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9 Mar 2027

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Review: Man of La Mancha - Carrick-on-Suir Musical Society

Society name: Carrick on Suir Musical Society Show name: Man of La Mancha Adjudicator date of attendance: 28/03/2026 Carrick on Suir Musical Society’s production of Man of La Mancha was an emotionally rich and deeply atmospheric piece of theatre that embraced the complexity and heart of this challenging musical. Balancing brutality with hope, humour with heartbreak, and reality with fantasy is no easy task, yet this production managed those contrasts with confidence and emotional...

Society name: Carrick on Suir Musical Society Show name: Man of La Mancha Adjudicator date of attendance: 28/03/2026 Carrick on Suir Musical Society’s production of Man of La Mancha was an emotionally rich and deeply atmospheric piece of theatre that embraced the complexity and heart of this challenging musical. Balancing brutality with hope, humour with heartbreak, and reality with fantasy is no easy task, yet this production managed those contrasts with confidence and emotional honesty. From beginning to end, the audience was drawn fully into both the harsh prison world and the hopeful imagination of Don Quixote’s quest. Under Andrew Holden’s direction, the production demonstrated exceptional attention to storytelling and detail. The world onstage felt completely lived in, with every performer appearing to understand not only their own role, but also their place within the wider world of the show. The distinction between the prison scenes and the imagined adventures of Don Quixote was always crystal clear, allowing the audience to move seamlessly between the two realities without confusion. This clarity of storytelling was one of the production’s greatest strengths. Holden’s use of the performance space was particularly effective. The prison environment felt oppressive and dangerous, while still allowing the imaginative fantasy scenes to flourish naturally within it. Every movement onstage appeared motivated and purposeful, and scenes flowed organically into one another, helping maintain excellent momentum throughout the evening. The handling of physical violence was especially strong. These moments were staged with realism and emotional weight, adding genuine stakes to the story without becoming gratuitous. Just as importantly, the emotional aftermath of those scenes was given time to resonate. The sequence involving the Knight of the Mirrors was particularly effective in its storytelling, and emotional weight. The production also handled the balance of darkness and comedy extremely well. Man of La Mancha can become overwhelmingly bleak if humour is neglected, but this interpretation found moments of levity that felt natural and necessary. Overall, the direction created a production that felt thoughtful, immersive, and emotionally truthful throughout. Musically, the show was in very safe hands under Fergal Carroll, alongside Chorus Mistress Laura Cotter. The orchestra produced a wonderfully full and rich sound that supported the storytelling beautifully. In larger musical moments, the band created tremendous emotional power without ever overwhelming the performers onstage. The balance between orchestra and vocals was consistently strong, allowing the emotional intention of the lyrics to come through clearly. The choral work throughout the production was particularly impressive. Harmonies were well blended and balanced, and the ensemble singing carried real emotional depth rather than simply functioning as musical accompaniment. Attention to phrasing and dynamics greatly enhanced the emotional shape of the evening, particularly in moments where the story shifted between harsh realism and idealistic fantasy. Softer moments were handled with sensitivity and care, while the larger ensemble sections carried strong dramatic force. Claire O’Hara’s choreography and movement direction suited the production beautifully. While Man of La Mancha is not traditionally dance-heavy, movement is vital in establishing atmosphere and character, and this was handled extremely effectively here. The movement vocabulary emerged naturally from the characters and situations, never feeling imposed or unnecessary. The contrast between the physicality of the prisoners and the heightened theatricality of Don Quixote’s imagined world was particularly successful, adding clarity and texture to the storytelling. The seamless integration between choreography and direction ensured the production-maintained realism and emotional honesty throughout. At the centre of the production was an absolutely superb performance from Neill Bourke as Don Quixote and Miguel de Cervantes. His portrayal was emotionally rich, technically assured, and consistently engaging. As Cervantes, he brought intelligence, wit, and resilience to the prison scenes, grounding the production firmly in reality. His transition into Don Quixote was beautifully handled, maintaining a connection between the two identities while still clearly differentiating them. His Don Quixote was funny, noble, gentle, and deeply moving. The physicality of the role was especially impressive, with carefully observed ageing movement and an unsteady gait that never tipped into caricature. Every gesture felt motivated by emotional truth. His interactions with the other characters were consistently meaningful and believable, particularly his relationship with Sancho Panza, which formed the emotional backbone of the production. Vocally, Neill delivered a stunning performance. His singing appeared effortless throughout, full of warmth, sincerity, and emotional colour. “The Impossible Dream” was unquestionably one of the highlights of the evening, delivered with enormous emotional depth and heartfelt storytelling that captured both the hope and tragedy of the character beautifully. Louise Russell gave a haunting and deeply affecting portrayal of Aldonza / Dulcinea. From her first appearance, there was an emotional vacancy behind her eyes that suggested a lifetime of hardship and survival. This gave the character enormous depth and authenticity. Louise captured both Aldonza’s strength and vulnerability with great sensitivity, creating a performance that was emotionally compelling throughout. Her emotional progression over the course of the production was particularly strong. Following the assault scene, there was a noticeable shift in her demeanour, with vulnerability beginning to emerge beneath her outward defiance. Her scenes with Don Quixote were especially touching, showing the gradual softening of a woman learning to believe she might deserve dignity and kindness. Vocally, Louise delivered a very strong performance, singing with emotional honesty and depth throughout. Eoin Sheedy was excellent as Sancho Panza, bringing warmth, humour, and intelligence to the role. His comic timing was superb, but what made the performance especially successful was the nuance underneath the humour. Sancho was never