay and defiance. Each character carried their own colour palette, defining personality and allegiance while maintaining cohesion. The “Superstar” costumes glittered with celestial light, a striking contrast to the earlier grunge palette. Judas’s continued black attire provided a poignant visual reminder of her isolation. The only visual inconsistency appeared in Herod’s chorus, whose costumes wavered between sparkle and grit without committing to one direction. Make-up and hair design were outstanding. The apostles’ tribal markings added unity and identity, while the ghostly, pale faces of the High Priests gave them an eerie, otherworldly aura. Every visual element reinforced the story’s tone and atmosphere. The Front of House team handled the evening with the same professionalism that characterised the performance itself, welcoming, organised, and attentive. Their calm efficiency ensured a smooth-running night, while their evident enthusiasm mirrored the infectious energy emanating from the stage. ODD Theatre Company’s Jesus Christ Superstar was a remarkable achievement, fearless, inventive, and emotionally searing. It was a production that challenged both its performers and its audience, stripping away the expected polish of the musical-theatre canon to reveal something raw and immediate. The integration of live instrumentation elevated the piece from a musical to an experience, a total immersion in sound, story, and emotion. Ultimately, this Jesus Christ Superstar stood as a testament to what can be achieved when ambition is matched by talent and discipline. ODD Theatre Company have proven themselves once again to be fearlessly creative, artistically intelligent, and unapologetically original. Photos by Liam Mullen

Review: Made in Dagenham - Tullyvin MS

Public Adjudication Society name: Tullyvin Musical Society Show name: Made in Dagenham Date of attendance: 18 th  October 2025 There is something so uplifting about amateur musical theatre produced by local, community-based groups. There is a palpable passion and sense of togetherness as collective energies come together to create a unique, shared experience for performers and audiences alike. Tullyvin Musical Society’s ‘Made in Dagenham’, performed at Tullyvin Community Centre, was exactly...

Public Adjudication Society name: Tullyvin Musical Society Show name: Made in Dagenham Date of attendance: 18 th  October 2025 There is something so uplifting about amateur musical theatre produced by local, community-based groups. There is a palpable passion and sense of togetherness as collective energies come together to create a unique, shared experience for performers and audiences alike. Tullyvin Musical Society’s ‘Made in Dagenham’, performed at Tullyvin Community Centre, was exactly that kind of evening. Life imitated art, as cast and crew pulled together and supported one another, in difficult circumstances, to achieve something they believed in, just as the Dagenham Ford workers had done before them back in 1968. Based on a true story, ‘Made in Dagenham’ poses many challenges for any society. A myriad fast-changing locations, challenging music, and the need for sharp comedic delivery keep the cast and crew on their toes from start to finish. Tullyvin Musical Society faced these challenges head-on, mirroring the very spirit of solidarity at the show’s core. The beautifully decorated foyer set the perfect tone for the evening. As we entered the community centre, we were immediately immersed in the world of the show. Great effort had gone into the atmospheric décor and the front of house team’s 1960s-themed attire. It was a nicely nostalgic touch. There was something very special about the genuine, warm welcome which was extended to everyone with such enthusiasm and efficiency.  It was clear that Tullyvin’s front of house team had thought carefully about audience experience.  Aoife Shalvey made her directorial debut, having worked as Assistant Director for the society’s last production. And what a show to take on as a first-time director! Ms. Shalvey had a good awareness of pace, ensuring that the show moved along in a fluid, entertaining way throughout. She balanced comedy and conviction well and she had a good handle on the show’s tone. She embraced the humorous tone without losing sight of the emotional core of the show. It was an impressive debut and Ms. Shalvey will have learned a great deal from the experience. A bit more attention to detail would have brought this production to another level. Of course, that will come with experience and Ms. Shalvey has a bright future ahead as a director.  Dave McGauran’s musical direction was nothing short of excellent. From the first bars of the overture, the audience was enthralled by the precision and gusto of his very accomplished eight-piece band, which was impressively well-balanced and never overpowered the cast. The wide range of styles was very well handled, from rousing anthems like ‘Everybody Out’ to poignant ballads such as ‘The Letter’. Vocal dynamics were generally very good. Harmonies in ‘Made in Dagenham’ were nicely balanced, even if the male chorus ran slightly ahead of the band in their excitement. The ensemble sound in ‘Pay Day’ and ‘Viva Eastbourne’ was raucous and energetic, adding greatly to the narrative context. There was a very strong rapport between the pit and the stage overall. Underscoring was exceptionally well handled, with the band level being pulled right back, where required, to ensure that dialogue was always heard. Excellent work all round. Aisling Rountree’s choreography was inventive and full of purpose, always driving the narrative. Ms. Rountree has a keen eye for creating routines that feel organic to the world of the show and her ability to tap into the heart of the story was very clear. All of the factory floor sequences worked very well. Routines were well-rehearsed and precise whilst still maintaining the raw energy required. I loved the guys in the titular number with their industrial energy perfectly matching the setting. Their use of props, such as tyres and torches was great fun. ‘Cortina’ was a comic highlight, poking fun at 1960s advertising with the cheesy performance style of the ladies and the equally cheesy, gyrating Cortina Man. The routine was slickly staged, funny and very well performed. There was great unity and power in ‘This Is What We Want’ and ‘Always a Problem’ was quirky and fun with Harold and his aides. ‘This is America’ was suitably precise, with its well-rehearsed military exercises and there was lovely work from the two majorettes and their twirling batons. ‘Stand Up’ was uplifting and organic in its movement, leaving anyone with a pulse feeling a heartfelt sense of togetherness and solidarity. A super job from Ms. Rountree. At the centre of the production was Andrea Fitzpatrick’s strong performance as Rita O’Grady. This was a convincing portrayal with Ms. Fitzpatrick demonstrating great emotional depth and vocal power. There was humanity to Ms. Fitzpatrick’s interpretation of the role that was most compelling. Her Rita felt very real. She was warm and witty, endearing herself to the audience from the start. She demonstrated considerable strength throughout the show but managed to balance this with some lovely moments of vulnerability. Vocally, Ms. Fitzpatrick was very strong. Her performance of ‘Stand Up’ was an emotional high point of the evening. Her powerfully delivered speech segued into the song with conviction and passion that literally encouraged everyone to “stand up”. An impressive performance all round. Enda Gill gave a heartfelt performance as Rita’s husband, Eddie. He played Eddie’s struggle to adapt to the changing world around him with great sincerity. Mr. Gill had a fine comic touch and a natural stage presence which made him instantly likeable. This made his inner conflict all the more poignant. ‘The Letter’ was one of the highlights of the show, performed with heart wrenching sincerity and well-judged emotion. Mr. Gill’s scenes with Ms. Fitzpatrick were very well paced, capturing all of the complexities of their relationship, from the tenderest moments, to the heartache, to their eventual reconciliation.  