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UPCOMING EVENTS

Bonnie and Clyde

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21 Jul 2025

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Teachers' Musical Society

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24 Mar 2026

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A Night of Music, Broadway & Beyond

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17 May 2025

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The Sound of Music

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24 Apr 2025

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The Magic of Musicals

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25 May 2025

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LATEST NEWS

Me and My Girl as presented by Aghada Musical Society

Aghada Musical Society Production: Me and My Girl Date of Adjudication: 17.02.2025 Overview of the Show and Front of House Evaluation The...

Aghada Musical Society Production: Me and My Girl Date of Adjudication: 17.02.2025 Overview of the Show and Front of House Evaluation The production of Me and My Girl  by Aghada Musical Society was a delightfully entertaining evening filled with charm, humor, and engaging performances. The atmosphere created by the Front of House team was welcoming and well-organized, setting the tone for a wonderful experience from the moment the audience entered the venue. The warmth and professionalism of the team ensured a smooth-running event and an enjoyable night for all in attendance. The audience were greeted with a beautiful period car outside the venue, and wonderful decorations inside the foyer kept the theme of the event going.  Director-  Direction and Production Sinead Dunlea’s direction of this production was truly commendable. Every nuance, comic moment, and character development was carefully considered, demonstrating a thoughtful and meticulous approach. The production was well-paced, allowing the humor and storytelling to shine through effortlessly. The attention to detail in character portrayal was evident, making the narrative both compelling and engaging. However, one area for refinement would be maintaining consistency in accents, as there were noticeable lapses throughout the performance. A bit more focus on this aspect could have further elevated the authenticity of the characters. Musical Director-  Direction and Orchestra The musical direction by Robbie Pender was strong, with a well-balanced and tight orchestra that complemented the performers beautifully, particularly given the challenges of a small venue. The diction of the cast was excellent, ensuring that lyrics and dialogue were clearly understood by the audience. One area that could be enhanced is the presence of harmonies, which at times felt underwhelming. Strengthening this aspect would add another layer of richness to the musical numbers and elevate the overall vocal performance. Choreographer - Choreography Choreography by Aileen McMurtry was polished, well-rehearsed, and in keeping with the style and period of the production. The formations were well-executed, and movement routines effectively supported the overall aesthetic. While the precision was admirable, it would have been exciting to see the cast pushed just a little further to add an extra dynamic energy to the performance. This could have created an even more vibrant and engaging visual experience. Leading Principals – Singing and Acting Bill Snibson - Kenneth Speight. Kenneth brought an infectious energy to the role of Bill Snibson, lighting up the stage with his physical presence and charisma. His facial expressions and comedic timing were excellent, making for a highly engaging performance. While his vocal ability was strong, his Cockney accent was inconsistent at times, which slightly disrupted the authenticity of the character. With a bit more refinement in this area, his portrayal would be even stronger. Sally Smith - Julie Buckley. Julie delivered a solid performance with a lovely singing voice and graceful movement. However, her energy level occasionally felt a bit subdued, and a touch more vibrancy would have added depth to her character’s journey. The emotional struggles Sally faced were evident, but a bit more enthusiasm could have strengthened the connection between her character and the audience. Maria, Duchess of Dene - Jan O’Sullivan. Jan gave a standout performance, fully embodying the regal and commanding presence of the Duchess. Her powerful voice and strong character portrayal made her a compelling figure on stage. She had impeccable comic timing and a great sense of physicality, maintaining a poised and authoritative demeanor throughout. Lady Jacqueline Carston - Gemma Galvin. Gemma was an absolute delight in this role. Her vivacious presence brought an infectious energy to every scene she was in. Her comedic timing was superb, and she portrayed Lady Jacqueline’s mischievous and flirtatious nature effortlessly. Vocally, she was strong, delivering well-supported and beautifully rounded tones. The Hon. Gerard Bolingbroke - Brian O’Riordan. Brian’s portrayal was thoroughly enjoyable, capturing the essence of the character with great humor. His light and controlled vocal delivery suited the role perfectly, and his interpretation remained consistent with the style of the production. His comedic moments were well-executed, and he maintained an engaging stage presence throughout. Supporting Roles – Singing and Acting Sir John Tremaine - Charlie Terry. Charlie’s performance had some wonderful moments, particularly during the drunk scene, which was a highlight of the show. However, there were times when he appeared to be reaching for his lines, which affected his confidence on stage. With a bit more rehearsal, his performance could be even stronger. His accent also wavered at times, so maintaining consistency would be an area for improvement. Herbert Parchester - Patrick Kirwan. It was evident that Patrick Kirwan’s performance resonated with the audience, who responded warmly. His cheeky and animated presence brought charm to the role, and he maintained a consistent energy throughout. Charles, The Butler - Tim McCarthy. Tim delivered a solid and convincing performance, maintaining the required stiff and formal demeanor of the role with admirable precision. His clear and well-projected dialogue ensured that every line was delivered effectively. Sir Jasper Tring, Lord Battersby, Lady Battersby, Mrs. Brown - Paul Fitzpatrick, John Wall, Mary Henchion, Roisin O’Sullivan The supporting roles contributed greatly to the overall dynamic of the show, creating a well-rounded ensemble. Their performances were engaging, though at times energy levels wavered. Ensuring consistent enthusiasm throughout would enhance the overall production. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble was exceptional—fully engaged and full of energy. Every cast member contributed to creating a vibrant and polished performance. The variety of movement abilities was well accommodated by the choreography, and the mix of ages worked beautifully for the show. The limited space was cleverly utilized, though there were moments, such as The Sun Has Got His Hat On , where pushing the energy even further could have made the number even more dynamic. A particularly charming detail was the on-stage piano player mimicking the actual score, which added an extra touch of authenticity. Vocally the chorus were strong, with a well-rounded sound. Some more work on pushing harmonies would really elevate the group’s performance. Stage Management & Set Design The set design was well-conceived, making effective use of the small space. The static set was visually appealing, though additional texturing on the walls could have enhanced the depth of the setting. The turning pieces downstage were a clever touch, allowing seamless scene transitions. The color scheme was thoughtfully chosen, complementing both the period and the costumes. The stage management was smooth and well-executed, with seamless scene changes that did not disrupt the flow of the performance. The involvement of the cast in scene transitions was a nice touch, and incorporating this more frequently, particularly with the chorus in servant roles, could further enhance the production’s cohesiveness. Technical – Lighting and Sound While the lighting design had some beautiful moments, such as the dream sequence, there were areas that could be refined. Several live moves could have been pre-programmed to create a smoother visual experienceThe sound quality was adequate, with no major missed cues. The balance between the band and the cast was well managed overall, though there were a few moments where principal performers struggled to be heard clearly in the mix. Slight refinements in this area would improve the overall audio clarity. Visual – Costumes, Hair, and Makeup The costumes were well-chosen and historically appropriate. The coordinated color palette, particularly the black, red, and white hues for the ball scene to match the Pearly costumes, was visually striking. Each piece fit well and contributed to a cohesive and polished aesthetic. Hairstyles similarly well-executed, adhering to the time period and adding to the authenticity of the production. Make-up was suitably understated. Final Comments and Recommendations Overall, Aghada Musical Society’s production of Me and My Girl  was a thoroughly enjoyable experience, filled with humor, charm, and strong performances. The commitment of the cast and crew was evident, and the production was of a high standard. Moving forward, focusing on accent consistency, pushing choreography and energy levels slightly further, and refining lighting transitions would elevate the show even more. A deliciously hilarious evening’s entertainment.

