top of page

UPCOMING EVENTS

Come From Away

​

28 May 2026

More...
Hits from the Musicals

​

26 Oct 2026

More...
Come From Away

​

10 Sept 2026

More...
FROZEN

​

31 Jan 2027

More...
Broadway & Beyond (The Encore)

​

22 May 2026

More...

LATEST NEWS

AIMS Choral Festival 2026 Results & Recap

Another incredible weekend in the books as choirs from all corners of the country descended on New Ross. The streets were absolutely alive with sweet harmonies, brilliant banter, and pure, wholesome energy. Whether you were competing, supporting, or just taking it all in, thank you for making the AIMS Choral Festival 2026 so special and thanks to Festival Admin Lizzy Heffernan and her subcommittee / volunteers for all the hard work! Below is a quick summary of the weekend's antics, along...

Another incredible weekend in the books as choirs from all corners of the country descended on New Ross. The streets were absolutely alive with sweet harmonies, brilliant banter, and pure, wholesome energy. Whether you were competing, supporting, or just taking it all in, thank you for making the AIMS Choral Festival 2026 so special and thanks to Festival Admin Lizzy Heffernan and her subcommittee / volunteers for all the hard work! Below is a quick summary of the weekend's antics, along with all the official photo albums and video playlists to help you relive the magic! Please find PDF of the results below. Friday Jr Competition Photos Facebook Album Sunday in New Ross -> Official Album YouTube Playlist featuring some of the fantastic Choirs performing in the Theatre on Sunday (Sorry I wasn't able to get to the Church! - maybe next year.. - DC) YouTube Dates for next AIMS Choral Festival 21st to 23rd May 2027

Review: The Drowsy Chaperone - Rush Musical Society

Society name: Rush Musical Society Show name: The Drowsy Chaperone Adjudicator date of attendance: 21/03/2026 Rush Musical Society’s production of The Drowsy Chaperone embraced the charm, wit, and layered theatricality of this unique musical with confidence and creativity. This is a piece that lives and dies by its precision of tone, balancing parody with genuine affection for the Golden Age of musical theatre, and this production clearly understood the assignment. What emerged was a...

