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My Fair Lady

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27 May 2025

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LATEST NEWS

Sweet Charity as presented by Clara Musical Society

Clara Musical Society  Sweet Charity  Tuesday 8th April 2025  ‘Sweet Charity’ tells the tale of Charity Hope Valentine, a dance hall...

Clara Musical Society  Sweet Charity  Tuesday 8th April 2025  ‘Sweet Charity’ tells the tale of Charity Hope Valentine, a dance hall hostess who is optimistic to a fault in her search for a meaningful, loving relationship, away from the seediness of her chosen field. Despite encountering countless setbacks in her pursuit of true love, she is always hopeful that Mr.   Right is just around the corner. Clara Musical Society's lively production mined much comedy and plenty of heart from Neil Simon's witty tale of Charity's doomed aspirations. Standout comedic performances and some of musical theatre’s most iconic tunes, ensured that this was a most entertaining production which went down a storm with the Clara GAA Centre’s packed audience.   Front of house appeared very well organised on the night that I attended and there was   plenty of personnel around to look after people as they arrived. We were delighted with the wonderful hospitality, both before the show and at the interval. There was a really strong sense of community in the building and the strong level of local support was evident everywhere.   Director Alan Recks and his family have been the heartbeat of Clara Musical Society for many, many years . His energetic production had a strong emphasis on the myriad comedic opportunities in the script. Comic business was nicely balanced with more tender moments, adding a nice depth and truth to the performance. Pace was generally very good and I have no doubt that certain things would have tightened up as the week progressed. There were some lovely touches throughout. The trolley car idea was very clever, as commuters bounced along until their nicely timed, sudden stop. There was very clever use of the stage, particularly the upper level, which was used for Oscar and Charity's Coney Island scene. The elevator scene was wonderful and Mr. Recks elicited superb comic performances from both Charity and Oscar. They just needed to be careful of putting too much pressure on the elevator sets.  Mr. Recks also took on the role of musical director and did a very good job indeed. The ten piece orchestra, featuring Mr. Recks on keyboard, brought Cy Coleman's wonderful score to life under his assured direction. The iconic ‘Big Spender’ and ‘If My Friends Could See Me Now’ were notable highlights.   Principal singing was of a very high standard, particularly Charity, Helene, and Nickie. There was very good work from the ensemble also and they sounded particularly strong in the title number. However, I did feel that they needed more support in ‘Rhythm of Life,’ where there was a quite an imbalance in the vocal lines. This iconic number was unfortunately soprano heavy and as a result sounded quite shrill.  Dylan O'Keeffe took on the role of choreographer. ‘ Sweet Charity’ has so many iconic dance sequences such as ‘Big Spender,’ ‘Rich Man's Frug’ and Rhythm of Life’ and Mr. O'Keeffe   did a very good job in creating some dynamic, energetic, and synchronised routines. ‘Rich Man's Frug’ had some very precise, stylised movement and featured an excellent lead   dancer.  ‘ Big Spender,’ as expected, was an excellent number. The dance hall girls really sold this so well, exuding confidence, sensuality, and lack of inhibition. It was brilliantly performed. When the ensemble ladies joined, the number felt a little bit crowded. However, movement was excellent from all. I’m not sure if I really understood the purpose of the white glove/UV light routine in ‘I Love to Cry at Weddings.’ Whilst the idea was interesting, I'm not altogether sure that the desired outcome was achieved on the night that I attended. For the visual aspect to succeed, I felt that there needed to be more coordination between lighting and performers for this to work. ‘Rhythm of Life’ was an energetic number from all and there was excellent work from everyone in the superbly staged ‘I’m a Brass Band.’   Aoife Digan was captivating as the titular character, with boundless optimism and plenty of heart. Ms. Digan was the perfect blend of vulnerability and humour, making her a most endearing character.   She was also blessed with razor sharp comic timing. She had so many standout comic moments and scenes but, for me, the highlights included her hiding in   Vittorio’s closet and the iconic elevator sequence. Both showed Ms. Digan's comedic skill at its very best. She delivered a wonderful vocal performance which was both technically   impressive and layered in its understanding and thoughtfulness. A  superb characterisation   overall.  Oscar Lindquist, the neurotic hypochondriac with debilitating claustrophobia was played with delightful awkwardness by Joe Steiner. Mr. Steiner was such a natural, honest, and   believable performer. None of his character quirks were ever forced and he brought an emotional depth to Oscar that's rarely seen. He too was blessed with excellent comic timing. I loved ‘Bravest Individual’ with Miss Digan, which showcased a fine baritone and serious comic chops. But it wasn't all about the comedy with Mr. Steiner. There was a sincerity and poignancy in his heartfelt interactions with Charity, particularly in the final scene, which was simply outstanding.  Helene was played by the very talented Cherise O’Moore. Ms. O’Moore not only had a very impressive wolf whistle but her stage presence right through the show was exceptional. She was a very natural actress and dialogue delivery felt so real. Ms. O’Moore had a fabulous voice and ‘Baby Dream Your Dream’ with Nickie was one of the show's highlights for me as both painted a more vulnerable side to Charity's streetwise pals.   Sinéad Handy was equally impressive as Ms. O’Moore's sidekick, Nickie and, together, they were a formidable double act. Ms. Handy’s skilfully delivered wisecracks showed natural comic timing that can’t be taught.   