The Addams Family as presented by Claremorris Musical Society

Society name: Claremorris Musical Society Show name: The Addams Family Adjudicator date of attendance: 29/01/2025 Brief overview  of show...

Society name: Claremorris Musical Society Show name: The Addams Family Adjudicator date of attendance: 29/01/2025 Brief overview  of show and evaluation of Front of House Claremorris Musical Society’s production of The Addams Family  was a highly enjoyable and ambitious performance that showcased the dedication, talent, and passion of all involved. The production successfully brought the delightfully macabre world of the Addams family to life, delivering strong performances, striking visuals, and an overall engaging theatrical experience. While there were areas that could have been further polished, the effort put into the show was evident, and the audience was thoroughly entertained. The welcome at the venue was warm and inviting, setting the tone for the evening. The front-of-house team managed the audience with professionalism, ensuring a seamless experience. The promotional materials, including the program, were well-designed and informative, giving clear insights into the cast, crew, and production team. Seating arrangements were well-coordinated, and the atmosphere before the show built anticipation effectively. The only small suggestion here would be to enhance signage for first-time attendees to ensure they find their way easily. Director-  Direction and Production The direction of The Addams Family  by Donna Ruane was well thought out, capturing the humor and heart of the story. There were some wonderful character developments, allowing each actor to bring their role to life with individuality. The comedic timing in several key moments was spot-on, eliciting genuine laughter from the audience. The pacing and overall flow of the show were strong, maintaining engagement throughout. However, a slightly snappier tempo in some scenes, particularly with Gomez, could have added an extra layer of energy to the narrative. The chemistry between characters was well established, which is crucial in a show that thrives on the quirky relationships of the Addams family and the stark contrast with the Beineke’s. The use of space was commendable, making full use of the stage in creative ways. Scene transitions were generally smooth, but minor refinements in movement between set changes would enhance fluidity even further. Overall, this was a well-directed and well-paced show that brought out the best in its cast. Musical Director-  Direction and Orchestra Musically, the production was well-balanced, with a strong orchestral performance led by Deirdre Lee that complemented the vocalists effectively. The harmonies among the cast were clearly well-rehearsed, and the diction was crisp, ensuring that the lyrics and dialogue were easily understood. This was particularly commendable, as clarity can sometimes be a challenge in musical theatre. There were, however, a few moments where cueing seemed slightly off, particularly in ensemble numbers. While these were not overly disruptive, a bit more attention to musical transitions and entrances could elevate the overall musical tightness. Despite these small moments, the orchestra maintained a well-rounded sound, supporting the action on stage without overpowering the performers. Choreographer - Choreography The choreography by Jay Molyneux was one of the weaker elements of the production. While it served its purpose, it remained a little basic, and there were moments where the potential of certain talented dancers could have been further explored. One Normal Night  and the various renditions of But Love  would have benefited from more dynamic movement and greater variation in stage patterns. One of the strengths of The Addams Family  is its ability to incorporate character-driven choreography, and this was an area that could have been expanded upon. Encouraging the ensemble to infuse more characterization into their movement would have added an extra layer of engagement to the numbers. That said, the performers were committed to their roles, and there was a strong energy in their execution. A bit more variation in choreographic style would further enhance future productions. Leading Principals – Singing and Acting Gomez – David Alexander. David delivered a solid performance as Gomez, balancing the humor and sincerity of the character. Vocally, his tone was smooth and pleasant to listen to. His pacing was slightly slow at times. Gomez’s nervous energy is a driving force in the narrative, and a quicker tempo in his dialogue would add further dynamism. His chemistry with Morticia was believable and engaging, and a slightly more exaggerated quirkiness would have enriched his performance even further. Morticia – Vivienne Lee A commanding and confident performance. Morticia requires a strong presence, and Vivienne delivered this effortlessly. Her relaxed and poised demeanor allowed her to embody Morticia’s elegance and dominance in the household. Vocally, she handled her songs well, and her movement was graceful and fitting for the character. Overall, a very strong portrayal. Wednesday – Chloe Connor. Chloe gave a solid performance, especially in Pulled , where her vocal ability shone through. One small note for improvement would be to lift her eyeline more frequently, particularly in a venue with raked seating. Her chemistry with Lucas was natural and believable, which is key to making their relationship resonate with the audience. Lucas Beineke – Oisin Dowling. Lucas was played with an appropriate level of preppy energy, and his interactions with Wednesday and his parents were well done. Oisin’s voice suited the role well, and he fit seamlessly into the dynamic of the show. A confident performance overall. Fester – Mervyn Fahy. A standout performance with excellent energy and presence. Fester’s eccentricity was fully embraced, making him an audience favorite. His vocals were strong, and his comedic timing was spot on. A truly enjoyable portrayal. Supporting Roles – Singing and Acting Pugsley – Ryan McDonnell A fantastic young performer with a strong stage presence. His petulance and mischievous energy were well played, and his vocals were lovely. He held his own confidently in a cast of experienced performers. Grandma Addams – Mary Dempsey. A hilarious and fully committed performance. The character’s eccentricity was dialed up to great effect, and her comic timing was impeccable. Vocally strong, and a joy to watch. Alice Beineke – Nicole Scott. A standout performance. The contrast between Alice’s perky sweetness and her descent into madness was executed brilliantly. Her vocal strength added an extra layer to her performance, making her an audience favorite. Mal Beineke – Paul Singleton. A clear character journey was evident, from the stiff and conservative father through the descent into madness during Full Disclosure , ending in the clarity during Crazier Than You . A well-executed transformation that enhanced the humor and depth of the role. Lurch – Ruadhan Gormally. Absolutely stole the show. Every movement and expression were perfectly timed, demonstrating that strong acting doesn’t always require many lines. A truly memorable portrayal. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble maintained strong energy and presence throughout. Their harmonies were a highlight, creating a rich sound. While dance ability varied, extra workshops could help elevate the movement standard. Overall, an engaged and effective ensemble. Stage Management & Set Design A mixed execution in terms of set design —some set pieces looked highly professional, while others needed more refinement to match the overall aesthetic. I enjoyed that the cast did the scene changes. It is an effective way to keep the pacing of a show that isn’t scored for big scene changes. Small details, such as minimizing crew visibility during the opening scene transitions, could further enhance professionalism. Technical- Light and Sound A beautiful lighting design with strong visual moments, especially the pre-show state. It was a really striking image to walk it to. A patchy focus DSC was distracting, and some inconsistencies in spotlighting like Pugsley and Fester standing on the chairs in Full Disclosure needed minor refinements.  Sound balance was mostly excellent, though reverb on songs was slightly overdone. Visual- Costumes, Hair and Makeup Excellent costuming with great attention to detail. All of the characters were very clear, and each costume was well fitted. Morticia’s dress was particularly striking.  Makeup blending, especially shading, needed minor refinements. The brown was overly heavy on the chorus. Pugsley’s makeup needed to continue down his neck and behind his ears for a consistent colour. Fester’s bald cap was excellent, as was his make-up. Wigs and hair were good overall. Gomez’s wig needed more tidying up and slicking down, he may have been better without a wig. Adjudicators suggestions/ comments In conclusion, Claremorris Musical Society’s production of The Addams Family  was an entertaining and enjoyable experience. Strong performances, excellent musical direction, and memorable comedic moments all contributed to a highly successful production. While there were some areas for improvement in terms of pacing, choreography, and technical elements, these were relatively minor compared to the overall positive impact of the show.  The production succeeded in capturing the dark humor and charm of The Addams Family  while also delving into the emotional depth of the characters. This balance of humor and heart is one of the show’s most endearing qualities, and it was well-executed by the cast and creative team. With continued focus on pacing, choreography, and refining some technical aspects, future productions could become even more dynamic and polished and will undoubtedly continue to entertain and delight audiences. It was a highly enjoyable evening of theatre that showcased the talent and dedication of everyone involved.