Society name: Rush Musical Society Show name: The Drowsy Chaperone Adjudicator date of attendance: 21/03/2026 Rush Musical Society’s production of The Drowsy Chaperone embraced the charm, wit, and layered theatricality of this unique musical with confidence and creativity. This is a piece that lives and dies by its precision of tone, balancing parody with genuine affection for the Golden Age of musical theatre, and this production clearly understood the assignment. What emerged was a thoughtful, engaging, and often very funny evening of theatre that demonstrated both a strong directorial vision and a committed company. At the heart of the production was a clear and intelligent directorial approach from Wilfie Pyper. The decision, in keeping with the original concept, to ground the entire narrative within the Man in Chair’s living room worked beautifully, particularly within the intimate venue. This concept allowed the audience to remain closely connected to the central character while fully investing in the heightened, nostalgic world of the musical unfolding around him. The interplay between reality and imagination was handled with care, and the overall flow of the piece felt natural and well-paced. Characterisation across the board was strong, with a clear understanding that the figures within the “show” are intentionally heightened and somewhat two-dimensional. Leaning into this stylistic choice gave the production clarity and allowed the comedy to land effectively. Each character felt purposeful, contributing to a cohesive ensemble dynamic. The humour was well judged throughout, with moments of genuine laugh-out-loud comedy balanced by quieter, more reflective beats. The slightly risqué elements of the script were handled with confidence and taste, maintaining the show’s playful tone without tipping into excess. The use of the set was particularly effective, with the space utilised to its fullest potential. Movement and staging felt intentional and well considered, contributing to strong visual storytelling. Transitions were smooth, supporting the pacing of the production. In a venue of this size, however, precision becomes even more noticeable, and there were moments where the shifts between the “real” world and the imagined musical could have been slightly sharper, particularly in relation to the operation of the record player. Tightening these transitions would further enhance the immersive quality of the piece. There was also an opportunity to deepen the storytelling in the relationship between Mrs. Tottendale and Underling. While their scenes were enjoyable and often very funny, the progression of their connection felt somewhat sudden. Allowing more development, particularly during “Love is Always Lovely,” would help the audience invest more fully in their journey. A small visual detail in the final moments, where two maids remained visible in a lighting state, slightly diluted the emotional impact of the Man in Chair’s closing scene. Refining this would help preserve the poignancy of that final image. Musically, the orchestra under Sarah Lynch Barrett brought a strong sense of energy and commitment to the production, supporting the style and rhythm of the piece. The overall sound was pleasing, though there were occasions where cohesion between pit and stage could be strengthened. Some timing discrepancies, particularly in dance numbers such as the tap sections, briefly disrupted the flow. Greater security in cueing and entrances would add polish and consistency. Balance was a key consideration in this space. At times, the orchestra overpowered the singers, making it difficult to fully appreciate the vocal performances. In an intimate venue, a lighter touch from the band would allow the voices to carry more naturally and create a more cohesive overall sound. With some careful adjustments in this area, the musical aspect of the production could reach an even higher level. Eimear Sheridan’s choreography captured the spirit of the 1920s with a clear nod to the stylised, revue-like quality of the era. There was a strong “Follies-esque” feel to many of the numbers, which suited the tone of the piece very well. The choreography was thoughtfully adapted to the available space, with creative staging that made full use of the performance area. The opening number was particularly effective in establishing energy and style, while “Show Off” stood out as a highlight. While much of the movement was clean and well executed, there were moments where greater attention to unison would enhance the visual impact. Ensuring that all performers are consistently aligned in timing, direction, and placement would strengthen the overall cohesion. One performer in particular struggled slightly with consistency, which occasionally drew focus. Addressing this would help maintain the polish of the ensemble work. There was also an opportunity to involve all members of the chorus more fully in the choreography, enriching both the visual texture and the sense of ensemble. The central performances provided a strong anchor for the production. Simon Pyper’s Man in Chair was an exceptional piece of acting, natural, nuanced, and deeply affecting. His portrayal captured the character’s childlike enthusiasm and underlying vulnerability with great authenticity, drawing the audience into his world from the outset. The emotional journey was clear and compelling, culminating in a final moment that landed with real impact. Rebecca Leonard delivered a poised and elegant Janet van de Graaf, embodying the classic 1920s leading lady with grace and precision. Her physicality and attention to detail were excellent, and vocally she brought a lovely tone to the role, delivering the expected moments with confidence and charm. Stephen Ryan’s Robert Martin was