Pamela McCormack was quite the scene stealer as the irrepressible, often foul-mouthed, Beryl. Her peppering of expletives into almost every interaction, was a source of great hilarity. Ms. McCormack’s comic timing was strong and her energy lifted every scene she was in. She didn’t overplay to the point of caricature, thus ensuring that we never lost sight of Beryl’s humanity. She was vocally strong and added much to the ensemble numbers. A very entertaining portrayal. Emily Smith gave a quietly understated performance as Clare. Ms Smith played the role with an endearing sincerity. ‘Wossname’ showcased her fine soprano voice, as she belted out one of the most entertaining numbers of the night. She did well at capturing the character’s vulnerability and determination. I did feel that more work could have been done with the director to help push Clare’s quirkiness and comedic side. This could have elevated a very good performance to an excellent one.  Only seventeen years old, Aiveen Sexton was charming as the wannabe airline pilot, Cass. Her sincere delivery and optimistic outlook endeared her to the audience from the outset. Ms. Sexton was a beacon of quiet hope throughout, in total contrast to Beryl and her tougher, more vocal colleagues. Vocally, she contributed well to the strong ensemble sound and she had excellent presence during choreographed numbers. It was a well-judged performance which highlighted great potential for future productions. Alannah Pepper did very well in the role of Sandra. She had strong comic timing and clearly understood the tone of the show very well. Ms. Pepper balanced the glamour and the grit of her character nicely, making Sandra more than just comic relief. Her friendship with Rita felt natural and warm. Ms. Pepper had very good stage presence and natural timing, which suggests wonderful potential for leading roles in future productions. Vocally, she shone in ensemble numbers, demonstrating impressive range and a great sense of musicality. Her range was slightly stretched at the end of ‘Everybody Out’ but that isn’t surprising, given that it was the second performance of the day, at the end of a week’s run. ‘Veteran’ society stalwart, Jackie McQuillan, played veteran union stalwart Connie, bringing a commanding presence and gravitas to the stage. Ms. McQuillan played the role with a no-nonsense attitude and a dry wit which contrasted nicely with the younger factory workers. ‘Same Old Story’ was delivered with genuine emotion, in what was a very moving and understated performance. Her warm connection with Rita was both believable and touching.  Liam McEnerney provided much levity as Harold Wilson. His caricature of the Prime Minister bordered on farcical but it was very funny indeed. From his silly mannerisms to his often salacious asides, Mr. McEnerney enjoyed every scene he was in. There was good comedic chemistry between himself and Barbara Castle and ‘Always a Problem’ was most entertaining. He didn’t always nail Harold’s Yorkshire accent. However, this was easy to forgive, given how much fun he brought to the production. Gemma O’Reilly was a strong, “fiery” Barbara Castle. She had a great mix of authority and comedic timing which made her an audience favourite from the start. She had a fabulously expressive voice and her performance of ‘Ideal World’ was a musical highlight of the evening.  Brian Feerick demonstrated great comic timing in the role of Monty and his early scenes with the girls on the factory floor were very well played. His reactions and facial expressions as the girls laid it on the line during ‘This is What We Want’ were very funny. But it was his hospital scene with Rita, after Connie’s passing, that showed Mr. Feerick’s real skill as an actor and his excellent emotional range.  Paula McEntee’s Lisa Hopkins was a well-realised portrayal. The plant manager’s wife was an unlikely but essential ally for Rita and Ms. McEntee did very well as her quiet admiration grew and her warmth and support for her husband’s adversary became stronger.  Eugene Hill played Mr. Hopkins with comic frustration and bluster that made him instantly likeable. His rather desperate focus on keeping the American overlords happy was very funny and he managed the fine line between authority and silliness very well.  Colm Shalvey gave a larger-than-life performance as the cigar-chomping executive Mr. Tooley. This was a very entertaining portrayal of the American corporate villain, full of arrogance but with a good comic edge. Mr. Shalvey had a very strong voice and ‘This is America’ was sung with the authority of a man enraged at finding a group of working-class women standing in his way.  The younger O’Gradys, Sharon and Graham, were delightfully portrayed by Zoe Hannigan and Tighearnán Ó Maol Tuile. There was a touching innocence to their portrayals, which were grounded in reality as Rita’s family life began to crumble. Tighearnán sang beautifully at the top of ‘School Song’ and Zoe’s recorder playing was very impressive.  The ensemble work was strong throughout, with the factory workers and government aides providing great energy and commitment to the storytelling. Chorally strong, they brought numbers to life with a very good understanding of dramatic context.  ‘Pay Day’ and ‘Viva Eastbourne’ were suitably raucous and there was excellent strength and resolve in the uplifting ‘Everybody Out’ and ‘Stand Up’. There was a real sense that the strength of community offstage contributed greatly to the solidarity onstage.  The set design worked very well for this production. Dominated by brickwork, we had an immediate sense of industrial working-class Britain in the 1960s. The dominating Ford logo on the back wall provided further context, as did the various safety signs. The two side aprons, with steps leading to doors with their cleverly detailed, faded paintwork, provided some nice staging opportunities throughout. The use of two upstage revolves, a tried and tested feature of previous productions of ‘Made in Dagenham’, ensured slick and seamless transitions between the show’s multiple locations. Overall, this was a wonderful use of limited space; flexible, functional and visually appealing. Scene changes were executed very slickly, thanks to stage manager Stephen Hannigan and his well-rehearsed crew. The revolves contributed greatly to the fluidity of these changes. The crew is to be commended for both the timing of these transitions and their quiet preparation of locations when the various ‘rooms’ weren’t visible to the audience. Props and set pieces moved on and off silently and efficiently, a sign of careful planning and strong backstage coordination.  