Cry Baby as presented by Shannon Musical Society

Shannon Musical Society  Cry Baby – The Musical  Thursday 20th February 2025  ‘Cry Baby - The Musical’ is based on the cult classic John...

Shannon Musical Society  Cry Baby – The Musical  Thursday 20th February 2025  ‘Cry Baby - The Musical’ is based on the cult classic John Waters movie, which starred Johnny Depp in the titular role. It is a show packed with delicious satire and irony, with a book that is sharp and witty from start to finish. I mean, w ho couldn't love a show with a song called ‘Girl, Can I Kiss You With Tongue?’  which  earnestly declares “It's moist and it's pink, it's a muscle, I think!”??   Shannon Musical Society pulled out all the stops to present a vibrant, hugely entertaining, and hilarious romp of a production, with perfectly pitched comic delivery across a very talented, young cast.  Front of house was an experience in itself, as we entered St. Patrick's Comprehensive School. There were fantastic displays, with a treasure trove of programmes from previously performed shows to a tongue-in-cheek polio eradication themed display and many more quirky nods to the show's material. Heck, they were only short of injecting patrons as they entered! Front of house announcements were delivered by Ethan Cassley, who played the role of Baldwin. The announcements were delivered in his character’s nerdy style, ably assisted by a nervous usherette and an hilarious box of popcorn. Yes, it was that kind of show!   Director Tony Finnegan clearly understood the delightfully ironic tone of the book, giving us an exceptionally colourful display of campness, heart and hilariously biting satire. This was a very polished production, lampooning ‘Grease,’ ‘Romeo and Juliet,’ ‘West Side Story’ and every other forbidden love story you could possibly imagine.  Mr. Finnegan  knew exactly how to get the most out of his young but highly talented cast, expertly pitching the comic delivery, whilst acknowledging the show's absurdity at every turn.   Over-the-top performances were perfectly in tune with this absurdity. There were so many comic highlights.   Pepper's childbirth scene was side-splittingly funny if a tad disturbing. ‘Girl, Can I Kiss You With Tongue?’  w as an hilarious look at the awkwardness of first-time teenage romance. There was fantastic pace throughout, with slick transitions adding greatly to the flow of the show.   Musical Director, Carmel Griffin, balanced an eclectic mix of musical styles, ranging from rockabilly to doo-wop, to musical theatre ballads, to barbershop. Her six-piece band played well, although I did feel that, on occasion, they overpowered the cast. This was unfortunate, as much of the show's humour is contained in the very witty lyrics, which were missed from time to time. There was a lovely choral sound throughout and principal vocals were of a very high standard. There were excellent harmonies in numbers like ‘A Whole Lot Worse’ and ‘A   Little Upset.’   Overall, a very good job by Ms. Griffin.   Stephen O’Ríain, choreographer, brought the dance styles of the 1950s to life from the very cheesy opening number, ‘The Anti-Polio Picnic’, to the high-energy dance sequence of ‘Watch Your Ass’, performed with great gusto by the Drapes. Mr. O’Ríain really nailed the style required to bring this show to life. ‘All in My Head,’ with Allison and Cry Baby as bridal  mannequins, was a very funny dance routine. The five couples, dressed and masked as Allison and Cry Baby ‘doubles,’ provided hilarious visual impact and their movement was excellent. ‘A Little Upset,’ incorporating license plates manufactured in the jailhouse, was very cleverly devised and performed.   Eoghan Mann was a standout performer as a leather-clad Wade ‘Cry Baby’ Walker.   From his very first entrance, bursting through the anti-polio sign, we knew that this was going to be a special performance. Mr. Mann was extremely charismatic in all his hip-swivelling glory. Comic timing was exceptionally sharp in what was an excellent all-round comic   characterisation. Mr. Mann was able to back this up with a serious singing performance too. His hilarious ‘I'm Infected’ was a standout number in the show. His performance in ‘ Girl, Can I Kiss You With Tongue?’ was comedy gold, working so well with Allison, with whom he was extremely comfortable.  Julita Fox played the role of Allison with a very heartfelt and humorous touch. It was an extremely quirky characterisation, as we saw how torn she was between the stifling conformity of the Squares and her longing to be a bad girl like the Drapes. Ms. Fox had a wonderful voice, with a superbly impressive range. ‘I'm Infected’ was a brilliantly performed, exceptionally funny number and her ‘Nobody Gets Me (reprise)’ was excellent, vocally, and comedically. But her standout number, ‘Misery, Agony, Hopelessness, Heartache and Woe,’   brought the house down with its exceptional delivery and innate comic understanding.  Ethan Cassley was delightfully nerdy and a preppy kind of villain as Baldwin, the squeaky clean (or was he?!)  l eader of the Whiffles.   This was an excellent performance by Mr. Cassley, who led from the front, with great confidence, exceptional presence, and   considerable comic flair, in what was a superb all-round portrayal. A very talented singer, with superb tone and range, Mr. Cassley was excellent as part of the Whiffle quartet and also shone during his wonderful solo moments.   The remaining three Whiffles, were played by Feidhlim Cotter, James Cullinan and Shane O'Donnell. Make note of their names because this trio of exceptionally talented teenagers will be doing great things on musical stages for many years to come. Alongside Mr. Cassley, they were a hilariously smarmy, clean-cut group.   Singing was excellent with fabulous harmonies which were so impressive for boys of their age.  Shauna Byrne enjoyed every moment in her role as the unhinged stalker Lenora, consumed with obsessive desire and unhealthy infatuation for Cry Baby. Another exceptionally talented teen, her kooky, often maniacal characterisation and her wonderful comic timing made this a standout role.  The hilarious ‘ Screw Loose,’ in which she declared the craziness of her  misguided love, was a show-stopping number with outstanding vocals, incredible control, and a wonderful upper register full of character.  Jamie Callanan was very funny and highly energetic in a brilliantly judged portrayal as   Dupree, Cry Baby’s best friend and confidante. His ‘Jukebox Jamboree’ and ‘Jailhouse   Jamboree’ were superb vocally and he was a fantastic all-round performer – a real triple threat. Comic timing was very strong and Mr. Callanan had excellent stage presence. A most impressive performance.   Clare McNelis showcased some impeccable comic timing as Mrs. Cordelia Vernon-Williams, Allison’s ultra-conservative, over-protective grandmother. This was a fabulous performance  with excellent understanding of text, very natural delivery, and exceptional comic timing.   Her fabulous ‘I Did Something Wrong…Once’ was a comic highlight of the show, as she skilfully went from admitting a minor falsehood to confessing to a full-on criminal offence.   The wonderfully bonkers trio of Wanda Woodward, Pepper Walker, and Mona ‘Hatchet-Face’ Malnorowski was played by Lauren Barrett, Sally Fox, and Leanne Murphy respectively. Ms. Barrett had excellent stage presence, a wonderful voice and exceptionally good stagecraft. Her comic timing was very sharp too. Ms Fox delivered one of the funniest performances of the night as the rebellious, pregnant teen, declaring that she was drinking for two and asking   what she would tell all the possible fathers. Ms Murphy was terrific with her hilarious facial expressions and one of the funniest, most irreverent lines in the show, “Upper class? Up her ass!.” In spite of her surgically enhanced transformation, she was quick to remind us at the end that she was still ugly on the inside. This trio was an exceptional group of comediennes, singers, and performers. Their harmonies and solo singing in ‘A Whole Lot Worse’ were superbly performed. Excellent work by all.  Alex Toth played the aptly named Judge Ignatius Stone, who, fittingly, presided over the arson case.   Mr. Toth was a fine actor with a nice comic touch, who brought gravitas and maturity to the role.   There was a wonderful ensemble in this show, split between the rebellious Drapes and the straight-laced Squares.   Everyone played their role to perfection with huge energy. ‘Baby Baby Baby Baby Baby’ was wonderful with its high energy levels and commitment from all.  ‘ You Can't Beat the System’ was superb in its precise movement and excellent vocals. Vocals were very strong with excellent harmony work throughout.  The set was quite abstract, consisting of large boxes which were moved around into various configurations. There was an amazing visual element in the exquisite detail of the models which were displayed around the set, representing the show’s myriad locations. As we transitioned to a new location, its corresponding model was lit separately. It was a brilliantly original take, even if the onstage settings could have done with a little lift at times. The upper balcony on stage right allowed for some nice staging opportunities too. Excellent work all round.   Stage management under the guidance of Brian Dowling was very strong with cast and crew moving boxes around to create the various locations. A small point was that I felt that having established the cast moving the boxes early in the show, perhaps it might have been an idea to costume the crew as well, as they were often quite conspicuous walking on in their blacks. All of that said, stage management was very slick overall.   The lighting plot for this show was simple but effective. I loved the clever silhouettes of cast as they received their polio shots behind the screens. Gobos in the prison scene worked very well and Cordelia was nicely backlit at the end of ‘I Did Something Wrong…Once.’   Overall, I felt that this abstract set required more attention to detail in the lighting plot to really bring it up.   Sound was generally good throughout the show. Although I did feel that the band was too loud in places which took away from the very funny lyrics which were occasionally drowned out in numbers with heavier orchestration. Dialogue was clear and warm and no cues were missed.   Sound effects were all very appropriate and well-timed.  There was very good attention to detail in the props plot, with some quirky touches along the way. I loved the air raid alarm system (in stereo, no less!) and obligatory gas masks. Shackles in the courtroom scene looked well and the license plates in the prison scene were very authentic. The hospital gurney used for Pepper’s childbirth sequence was perfect and the iron lung, (not something I've seen on a props list before!), looked fantastic.  There was great attention to detail for hair and makeup with great authenticity in the period appropriate hairstyles. Cordelia's perfectly set red hair, in particular, was very well presented, as was the slicked back hair for gentlemen. Hatchet-Face’s make up was suitably bizarre, adding greatly to the visual humour  There was a superbly cartoonish costume plot which was very appropriate to the 1950s era. A huge amount of work had gone into costumes in this show with incredible detail in evidence. Overall, there was great attention to detail all through the show from Cry Baby's red leather jacket to Allison's pastel dresses and Cordelia's costumes were perfectly in keeping with her conservative, 1950s look. T he Whiffles’ outfits, in particular, were outstanding.   This was a production full of fun and comedy, with a superb young cast guided by a production team who knew exactly where to pitch the show’s rambunctious, in-your-face humour. Good comedy is hard to pull off properly. Shannon MS got it just right with their thoroughly entertaining, side-splittingly funny production. It was one to be very proud of.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photos by Jim Rocks

Sweeney Todd as presented by Entr'acte

Entr’acte - Sweeney Todd  Wednesday 19th February 2025  During its relatively short existence, Entr’acte has gained a reputation for...