portrayed as simply foolish; there was always a sense that he understood more than he allowed others to realise. This gave the character genuine emotional grounding and made his loyalty to Don Quixote all the more moving. The relationship between Sancho and Don Quixote developed beautifully throughout the show, creating many touching moments as the story progressed. Vocally, Sheedy leaned effectively into the comic style of the role while still maintaining strong musicality. Overall, it was a thoughtful and highly entertaining performance. Liam Butler brought strong stage presence and authority to the dual roles of the Governor and the Innkeeper. He differentiated the two characters clearly through both vocal delivery and physicality. His portrayal of the Innkeeper was particularly enjoyable during the scenes where he humoured Don Quixote’s fantasies, striking a lovely balance between confusion, amusement, and reluctant participation. Vocally, he possessed a warm and resonant voice that suited both roles very well. The supporting cast contributed enormously to the success of the production. Ray Nolan handled the roles of the Duke, Dr. Sanson Carrasco, and the Knight of the Mirrors with excellent differentiation and confidence. His expressive facial work and clear character choices ensured each role felt distinct and memorable. Liadhain O’Shea gave a sweet and sincere portrayal of Antonia, clearly conveying the character’s care and concern for those around her. Her relationships with both Cervantes and Dr. Carrasco felt believable and well developed. Tobie Hickey brought excellent humour to the role of Padre, creating a wonderfully befuddled and entertaining priest. His expressive reactions and comic instincts worked extremely well, and “To Each His Dulcinea” was delivered very nicely. Bryanna Lima’s Maria was believable and relatable, particularly in her frustration with both her husband and the strange events unfolding around her. Sandra Power contributed effectively as the Housekeeper, helping establish the reality of the household scenes with a demeanour that balanced authority and subservience very effectively. Caolan Deehy Power made a particularly strong impression as the Barber. This was a wonderful example of an actor elevating a smaller role through complete commitment and detailed character work. His confusion and bewilderment were played brilliantly, supported by excellent facial expressions and comic timing. “Barber’s Song” was performed very strongly both vocally and dramatically. Bobby Landers was genuinely menacing as Pedro, bringing strong physicality and dominance to the role. His work during the violent scenes was particularly effective, making the threat posed by the character feel very real. The Muleteers — Audie Murphy, Jonathan Caulfield, Jack Coady, Richard Dunphy, and Deckie Smith Robinson — worked exceptionally well as a group. Their camaraderie and shared menace created a genuinely threatening presence onstage and added significantly to the darker atmosphere of the production. The ensemble were one of the greatest strengths of the evening. This was a company fully invested in the storytelling, with every member contributing meaningfully to the world of the production. The ensemble never felt like anonymous background performers; instead, they were fully realised individuals inhabiting both the prison world and the imagined adventures of Don Quixote. Vocally, the ensemble sounded excellent, with well-blended harmonies and strong emotional commitment throughout. Their handling of scene transitions was equally effective, maintaining atmosphere and momentum without disrupting the flow of the show. Visually, the production was extremely impressive. The set design created a striking and oppressive prison environment, making excellent use of texture and space. The drawbridge mechanism within the prison cell was especially effective, while the stained glass window pieces reinforced the religious themes beautifully. The uplighting of the crosses on the proscenium arch added considerable atmosphere and weight to the influence of the church within the story. Michael O’Hara’s stage management work was excellent throughout. Having scene changes handled by the cast within the action of the play worked extremely well, keeping the audience immersed in the world rather than interrupting momentum with blackouts or pauses. The transitions were smooth, well-choreographed, and integrated naturally into the storytelling. The lighting design was stunning, making excellent use of shadows, beams, and colour to shape atmosphere and emotion. The contrast between the prison world and the fantasy sequences was particularly effective, with clear differences in colour palette and intensity helping define each world. The lighting during “The Impossible Dream” was especially beautiful and emotionally impactful. Sound quality throughout the performance was very strong, with vocals consistently clear and well balanced against the orchestra. The control of the band during larger musical moments was particularly impressive, ensuring emotional impact without sacrificing clarity. Costumes, hair, and makeup all contributed enormously to the immersive quality of the production. The distressed and dirtied costumes for the prisoners felt authentic and helped establish the harsh reality of the prison world. The contrast with the more theatrical fantasy costumes worked very effectively, particularly Don Quixote’s armour and the Golden Helmet of Mambrino, both of which added greatly to the visual storytelling. Hair and makeup were equally detailed, with messy, matted hairstyles and dirty skin effects adding realism and texture throughout. From arrival at the venue to the final curtain, the audience experience was warm, welcoming, and well organised. Front of House operations were handled efficiently, creating a relaxed and positive atmosphere before the performance began. There was a lovely sense of anticipation in the auditorium, and patrons were guided smoothly into the world of the production from the outset. At the end of the evening, the audience was left with the feeling of having experienced a thoughtful, emotionally intelligent, and highly committed production. Carrick on Suir Musical Society clearly understood the heart of Man of La Mancha, delivering a powerful exploration of hope, imagination, and humanity in the face of cruelty and despair. The company should be commended for creating such a professional and inviting experience for their audience.

Review: We Will Rock You - Castlebar MDS

Society name: Castlebar Musical and Dramatic Society Show name: We Will Rock You Date of attendance: 28th March 2026 ________________________________________________________________________ This was the second show of a two-show day for me, making the trip from Ballinasloe in over to Castlebar. The TF Royal Theatre in Castlebar is a stunning venue. With its huge auditorium and its wide, open stage, it is the kind of space that really demands scale. Castlebar Musical and Dramatic Society met...