warm and engaging, with a particularly strong tenor voice. His high notes were impressive, and his ease of movement, including the roller-skating, added to a confident and appealing stage presence. His relationship with Janet felt genuine and comfortable, supporting the central narrative. Niamh Banim’s Drowsy Chaperone was vibrant and full of energy, with a powerful vocal presence and strong comedic instincts. Her facial expressions and character choices were highly entertaining, and while the portrayal of intoxication could be refined slightly to feel more natural, the overall performance was memorable and effective. The supporting cast added depth and variety to the production, with many strong individual contributions. Noreen Fynes brought a clear sense of character to Mrs. Tottendale, leaning into the confusion and eccentricity for strong comic effect. Her interactions with Brian Magennis’s Underling were particularly enjoyable, with Magennis delivering a very funny, well-controlled performance grounded in excellent deadpan timing. There is scope to further develop the emotional progression of their relationship, but the foundation is strong. Mark Flynn’s George was a confident and well-characterised performance, with effective physicality and a pleasing vocal contribution. Daniel Farrell’s Adolpho was a standout, fully embracing the exaggerated, flamboyant nature of the role with confidence and flair. His performance was both vocally strong and physically dynamic, with his rendition of “Adolpho” providing a clear comic highlight. Gary Finegan’s Mr. Feldzig delivered a very good performance, capturing the character’s panic and urgency with clarity. His interactions with Kitty and the Gangsters were effective and well timed. The Gangsters themselves presented an interesting contrast; Kevin Twohig brought strong energy and engagement, while Helen Farrell appeared less comfortable, particularly in maintaining eye-line and connection with the audience. With increased confidence and commitment to the physical comedy, these roles could unlock even more humour. Nora Farrell’s Kitty was a very funny and characterful performance, with strong vocal and physical choices that reflected the style of the role. While diction was occasionally impacted by the character voice, her interactions with Mr. Feldzig were excellent, and her “premonition” moments were particularly memorable. Aoife Parkes made a strong impression as Trix, delivering a confident and vocally powerful performance, while Barry Kavanagh’s Superintendent demonstrated excellent comic timing and characterisation, proving that even a smaller role can have significant impact. The ensemble brought strong energy and enthusiasm to the stage, contributing positively to the overall pace and atmosphere of the production. Their commitment was evident, and they were particularly effective in their handling of entrances, exits, and set transitions. Vocally, there were moments where the chorus was difficult to hear, often due to balance and microphone considerations. Ensuring consistent amplification would allow their contribution to be more fully appreciated. Movement was generally well executed, though, as with the choreography overall, a greater focus on precision and unison would strengthen the visual impact. Stage management, led by Connie Murray, was clearly well organised and thoughtfully executed. The decision for the cast to manage set changes worked very effectively, with transitions integrated smoothly into the performance. The set itself was a real highlight, creative, detailed, and highly functional. The use of elements such as the fridge as an entrance point added a playful and imaginative touch, while the overall set dressing demonstrated a strong attention to detail. The inclusion of cast photos within the album concept was a particularly nice touch, and maintaining consistency in their visual style would further enhance the aesthetic. Lighting contributed some lovely stage pictures and supported the atmosphere of the piece. With sharper cueing, particularly in the transitions between the real and imagined worlds, the storytelling could be even clearer. Sound presented more noticeable challenges, particularly in balance. The orchestra frequently overpowered the singers, and there were moments where dialogue, especially from the Man in Chair during musical numbers, was difficult to hear. A more balanced approach would significantly improve clarity and audience engagement. Visually, the production was outstanding. The costumes were beautifully designed and perfectly suited to the period, with a cohesive colour palette and excellent attention to detail. The maids’ costumes in particular were thoughtfully coordinated. Hair and make-up were equally strong, capturing the style of the era with precision and adding significantly to the overall authenticity of the production. From an audience perspective, the experience was enhanced by a warm and welcoming atmosphere on arrival. Front of House operations were efficient and well organised, ensuring a smooth seating process and contributing to a sense of anticipation in the space. The intimacy of the venue worked very much in the production’s favour, allowing for a strong connection between performers and audience and supporting the immersive nature of the piece. Overall, this was a highly enjoyable and thoughtfully realised production that demonstrated a clear understanding of The Drowsy Chaperone and its unique theatrical voice. With some refinement in technical balance and precision, particularly in sound and timing, this production has all the elements to reach an even higher standard. The talent and dedication within Rush Musical Society are evident, and this was a performance full of charm, creativity, and heart.