Entr’acte - Sweeney Todd  Wednesday 19th February 2025  During its relatively short existence, Entr’acte has gained a reputation for producing top quality musical theatre. It was quite the leap in genre from last year’s ‘Guys and Dolls’ to this year’s production of ‘Sweeney Todd’ but, with a stellar cast led by an exceptionally talented production team, this vibrant young group proved more than capable of taming Stephen Sondheim’s beast of a show.  The foyer of the O’Reilly Theatre in Belvedere College was packed to capacity as we waited to enter the auditorium.   Rarely have I experienced such a palpable atmosphere of excitement and expectation before opening night of a show. There was a real buzz in the air as we were led to our seats. Front of House personnel were helpful and efficient, ensuring that the large crowd moved along comfortably.  Niamh McGowan's direction was simply visionary from start to finish. She incorporated a highly original circus motif into the production, which was a very bold choice. But it was a choice that elevated the narrative in a refreshingly clever way, harnessing the show’s dark, twisted energy, as Sweeney’s eerie, shadowy tale played out against a darkly ethereal circus setting of late 18 th century London.   Direction was highly original, clever, and intuitive, with great understanding of pace and stagecraft. There was great smoothness between transitions thanks to a very talented ensemble, who were responsible for moving the set pieces. ‘ A Little Priest’ was a masterclass in direction, comedy, musicality, and characterisation.   The highly theatrical use of different coloured fabric as each of Sweeney's victims met their maker was a wonderful touch. A superb job all round.   Ms. McGowan also took on the role of choreographer. Choreography had a pivotal role in this show.   Movement was beautifully stylised. The ensemble's outstanding physicality brought an added dimension to many musical numbers. Everything was so sharp and flawlessly executed, always in tune with the sinister undertones of the narrative. ‘More Hot Pies’ was remarkable in the sharpness of its movement, with every syllable punctuated by a definite movement before moving into a very controlled and stylised slow-motion sequence.  Superb work!  Róisín Heenan did a remarkable job as musical director. The positioning of the onstage orchestra on two levels must have posed a challenge, but it did not affect what was an incredible orchestral performance. From the beautiful strings reflecting Anthony's longing in   ‘Johanna,’ to the frantic, dissonant accompaniment which mirrored Sweeney's descent into madness in ‘Epiphany,’ this was a tour de force orchestral presentation. There was very sympathetic underscoring throughout, adding greatly to highly emotional undertones. Principal singing was of a very high standard throughout. There are hardly enough superlatives to sum up the sound from an exceptional ensemble. There were so many choral highlights. From the powerful dynamics of ‘Ballad of Sweeney Todd,’ to the brilliantly performed ‘More Hot Pies’ with its rich harmonies, there was superb attention to detail in every aspect of the choral work. A fabulous job from all. Ciaran Mooney gave an excellent performance as Sweeney Todd, the wrongly convicted barber, intent on bloody revenge. His wonderfully sinister and commanding presence drew the audience in from the opening scene. He navigated the complexity of Todd’s tortured   character so skilfully, balancing both victim and villain, winning the audience over as they warmed to him, in spite of his murderous tendencies. Mr. Mooney had a gloriously lyrical vocal; a commanding baritone with incredible emotional range as he moved from moments of disturbing tenderness like ‘Pretty Women,’ to hellbent fury in ‘Epiphany.’ ‘ Pretty Women’   was quite mesmerising, almost hypnotic in its delivery. ‘ Epiphany’ was a powerful, maniacal   rage as he descended into madness, intimidating audience members and building to a raging crescendo.  Grace Kinirons was quite astounding as Mrs. Lovett. Ms. Kinirons had the most incredible   talent for nuanced storytelling. Her deep understanding of the show’s macabre humour was evident in her exceptional timing. Her brilliantly timed “That's all very well” after Todd's raging ‘Epiphany’ was indicative of such comic brilliance. A nd yet there was an underlying darkness. She was so manipulative, pulling at Sweeney's strings in a very nuanced subtle way. Ms. Kinirons had a gloriously timed ‘lightbulb moment’ leading into ‘A Little Priest,’ a   number which was brilliantly performed with layers of intelligent subtext and opportunistic glee. Manipulative, playful, yet deliciously dark. ‘ By the Sea’ was a stunning declaration of unrequited love with exceptional articulation and heart.  Joe Jennings was yet another standout in the role of Anthony Hope.   Mr. Jennings was a beautiful singer, pure and expressive, especially in ‘Johanna.’   He was naive yet passionate. An excellent actor with superb diction and understanding of script,   Mr. Jennings' performance was one of many highlights in a very strong show.   Joanna Yusuf played the role of Johanna. She gave a beautiful performance, her ethereal   soprano voice balancing the romantic yet tragic elements of her character. ‘ Green Finch and   Linnet Bird’ was hauntingly good. Ms. Yusuf had a lovely presence right through the show and worked very well with Mr. Jennings in particular.  Caoimhe Tyndall as Tobias Ragg was an unusual piece of casting.   But, my goodness, it was a perfect choice.   Ms. Tyndall was simply wonderful in the role.  She was a highly theatrical performer, extremely skilled in her movement and physicality. ‘ Not While I'm Around’   showcased her most stunning, musical theatre vocal. It was acted beautifully, with   heartbreaking layers of loyalty and vulnerability. A deeply moving performance.  Andrew Docherty had a formidable presence and brought menacing gravitas to the role of the lustful and controlling Judge Turpin. This was a most sleazy portrayal. His chilling ‘Johanna - Mea Culpa,’ an absolute beast of a song musically and dramatically, was   brilliantly performed, a most disturbing spectacle. An excellent acting performance.  Daniel Ryan played the pompous Beadle Bamford with a darkly comic touch and a wonderful singing voice. ‘ Ladies in Their Sensitivities’ was excellently performed, including lovely falsetto. His stint at the harmonium was both hilarious and disturbing in equal measure. Mr. Ryan  worked very well with Mr. Docherty. A very clever actor, he had wonderful diction and was always in tune with the narrative. Anna Bergin delivered an excellent performance as the Beggar Woman. She had wonderful   physicality and presence, moving around the stage with agonising intent. Her fantastic mezzo-soprano was clear and haunting all through. Her skilful movement between glorious vocals and tortured wails throughout the show made for a most memorable, emotional   performance.   