Society name: Castlebar Musical and Dramatic Society Show name: We Will Rock You Date of attendance: 28th March 2026 ________________________________________________________________________ This was the second show of a two-show day for me, making the trip from Ballinasloe in over to Castlebar. The TF Royal Theatre in Castlebar is a stunning venue. With its huge auditorium and its wide, open stage, it is the kind of space that really demands scale. Castlebar Musical and Dramatic Society met that challenge head-on. Their production of ‘We Will Rock You’ felt right at home there. From the outset, there was a real sense of confidence in how the space was used. At times, it genuinely felt more like a rock gig than a piece of musical theatre, which is exactly what this show needs. That energy came from a combination of things, including strong, committed performances and technical elements that were firing on all cylinders. ‘We Will Rock You’ is not an easy show to pull off. It’s ambitious, technically demanding and can easily unravel if not handled with care. But that evening in the TF Royal, it all came together and the audience was clearly along for the ride from start to finish. Front of house set the tone very nicely from the moment I arrived. There was a real sense of welcome which was relaxed, friendly and well organised without ever feeling over-managed. There was also a nice touch of uniformity with the front of house team, all in black baseball caps branded for ‘We Will Rock You’. It might seem like a small thing, but it added to the sense of occasion and gave everything a polished feel before we took our seats. This is a big venue, and with a full house to manage, there was plenty that could have felt hectic but it all ran very smoothly. Direction, under Donna Ruane, was a real standout and it was clear from the outset that this was a director who knew exactly what she wanted from the piece. One of the most striking elements was the use of digital graphics and how confidently they were handled. Graphics weren’t just decorative. They were doing real work in terms of storytelling, linking scenes, and providing clarity where the narrative can sometimes be tricky to navigate. There was also a real understanding of the humour in the piece. Ben Elton’s writing can be quite madcap and it needs a very specific kind of delivery to land properly. That heightened, knowing style came through strongly here. Pace was excellent throughout. What really stood out was the clarity brought to the storytelling. This is not the most straightforward narrative, but it was handled with real confidence. Deirdre Lee’s musical direction was of a very high standard throughout. There was excellent musicianship across the board, but the guitars and drums in particular stood out. The drummer really drove the show forward, giving it that energy and pulse that’s so vital in ‘We Will Rock You’. There were some really strong musical moments. ‘Radio Gaga’ had a superb choral sound and that sense of ensemble carried right through the show. ‘I Want to Break Free’ featured a particularly strong guitar solo, while ‘Killer Queen’ was full of lovely touches, including some beautifully balanced, harmonising guitar lines. One of the most impressive elements was how well the underscoring was handled. Dialogue sat comfortably on top of the music at all times and every word was clear. There was a real sense that a lot of time had been invested in securing harmonies and it paid off. The balance within the ensemble was consistently strong and the cast sounded confident and well supported throughout. ‘And then there was ‘Bohemian Rhapsody’. There’s always an expectation around that number and it more than delivered here. Strong lead vocals, outstanding ensemble work and all of it very well balanced by the sound team. Superb musical direction from Ms Lee overall. Claudia O’Sullivan’s choreography was another strong element of the production, with routines that consistently supported the storytelling. ‘Radio Gaga’ was a standout in terms of style. The mechanical, almost robotic movement was very effective, and there was excellent synchronicity across the ensemble, which really sold that sense of control and uniformity within Globalsoft. ‘Killer Queen’ brought a completely different feel, with canes incorporated into what was a slick and very polished routine. In contrast, ‘A Kind of Magic’ was much simpler in its approach, but no less effective. In fact, it worked because of that simplicity. The sharpness and precision of the movement gave it real impact. There was an enjoyable looseness to the Bohemians’ ‘Crazy Little Thing Called Love’ with some fun partner work that gave the number great charm. What came across most strongly throughout was a clear understanding of style and tone. The movement always felt appropriate and achievable. Chris McLaughlin took on the role of Galileo Figaro and delivered a really engaging, fully realised performance. There was a wonderfully heightened quality to his acting that suited the style of the show and he leaned into the comedy very effectively. His confusion around the lyrics in his head and the meaning behind his dreams was played with great instinct and there were plenty of genuine laugh-out-loud moments as a result. His vocal performance was nothing short of exceptional. ‘I Want to Break Free’ was particularly impressive as he showcased an upper register that seemed limitless. And then, of course, there was ‘Bohemian Rhapsody’ at the end. It felt like the perfect moment for him to shine and he didn’t disappoint. An excellent performance all round, which was confident, engaging and vocally outstanding. Caoimhe Halligan was excellent as Scaramouche. This was an outstanding performance on every level. From the start, she captured that slightly gothic, outsider quality, the girl who doesn’t quite fit in and doesn’t particularly care. Vocally, Ms Halligan was exceptional. ‘Somebody to Love’ was a real wow moment. There was power there but also wonderful control. Her range was seriously impressive and at times it felt like there was no real ceiling to what she could do. ‘Who Wants to Live Forever’ was simply stunning, one of those moments where the theatre just goes quiet and lets the performance speak for itself. Her comedy work was equally impressive. She had a brilliant instinct for timing and the humour landed effortlessly. The sarcasm, the quick-fire put-downs, the little reactions, were all so well judged. A superb performance and a standout in a very strong cast. Katya Harrison brought a strong, commanding presence to the role of Killer Queen, the controlling figure at the head of Globalsoft. There was a real sense of authority about her from the moment she appeared and her character was polished and ruthless throughout. Vocally, she was very solid throughout, with a powerful sound that helped her dominate the stage in the bigger moments. ‘Killer Queen’ itself was a strong number, really establishing her status, surrounded by her ever-present minions and very much in control. David Alexander brought a strong, sinister presence to the role of Khashoggi, Globalsoft’s ever-watchful commander of police. There was a real authority about him on stage, and he carried that sense of control nicely through each of his appearances. He had a good handle on the humour of the piece as well. His ‘ignorant plucker’ line landed perfectly, delivered with just the right amount of knowing intent. Vocally, he was very solid. ‘Seven Seas of Rhye’ was a particularly enjoyable moment, giving him a chance to show off a strong, well-supported voice. Edward Scott delivered a genuinely hilarious performance as Brit. He showed excellent comic instincts throughout. His timing was spot on and he made great use of physicality to bring the role to life. Vocally, this was another standout performance. ‘I Want It All’ was delivered with confidence and control, while his contribution to ‘Headlong’ was particularly impressive. Excellent work all round from Mr. Scott — a performance full of character, humour, and musical strength. Edward’s sister, Nicole Scott, took on the role of Oz and together they created a really engaging and believable partnership on stage. Vocally, Ms Scott was simply stunning. Numbers like ‘I Want It All’ and ‘Headlong’ showcased her strength and control but it was ‘No One But You’ that really stood out. Taking the lead vocal, she brought a real sense of sincerity and emotion to the song. She was also a very strong actress, with a natural comic touch that worked particularly well in her scenes with Brit. Rounding out the Scott ‘dynasty’ Gerard Scott was great fun as Buddy. His