Review: Michael Collins – A Musical Drama - Limerick Musical Society

Society name: Limerick Musical Society Show name: Michael Collins – A Musical Drama Date of attendance: 21st March 2026 Limerick Musical Society presented the epic ‘Michael Collins – A Musical Drama’, a gripping dramatisation of a crucial period in Irish history, in University Concert Hall, Limerick. It is a powerful story, filled with political tension, violence, and an intriguing love triangle, charting both the political and personal life of one of Ireland’s most iconic figures, Michael...

Society name: Limerick Musical Society Show name: Michael Collins – A Musical Drama Date of attendance: 21st March 2026 Limerick Musical Society presented the epic ‘Michael Collins – A Musical Drama’, a gripping dramatisation of a crucial period in Irish history, in University Concert Hall, Limerick. It is a powerful story, filled with political tension, violence, and an intriguing love triangle, charting both the political and personal life of one of Ireland’s most iconic figures, Michael Collins, the Big Fella. This is a very special piece of theatre and those who are lucky enough to work on it always know what a privilege it is to bring it to the stage. That sense of responsibility was clearly understood by both cast and crew throughout the production. The show is a wonderful legacy to the late Bryan Flynn, whose work reflects a deep understanding of both the man at the centre of the story and the important historical context. Like Collins himself, Bryan Flynn was taken far too soon, and there is always something particularly poignant in seeing his work brought to life. There was much to admire in Limerick Musical Society’s production, with moments that captured both the scale and emotional weight of the story. While some elements could have benefited from greater polish, the overall impression was one of commitment, ambition, and a strong sense of pride in the story. With a little more attention to detail, it could have been a truly outstanding production. This was my first visit to this wonderful space and what an impressive venue it is. The large, open foyer was full of energy on arrival, with a real sense of anticipation building ahead of the performance. Front of house was handled very well, with theatre staff who were both friendly and efficient, ensuring that everything ran smoothly. A particularly nice touch was the tribute to Bryan Flynn included in the front of house announcements, setting a tone that was celebratory and poignant as well as reminding the audience of the significance of the work they were about to experience. Des Henn took on the dual role of director and movement coordinator, bringing a number of thoughtful and imaginative ideas to the production. The opening sequence of projections, featuring moments of Irish historical, political, cultural and sporting significance, was certainly striking, though it did feel slightly disconnected from the context of the story being told. The use of the extended apron was a particularly strong directorial choice, allowing action to flow continuously while new scenes were prepared on the main stage. Attention to detail was occasionally an issue. The misspelling of Eaomon (sic) de Valera on screen was an unfortunate oversight and small moments such as Harry Boland offering a toast without a drink in hand stood out more than they should have. Movement was used very effectively in places, particularly in ‘Prison Song’ which was very strong from the male ensemble, while ‘Fly the Flag of Freedom’, though vocally strong, would have benefited from more dramatic intent and connection. The Treaty debates and Civil War sequences were particularly effective, creating a great sense of drama. Some moments, however, lacked clarity, particularly in transitions of time, and sightlines were not always ideal in busier scenes. Overall, this was a solid piece of direction from Mr. Henn, with many strong ideas and moments of quality. With some tightening of detail and greater consistency in execution, it had the potential to become an excellent production. Michael Young did an excellent job as both musical director and choral director. Integrating the show’s pre-recorded tracks with a live band is no small task, presenting both technical and musical challenges. However, Mr. Young’s experience was evident throughout and he handled this balance with confidence and skill. The standard of principal singing was very high. Solos and duets were delivered with control and sensitivity and all principal performers gave strong vocal performances. Choral work was very strong throughout. The male ensemble in ‘Prison Song’ and ‘Fly the Flag of Freedom’ sounded most impressive, while numbers such as ‘Listen to the Voice of Reason’ and ‘Every Heart Awaken’ were excellent from a choral perspective. Barry Danaher took on the iconic role of Michael Collins, the Big Fella. Vocally, he was very well able for the demands of the role, with his fine tenor voice, impressive range, and a strong, confident delivery throughout. Dramatically, however, the performance took a little time to fully settle. In the earlier stages of the show, there were moments where more fire and passion were needed to capture the charismatic and commanding presence associated with Collins. That said, there were glimpses throughout of what the performance could become. There was a noticeable shift in Act Two. The scene leading into ‘Stepping Stone’, and the song itself, showed Mr. Danaher at his strongest, delivering with conviction, emotion and power. This showed his clear potential