Aidan Byrne gave a very strong performance as the larger-than-life charlatan swindler Adolfo   Pirelli. It was a most theatrical performance. H is faux Italian accent was a delight. Mr. Byrne had a great voice and super comedic timing. He got a great reaction as his accent melted back into an Irish brogue. He sang ‘The Contest’ with a soaring voice, excellent range, and   wonderful understanding of its humour.  Damian Sweeney gave a dark, eerie portrayal of asylum owner Jonas Fogg. Mr. Sweeney had great presence and played the role with sombre intent. A very strong performer, Mr. Sweeney was a standout member of the ensemble in other scenes.  One of the most outstanding elements of this production was the strength in depth of its ensemble. Their stylised movement was incredibly precise and in tune with Ms. McGowan's vision for the show.   Everything was so sharp.   Performance levels were exceptional with wonderful use of face, body, and sound.   I loved their grotesque movement, physicality, and   animalistic outbursts in Fogg's asylum. This was a very cohesive and talented group whose performances were central to the creation of the show's unsettling atmosphere. ‘The Ballad   of Sweeney Todd’ was an incredible start to the show and we knew from that opening number how good things were going to be, largely because of the ensemble's exceptional work.   The set was a visual triumph, incorporating circus elements with the grim atmosphere of 18th century London. The barbershop on the upper level was ingenious in its design and the chair and chute, so central to the show’s macabre premise, worked their theatrical magic perfectly. This set was incredibly detailed with a wonderful finish to its highly impressive scenic artistry. T he multi-functional trucks were big, but they were moved and spun so well by the very talented ensemble cast. There was a very impressive and imposing oven in the bakehouse. Every single location was so well thought through and brilliantly realised. The circus tents, distressed, off-white with blood red finish were a wonderful touch.  Stage management, by SM Dee Ní Chloscaí, was excellent, with very clever use of cast to perform set changes. And yes, it was a performance. Ensemble were featured rather than hidden, as they moved sets with purpose and control, never once dropping character. Each   transition was meticulously choreographed as part of the performance itself. Everything was swift and seamless, maintaining a wonderful momentum throughout the show.  The exceptional lighting plot in this show was a huge part of the creation of an exceptionally theatrical mood and atmosphere throughout. There were wonderfully dramatic contrasts from shadowy, ominous tones to some incredibly dramatic lighting from the pit, which was   particularly striking during ‘Epiphany.’  T he brilliantly timed use of spotlights in ‘Epiphany,’   picking out audience members as Sweeney targeted them directly, gave us an even more   immersive experience as we became part of his descension into madness. Timing of the myriad lighting cues was sublime. Colours were well chosen. There was red. Lots and lots of red, as murderous intensity increased unabated. Haze was used to great effect to create an   ethereal space caught somewhere between this darkly mysterious circus and Todd’s tortured state of mind. A brilliantly designed lighting plot with exceptionally good operation.  Sound was exceptionally good throughout this production. Every word of dialogue was crisp and clear.   The choral sound was simply sublime, the balance incredible. The mixing of the orchestra was wonderful with clever featuring of individual instruments when required. I loved the very effective sound effects. Birds chirping, the excellently timed sharpening of the razor for the challenge, the bell upon entering the barbershop and the seagulls in ‘By the Sea.’ It was an exceptional sound design and operation which perfectly complemented the   professional standards set in all other areas.  There was very good work in the props department from Lovett's pastry baking bowl to Sweeney's case and razors. Attention to detail was generally very good. The bird cages were very authentic, the red and white crates were perfectly in keeping with the circus theme   and Judge Turpin's gavel and cane added to his character. The use of the rolling pin and   meat cleaver at the end of Act One was wonderfully theatrical. Mrs. Lovett's knitting was, of   course, RED. Beadle's harmonium was most impressive looking.   My only small quibble was   that the pistol given to Anthony was not authentic to the era as it was more of a Colt style weapon. This was a pity but a very small point in what was a wonderfully strong props plot in   general.   Hair and makeup were wonderfully creative. Wigs, when used, were excellent.   I loved the ensemble clown makeup at the top of Act Two and how their clown looks became more grotesque as the show continued and Todd became more maniacal. The exaggerated, Joker-esque look of the ensemble from the asylum scene onwards, greatly enhanced the   sinister personae of the ensemble, creating a captivating visual which was beautifully in sync with the circus motif and Ms. McGowan's overall vision.  Costumes were a visual feast, from the dark, sombre tones of Sweeney himself, to the fabulously flamboyant gold detail of Pirelli's costume. Ensemble were excellently dressed, perfectly evoking the 18 th century look. I loved little bits of detail like Lovett's red and black dress and Todd's red waistcoat; red creeping in as the show progressed and became   bloodier. Todd, dressed as a grotesque ringmaster at the end of the show, with Lovett bedecked in showgirl feathers, was such a creative touch and a perfect way to finish proceedings. An excellent costume plot overall.  This was innovative theatre at its very best.   Every single element from direction, to makeup, to costuming, worked harmoniously to create a darkly humorous, often sombre, but utterly captivating theatrical experience. The creative choices were bold, adding layers of depth and intrigue in moulding a most thought-provoking and memorable interpretation of Sondheim's classic tale.   Congratulations and thanks to all.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photos kindly shared by the society Photographer - Darragh C Photography +