Lighting was an area that I felt needed more creativity and more directorial input. Overall, the design was basic but functional. Creation of atmosphere is paramount when lighting musical theatre and there was a number of missed opportunities in this regard. The ‘throwback’ to Connie joining the Labour Party during ‘Same Old Story’ needed attention. It was in her mind, not in real time, and, as such, required separation and a more ‘other-worldly’ feel. Sudden lighting transitions and unnecessary ‘snap’ cues jarred at times. Slow fades over a few seconds would have complemented moods nicely. Some scenes were very well lit. There was good separation of locations and excellent timing for the challenging ‘Everybody Out’. There was creative use of colour, with the red, white and blue, in ‘This is America’. There was lovely work in creating focus once we got into ‘We Nearly Had It All’. Overall, a basic but functional design, operated very well, which could have benefited from more attention to detail in general. Sound design was very well-managed, with only occasional balance issues in larger choral numbers. The band was particularly well mixed. Dialogue was clear throughout, with suitable EQ levels and cuing of microphones was solid. Sound effects were generally well-chosen and, for the most part, set to appropriate levels. These included all of the factory effects as well as the Liverpool-bound train during ‘Everybody Out’. The feedback when Rita tapped the conference microphone was a nice touch but I felt that the absence of additional reverb on her mic during the speech was a missed opportunity. Very good work overall. For the most part, props, were impressive for a production of this scale. Everything from sewing machines and period telephones to kitchen dressing, such as the cornflakes box and other items, looked authentic and era appropriate, helping to place the action in its historical context. The pull-out ‘profit’ sign worked very well in ‘Always a Problem’ and Graham’s football was perfect. Sharon’s stethoscope was a really nice touch, as were the aides’ mini Union Jack flags. A few things were in need of some attention. Harold’s desk was very underdressed for a busy Prime Minister and the same distinctive red and white chairs turned up in multiple locations.  The costume department did great work in recreating the late 1960s aesthetic. The women’s dresses were evocative of the era and their factory coats were reflective of the industrial conformity of the Ford plant. I felt that Barbara Castle’s dress, as lovely as it was, could have done with some more length to be more ‘politician-like’ and a change of costume for her trip to Eastbourne would have been appropriate. Tooley’s stars and stripes robe and his white cowboy suit were suitably arrogant. The stars and stripes dresses and military fatigues for ‘This Is America’ were excellent choices. ‘Viva’ Eastbourne’ was great fun with good colour choices adding to the celebratory feel.   There was good work from the hair and makeup department too. The 1960s aesthetic was well captured with good attention to detail for hairstyles and makeup colour choices. There were some very well-chosen wigs too; most notably Barbara’s “fiery” do and a very fetching blonde for Cortina Man. Tullyvin Musical Society’s vibrant production of ‘Made in Dagenham’ was everything that amateur musical theatre should be. It captured the beating heart of the Ford workers’ tight-knit community, through the collaboration, commitment, and creativity of their own. It was touching, it was funny and it was uplifting, prompting a capacity crowd to spontaneously “stand up” and show genuine appreciation. A shining example of what happens when a community stands together. Pat McElwain Sullivan Adjudicator 2025/2026

Review: My Fair Lady - Dundalk MS

Public Adjudication Society name: Dundalk Musical Society Show name: My Fair Lady Date of attendance: 16 th  October 2025 I was reminded, when attending Dundalk Musical Society’s production of ‘My Fair Lady’, just how popular the golden-age musicals still are with today’s audiences. Almost seventy years on from its premiere on Broadway, Tony Finnegan’s pacy production underlined the enduring relevance of such ‘classics’, balancing nostalgic warmth with a creative flair that kept us engaged...

Public Adjudication Society name: Dundalk Musical Society Show name: My Fair Lady Date of attendance: 16 th  October 2025 I was reminded, when attending Dundalk Musical Society’s production of ‘My Fair Lady’, just how popular the golden-age musicals still are with today’s audiences. Almost seventy years on from its premiere on Broadway, Tony Finnegan’s pacy production underlined the enduring relevance of such ‘classics’, balancing nostalgic warmth with a creative flair that kept us engaged and entertained from start to finish. A keen eye for storytelling, comedy and an acute awareness of the importance of pace, meant that this was a most engaging production of Lerner and Loewe’s classic musical tale based on George Bernard Shaw’s ‘Pygmalion’. The front of house team in An Táin Arts Centre, did a fine job in creating a very welcoming atmosphere as the capacity audience arrived. Their cheerful tone was evident throughout the building as we took our seats in anticipation of being transported back in time to Edwardian London. There was an exceptionally prompt start to proceedings as the announcements began almost on the stroke of 7:30pm. I could count on one hand how many times I’ve experienced that over the years! A super job from all involved. In the programme, director, Tony Finnegan, lists ‘My Fair Lady’ as one of his favourite shows and this was no surprise as we witnessed his care, clarity and attention to narrative detail at every turn. Pace was a key part of the success of this production and Mr. Finnegan handled this element so well, ensuring that each scene was delivered with vitality and fluidity, yet never compromising on thoughtfulness. The seamless flow between dialogue, song, and scene transitions demonstrated great familiarity with the material and a keen understanding of its challenges. There were so many impressive directorial touches which elevated the storytelling. I loved the clever use of the gauze which revealed the cast at the top of the show and finished Act 1 with a lovely picture as Higgins observed from downstage. Dialogue was beautifully pointed and nuanced throughout. Sometimes it’s the simplest of details that impress the most. There were many of these. Eliza listened intently when Higgins mentioned his address in Covent Garden. It is an ‘obvious’ detail that can often be missed. Act 2 scenes between Eliza and Higgins were as good as I’ve seen. These scenes had it all; comedy, exceptional pace, thought and genuine, heartfelt emotion. Their relationship was believable and avoided melodrama in favour of what felt like truth and sincerity. A most confidently directed production which was funny, poignant and full of energy, as required. Musical Director, Elizabeth Freeburn, led an excellent 12-piece orchestra from her keyboard, bringing Lerner and Loewe’s classic score to life with great energy and polish. From the opening notes of the shortened overture, we knew that we were in for a musical treat. Tempi were well judged throughout, from the enthusiastic merriment of ‘Get Me to the Church on Time’ to the beautifully lyrical ‘I Could Have Danced All Night’. Ms. Freeburn’s connection with cast was noteworthy throughout. Entries were clean, cues were precise and there was very good attention to vocal dynamics. The only slight hiccup was in ‘Ascot Gavotte’ which was vocally strong but timing could have been tighter to achieve a more accurate, clipped delivery. There was excellent vitality and gusto in ensemble numbers such as ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’, which allowed cast to perform with great character.  