in the role. His speech in the Dáil was another highlight, full of sincerity and authority. With greater consistency and more focused collaboration with Mr. Henn this could have been elevated from a very good portrayal to an excellent one. Kellie Murphy, who appeared as a child in the original 2009 production, stepped into the role of Kitty Kiernan, the woman at the centre of the love triangle. It is not an easy role to fully realise, as despite its importance, it offers limited opportunities to navigate a clear character arc. However, Ms. Murphy proved more than equal to the challenge. A skilled and thoughtful performer, she brought depth to the role through subtle but clear character choices. Her thought processes were always visible, making Kitty feel very real. Vocally, she was excellent. Her clear soprano voice was controlled and appeared quite effortless. ‘For Nothing Else I Cared’ was performed with strong dramatic intent, while her duet with Michael, ‘Our Love Will Never End’, was a musical highlight of the evening, sung with great warmth and connection. Stephen O’Ríaín delivered a very strong performance in the role of Harry Boland. He understood the complexity of the character, capturing the inner conflict between his loyalty to Michael and his love for Kitty with wonderful sensitivity and control. Vocally, he was consistently excellent. ‘Not That Man’ stood out as a particularly memorable moment, showcasing his excellent voice, while also conveying the character’s internal struggle. Brian Curtin brought a strong sense of authority to the role of Éamon de Valera, delivering a suitably statesmanlike figure throughout. His letter scene was nicely delivered, although it felt slightly rushed at times and might have benefited from better pacing. Vocally, he was impressive, particularly in ‘Confrontation’, where he was both powerful and controlled. Mr. Curtin kept a consistently authoritative demeanour throughout, with just the right amount of political formality. Eoghan Cantillon-Mann was a standout performer in the role of Joe Emmett. This was a performance full of warmth, honesty, and emotional depth. He brought a natural ease to the stage, creating a character who felt genuine and sincere throughout. In a story filled with tension and conflict, Mr. Cantillon-Mann provided welcome moments of lightness, driven by Joe’s loyalty, good nature, and quiet strength. His heartbreaking ‘Ár nAthair’ prayer as Collins lay dying was deeply moving. One of the most distinctive features of ‘Michael Collins - A Musical Drama’ is its use of the play-within-a-play device, drawing on characters from Yeats’s ‘Cathleen Ní Houlihan’ to help narrate Collins’s story. It is a highly clever and effective theatrical idea and a key part of what gives the piece its unique performance style. In this production, however, that concept was adapted, with the roles divided between five actors in the Yeats play and four separate narrators. The four narrators, Emma Culhane, Aidan O’Connell, Hilary Phayer, and Thomas Coneran, gave excellent performances. Collectively, they worked beautifully, with a well-balanced blend of voices and a strong sense of shared purpose. Dramatically and musically, they were consistently superb, drawing the audience into the story with great clarity. Mary Claire Ryan delivered a truly memorable performance as Mother Ireland in the play-within-a-play. She brought a strong presence to the role, embodying the weight and turmoil of Irish history with great assurance. Her sean-nós style vocals were hauntingly delivered. Dramatically, she embraced the heightened style required, creating a character that felt otherworldly and deeply rooted in Ireland’s past. The four actors in the ‘Cathleen Ní Houlihan’ play delivered strong performances and contributed well to this important element of the production. Ber Hickey was a thoughtful Bridget, bringing a nice sense of detail and understanding to the role. Brian Quinlivan’s delivery as Peter was clear and assured, giving the character a strong presence. Josh Lyons showed good potential as Michael, with good stage presence that will no doubt continue to grow. Holly Purtill was excellent as Delia, giving a brief but confident performance in the closing stages of the show. Her final emotional release was heart-wrenching. Glen Carr brought strong presence and conviction to the role of Arthur Griffith, giving the character a clear sense of political authority. The Treaty Debates section is a particularly demanding one, and while there were a few slight slips in timing, he handled things well overall. Similarly, Garry Murphy impressed as Cathal Brugha in the same scene, carrying himself with confidence and stature. His performance was full of power and conviction, and he had a strong stage presence throughout. There was a strong supporting cast who contributed positively to the overall standard of the production. Kitty’s three sisters, Sinéad Quinn, Meadhbh O’Hara and Holly Purtill brought good energy to ‘Toast to the Host’, with their well-coordinated movement and confident vocals. Aoife Henn did well as Sinéad de Valera in the letter scene and Brendan Coleman made a strong impression as the Viceroy. There was solid work from the ensemble throughout, particularly vocally, with choral singing proving to be one of the standout strengths of the production. There was good energy in many of the larger crowd scenes, such as ‘My Grand Design’. ‘Fly the Flag of Freedom’, while musically impressive, would have benefited from greater conviction to fully match the intensity and rousing patriotic intent of the