Urinetown as presented by Malahide Musical & Dramatic Society

Malahide Musical and Dramatic Society  Urinetown – The Musical  Tuesday 18th February 2025  PUBLIC REVIEW  “What kind of musical is...

Malahide Musical and Dramatic Society  Urinetown – The Musical  Tuesday 18th February 2025  PUBLIC REVIEW  “What kind of musical is this?!” exclaimed Little Sally as ‘Urinetown - The Musical’… (not the place)…allowed its audience a rare moment of much-needed calm as they sat in the intimate surroundings of the Malahide Community School hall, contemplating that very same question. The answer, of course, is that it was an utterly bonkers and beautifully bizarre musical, dripping with delicious satire, which had us laughing until we burst. Needless to say, there wasn’t a dry seat in the house as the cast and crew of Malahide Musical Society brought us on quite the dystopian journey to a place where corporate greed, leading to regulation of urination, is a perfectly plausible premise. It was a thoroughly entertaining rollercoaster of a show with a very talented cast led by an excellent production team.  Front of house personnel were most friendly and efficient, looking after myself and the mammy very well. The delicious irony of the toilets being some distance away in a different building made me giggle at the interval but I did feel that a fundraising trick had been missed in not charging patrons for the privilege to pee!  Emma Jane Reilly’s considerable talents could be seen all over this production. She directed with considerable flair and a wonderful eye for comedic detail, balancing outrageous humour with the more thought-provoking messages of the show. Attention to visual detail was very strong and it was no surprise to see that Ms. Reilly was involved in the clever design of the very effective set. There was great use of this multi-level set, giving many options for staging. I loved all of the clever touches throughout the show, particularly the visual comedy. Miss Reilly had a great understanding of the absurd, which really added to the style of comedy in this show. Her work with the ensemble was exceptional, drawing out superb individual characterisations from all.  Musical director Dave McGauran really entered into the spirit of things in his ‘costume.’ He had assembled a five-piece band of some of the top musicians in the country and they brought the eclectic score of varying musical styles to life with wonderful balance and top notch musicianship. The opening ‘Urinetown’ number had a superb ensemble choral sound and that continued to be a highlight right through the show. ‘Act One Finale’ was outstanding chorally and t here were exceptional ensemble vocals, including an incredible a cappella section, in ‘Run Freedom Run.’ Principal singing was of a really high standard across the board. Underscored dialogue was sensitively handled, with every word being heard clearly.   Julianne McNamara's choreography was an absolute joy and completely in keeping with the crazy tone of the show. Routines were very slick, precise, and excellently performed by a very committed ensemble. ‘Cop Song’ was excellent and I loved the torch sequence which was so cleverly creative and effective. ‘Look At the Sky’ was a fantastic number, so precise, so energetic and again with such great performance levels. ‘Don't Be the Bunny’ was quite insane, but totally in tune with the madcap humour of the piece. I loved ‘ What Is Urinetown?’ with its quirky ‘Fiddleresque’ sequence and brilliant frozen pictures. ‘ Snuff That Girl’ was everything that choreography should be in a musical. It was precise, brilliantly performed and had wonderful individual characterisation from all of the ensemble. ‘Run Freedom Run’ was another brilliant number performed with such great precision and wonderful performance levels. A superb job by Ms. McNamara.   Gavin Molony gave an excellent performance in the role of Bobby Strong, the charismatic assistant custodian of Public Amenity no. 9. He was a fabulously natural performer and a very clever actor who so in tune with the narrative and tone of the show. His rebellious characterisation was underpinned by an idealism and charisma that was most uplifting. He played Bobby's internal struggle so well. His vocal performance was stunning, delivering powerful, rousing renditions of the anthemic ‘Run, Freedom, Run’ and the powerful ‘Look at the Sky’ with effortless ease.  Hope Cladwell, the ingenue and Bobby's love interest, was played by the very talented Nicole Kennedy. Ms. Kennedy got the gig. Her performance was so knowing and in tune with the show’s comedic style and crazy premise. Her innocence and optimism endeared her to the audience and her very cleverly judged transformation to rebellious heroine was beautifully depicted. ‘Follow Your Heart’ was a vocal highlight, beautifully expressive, and I loved her duet with Bobby, ‘Tell Her I Love Her.’  Kevin Hartnett was very strong as Officer Lockstock, the narrator and primary enforcer of the law in Urinetown. He had excellent presence and was well able to handle the difficult task of balancing authority with hilarity. A very skilled comedian, Mr. Hartnett had impeccable timing  and a wonderful range of comical facial expressions. Comic timing was particularly sharp in scenes with Little Sally and there was great chemistry too with his sidekick Barrel. Mr. Hartnett is an excellent singer but I felt that he needed additional support from the sound department in the lower register of ‘Urinetown’ as he competed against the band. T he very wordy and challenging ‘Cop Song’ was brilliantly performed.   The tyrannical CEO of ‘Urine Good Company,’Caldwell B. Cladwell, was played with great flair by Brian O’Gorman, who brought an almost comic book villainy to the role without being overly menacing. Mr. O’Gorman’s greed, manipulation and arrogance were balanced with a quirky, comedic touch that ensured he had just a touch of redeeming quality. His vocal performance was strong, adding to his malevolent charm. He was wonderful in the bizarrely surreal ‘Don't Be the Bunny,’ commanding the stage with such gleeful energy. A very strong performance.  Rebecca Gamble gave a very funny performance as Penelope Pennywise, the tough as nails custodian of Public Amenity no. 9. This was a very gritty and determined portrayal, balancing the struggle between loyalty to her employers and her more compassionate instincts in a cleverly nuanced way. Ms. Gamble was an excellent comedienne with razor sharp timing. Her vocal performance was very strong, particularly in ‘Privilege to Pee’ and the superb ‘Why Did I Listen to That Man?’  Yasmine Missaoui delivered an incredibly knowing and hilarious performance as Little Sally. She played the role with an incredible awareness of self and the audience, skilfully navigating tongue-in-cheek references to the style of show and sharing just the right amount of exposition with a darkly humorous touch. There was an hilarious balance between childlike curiosity and intelligent self-awareness. She knew exactly what her function was in the show and boy did she fulfil it. Focus and intent were always so strong and we could see every thought process. Every movement and every facial expression was meaningful, as Ms. Missaoui lived every moment on stage. She didn’t have too many opportunities to show her vocal prowess but, when she did, she grabbed it with both hands. ‘Tell Her I Love Her’ was brilliantly sung and masterful in its subtle, comedic delivery.   