She too was very strong vocally and her performance in ‘There's Gotta be Something Better Than This’ with Charity and Helene was wonderful.   Thiago Braga was very charming as Italian movie star Vittorio Vadal.   Mr. Braga was a very good actor but at times I wanted him to have a little bit more energy about him and to attack his dialogue a bit more.   What a fine, full baritone voice he had in ‘Too Many Tomorrows.’  His bedroom scene with Ursula was very funny.  Aoife Fitzsimons gave a very funny performance as Ursula. Her hilarious antics with Vittorio under the duvet brought much laughter as she built to her ‘climactic moment.’ I couldn’t help thinking that Ursula was as strong an actress as Ms. Fitzsimons though, because Vittorio can't have been too impressive in that department as Ms. Fitzsimons was out of the bed like   a shot, running off before the blackout.  Jonathon Kilduff was a standout performer as Daddy Brubeck, bringing much energy and presence in a super performance of at the top of Act One. His vocal in ‘Rhythm of Life’ was excellent and he really understood the gig, giving it loads and enjoying every minute of his wonderful cameo.  Malcolm Whelan gave an exceptionally strong performance as Herman, the proprietor of the   seedy Fandango Ballroom.  His dialogue delivery was very natural and diction was very strong. His ‘I Love to Cry at Weddings’ was brilliantly performed. How refreshing it was to have somebody so strong in a role like this. An excellent portrayal by Mr. Whelan.   The large ensemble was very impressive all round, bringing a strong energy and enthusiasm to numbers such as ‘Big Spender’ and ‘Rhythm of Life.’ The Fandango girls were excellent in their number s, demonstrating excellent focus and commitment in numbers such as ‘Big Spender.’  There was great work from all in ‘I’m a Brass Band’ and very good focus in ‘A Good Impression.’ I felt that the opening scene was a little bit chaotic for the ensemble and could have benefited from better spacing on the stage. But this is a small point in what was generally a very strong contribution from the ensemble.  Wayne Handy did a great job as stage manager marshalling a very efficient crew who kept the show moving at an electric pace throughout. He cleverly used cast to move furniture and smaller set pieces and this very well-rehearsed element added greatly to what were impressive and seamless transitions.   There was very slick movement of trucks, in particular the elevator and the diner trucks. Mr.   Handy even made an appearance as a most convincing, named character, Dirty Old Man. A great job all around.   I loved the simplicity of the visually impressive set, which allowed for a large, open playing space which perfectly suited the style of production. The band was housed on the upper level, perched high above the stage. Underneath, we had four open ‘doorway’ entrances, lit from within, which provided some great staging opportunities. The red curtain, used as a backdrop for the orchestra, was an inspired choice, bringing a great sense of style to the overall visual. There were great graphics projected onto a small screen on stage right, which worked very well to suggest location and some key moments in the narrative. The footlight shells across the front of the stage were most effective. The diner booths were very authentic.  The lighting was generally strong throughout, adding much atmosphere to scenes like the seedy Fandango Ballroom. ‘Rhythm of Life’ a psychedelic celebration, made very good use of colour. The four upstage entrances were nicely lit from behind and the uplighters worked well, positioned between these entrances. There did appear to be a technical glitch with cues early in Act Two but the operator was very quick to offset the issues manually and much credit should be given for that. Overall, good work from the lighting department and I'm sure that any minor issues that were experienced on the night were ironed out as the week progressed.  Sound design and operation were in very safe hands. EQ levels were perfect. Every word of dialogue could be heard and vocals were crystal clear in what can be a very difficult show in terms of balance between stage and pit due to the considerable dynamics of the brassier numbers. Sound effects were all very appropriate and very well timed. A super job all round.   Nothing appeared out of place in the props department, with the exception of the chairs in the Fandango Ballroom which, to me, looked far too modern and resembled something from a Swedish furniture outlet. Chairs aside, props appeared very well chosen with everything appearing to be era appropriate. I particularly liked the giant teddy prop for Coney Island.  Costumes were excellent across the board. The show was very colourful, particularly in scenes like ‘Rhythm of Life.’ I loved the cheerleaders’ red sequin dresses, the drummer's red j ackets, black bowlers, Daddy Brubeck's flares and his fabulous jacket and Charity's iconic  leopard print dress. The black dresses in ‘Rich Man's Frug’ brought a real touch of elegance   and class.   Overall, a wonderful job reflecting 1960s, New York society.   There was good attention to detail and the hair and makeup department also, creating a very authentic 1960s look. Hairstyles and wigs were excellent in recreating the iconic looks of the era and makeup was also perfectly appropriate. A super job from all involved in bringing a further layer of authenticity which supported Mr. Recks’ vision.  This was a most entertaining production of one of musical theatre’s classic shows by Clara Musical Society, with great energy and some standout comedy moments from a very   talented cast. From the audience reaction, it was clear that there is still a great appetite and love for such classics amongst young and old. ‘Sweet Charity’ will be sixty years old next year and its entertainment value shows no sign of abating. Bravo Clara MS for breathing new life into a show which will, no doubt, continue to entertain for generations to come.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photo credit Recks Audio.