number. Ensemble members really came into their own during the Treaty Debates, bringing excellent energy, focus, and discipline. Ray Burke and his stage management team did good work in keeping the production running smoothly. The use of both the extended apron and the main stage was handled effectively, allowing for a good flow between scenes and helping to maintain momentum throughout most of the show. The physical set design was clear and thoughtful, capturing the feel of early 20th-century Dublin. The brick and stone structures created a strong sense of place and gave good historical context through Georgian-style elements, which added nicely to the overall atmosphere. It was a very practical design given the need for fluidity in this show. The space was well laid out, with the extended apron and main stage working together to allow for continuous action. This helped the flow of the production and gave the cast plenty of room, particularly in the larger ensemble scenes. The use of the upstage screen played a big role in the visual storytelling. Historical images and settings helped to place the action within a wider context and, at times, added real depth to the production. However, there were moments where the projections became too dominant, drawing focus away from the performers rather than supporting them. In ‘My Grand Design’, the use of historical footage of the real Michael Collins addressing crowds felt overly busy. The audience was being asked to invest in Mr. Danaher’s portrayal while being presented with footage of the actual Michael Collins at the same time. This risked overshadowing his performance. More jarring still were the AI-generated images used in certain sequences. One example, showing a crowd celebrating outside the GPO during ‘Every Heart Awaken’, felt out of keeping with the overall aesthetic and stood out for the wrong reasons. Overall, while there were many effective and appropriate images which complemented the set, the use of projections lacked consistency. Lighting was the technical area that required the most attention in this production. In a show like ‘Michael Collins - A Musical Drama’, where shifts in time, place, and mood are so central to the storytelling, lighting plays a crucial role in guiding the audience. At times, it felt as though insufficient technical rehearsal time had impacted the overall finish, as the lighting lacked the consistency, timing and atmosphere needed. There were, however, some effective moments. The use of green, white, and orange lighting at the end of Act One created a strong and striking image, adding a welcome sense of colour and symbolism. While there were some glimpses of effective design, lighting lacked consistency and polish overall. With more technical time and a greater focus on atmosphere and coordination, lighting could make a significant contribution to future productions. Sound was generally well handled throughout. There was effective use of sound effects, with sirens, gunshots, and explosions adding to the atmosphere and supporting the action on stage. For the most part, these were well timed, though one gunshot in ‘Dublin Killings’ wasn’t timed with the onstage action. The choral sound was a particular strength, with an excellent balance and blend across the ensemble. Cueing for dialogue and singing was always secure. At times, however, the band lacked some impact, particularly given the size of the auditorium. Some of the bigger musical moments would have benefited from a fuller, more powerful sound to really fill the space and match the scale of the production. There was good work from the costume department, with a clear effort made to reflect the period accurately. Michael’s military attire was particularly effective, capturing the look and authority of the character very well. The daywear across the ensemble also helped to establish the early 20th-century setting. There was a nice visual contrast in the more formal scenes, particularly with the tailored suits of the politicians in Dáil Éireann, which added to the sense of status and occasion. The only minor issue noted was with the Viceroy’s costume, where the trousers appeared ill-fitting and slightly distracted from an otherwise well-presented look. There was very good attention to detail in the props department that added greatly to the authenticity of the show. The weaponry in particular was very convincing. Michael Collins’ Luger was a standout detail, a small but impressive touch that did not go unnoticed. One small issue was during ‘Toast to the Host’, where cast members were ‘drinking’ from glasses and bottles that were clearly empty. This was a small detail but moments like this can stand out and break the illusion. Hair and makeup were well handled throughout, with styles that were appropriate to the period and consistent with the overall look of the production. Wigs were used effectively where required. Nothing felt out of place throughout in what was very solid work from the hair and makeup department. ‘Michael Collins - A Musical Drama’ is an ambitious piece of theatre and Limerick Musical Society approached it with the respect and commitment it deserves. There was much to admire in this production. While there were areas that would have benefited from greater consistency and attention to detail, particularly on the technical side, the foundations of a very strong production were always there. What stood out most was the immense sense of pride and dedication from all involved as they flew the flag whilst telling this hugely important story. Pat McElwain Sullivan Adjudicator 2025/2026