Ben Cole’s gormlessly comical Officer Barrel was very different to any interpretation I have ever seen. He made it his own and it really worked as Mr. Cole squeezed every last ounce of comedy out of the role. Mr. Cole’s eyes, brilliantly expressive and occasionally psychotic, were worthy of their own standing ovation! Mr. Cole was very physically aware and his solo dance and impressive splits in ‘What is Urinetown?’ were executed with hilarity.   Colin Graham did very well in the role of Senator Fipp, the unscrupulous, corrupt politician who aids and abets Cladwell in his draconian efforts. Mr. Graham handled the duplicitous nature of Fipp very well. I did feel that a sleazier demeanour in his dealings with Hope might have gotten more comic nuance out of the role. He had a great voice, which was showcased perfectly in ‘Why Did I Listen to That Man?’   Darren O’Reilly was a very camp and flamboyant McQueen, Cladwell’s subordinate, consumed with self-interest. Mr. O’Reilly’s focus and excellent stagecraft were notable as he never once dropped character. Comic timing was very strong and his ‘bunny business’ during ‘Don’t Be the Bunny’ was quite hilarious.  Kirstin Smith was very impressive as Little Becky Two Shoes. Hilarious at times, psychotic at others, her top notch, bonkers performance was a highlight of this top notch, bonkers show. Her water breaking moment was…well…disturbingly entertaining, as was her plunger induced childbirth (you had to be there…). Her performance in all musical numbers, whether she was the focus or not, was excellent but she really came into her own during the superbly performed ‘Snuff That Girl,’ embracing every last second of dark humour she could muster.  Nathan Durkin was equally strong as a gravelly voiced Hot Blades Harry. This was another super characterisation and Mr. Durkin showed great commitment and understanding of the piece. He was also excellent in ‘Snuff That Girl’ and was a standout member of the very strong ensemble.  I loved Orla Connolly’s superb characterisation as Soupy Sue. Another standout ensemble member, Ms. Connolly was very funny, was an excellent mover and had great comedic physical awareness. Her dramatic collapse was timed to absolute perfection.   Jen McGuire Noirant and Matt Jenkins were both very funny as Old Ma Strong and Old Man Strong. They both shone in their ensemble scenes. Initially, I wasn’t entirely sure about Mr. Jenkins’ wig, which was a rather bizarre creation, but it grew on me as quickly as the absurdity of the show did.  There was great support too from Susan Talbot Towell as Roberta the Stockfish, Sean Lonergan as Tiny Tom, Lesley Nugent as Mrs. Millenium, Luke Watson as Dr. Billeaux and Andre Bukowski, who had a handy number as Bunny.  The ensemble in this show was excellent. They had a superb choral sound and their commitment and energy in the choreography was excellent also. Staff in the UGC were superb and the Monty crew of down and outs most impressive in their individual characterization. They were incredibly disciplined executing some wonderfully effective freezes and their fantastic reactions lifted the show to another level. There was a wonderful set, full of exquisite detail with archways and various nooks and crannies and numerous levels to allow for very interesting staging options. The upstage skyscraper cityscape looked very well. The vent in the floor with smoke rising through was a lovely authentic touch. The very well-designed UGC branding and signage really added to the very professional visual.   I absolutely loved the ‘Secret Hideout’ sign in lights which was an hilarious touch.   Stage manager Lynda O’Neill, ably assisted by ASM Jenna Thompson, ran a very tight ship, ensuring slick and efficient changes which, no doubt, tightened up even further as the week went on.  Sound was generally well operated.   Mic levels were excellent, with dialogue being warm and full throughout. Most vocals could be heard clearly and, for the most part, the balance between pit and stage was very well judged, although I felt that more gain was needed on Lockstock at the beginning of the show. All other numbers being brilliantly mixed and vocals, both solo and choral, were very well balanced. Sound effects were well chosen. I particularly liked the hilarious toilet flush which heralded the end of Act One and the beginning of Act Two.  Lighting was excellent throughout the show.   From the opening, hazy preset with its dramatic beams and wonderful set bathed in greens and blues, we knew that this was going to be a very well-lit production. This was a superb design and operation was top notch with well-timed cues and a clear familiarity with scenes and musical numbers as atmospheric and evocative pictures were created time and time again, enhancing the mood and tone of each scene. There was clearly great collaboration between the designer and Ms. Reilly.  Props were generally well chosen. It wasn't a huge prop show, but what was there was very   appropriate and in tune with the piece. The only thing which jarred was the black and white photocopied money which needed more attention to detail.   Hair and makeup were well presented. This was a visually interesting, madcap show. Hair and makeup design reflected that perfectly. Some of the wigs were quite bizarre looking, but they were in keeping with the outlandish tone of the piece. I loved the UGC staff's hairstyles which were beautifully finished and coordinated.   Cladwell's towering red wig was a very strange creation indeed, as was Old Man Strong’s.  There was great attention to detail in the costumes. It was clear that a lot of work had been put into the overall look of the show. There was great effort to reflect the socio-economic divide and the personalities of each character. Distressed fabrics for the great unwashed contrasted with the more polished costumes of the elite, perfectly reflecting the show’s themes. I loved the green and white palette used for the UGC staff. Police uniforms were sharp and slick. Soupy Sue's pilot hat and steampunk goggles were excellent. Super work from all involved.   This was an excellent production of a deceptively difficult show to get right. It was a thought provoking production combining sharp satire with some hilariously comic performances. Satire is tricky. It has to be knowingly delivered and every cast member needs to be on the same page of knowingness. Emma Jane Reilly and her talented production team got the tone of this one exactly right. It was a fabulous production and deserved the spontaneous standing ovation from a hugely appreciative audience. Pat McElwain   Gilbert Adjudicator 2024/2025 Photos kindly provided by the society; Photography by Darragh Carroll