offbeat, easy-going presence, drifting in and out of the action was most engaging. His comic timing was excellent and he handled the fourth wall breaks with real ease. Not to be outdone by his fellow Scotts, he too had a superb singing voice. ‘These Are the Days of Our Lives’ was a standout moment, beautifully melodic and delivered with a real sense of poignancy that gave the audience a chance to see a different side to his character. Judy MacNamara made a strong impression in her cameo as the Teacher, a character that can easily pass by, but here it felt sharp, and well-defined. She had excellent stage presence, and from the moment she appeared there was a real sense of control and purpose. The ensemble was truly exceptional and played a huge part in the show’s overall success. Vocally, they were excellent throughout. There was a real sense that a great deal of work had gone into the choral preparation and it paid off. The Gaga Girls, in particular, produced lovely harmonies in ‘Somebody to Love’, while ‘Bohemian Rhapsody’ was a real standout, with the ensemble delivering a beautifully balanced and powerful vocal that sent shivers down the spine. Choreography was very well drilled, with strong synchronicity and a clear sense of uniformity where required, particularly in the Globalsoft numbers. Everything felt tight and well-rehearsed. Focus and engagement were excellent throughout. There was never a sense of anyone switching off and every member of the ensemble contributed to a wonderful sense of unity throughout. The Bohemians, as a group, were particularly impressive in terms of energy and commitment to the storytelling. There was a great sense of an eclectic community in all of their scenes. Stage management, led by Declan Gibbons, was very strong overall, with Mr Gibbons and his crew ensuring that the show moved smoothly from scene to scene. One of the most effective choices here was the use of the cast to handle much of the set movement. There were a couple of moments, however, where that established convention shifted slightly and crew members were visibly involved. These moments stood out, simply because we had already accepted that cast were the orchestrators of the seamless transitions. It’s a small point, but from a stylistic point of view, maintaining that consistency throughout might have preserved the illusion more. That said, it’s important to stress that the crew themselves did an excellent job in everything they were required to do. The set for this production relied heavily on the use of digital graphics and it was a choice that paid off in a big way. These weren’t just decorative backdrops, they were central to how the show was built and understood. They set the tone, not just in terms of the humour, but also in establishing the tongue-in-cheek, self-aware style that ran through the production. Visually, there were some really striking moments. The ‘Flash’ graphics, with the electrocuted skeletons, were bold, impactful and very well timed alongside the lighting effects. There were also some excellent physical set pieces. Killer Queen’s throne was a standout, as was the very impressive Volkswagen van. The use of platforms, trussing and industrial-style elements gave the stage a very solid framework. Excellent work all round. Lighting played a huge role in complementing the scale of the production. In a venue of this size, that sense of scale is vital and it was achieved very effectively here. There was a strong rock gig aesthetic running throughout, which suited the show perfectly and helped create that concert-like atmosphere. The integration of lighting into the set, particularly within the truss structures, worked very well, contributing to that feeling of being at a live stadium show rather than a traditional musical. ‘No One But You’ stood out as one of the most atmospheric scenes of the night. The use of haze, combined with strong, defined beams of light cutting through it, created a beautiful, reflective quality. In contrast, ‘Flash’ was full of energy and precision. The coordination between lighting and music was excellent, with cues landing cleanly and helping to drive the action forward, particularly during the torture sequence. ‘We Will Rock You’ delivered exactly what you would hope for. It was bold, full of colour and movement, with excellently timed cues. Across the board, there was a clear understanding of when to go big and when to pull things back. That balance made all the difference. Sound was excellent throughout and handled with a great deal of care and musical understanding. There was a clear understanding from the outset that this is a show that needs to be big and bold but, crucially, that never came at the expense of clarity. The overall balance was superb, both within the band itself and between band and vocals. What really stood out was the vocal mix. With so many radio mics in play, it could easily have become muddied but it never did. Underscored dialogue was handled particularly well. The instrumental balance was equally impressive. Guitar solos were pushed forward when needed and different elements of the band were allowed to shine at the right moments. The choral sound was another highlight, both onstage and off. EQ levels for dialogue were well judged and cueing was very tight in what was very polished and solid operation. There was excellent work from the props department, with a clear attention to detail throughout. The canes in ‘Killer Queen’ were a great touch, used very effectively within the choreography and adding to the overall polish of the number. The hospital beds were solid and practical. The ‘Harley’ stood out as a particularly strong prop, adding real visual impact on stage, while smaller items like the television and the all-important video cassette tape helped to progress the storytelling very well. The Bohemian scenes, in particular, benefited from some lovely prop work. The retro feel was well captured, with pieces that felt authentic rather than decorative. Brit’s junk-built instrument was a highlight and, of course, Galileo’s iconic half mic stand was exactly as it should be. Costuming was a real strength too, with a clear sense of style running through each of the show’s different worlds. The contrast between Globalsoft and the Bohemians was well defined. There was a strong sense of uniformity, especially in numbers like ‘Radio Gaga’, where the precision of the choreography was matched by the sleek costuming. The Gaga girls were especially striking, with their white boots, silver skirts and jackets catching the light beautifully and adding to the overall visual of those scenes. In contrast, the Bohemians were exactly as they should be, a motley, rebellious mix of styles. Tartan, leather, denim, headbands, it all came together to create a sense of individuality, without ever feeling too chaotic. Excellent work all round from the costume department. Hair and makeup were very well handled throughout. In the Globalsoft scenes, there was a strong sense of uniformity. Hair was neat, controlled and consistent, feeding into the idea of conformity very well. In contrast, the Bohemians were wonderfully chaotic. Big, bold and questionable hair choices added to their individuality and sense of rebellion. There were some nice individual touches as well. Galileo’s Freddie-inspired moustache was a simple but effective nod. Super work all round. This was a confident, assured and thoroughly entertaining production that knew exactly what it wanted to be. What came across most was the clarity of direction. Donna Ruane had a very definite vision for the show, in terms of its tone, humour and style and that vision was consistent across every aspect of the production. Just as importantly, every performer on stage bought into that “one vision”. There was a great understanding of how the show needed to be played, with its heightened delivery, knowing humour and the balance between comedy and heart. That understanding made a huge difference. An excellent production, and a real credit to everyone involved. Pat McElwain Sullivan Adjudicator 2025/2026 Photos by Alison Laredo.

Review: Shrek - Ballinasloe Musical Society

Society name: Ballinasloe Musical Society Show name: Shrek the Musical Date of attendance: 28th March 2026 It’s not every day that you are greeted at the theatre door by AIMS President Gerry Sweeney, looking every bit like James Bond in his white tuxedo jacket and green bow tie. Such was the vision as I arrived at the Town Hall for Ballinasloe Musical Society’s production of ‘Shrek the Musical’, my first show of another two-show day. The warm welcome set the tone for what proved to be a very...