And the nominees are...... 2025/26 AIMS Awards Nominations

A massive congratulations to all the nominees... PDF! Stream Playback Click here to purchase Stream for the AIMS Awards available in association with Gr8Events .

A massive congratulations to all the nominees... PDF! Stream Playback Click here to purchase Stream for the AIMS Awards available in association with Gr8Events .

Review: We Will Rock You - Mitchelstown Musical Society

Society name: Mitchelstown Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/03/2026 Mitchelstown Musical Society took on the formidable challenge of We Will Rock You with clear ambition, enthusiasm, and a willingness to embrace the scale and style of one of musical theatre’s most demanding modern rock scores. This is a show that asks a great deal of every department: bold performances, relentless pace, high-octane vocals, slick technical execution, and a strong...

Society name: Mitchelstown Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/03/2026 Mitchelstown Musical Society took on the formidable challenge of We Will Rock You with clear ambition, enthusiasm, and a willingness to embrace the scale and style of one of musical theatre’s most demanding modern rock scores. This is a show that asks a great deal of every department: bold performances, relentless pace, high-octane vocals, slick technical execution, and a strong visual identity are all essential if the piece is to fully achieve its intended impact. It was evident throughout the evening that the company approached the production with commitment and genuine passion, and while there were areas that would benefit from further refinement, the effort and ambition behind the undertaking were undeniable. Director Lisa Kelly delivered a production with a clear understanding of the narrative arc of the piece, and there was a strong sense that the company had been guided carefully through the world of the show. The blocking was generally well considered, with logical physical journeys and thoughtful use of the playing space. Sightlines were well managed, and performers were staged with clear awareness of one another, ensuring that the action remained visually coherent throughout. There was also a consistent understanding of character across the cast, suggesting that considerable directorial work had gone into defining the world and tone of the piece for the performers. The principal area where the direction could be strengthened is in pacing. We Will Rock You is a show that thrives on speed, sharp wit, and relentless energy, and unfortunately the production often moved at a slower pace than the material demands. This was particularly noticeable in Act One, where the dialogue scenes felt overextended and the momentum of the storytelling occasionally stalled. Some of the comic timing was diminished as a result. This is a show that needs to drive constantly forward, and with a firmer hand on pace and transitions, the entire production would gain considerably in impact. Musically, the production was underpinned by a strong musical performance from the band led by Eamon O’Malley. The rock sound was full, energetic, and stylistically appropriate throughout, successfully capturing the essence of Queen’s iconic score. The band provided strong support to the performers and maintained momentum where needed, with well-judged tempi that frequently helped reinvigorate the pace following slower dialogue scenes. There was clear musical discipline and preparation evident in the band’s performance, and they should be commended for delivering the power and drive required for such a vocally and instrumentally demanding score. What could be heard of the vocal work suggested similarly strong preparation, with evidence of harmonies and layered ensemble vocals throughout. Unfortunately, much of this detail was obscured by issues in the sound balance, making it difficult to fully appreciate the musical work that had clearly been done in rehearsal. Nonetheless, the musical foundations of the production were strong, and the orchestra provided an excellent backbone to the evening. Henry James Fitzgerald’s choreography showed awareness of the capabilities of the company and was sensibly tailored to suit the performers available. We Will Rock You presents particular challenges for choreographers when working with a cast that may not be dance-led, and credit should be given for creating movement material that was achievable and accessible for the ensemble. That said, the choreography would benefit from greater polish and sharper execution to fully realise the futuristic, stylised world of the show. Much of the movement lacked the precision and attack needed for the cyber aesthetic, with timing inconsistencies and untidy shaping reducing the overall visual impact. The opening number in particular needed more punch and dynamic energy to establish the production’s world strongly from the outset. As the audience’s first major visual introduction to the show, this moment needs to make an immediate and commanding statement. Spacing and stage pictures would also benefit from further refinement, with some imbalance apparent in formations and positioning. Additionally, greater integration between choreography and set could help improve flow; adapting routines around existing furniture and scenic elements rather than pausing to clear and reset the stage would maintain momentum more effectively. The Bohemians in particular felt somewhat underused choreographically and could perhaps have been given a more distinctive movement vocabulary to help define their world more clearly in contrast to the Yuppies. Among the principals, Emmet Donlan delivered a vocally excellent performance as Galileo, demonstrating impressive range, control, and vocal assurance throughout. He handled the demands of the score with confidence and consistency, clearly possessing the vocal skill required for the role. Dramatically the performance felt understated. Galileo is a character who benefits from youthful impulsiveness, emotional vulnerability, and charismatic unpredictability, and while Emmet’s vocal work was extremely strong, the dramatic portrayal remained a little restrained. In particular, the central connection with Scaramouche would benefit from deeper development to strengthen the emotional core of the story. Kate Hennessy gave a strong vocal performance as Scaramouche, bringing power and security to the role’s challenging musical demands. Her singing was consistently assured, and she clearly possesses the vocal technique necessary for the part. Her performance captured some of the character’s outsider quality and rebellious spirit, and she worked hard to establish a relationship with Galileo. At times the character’s trademark sarcasm and wit did not land quite as sharply as they might, due largely to a slightly slower pace of delivery and a somewhat reserved performance style. Leaning further into the eccentricity, bite, and confidence of the character would help create a more vibrant and distinctive portrayal. Michelle Vaughan brought commanding stage presence to Killer Queen and held attention effectively whenever onstage. Vocally, she handled the material confidently and delivered the songs securely. To elevate the portrayal further, the characterisation could benefit from greater menace and theatrical danger. Killer Queen must feel utterly dominant and almost untouchably