It's not too often that I’ve come away from a production of ‘My Fair Lady’ in which choreography was a standout element of the show. Daniel Maguire’s choreography was exactly that. His cleverly devised routines would not have been out of place in a professional production. Every movement had purpose and, most importantly, was woven into the storytelling. Props were cleverly incorporated into Mr. Maguire’s choreography, which was always grounded in the narrative. Routines were character driven, bringing Edwardian London to life with great vibrancy, whether through exaggerated cockney swagger in Covent Garden or the stylised formality of the upper classes at Ascot. Cast were very well-rehearsed, sharp in their execution and their cheers and ad libs added wonderful energy and realism. Excellent work from start to finish. Anna Maria Boyle was a very strong Eliza, the cockney flower girl with aspirations to become a ‘lady’. Ms. Boyle delivered a very intelligent, heartfelt performance, which was vocally most impressive. She was very conscious of her physicality throughout. There was a marked contrast between how she carried herself as an unrefined street urchin to her beautifully poised movement at the Embassy Ball. And yet we still saw flashes of the old Eliza bubbling under the surface, thus maintaining her character’s authenticity. Her character was elevated to another level post-transformation, as she came alive with her over enunciated, clipped delivery, in what was a very commanding performance. Comedic timing and delivery were excellent throughout, with the ‘marbles’ scene being one of many comic highlights, as was her aunt’s unfortunate demise, due to influenza! Ms. Boyle delivered some outstanding vocal moments. ‘Wouldn’t It Be Loverly?’ was sung with genuine warmth that showed intelligent connection with the lyrics. ‘I Could Have Danced All Night’ had beautiful tone and impressive phrasing. Chemistry with Higgins was palpable and her timing, upon her return to Wimpole Street in the final scene, was just perfect. James McGinn gave a commanding and nuanced portrayal of Higgins. His excellent, natural delivery style demonstrated a wonderful understanding of text. Mr. McGinn had it all; presence, clarity of diction and very impressive timing. He skilfully balanced self-righteous arrogance with moments of confusion at his own feelings, avoiding the bombastic caricature that Higgins can often become. He had an expressive, baritone voice and was able to deliver his patter songs with great precision. ‘Why Can’t the English?’ was a perfect example of his exceptional diction, humour and expression. ‘I’ve Grown Accustomed to Her Face’ gave us a glimpse of tenderness beneath his pompous exterior, in what was a beautifully considered performance.  David Bradley was a solid Colonel Pickering. His warmth and integrity balanced nicely with Higgins’ gruffness. Mr. Bradley had good stage presence and his diction was generally strong. He really came into his own during his phone call scene, during which he demonstrated good pace, comic understanding and delivery. Vocally, his light baritone was nicely effective in the congratulatory ‘You Did It’. I really enjoyed Daniel Farrell’s sprightly Alfred P. Doolittle. His energetic exuberance, rich voice and sharp comic timing brought each of his scenes to life. He was quite the mover too. ‘With a Little Bit of Luck’ was great fun and the wonderful ‘Get Me to the Church on Time’ brought the house down. Mr. Farrell infused his character with an endearing, roguish charm, ensuring that he had the audience in the palm of his hand from his first entrance to his final bow.  Marc Byrne and David McArdle were a perfectly cast duo as Alfred’s sidekicks, Harry and Jamie. Their energy was infectious and they played wonderfully off one another, with plenty of comic interplay and cheeky physicality. Their animated movement and expressive faces brought great fun to numbers such as ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’. They had an excellent rapport with Mr. Farrell and led from the front in setting the dynamic tone of their ensemble scenes. Max Valentine (surely the coolest stage name ever!) displayed a lovely blend of earnestness and charm in the role of Freddy. This was a very impressive performance. Mr. Valentine had excellent presence, good comic timing and his delivery of dialogue showed a really keen understanding of the narrative. ‘On the Street Where You Live’ was joyful, showcasing his expressive tenor voice. This was a very assured and emotionally sincere performance, filled with a genuine sense of romantic hope.  Patricia Savage brought all the necessary pomposity to the role of Henry’s mother, Mrs. Higgins. She balanced her quiet, no-nonsense authority very nicely with her evolving warmth towards Eliza. Her dry wit and well-timed reactions were subtly delivered and understated. Ms. Savage’s withering glances of disapproval left us in no doubt as to who was actually in charge in the Higgins family.  Treasa Ní Chuinleabháin gave a well-judged performance as Higgins’ pragmatic yet compassionate housekeeper, Mrs. Pearce. Her initial exchanges with Eliza were quite sharp and dismissive but her stern exterior melted as she too warmed to her. Her interactions with Higgins were humorous, as she brought realism and warmth to the chaos around her. Ashley Copas-McCormack impressed in the role of the sharp-tongued Mrs. Hopkins, proving the adage that there is no such thing as a small part. She was delightfully expressive and had excellent diction and projection. Her characterisation was full of energy and she was a standout member of the ensemble. We really needed to see more of Mrs. Hopkins. A spin-off, perhaps?  The myriad supporting roles were given good attention to detail also, adding great depth to production in general. The ensemble work was consistently strong. From the Covent Garden crowd, to the Ascot elite, to the embassy revellers, they all had the commitment and energy required. Ensemble members were in tune with the narrative throughout, always acting and interacting appropriately. There was great work from the maids in their harmonies and storytelling during ‘The Servants’ Chorus’, giving us some standout moments. Each ensemble member contributed to building the atmosphere of the piece, maintaining wonderful energy and focus throughout. A minimalist set design, deriving inspiration from the Art Nouveau movement, allowed the story to flow seamlessly. The imposing portrait of Eliza, a replica of the iconic cover of Shaw’s ‘Pygmalion’, served as a backdrop of sorts. For me, it was a symbolic reminder that, despite the transformation at the centre of the story, Eliza’s true identity never changes. Multifunctional doorways were used well to suggest different locations, providing entrances and exits to Covent Garden, the pub, Higgins’ study, Ascot and the Embassy ballroom. The raised upstage area provided interesting staging opportunities. This excellent, minimalist design allowed for speed and efficiency in transitions, never disrupting the rhythm of the performance. This simplicity ensured that the focus remained exactly where it belonged; on the performers and the storytelling.  Stage manager Niall McCooey and his crew deserve much praise for their smooth coordination. Scene changes were executed silently and swiftly, with every crew member with purpose and great efficiency. The transitions in and out of Higgins’ study, in particular, were very well choreographed, maintaining a brisk momentum throughout and allowing the show to move with great pace and fluidity. An excellent team effort. Lighting was a standout feature of this production. From the atmospheric preset alone, it was clear that this element of the production was in safe hands. A minimalist set requires clever lighting design and that was exactly what we got, with subtle changes indicating various changes of location. Dappled floor lighting suggested cobblestoned streets of Covent Garden and the window gobo on the study floor was a lovely effect. Back light pouring through the upstage left doorway as patrons exited the pub, added a depth of realism to the set. I loved the subtle lighting changes within musical numbers, particularly during dance breaks, which served to heighten the atmosphere and complement the mood.  