Society name: Ballinasloe Musical Society Show name: Shrek the Musical Date of attendance: 28th March 2026 It’s not every day that you are greeted at the theatre door by AIMS President Gerry Sweeney, looking every bit like James Bond in his white tuxedo jacket and green bow tie. Such was the vision as I arrived at the Town Hall for Ballinasloe Musical Society’s production of ‘Shrek the Musical’, my first show of another two-show day. The warm welcome set the tone for what proved to be a very enjoyable afternoon in the theatre. This was a vibrant, colourful production which was full of life. Comedy was a real highlight throughout, with plenty of genuinely funny moments. However, even with all the comic chaos, the heart of the piece was never lost. The balance between comedy and sincerity was handled with care and the show’s message of acceptance and belonging was always to the fore. Front of house was a very pleasant experience. The welcome was warm and friendly and it was great to chat about the musical society, the theatre and its history. The foyer was full of children, many dressed up for the occasion, which brought a wonderful sense of excitement and anticipation. The Town Hall itself had undergone a transformation since my last visit. The plush new seating and the opulent front curtain in particular, made an immediate impression, adding a real sense of occasion as we took our seats. There was also a thoughtful touch in the foyer with a photo opportunity spot featuring a large image of Shrek, which proved very popular with younger audience members. Director Ronan Lardner did a very fine job with this production, particularly in his handling of comedy. Mr Lardner had a natural instinct for what works, demonstrating a great flair for physical comedy as well as comedic delivery. There was also very strong work with the ensemble, with each character given a sense of individuality and purpose. Small comic touches stood out, such as Donkey being chased by the guards, or his unexpected fall from above. At times, greater coordination between crew and lighting would have helped to keep the overall look of the show as professional as possible. Despite these very minor issues, there was so much to admire in the overall vision. The storybook concept was beautifully realised, and the decision to have characters exit into the book at the end was a particularly lovely and touch, tying the production together and reinforcing the fairytale feel. Shane Farrell took on the role of Musical Director, ably assisted by chorus mistress Éilís O’Neill. There was a stunning orchestral sound from Mr Farrell’s ten-piece band, which brought real colour and drive to this big, bright beautiful score. There was always a clear awareness of and sensitivity towards the cast on stage, ensuring that vocals were never overwhelmed. Principal singing was consistently strong but it was the ensemble work that stood out most. There was excellent attention to harmony throughout the show. The three Fionas combined beautifully in ‘I Know It’s Today’, with a gorgeous blend in the final section that really captured the heart of the piece. ‘Who I’d Be’ was a real highlight, with Shrek, Fiona and Donkey creating a wonderfully expressive sound which was full of warmth and sincerity. The three blind mice also deserve mention for their tight harmonies which were excellent. Ensemble numbers were particularly strong, with ‘Freak Flag’ standing out with its great energy and clarity. The ensemble created a powerful choral sound in the upbeat finale, bringing the show to a close with real impact. Aoife McClafferty did impressive work as choreographer, bringing energy and a strong sense of storytelling to the movement throughout the show. There was clear attention to detail, with choreography that suited the style of each number and kept a close focus on character and humour. ‘Forever’ was great fun and here Ms McClafferty’s unmistakable theatrical instinct was especially clear, with comedy woven naturally into the choreography. The rats were a real highlight, in the high-energy ‘Morning Person’, showing that they were very well rehearsed and full of character. ‘Make a Move’ brought a lively shift in style, delivered as an engaging Motown-inspired routine. This carried through into ‘Freak Flag’, which built from a freer, more playful opening into a more structured and highly energetic sequence. It was a standout moment, driven by pure joy. Cian Forde had excellent presence in the role of Shrek, the ogre with a deep wish to be accepted. Mr Forde balanced the comic strength and emotional honesty of the character very well. He was very strong vocally and dramatically and most generous in his work with others, especially Donkey and Fiona. He was a wonderful physical comedian with superb comic timing. Despite the challenge of prosthetics and make-up, he was amazingly expressive throughout, which is no small achievement. He had a great sense of storytelling which came through not only in his dialogue but also in his singing. ‘Who I’d Be’ was sung with great sensitivity and power, showing excellent vocal control and emotional depth. Emily Uí Cheallaigh gave an absolutely wonderful, standout performance in the role of Princess Fiona, balancing fairytale elegance with strong will and a wonderful sense of humour. This was a portrayal of real quality. Her vocal performance was outstanding throughout, with the most beautiful tone, power and sensitivity to her singing. ‘I Know It’s Today’ was particularly strong and, when joined by Young Fiona and Teen Fiona, the three of them created one of the most memorable moments of the show. Ms Uí Cheallaigh also had exceptional physicality and comic timing. Her reaction to being rescued by Shrek was hilarious and ‘Morning Person’ was a masterclass in comic performance. An exceptionally polished and memorable comedic performance from Ms Uí Cheallaigh. Ethan McNea was Shrek’s fast-talking, endlessly optimistic sidekick Donkey, whose humour and loyalty provided much of the heart of the show. He had a natural flair for comedy, with a strong accent and excellent diction. His comic timing was exceptionally sharp throughout. Characterisation was consistent throughout and his physicality and expressive facial work were a joy. Vocally, he was very impressive. ‘Don’t Let Me Go’ was performed with great energy and playfulness, including a light touch of falsetto that added to the humour of the song. Patrick Byrne was an excellent Lord Farquaad, with a wonderfully inflated sense of authority and more insecurities than you could shake a stick at. Farquaad is a role that walks a fine line between comedy and menace. Mr Byrne handled that balance exceptionally well to create a villainous, but likeable, antagonist. He threw himself into the malevolent campness of the character, creating a delightfully exaggerated villain whose facial expressions were almost cartoon-like, cleverly echoing the animated roots of the piece. His ability to balance the absurd and the threatening gave his performance depth and helped the humour to work even better. A highly skilled comic performance from Mr Byrne. Hannah Wright gave a stunning performance in the role of Dragon. She had excellent stage presence and exceptional vocal ability. Visually, she made a real impact, with a bold and imaginative costume design that really strengthened her character. From the outset, Ms Wright created a convincing sense of menace where needed, while also allowing the softer and more affectionate side of the character to emerge later in the show. Vocally, she was outstanding in ‘Forever’. Her strong belt and superb control were a joy to hear. This was one of the standout scenes of the show, performed with great power, assurance and a real sense of enjoyment. Ellen Keane was an excellent Pinocchio who brought great heart to the ensemble. Her comic timing was very impressive throughout. The high-pitched delivery associated with the role can sometimes