powerful within the world of the show, and while Michelle had authority, pushing further into the character’s villainy and embracing a more ruthless intensity would create an even more impactful performance. Brian O’Riordan gave a committed and vocally confident performance as Khashoggi, with “Seven Seas of Rhye” particularly well delivered. His interpretation was entertaining and energetic, though the role would benefit from greater darkness and threat to fully establish Khashoggi as a genuinely intimidating antagonist. More severe physical choices and a heightened sense of menace would strengthen the character considerably. Charlie Barry delivered an excellent performance as Brit, combining strong vocal work with highly effective physicality and consistent accent work. He brought warmth, energy, and excellent characterisation to the role, creating a highly believable and engaging stage presence. His connection with Oz was particularly effective, helping to ground their relationship in genuine warmth and sincerity. Aideen O’Connor was a standout throughout the evening as Oz. She brought exceptional energy, charisma, and warmth to the role, consistently elevating every scene in which she appeared. Vocally, she was powerful and controlled, with excellent technique and commanding stage confidence. Her performance was vibrant, engaging, and full of personality, making her one of the evening’s strongest assets. The performance of the night came from Diarmuid Vaughan as Buddy. His comic timing was exceptional, his audience connection was instinctive, and his understanding of the role was complete. He fully embodied the character from first entrance to final bow and demonstrated superb confidence and precision in his comedic delivery. His performance was polished, hugely entertaining, and a joy to watch. Mary O’Callaghan’s Teacher/Tina Turner would benefit from a more grounded and truthful approach in future performances. The characterisation leaned heavily into exaggeration and caricature. While We Will Rock You is undoubtedly heightened in style, broad comedy remains most effective when rooted in recognisable truth. A more measured and sincere approach would likely make the character more engaging and effective. The ensemble gave an enthusiastic and committed performance throughout, and it was clear they were fully invested in the production. The Bohemians in particular brought warmth, joy, and a strong sense of camaraderie to the stage, creating a believable collective identity. Their movement work would benefit from greater precision and uniformity. The Yuppie ensemble similarly required further cleaning to improve timing and synchronicity. Acting styles across the ensemble varied considerably, with some performers leaning toward over-exaggeration while others appeared more restrained. Focused ensemble acting workshops could help unify performance style and create a stronger sense of consistency across the company. Due to the sound issues, it was unfortunately difficult to make a fair assessment of ensemble vocals. Stage management under Hannah Myers was efficient and well handled, with scene changes completed smoothly and with minimal disruption. The set design was practical and functional, facilitating fluid movement between locations. While visually clean, the design lacked some textural richness and depth, which caused it at times to appear somewhat flat under the lighting. The aesthetic sat somewhat between the sterile corporate world and the anarchic Bohemian world without fully committing to either. The moving staircase was an excellent scenic element and could perhaps have been utilised even more to create varied staging and visual interest. The motorbike was a particularly effective visual moment and added considerable theatrical impact. Projections were visually strong and of high quality, though several cueing errors and mistimed transitions in Act Two detracted from their effectiveness. Lighting was one of the production’s strongest technical achievements. The rig was used creatively and effectively, with several striking stage pictures created throughout the evening. The use of blinders and sunstrips particularly supported the concert-style atmosphere of the piece and enhanced the rock aesthetic very successfully. Front of House focus did require some adjustment, with a noticeable lighting gap stage right leaving performers underlit in certain moments. Sound was the area most in need of attention. The overall level was excessively loud for the venue, particularly given the natural reverb of the space, resulting in a harsh and often uncomfortable listening experience. Principal microphones sat consistently close to feedback, while balance across the mix was problematic throughout. Principals were often overwhelmingly loud, while ensemble vocals were largely lost, severely diminishing the impact of group numbers. There were also several occasions where the Musical Director’s voice was audible through the sound desk monitor, which proved distracting. This is an area that would benefit significantly from review, as improved sound balance would dramatically enhance the audience’s ability to appreciate the strong musical work being done onstage. Costume design presented a mixed but often effective visual palette. The Yuppie costumes lacked some of the boldness and polish required for the futuristic Globalsoft aesthetic, with several appearing somewhat plain or ill-fitting. In contrast, the Gaga Girls and guards helped inject visual excitement into the production, with the latter particularly effective in establishing the post-apocalyptic aesthetic. The Bohemian costumes were the clear standout, richly detailed and imaginative, strongly supporting the world-building of the production. Some principal costume choices could be reconsidered, particularly Galileo’s corset, which appeared ill-fitted and visually incongruous, and Scaramouche’s all-white opening costume, which did not clearly support her outsider narrative. Hair and make-up work was strong overall, with excellent detailing among the Bohemians and particularly effective use of hairpieces. Front of House deserves particular commendation for the welcoming and efficient atmosphere created on arrival. Audience members were greeted warmly, seating was handled smoothly, and the pre-show environment was inviting and well organised. The display inside the entrance was especially noteworthy, an imaginative and detailed homage to rock memorabilia that immediately immersed patrons in the spirit of the show. Such thoughtful touches greatly enhance the audience experience and reflect a society that clearly values presentation and hospitality. Overall, Mitchelstown Musical Society should be commended for taking on such a challenging and stylistically demanding production. We Will Rock You is a difficult show to execute successfully, and this production demonstrated considerable ambition, strong musical foundations, several standout performances, and clear commitment from the entire company. With greater attention to pace, polish, and technical balance this company has all the ingredients necessary to elevate future productions to an even higher standard. There is much talent within this society, and with continued refinement and development, they are well placed for continued success in future seasons.

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
bottom of page