Sound was of a very high standard. The orchestra was perfectly balanced and the balance between pit and stage was very well handles. Cues were accurate and sound effects were well chosen and highly effective, when needed. The recording of Eliza’s voice was wonderfully authentic, complete with static interference. The only issue noted was an imbalance between vocal parts in ‘Get Me to the Church on Time’, a tricky one to get right with so much choreography and energetic movement on stage. A super job overall. ‘My Fair Lady’ is a real ‘prop heavy’ show. Full credit to the props team, who demonstrated an eye for authenticity and period accuracy. The flower baskets, phonographs and phonetic equipment all looked appropriate to the Edwardian era. There were some very impressive pieces, including the chamber pot, the carpet beater, and the fabulous icepack. The furnishings and prop dressing in Higgins’ study were perfectly suitable, as were the garden furniture pieces. The Royal Opera sign advertising Verdi’s ‘Aida’, amended to Wagner’s ‘Gotterdammerung’, was a musical nerd’s delight, demonstrating great attention to the narrative detail. Excellent work from all. There was, generally, good attention to detail in the costume plot, which clearly reflected the class divide. Covent Garden costumes were suitably grubby, creating a believable picture of the working class of the day. Eliza’s transformation was very well handled, with her glamourous reveal adding greatly to the theatricality of the show.  Higgins’ suits clearly communicated intellect and status. I was particularly impressed by the attention to detail given to his frequent change of footwear. Doolittle’s cockney swagger was well captured and Mrs. Higgins’ outfits were suitably pompous. Freddy looked every bit the romantic dreamer in his suit, however, the decision not to wear a hat outdoors in his opening scene would have gone against the social etiquette of the time. The Ascot scene was a triumph. The gentlemen were meticulously turned out in their grey tails and top hats. The ladies were equally stunning in monochrome attire and a fine array of delightfully over-the-top millinery.  Hair and make up were generally well handled, with good attention to detail in recreating the hairstyles of the day and some interesting wigs on display. I did feel that Doolittle needed to be aged and that some greying of his hair and beard would have complemented his character. The ladies of Ascot were pristinely presented, adding greatly to the stuffiness of their characterisation. Overall, very good work in capturing the looks of the era. This was a most entertaining production of Lerner and Loewe’s classic musical. From the thoughtful direction to the fine musical presentation, to the excellent choreography, no stone was left unturned in maximising all available resources to present a thoroughly engaging production to be very proud of. Storytelling was front and centre at all times; exactly as it should be. Simply loverly!  Pat McElwain Sullivan Adjudicator 2025/2026

Review: 9 to 5 - Ulster Operatic Company

Society Name: Ulster Operatic Company Show Name: 9 to 5 Adjudicator Date of Attendance: 11/10/2025. Ulster Operatic Company’s 9 to 5  was a high-energy, polished, and hugely entertaining production that captured the humour, empowerment, and nostalgia of this beloved musical. Brimming with confidence and professionalism, it balanced sharp comedy with a genuine sense of heart and camaraderie. From the opening number to the final bows, it was a slick, joyous evening of theatre that never took...

Society Name: Ulster Operatic Company Show Name: 9 to 5 Adjudicator Date of Attendance: 11/10/2025. Ulster Operatic Company’s 9 to 5  was a high-energy, polished, and hugely entertaining production that captured the humour, empowerment, and nostalgia of this beloved musical. Brimming with confidence and professionalism, it balanced sharp comedy with a genuine sense of heart and camaraderie. From the opening number to the final bows, it was a slick, joyous evening of theatre that never took itself too seriously but always took its craft seriously. The creative team worked in clear harmony, ensuring that the show’s message of solidarity and resilience shone through while keeping the audience laughing throughout. Director Tony Finnegan approached 9 to 5  not merely as a musical comedy, but as a fully realised piece of theatre with emotional depth and clear storytelling. His attention to detail was superb, evident in the natural rhythm of dialogue, the clarity of storytelling, and the cohesion among the characters. Tony’s greatest achievement lay in his mastery of tone, allowing the show’s humour and absurdity to sparkle without ever tipping into farce. He made space for both belly laughs and quiet moments of sincerity, ensuring the audience laughed with  the characters, never at  them. The pacing of the production was particularly strong. Scene transitions flowed seamlessly, and Tony’s understanding of momentum meant that energy was never lost, even during quieter scenes. The ensemble work was tight and alive, each performer contributing to a fully populated world where everyone’s presence had purpose. Most impressive was how the three leading women were balanced; Tony gave each her own emotional journey, while crafting believable, supportive relationships between them. Their camaraderie felt effortless, a testament to the trust he built within his cast. The direction was both intelligent and joyful, filled with moments of subtle observation and sharp comic timing that made this production a complete success. Musical Director Wilson Shields ensured the show’s musical heartbeat was vibrant and cohesive. The orchestra under his baton provided a full-bodied, polished sound that captured the distinctive pop-country sparkle of Dolly Parton’s score. From the punchy opening chords of “9 to 5,” the band established a sense of drive that carried through the entire evening. Wilson drew confident performances from both cast and chorus, diction was clean, harmonies were beautifully balanced, and tempos were perfectly judged to keep energy high without rushing the emotional beats. There was a clear sense that the cast trusted him implicitly. Numbers like “Let Love Grow” and “Shine Like the Sun” benefitted from his fine control of dynamics, moving effortlessly between tenderness and exuberance. On a few occasions, particularly under spoken dialogue, the instrumental balance leaned slightly heavy, but this was a small quibble in an otherwise excellent sound picture. The consistency of musical tone throughout was a highlight, Wilson captured the essence of the era while giving it modern theatrical freshness. The orchestra’s energy and precision kept the production buoyant and cohesive from start to finish. The choreography, designed by Matthew Watson, was another highlight, dynamic, playful, and perfectly tailored to the show’s world. His routines were never mere decoration; every movement served the story, advancing characterisation or supporting transitions with flair. His sense of space and formation was exceptional, creating continuous visual interest without chaos. Each dance number had purpose and personality, whether it was the jazzy confidence of “One of the Boys” or the dreamlike theatricality of “Dance of Death / Cowgirl’s Revenge.” The choreography remained faithful to the style of the period while maintaining a crisp modernity that kept the audience engaged. Matthew’s collaboration with Finnegan was evident throughout. The movement complemented the comedy rather than competing with it, enhancing emotional moments and giving the production momentum. The cast executed his work with precision and enthusiasm, resulting in choreography that was always character-driven and never gratuitous. This was choreography that elevated the show’s storytelling while celebrating the joy of performance. At the centre of the production were three exceptional leading women whose chemistry and individuality carried the