affect clarity but that was not the case here. Her diction was clear and precise at all times. She too sang very well, especially in ‘Freak Flag’ where she showed an impressive range and excellent control. Ailbhe Lohan was another wonderful performer in the role of Gingy, the feisty and resilient gingerbread man. Ms Lohan’s sharp comic timing and strong characterisation were most impressive throughout. Her singing was excellent too, especially at the top of ‘Freak Flag’, where she delivered a confident and expressive vocal, complete with impressive riffing that moved playfully into a very funny higher register. Teagan Farrell was a wonderfully charming Young Fiona. As the youngest version of the character, Teagan set the tone for Fiona’s journey and the start of ‘I Know It’s Today’ was bright and expressive with a strong sense of storytelling. She sang with a superb voice and her expression showed that much thought had gone into the lyrics, with real care given to each word. Isabel Leech made a very strong impression in the role of Teen Fiona. As the middle stage of Fiona’s journey in ‘I Know It’s Today’, she gave a great sense of growing confidence and awareness. She sang with a fabulous voice and wonderful stage presence. Her strong musicality shone as the three voices combined, with her excellent harmonisation being very impressive indeed. There was very strong work from the ensemble throughout. What stood out most was the sense of individuality within the ensemble. While certain scenes required uniformity, there were many moments, particularly among the fairytale characters, where distinct personalities shone through and it was clear that this had been an area of focus for Mr Lardner and his talented cast. There was a high level of expression and commitment. The ensemble was always animated and fully invested in the narrative and the style of comedy required. The fairytale characters as a group were wonderful, each bringing something individual whilst maintaining a collective energy that was quite exhilarating at times. Excellent work overall from a superbly committed ensemble. Stage manager Geoffrey Casey and his crew did a really strong job in what was quite a demanding production. With so many set pieces, transitions and visual elements, slick stage management is absolutely essential and that was very much in evidence here. Movement of scenery was handled with confidence and efficiency, allowing the story to flow without interruption. Given the scale and variety of the set, this level of organisation was very impressive. The set design was excellent. There was a very good understanding of the fairytale roots of the show, reflected in the storybook framing device, and the design was both visually engaging and very practical. The swamp setting was especially well realised. The broken fencing, wooden textures, low-lying foliage, along with the atmospheric low-lying mist spilling out over the front of the stage, was very effective. Duloc was a nice contrast and the castle was highly impressive. The ‘Welcome to Fabulous Duloc’ sign was a fun piece but I did feel that the inclusion of ‘Ballinasloe’ strayed into pantomime territory. Fiona’s tower was simple but very effective theatrically. A real case of economical design achieving maximum impact. The lighting design contributed greatly to the overall look and atmosphere of the show, with some particularly effective use of colour throughout. There were many moments where lighting was used very creatively. The molten lava scene was especially impressive, achieved through a combination of rich red tones, smoke, and bubbling sound effects. It was a very dramatic visual, full of intensity and energy. The nighttime state for ‘Who I’d Be’ was another highlight, with a beautiful look that included a soft, atmospheric wash and a stunning moon on the cyc, adding a gorgeous sense of stillness and reflection to the moment. At times, cues were slightly delayed, which was unusual for so late in the run. Blackouts, in particular, could have benefited from some adjustment. While snap blackouts can work very well in the right context, there were moments where a softer fade might have suited the scene better. Overall, however, there were many strong and imaginative moments, creating atmosphere and complementing the narrative very well. The sound design was top notch throughout, with clear attention to detail and a strong understanding of the demands of the score. There was a lovely balance in every element, with an excellent mix of the band supporting the action without ever overwhelming it and a particularly strong chorus sound that carried so well. There was an outstanding vocal mix throughout the show, ensuring that principal and ensemble singing were consistently heard. Excellent work all round. Costumes were a real joy. In a show like ‘Shrek the Musical’, it is essential that characters are instantly recognisable and that the long-established visual style of the story is respected. That was very much achieved here. All of the fairytale characters were clearly defined. Shrek’s costume was exactly as expected, from his tartan trousers to his signature tunic and waistcoat combination. There was also great work done for the Duloc scenes, with its clear red and blue colour scheme. Dragon’s costume was a standout, bespoke creation, brilliantly conceived and constructed. The headpiece, in particular, really added to the look, tying the whole design together with the illusion of a dangerous creature while still allowing Ms Wright to be expressive. Excellent attention to detail throughout in recreating the colourful animated style of the piece. There was great attention to detail in the props department, with a wide range of well-chosen and thoughtful pieces that supported the story and style of the production. Farquaad’s horse was a particularly impressive creation, created from scratch and used to great comic effect. A props design with plenty of creativity and attention to detail. Hair and makeup were a real high point of this production, with exceptional work across the board in bringing these well-known characters to life. The level of detail was excellent throughout. There were some particularly strong individual touches. Pinocchio’s makeup and extending nose included clever, effective detail, while the uniform yellow wigs of Duloc were a big part of the visual comedy. Red wigs for the three Fionas were perfect and Farquaad’s iconic sleek black bob was instantly recognisable and added greatly to his overall look. Shrek himself was another standout, with excellent prosthetic work and green makeup that were both convincing and expressive. Special mention must also go to Fiona’s transformation, which was handled very effectively. Ballinasloe Musical Society made a wonderful choice in staging this show. It suited the group very well, allowing for strong ensemble work and vibrant characterisations. The show never lost sight of its central message. ‘Shrek the Musical’ celebrates the idea of embracing who you are rather than who the world expects you to be. That came through clearly in this production, connecting not just with the many children in the audience, but with us all. There was a real sense of joy as the story unfolded with warmth, humour, and heart. It was a thoroughly enjoyable production and a fitting celebration of a much-loved story. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Fiddler on the Roof - Youghal Musical Society

Society name: Youghal Musical Society Show name: Fiddler on the Roof Date of attendance: 27th March 2026 One of the first things that struck me on arriving at Youghal Musical Society’s production of 'Fiddler on the Roof' was the long list of sponsors and patrons in their programme. It immediately suggested a society that is well supported and valued within its community. In many ways, that strong sense of community reflects the very heart of 'Fiddler on the Roof', making it a particularly...