GILBERT SOCIETIES

Below is our comprehensive list of GILBERT societies.

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

Society
MTU Musical Society
9 Arch Musical Society
Athlone Musical Society
Avonmore Musical Society
Ballinrobe Musical Society
Banbridge Musical Society
Belfast Operatic Company
Bosco Drama Group
Bravo Theatre Group
Carnew Musical Society
Carrick-on-Suir Musical Society
Cecilian Musical Society, Limerick
Clane Musical & Dramatic Society
Clara Musical Society
Coolmine Musical Society
Dunboyne Musical Society
Ennis Musical Society
Entr'acte Musical Theatre Society
Galway Musical Society
Galway University Musical Society
Gorey Musical Society
Harolds Cross Tallaght Musical Society
Jack Cunningham Productions
Kilcock Musical & Dramatic Society
Kilkenny Musical Society
Killarney Musical Society
Kilmainham Inchicore Musical Society
Leixlip Musical & Variety Group
Malahide Musical & Dramatic Society
Marian Choral Society, Tuam
Maynooth University Musical and Dramatics Society
Mitchelstown Musical Society
Muse Productions
Nenagh Choral Society Youth Academy
New Ross Musical Society
Newbridge Musical Society
Newcastle Glees Musical Society
North East Musical and Dramatic Society
North Wexford Musical Theatre
Oyster Lane Theatre Group
Portlaoise Musical Society
Quayplayers Musical & Dramatic Society
Rush Musical Society
SGPA
Shannon Musical Society
South Eastern Theatre Group
St. Agnes Choral Society
St. Mary's Choral Society, Clonmel
St. Marys Musical Society, Navan
St. Mel's Musical Society, Longford
St. Patrick's Choral Society, Downpatrick
Teachers' Musical Society
Thurles Musical Society
Tipperary Musical Society
Tralee Musical Society
Trim Musical Society
Trinity Musical Theatre Society
Tullamore Musical Society
UCD Musical Society
Waterford Musical Society
Wexford Light Opera Society
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