emotional and comedic weight of the show. Aideen Fox’s Judy was endearing and refreshingly real. She captured Judy’s awkwardness and vulnerability early on, letting her gradual empowerment unfold naturally. Her expressive face, gentle humour, and crisp vocals made “Get Out and Stay Out” one of the evening’s most affecting moments, a number that combined emotional truth with vocal strength. Aideen’s performance was quietly powerful, and her transformation felt earned and uplifting. Liz Wilson’s Violet was commanding and assured, a portrayal rooted in intelligence, wit, and quiet authority. She balanced sarcasm and sincerity with expert precision, her timing impeccable, and her vocals both strong and controlled. She anchored the show with warmth and poise, her connection with both Judy and Doralee entirely believable. She exuded the grounded energy of a woman used to holding everything together while subtly letting the audience glimpse the heart beneath the professionalism. Niamh McAuley, as Doralee, brought Dolly Parton’s iconic role to life with charm, confidence, and striking authenticity. Her accent was pitch-perfect and sustained consistently throughout, and she radiated charisma from her first entrance. Niamh balanced humour and heart perfectly, infusing Doralee’s resilience and generosity with effortless ease. Vocally she was outstanding, and physically she moved with confidence, embodying the role in both energy and presence. Together, the trio were electric, distinct yet harmonious, funny yet sincere. Their friendship scenes, particularly their smoke-filled plotting session, were a joy to watch and epitomised the show’s message of unity and empowerment. Samuel Moores’s Franklin Hart Jr. was gloriously repellent and hilarious. He leaned fully into the character’s sleaze and ego without ever losing the comedy’s balance. His physicality was bold and unapologetic, and his interactions with the leading ladies showed great trust and comic control. His voice carried authority, and his exaggerated bravado was matched by just the right amount of ridiculousness to make him watchable rather than one-dimensional. Samuel understood exactly what this role required, total commitment and timing, and delivered both in spades. Serena Smart’s Roz was an absolute scene-stealer. Her comedic instinct was razor-sharp, and she understood perfectly how to balance Roz’s obsessive intensity with vulnerability and charm. “Heart to Hart” was an audience favourite, vocally thrilling and executed with fearless comedy. Serena was an actor in complete control of her craft; her energy, facial expressiveness, and bold choices made every moment she appeared in memorable. Her interpretation elevated the humour without losing its truth. Among the supporting cast, Mark Comer’s Joe stood out for his sincerity and gentle charm. His duet “Let Love Grow” with Violet was tender and vocally rich, their voices blending beautifully. While his youthful appearance slightly softened the romantic believability of the pairing, his acting choices and warmth bridged the gap effectively. Sean Harkin’s Dwayne was very complimentary alongside Doralee, with a believable relationship between the pair. He was clearly a loving supporting husband to the strong independent woman. Simon Pyper gave a short but strong turn as Judy’s smug ex-husband, Dick, managing to make the most of his scenes without overplaying them. Aoife Corr’s Margaret was a delight; her tipsy antics and comic timing drew consistent laughter without ever tipping into exaggeration. Michael McDowell brought easy confidence and authentic Southern charm to the role of Tinsworthy, though his key discovery moment could have used a little more emphasis.  The featured ensemble members, Caroline McMichael - Candystripper, Missy - Hayley Campbell, Bob - Jackson Allen, Kathy - Jordan Rosborough, Maria - Karen Hawthorne, Josh - Neal Mullen, Doctor – Conor Martin, Detective - Stuart Archer, brought individuality and colour to the production. Their attention to character detail made the world feel bustling and believable. The office environment felt fully inhabited thanks to their work, every reaction, every bit of business contributing to the authenticity of the show’s setting. The wider ensemble impressed in every respect. Their vocals were bright and well-blended, diction was crisp, and their harmonies locked beautifully. Matthew’s choreography was danced with precision and style, yet each performer retained characterisation, ensuring that movement always supported narrative rather than distracting from it. The energy was unflagging, and the ensemble’s commitment to both the humour and heart of the show gave it depth. Their engagement in every scene, even those at the periphery, ensured that the stage felt alive and that no detail was neglected. Stage management, led by Andrew McKnight, was efficient and polished, ensuring that the pace never dipped. Scene transitions were handled swiftly and cleanly, maintaining the show’s rhythm. The only minor note was that crew visibility during a few live changes occasionally broke the illusion, black clothing or cast-led transitions might preserve continuity more effectively in future. The set itself was an excellent design choice, with modular units allowing for smooth transitions between scenes. Its retro textures and patterns perfectly captured the late-1970s corporate world while also providing flexibility for the more fantastical dream sequences. It was both practical and atmospheric, complementing the show’s tone beautifully. Lighting and sound were handled with care and precision. The lighting design created a range of moods, from cool office tones to rich, theatrical bursts of colour in the fantasy scenes. Cueing was tight and well-executed, though a few breakup patterns occasionally felt out of place. Sound balance was strong overall, with clear vocal projection and a full orchestral sound, though there were moments during dialogue where the band could have softened slightly. Overall, the technical delivery contributed significantly to the professionalism of the piece. Visually, the production was a feast of authenticity and flair. The costumes were perfectly era-appropriate, vibrant without being gaudy, and each one contributed to character definition. The attention to detail, from the cut of Violet’s attire to Doralee’s sparkle, demonstrated a deep understanding of period and personality. Hair and make-up completed the picture. Doralee’s wigs were particularly impressive, styled with care and maintaining volume throughout even the most energetic movement. Make-up was tasteful, evocative of the 1970s but never overblown, helping the audience step seamlessly into the world of the show. Finally, it must be said that the Front of House team completed the experience beautifully. The atmosphere upon arrival was welcoming and well-organised, setting the tone for a relaxed and enjoyable evening. Staff managed the audience flow efficiently, maintaining professionalism throughout. It was clear that Ulster Operatic Company not only delivers excellence on stage but also values every aspect of the audience experience. Their 9 to 5  was a shining example of what happens when heart, humour, and hard work align, a production as uplifting as it was entertaining. Overall, Ulster Operatic Company’s 9 to 5  was a resounding success, a joyful, empowering production executed with flair and precision. It was professional in presentation, heartfelt in delivery, and filled with moments of genuine theatrical magic. Every department contributed something vital, from the sharp direction to the lively choreography, the musical clarity to the visual detail. Their 9 to 5  was a shining example of what happens when heart, humour, and hard work align, a production as uplifting as it was entertaining.