Society name: Youghal Musical Society Show name: Fiddler on the Roof Date of attendance: 27th March 2026 One of the first things that struck me on arriving at Youghal Musical Society’s production of 'Fiddler on the Roof' was the long list of sponsors and patrons in their programme. It immediately suggested a society that is well supported and valued within its community. In many ways, that strong sense of community reflects the very heart of 'Fiddler on the Roof', making it a particularly suitable choice of show. This was a production that gave the audience real enjoyment, balancing humour with the more moving and emotional elements of the story. 'Fiddler' is a musical that still feels highly relevant, perhaps now more than ever, with its themes of displacement, change and uncertainty. There was something especially fitting about seeing this story presented in today’s world, and Youghal Musical Society did a good job overall on a show that felt both timeless and very current. There was a warm and friendly atmosphere front of house, which created a positive impression from the start. The decision to place the ticket collection point at the back of the hall worked very well, avoiding congestion at the main entrance and allowing the audience to enter without any discomfort. There was also a good effort made to transform the GAA hall into a more theatrical space, with draping helping to offset the bare look of the walls. The stage preset as we entered was a very nice touch. The simple image of a fiddle resting on a bentwood chair was thoughtful and effective. Director Séamus Power presented a solid production which understood the show’s main themes of family and community. There was some strong work in the more emotional scenes, where the poignancy of the story came through well. There were, however, areas that needed more attention. Accents were inconsistent across the cast, with some performers aiming for an Eastern European sound while others sounded distinctly Irish. Some staging ideas worked very well. The use of freezes in the inn scene was particularly effective. The dream sequence was another real highlight, both dramatically and musically. During the Sabbath Prayer scene, sightlines were not ideal, as Tevye was hidden from part of the audience during the song. Late entrances were also a recurring problem, leading to some lengthy, awkward pauses in the action while performers made their way on stage. There was, however, very good attention to detail in other scenes, especially in the wedding ceremony, which felt authentically presented. The train station scene between Tevye and Hodel was also beautifully done and was one of the emotional high points of the production. In the closing moments, the choice to have the cast leave through the audience as they fled Anatevka was very effective, creating a quiet but meaningful link between the people on stage and the community watching them. It was a thoughtful and fitting ending. Nice work overall from Mr. Power. Anna O’Sullivan led a very capable musical team, working with a very reduced orchestra placed to the right of the stage. The group of piano, keyboard, clarinet, violin, percussion and bass did their best to cover what is one of the finest scores in musical theatre. While some of the finer detail of Jerry Bock’s music was inevitably missing, the musicians themselves should be praised for the quality of their playing and the commitment they brought to the performance. Choral singing was of a very high standard. 'Tradition' opened the show with a powerful and confident wall of sound from the full company, setting the tone extremely well. 'Sunrise, Sunset' was another musical highlight, with excellent balance between the voices and very good use of dynamics, creating a genuinely moving moment. Underscoring was often too heavy under spoken dialogue. In the same way, 'Far From the Home I Love' suffered, with the bass and keyboard much too heavy for what should have been a more intimate moment. Kate O’Callaghan worked well with the range of ability within the cast. 'Fiddler on the Roof' does not offer the same number of dance opportunities as many other musicals but what was included was well staged and suited to the performers involved. There was effective use of circular formations in 'Tradition', which nicely underlined the themes of family and community. 'To Life' felt rather static at times, particularly given the natural energy of the song. That said, shortening it was probably a wise decision and when movement did happen, the rough, drunken quality of it felt entirely right for the scene. The strongest choreographic moment came in the wedding scene, which gave the whole production a lift. The bottle dance in particular was very well done, with the four dancers handling this famous routine with great assurance. Paul Finn gave an outstanding performance as Tevye, with a natural warmth and ease that created a lovely bond with the audience. This was a commanding portrayal that held the whole production together, full of intelligence, thought and detail. Vocally, Mr Finn was in excellent voice. 'If I Were a Rich Man' was sung with a light, playful touch, while his singing in the Chavaleh sequence carried real emotional force. His comic timing was especially strong, always played with a twinkle in the eye and never overdone. In the Chavelah sequence, he gave a deeply moving performance, making Tevye’s struggle between faith and family completely believable. The emotion in his voice, especially when it cracked, felt utterly genuine. This was a superb, fully realised performance from a very talented and highly engaging performer. Orla Irwin gave a very strong and assured performance as Golde, establishing from the beginning a woman very much in charge of her household and not someone to be taken lightly. Her accent was excellent and consistent throughout. There was clear authority in her performance, which suited the character well, while still allowing glimpses of the loyalty and care that lie beneath Golde’s harder exterior. There were some lovely touches that revealed the softer side of the character too. Some key moments were handled with sensitivity, particularly in 'Do You Love Me?', which felt believable and very well judged. Elisa Redmond gave an engaging performance as Tzeitel, bringing a warm stage presence to the role throughout. Her imitation of Yente in 'Matchmaker' was particularly enjoyable, played with confidence and good comic effect. She was at her best in the more emotional scenes, which always felt natural and believable. Her plea to Tevye not to force her into marriage with Lazar was especially well handled, capturing Tzeitel’s fear and determination in a very genuine way. A thoughtful performance with some very strong moments. Nicola Romejko gave a lovely, thoughtful performance as Hodel, bringing gentle strength and intelligence to the role. She had a very pleasant stage presence that suited the character and conveyed Hodel’s curiosity and growing independence very well. Vocally, this was the performance of the night. 'Far From the Home I Love' was sung beautifully, both technically and dramatically. It was a most sincere and moving moment. Ellen Ryan delivered a strong, moving performance as Chava, Tevye’s thoughtful and well-read daughter. She captured the character’s quiet intelligence very well. Her emotional commitment to the role was a major strength. The scene in which she pleads with Tevye to accept her relationship was genuinely harrowing, with her cries full of raw feeling. It was a very believable and well-judged piece of acting, capturing the desperation and heartbreak of the moment in a very believable way. Theresa Keane was excellent as Yente the matchmaker, showing all the qualities of a strong character actress. She brought great energy and precision to the role, with a particularly sharp sense of timing. Her understanding of pace was clear in her early scene with Golde, which can often lose momentum but in this case was lively and engaging. Vocally, Ms Kane was also impressive. She used her voice to strong effect, in the rumour scene, which she delivered with great energy. Brendan Scully gave a solid performance as Motel the tailor, capturing the character’s naturally shy and unassuming nature. His portrayal emphasised Motel’s meekness. While the nervousness and vulnerability were very evident, there was maybe room to develop his journey further, allowing us to see more of the inner strength that would make Tzeitel love him in the first place. Mr Scully sang well, especially in 'Miracle of Miracles', which was delivered with sincerity and a sense of joy. Cian O’Rourke delivered one of the strongest acting performances of the evening in the role of Perchik, the student whose progressive ideas challenge the traditions of Anatevka. Mr O’Rourke brought excellent stage presence, very clear diction and a strong understanding of the text. There was also nice detail in his growing relationship with Hodel, where the softer side of the character came through. He also sang very well, most notably in 'Now I Have Everything', which was delivered with sincerity and strong musicality. Matthew Doherty gave an upbeat and engaging performance as Fyedka, bringing a confident presence to the role. While Mr Doherty brought strength to the part, there were moments where the performance leaned a little too much towards forcefulness. A gentler, more reassuring quality at times would have helped to bring out Fyedka’s kindness and sincerity more. He sang very well. His solo in To Life was particularly strong, showing a clear tenor voice with impressive range and a pleasing tone. Paudie Sheehan did well as Lazar Wolf, the butcher. He brought a solid presence to the role, capturing Lazar’s sense of entitlement in pursuing a match with Tzeitel. There were some very enjoyable comic moments, especially in his interactions with Tevye in the inn scene. His drunken scene after 'To Life' was also entertaining. Vocally, Mr Sheehan gave a solid account of himself, contributing well to 'To Life'. 