Review: Into the Woods - NWMT

Society name: North Wexford Musical Theatre Show name: Into the Woods Adjudicator date of attendance: 20/09/2025  North Wexford Musical Theatre’s Into the Woods  was a confident, intelligent, and impressively cohesive interpretation of one of Sondheim’s most intricate works. This was a production that understood the heart of its material, its wit, its complexity, and its humanity, and presented it with a warmth and polish that reflected both respect for the text and enthusiasm for the...

Society name: North Wexford Musical Theatre Show name: Into the Woods Adjudicator date of attendance: 20/09/2025  North Wexford Musical Theatre’s Into the Woods  was a confident, intelligent, and impressively cohesive interpretation of one of Sondheim’s most intricate works. This was a production that understood the heart of its material, its wit, its complexity, and its humanity, and presented it with a warmth and polish that reflected both respect for the text and enthusiasm for the storytelling. The company tackled the show’s challenges with assurance, creating an evening that balanced humour, poignancy, and visual creativity. It is no easy task to stage Into the Woods  effectively, but North Wexford managed to craft a production that was both thought-provoking and thoroughly entertaining. From the opening moments, it was clear that this was a team working in harmony. The pacing rarely faltered, and despite Sondheim’s famously difficult rhythms and intricate lyrics, the story flowed fluidly from one moment to the next. There was a sense of unity within the ensemble, with each performer contributing to the shared world rather than existing as individuals on a stage. The result was a show that felt cohesive and well-shaped, with every element, from design to performance, supporting the narrative rather than distracting from it. At the helm, director Róisín Currid guided the piece with intelligence and flair. Her direction was full of energy and invention, always driven by a clear sense of story. The transitions between the musical’s lighter fairytale moments and its darker, introspective turns were managed with care, and there was never a sense of confusion about tone or intention. Róisín showed an acute understanding of Sondheim’s layered writing, ensuring that the emotional throughlines remained visible even when the plot twisted and interwove. The visual composition of the production was frequently striking. The stage pictures she created had both beauty and purpose, evoking the feel of a storybook world without resorting to excess. The use of levels and multiple entrances brought the forest to life as a living, breathing environment, and the blocking ensured that even during ensemble moments, the focus and energy remained sharp. Characters felt grounded within the space, connected not only to each other but also to their surroundings, and the visual storytelling supported the lyrical and emotional material seamlessly. Character development was a clear strength. The relationships on stage were drawn with authenticity and emotional intelligence. Róisín’s communication with her creative and technical departments also shone through. Lighting and set worked in harmony, supporting her vision and enhancing the transitions between the show’s many tones and moods. Her idea for Milky White, realised through puppetry, was charmingly inventive, though it would benefit from more detailed work on synchronisation between the two puppeteers to fully sell the illusion. A greater sense of shared rhythm and awareness between them would elevate an already lovely concept. The only significant moment that felt underexplored was Cinderella’s emotional transition between fleeing her Prince and later deciding to marry him, a crucial beat that might have clarified her moral hesitation and inner conflict. However, this was a minor gap in an otherwise cohesive and beautifully directed production. Musical direction by Conor McCarthy was exceptional. Under his guidance, both cast and orchestra handled Sondheim’s demanding score with precision and confidence. The band produced a rich, balanced sound that captured the music’s complexity while maintaining a sense of playfulness and emotional drive. Each instrument had clarity, and Conor achieved an impressive equilibrium between pit and stage, no small feat given the intricacy of Sondheim’s orchestrations. Vocally, the company showed evidence of careful coaching. Harmonies were clean and secure, with a strong sense of blend that supported the lyrics rather than competing with them. Numbers such as “Prologue” and “Ever After” were executed with clarity and cohesion, and the tight cuing between stage and pit ensured seamless flow throughout. The only persistent issue lay in diction during the faster, more complex lyrical sections, where overlapping lines sometimes became blurred. In a score where every syllable carries meaning and humour, crisp articulation is essential. Nevertheless, this was a musically rich and well-disciplined performance, and Conor’s leadership undoubtedly elevated the standard of the entire production. Movement in Into the Woods  is seldom overtly choreographic, but Róisín Currid’s approach to movement direction was elegant and effective. Every gesture felt purposeful. She used formations and transitions thoughtfully, ensuring that movement enhanced rather than overshadowed the storytelling. The flow between dialogue and song was natural, and the ensemble always felt in rhythm with one another. Her decision to keep choreography understated proved wise, as it preserved the integrity of the lyrics while maintaining a sense of visual energy. The principal cast delivered an engaging mix of warmth, humour, and emotional sincerity. Chris Currid as the Baker was heartfelt and compelling, capturing both the neurotic tendencies and deep vulnerability of the role. His performance felt lived-in and truthful, marked by subtle humour and touching moments of introspection. His voice was strong and expressive, though one sensed he had still more power to give. His chemistry with Megan Mitten as the Baker’s Wife was deeply convincing, their partnership full of love, frustration, and mutual reliance. Megan Mitten’s Baker’s Wife was one of the evening’s highlights. She gave a natural, nuanced portrayal that revealed both the character’s longing and her emotional intelligence. “Moments in the Woods” was delivered with delicacy and control, sung with effortless warmth and clarity. Megan’s performance was both relatable and grounded, embodying a character who is morally complex yet entirely sympathetic. April Kelly as the Witch brought striking theatricality and vocal power to the stage. Her portrayal was bold, dramatic, and committed, with “Witch’s Lament” standing out as a particularly moving moment. At times, her delivery tipped a little toward the shrill, where a more controlled menace might have revealed greater depth and emotional nuance. Nevertheless, her performance was magnetic, and she captured both the character’s ferocity and underlying humanity. Caoimhe Boyle’s Little Red was a delight, cheeky, funny, and full of spark. She handled the humour with excellent timing and facial expression, managing to find the balance between innocence and impishness.  Andrew O’Grady gave a touching and humorous portrayal of Jack. His innocence and guileless enthusiasm made him instantly endearing, and his scenes with Milky White were genuinely affecting. Vocally, he brought sincerity and warmth to his songs, making his journey both believable and touching. Éimear Wolohan’s Cinderella was refreshingly modern, intelligent, poised, and questioning. Her vocal work was strong and clear, though her portrayal felt emotionally guarded at times. While one admired her strength and self-possession, a little more openness might have deepened the audience’s empathy for her. The two Princes, played by Conor Lyons and Richard O’Toole, offered contrasting interpretations that complemented one another well. Conor’s Prince was playful and energetic, if occasionally more boisterous than charming, while Richard’s smoother, velvet-toned delivery provided an elegant counterpoint. Their duet “Agony” was entertaining, even if the vocal blend wasn’t entirely balanced. Among the supporting cast, Aine Kinch’s Rapunzel was expressive and sympathetic, her frustration and fragility well conveyed. Maria Forrest, as Jack’s Mother, brought emotional truth to her scenes despite vocal strain; her off book acting and maternal presence grounded her performance beautifully. The trio of the Stepmother and Stepsisters—Erin Hogan, Kacey Mooney, and Fia Duffy—struggled somewhat with cohesion. Their vocal tuning was occasionally uncertain, and their dynamic lacked the comic precision needed to elevate their scenes. However, their energy was good, and moments of humour shone through toward the end. With a stronger sense of shared rhythm and character interplay, this group could make a greater impact. Paudie Breen’s Narrator was calm, engaging, and well-paced. He struck the right balance between storyteller and participant, weaving the scenes together seamlessly. Colin Doran’s Wolf was another standout, physically expressive, darkly humorous, and perfectly on the line between charm and threat. His vocal tone suited the character’s slyness, and his physical presence was magnetic. Rónán P. Byrne as the Mysterious Man offered delightful comic energy and impeccable timing, providing lightness at just the right moments.  Rónán Ó’Dubhghaill was suitably subservient as the Steward, lending his energy effortlessly to the whims of the Prince.  Jessica De Burca’s Granny had strong intent and humour but could improve her diction and placement for greater connection within her scenes. Brian Cooney as Second Wolf supported the Wolf sequence with liveliness and focus, while Louisa McCabe’s tender “Cinderella at the Grave” added a note of warmth and purity as Cinderella’s Mother. Brendan Sheridan, as Cinderella’s Father, played the drunken fool with great comic precision, finding humour without descending into caricature. Smaller ensemble parts, including the Three Little Pigs, Snow White and Sleeping Beauty, were handled with charm and precision. The inventive use of the Pigs during scene transitions was particularly inspired, keeping the momentum playful and fluid. As an ensemble, the company displayed strong discipline and unity. Their harmonies were well blended, their movement synchronised, and their focus consistent. A touch more clarity in diction during the more rhythmically complex ensemble sections would have raised the polish further, but their collective sense of purpose was undeniable. The set design was one of the production’s great triumphs. Lush and atmospheric, it balanced function and fantasy beautifully. The forest world felt rich and textured without crowding the stage, and the earthy colour palette grounded the action while preserving its magic. The use of levels gave the director endless possibilities for composition, and the cast-managed transitions, led by stage manager Nigel May, were slick and theatrically satisfying, never breaking the illusion of the world. Lighting was handled with subtle artistry. The design elevated the storytelling, often appearing simple on the surface while revealing real sophistication in how it enhanced mood and focus. The “Witch’s Lament” sequence was a particular highlight, combining visual restraint with emotional depth. Sound quality was equally impressive. The balance between the ten-piece band and the cast was finely judged, allowing the intricacies of Sondheim’s score to shine. Cueing and coordination were tight throughout, demonstrating the professionalism of both the technical and musical teams. Visually, the costume design succeeded in creating a coherent world that felt both familiar and contemporary. The palette of muted, vintage-inspired tones complemented the set and lighting beautifully. However, a few costumes, particularly Cinderella’s Act II dress and those of the stepfamily, felt out of step with the rest of the design concept, sitting awkwardly between modern and traditional styles. Adjusting these would strengthen the visual unity. Hair and makeup were well executed across the board, with only the stepfamily again appearing less integrated. Overall, the visual language of the production supported the tone and atmosphere consistently and effectively. Finally, the Front of House experience reflected the same professionalism and care evident on stage. The team were organised, friendly, and efficient, greeting patrons warmly and managing the audience with ease. From the moment guests arrived, they were made to feel welcome and comfortable, contributing to an evening that felt both polished and personal. North Wexford Musical Theatre’s Into the Woods  was, in every sense, a thoughtful and rewarding production. It combined creative ambition with technical skill, offering a show that was rich in intelligence, humour, and heart. The society can be proud of this achievement, a production that captured both the complexity and the compassion of Sondheim’s masterpiece and left its audience both entertained and genuinely moved. Photos by Darragh C

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
Avonmore Musical Society
Ballinrobe 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
Dun Laoghaire Musical & Dramatic Society
Ennis Musical Society
Enniscorthy Musical Society
Entr'acte Musical Theatre Society
Fermoy Musical Society
Galway Musical Society
Glencullen Dundrum MDS
Gorey Musical Society
Jack Cunningham Productions
Kilcock Musical & Dramatic Society
Kilkenny Musical Society
Killarney Musical Society
Kilmainham Inchicore Musical Society
Leixlip Musical & Variety Group
Letterkenny Music & Drama Group
Londonderry Musical Society
Malahide Musical & Dramatic Society
Marian Choral Society, Tuam
Maynooth University Musical and Dramatics Society
Mitchelstown Musical Society
Muse Productions
Nenagh Choral Society Youth Academy
Newcastle Glees Musical Society
North East Musical and Dramatic Society
North Wexford Musical Theatre
Oyster Lane Theatre Group
Pop-Up Theatre, Sligo
Portlaoise Musical Society
Quayplayers Musical & Dramatic Society
Rush Musical Society
SGPA
South Eastern Theatre Group
St. Agnes Choral Society
St. Mary's Choral Society, Clonmel
St. Marys Musical Society, Navan
St. Mel's Musical Society, Longford
Teachers' Musical Society
The Odd Theatre Company
Thurles Musical Society
Tipperary Musical Society
Tralee Musical Society
Trim Musical Society
Trinity Musical Theatre Society
Tullamore Musical Society
UCD Musical Society
Ulster Operatic Company
Waterford Musical Society
Wexford Light Opera Society
bottom of page