'Fiddler on the Roof' offers a wealth of supporting roles and this allowed Youghal Musical Society the opportunity to involve a large number of members. Nicola Barron was excellent in her cameo role as Grandma Tzeitel in the dream sequence. Her characterisation was strong and clear and despite a slight timing issue, she was well supported musically, recovering with confidence. Charlotte Black gave a very strong performance as Lazar’s late wife Fruma Sarah, striking just the right balance between the grotesque and the comic. This was a powerful contribution both dramatically and vocally, adding greatly to the impact of the dream scene. Eddie Hayes brought good energy to the role of the Rabbi. While his accent would have benefited from more work, he handled the role well and contributed positively to the ensemble. Adam Whelan also did well as Mendel, the Rabbi’s son, showing good stage presence, though quicker pick up of cues would have helped tighten the flow of the scenes. Frank Ryan was a strong character actor as the innkeeper, Reb Mordcha. His wedding announcements were particularly funny, delivered with great expression, and his interrupted attempts to sing during the wedding were handled with good comic timing. Michael O’Riordan gave a strong and authoritative performance as the Constable, with a resonant voice and clear diction. There were moments where a slightly lighter touch might have helped, as the Constable is not a straightforward villain but his overall presence was impressive. Liam Roche made a valuable contribution as Avram the bookseller, especially in the rumour scene, where he brought good energy and clarity. He also supported the ensemble very well throughout. Finally, the younger members of the cast – Holly Bates, Abi Flanagan and Hamish Wilson as Shprintze, Bielke and the Fiddler – all did very well. They brought real charm to their roles, and it is clear that the future of Youghal Musical Society is in safe hands. The ensemble was a very important part of the production from the first entrance in 'Tradition', where they moved and sang with confidence and purpose. They helped create the strong sense of community that is so central to 'Fiddler on the Roof' and this carried through the whole performance. They brought good energy to the wedding scene, lifting the atmosphere in contributing to one of the most enjoyable parts of the show. In contrast, more reflective sections such as 'Anatevka' and the final exodus were handled with poignancy. Choral singing was very strong throughout. Margaret Kiely did a very good job as stage manager, supported by an efficient and well-organised crew. Scene changes were handled smoothly throughout, helping the show to keep moving at a good pace. The opening and closing of the central structure, transforming it to the interior and exterior of Tevye’s house was well managed and carried out with ease. The handling of the cart, particularly given the very limited wing space, was also very impressive. Some elements of the set design worked well. The backdrop of the barren landscape suggested poverty and cold, helping to place the audience firmly in the harsh environment of Anatevka. The central structure served a useful practical purpose and was used effectively, opening out to form the interior of Tevye’s house. However, the overall picture felt rather sparse at times. There were also some stylistic inconsistencies. The painted stove inside the house did not quite fit with the rest of the design. In a show like 'Fiddler on the Roof', where realism is so important, this stood out and weakened the authenticity somewhat. Lighting is an area that could be improved for future productions. While there were some very good ideas on show, greater consistency and better coordination would have helped greatly. Cueing was not always tight and at times there seemed to be a lack of coordination with stage management, particularly when set pieces or performers were not fully in place before lights up. Blackouts also did not always coordinate with cast exits, with performers often leaving before the lights had fully gone. The position of the follow spots at the back of the hall also caused problems. Set too low, they sometimes caught the heads of audience members and spilled light into the auditorium. The lack of a proper front lighting position also had a noticeable impact. There were, however, some very effective moments. Tevye’s “What do I think?” moment was supported nicely by a blue wash and a well-placed follow spot, creating a clear and striking image. The red and yellow wash on the backdrop at the end of the wedding was also very effective, adding strongly to the drama. Sound quality was generally very solid throughout, with a good overall mix. The use of sound effects was effective. The atmospheric wind in the train station was particularly good. The burning sound effects at the end of the wedding were also very effective and helped heighten the drama. In general, the band was well mixed, though there were some exceptions. 'Far From the Home I Love' required attention, with the bass and keyboard accordion sound too heavy for what should be a much more delicate and intimate moment. Chava’s microphone would also have benefited from a more thorough sound check for her screaming scene, in order to avoid distortion and to keep clarity in such an emotionally intense moment. Costumes were, for the most part, very authentic, with good attention to detail in areas such as the prayer shawls and head coverings. Footwear was inconsistent at times. Perchik’s boots looked too modern and several of the women wore character shoes where boots would have been a more suitable period choice. Motel’s wedding suit was another area that drew attention, with sleeves that were far too short. Not a good look for the village tailor! These were all relatively small points and overall the costume department did a solid job in creating the look of the period. Props were handled very well overall, with strong attention to detail throughout. The cart, which is so central to the story, looked excellent on stage. There were many other thoughtful touches too, including an authentic menorah and a range of well-chosen props such as the washboard, metal bucket, candlesticks and Hodel’s suitcase, all of which helped the authenticity of the show. The black bouquet and falling petals used by Fruma Sarah in the dream scene were very effective and the wicker pram in the final scene for Motel and Tzeitel’s baby was a beautiful and authentic antique piece. The hair and make-up department did well overall. The gentlemen deserve particular praise for their authentic beards, which added great authenticity. There was also excellent work in the dream sequence. Fruma Sarah was a standout creation, dramatic and striking and very effective in helping to bring that scene to life. There were some areas that would benefit from closer attention, especially among the female cast. At times, eye make-up and lipstick colours did not fully suit the period or the setting. In an intimate venue, details like these are especially noticeable and can affect the overall authenticity of the production. 'Fiddler on the Roof' is one of the most relevant and moving works in musical theatre. Its themes of family, tradition, displacement and change still speak very powerfully in today’s world, where so many communities face uncertainty and upheaval. Youghal Musical Society’s decision to stage this show felt both timely and meaningful. What stood out most was the palpable sense of community, onstage and off. At its heart, 'Fiddler' is about people trying to hold on to each other in times of change, and that feeling of togetherness came through in many parts of this production. Above all, it was a production with real heart. Youghal Musical Society should be very proud of what they achieved, and of the community they continue to build both on and off the stage. Pat McElwain Sullivan Adjudicator 2025/2026 Photos by Jack O’ Callaghan and poster design by Tara Flavin.

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GILBERT SOCIETIES

Below is our comprehensive list of GILBERT societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

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