The Little Mermaid as presented by Ballinasloe Musical Society

Society name: Ballinasloe Musical Society Show name: The Little Mermaid Adjudicator date of attendance: 22/03/2025 Brief Overview of Show...

Society name: Ballinasloe Musical Society Show name: The Little Mermaid Adjudicator date of attendance: 22/03/2025 Brief Overview of Show and Evaluation of Front of House Ballinasloe Musical Society brought the magical underwater world of Disney’s The Little Mermaid  to life with a vibrant and joyful production that delighted its audience. A beloved tale that blends fantasy with themes of longing, belonging, and transformation, this musical presents considerable technical and artistic challenges. The society met these challenges with charm, colour, and a clear sense of ensemble unity. Front of House offered a warm and welcoming presence. From the moment patrons arrived, they were greeted with friendly faces and a well-organised lobby that maintained the festive atmosphere of the production. House management was smooth and efficient, and transitions in and out of the auditorium were handled with professionalism. Director-  Direction and Production The direction by Ronan Lardner of this production showed a clear vision and enthusiasm for storytelling. There was a solid understanding of the world of the play, and the tone remained cohesive throughout. From a visual perspective, the show flowed well. The production struck a balance between its child-friendly fantasy and the deeper emotional undercurrents of its characters’ journeys. Blocking was largely well-considered. Scenes were well spaced and used the stage dynamically, although a few moments would benefit from more detailed practical consideration. For instance, the ship set could have been larger to better accommodate the crew and give the opening scenes more visual impact. Similarly, the dinner scene table was placed too far upstage, which distanced the actors from the audience and lessened the comedic and emotional resonance of the scene. Pacing was strong overall, with energy maintained across the majority of the performance. There were a few moments where transitions dragged, particularly during set changes. Nevertheless, the overall flow of the story remained intact. One area that stood out as needing more detailed attention was the puppetry. The use of puppets in this show is a brilliant opportunity for visual storytelling, but their execution requires precise direction and choreography. Unfortunately, the puppetry lacked the confidence and skill needed to fully integrate the characters into the story. Performers did their best, but greater instruction on eye-lines, coordination, and puppet movement would greatly improve these moments in future. That said, the director clearly fostered strong performances from the leads and a sense of unity among the ensemble. Characterisations were thoughtful and often inventive, even where the script provides little room for development. The balance of comedy, drama, and fantasy was nicely managed. Musical Director-  Direction and Orchestra Musically, this production was on very solid ground under the baton of Shane Farrell. The sound created by the pit band was rich and supportive, enhancing the storytelling without ever overwhelming the vocals. The musical director clearly had a strong grip on the score’s demands and guided the ensemble with precision. The balance across the instrumentation was excellent. No one section of the band dominated, allowing the melodies and harmonies to blend naturally. There were some wonderful moments of dynamic control, and the musical underscoring always supported the mood of the scenes effectively. Choral harmonies, when present, were pleasing and well-tuned, though at times they felt a little sparse. Increasing the depth of harmonic content, especially in ensemble numbers, would have added a further layer of musical sophistication. Still, the vocal confidence of the cast was a highlight, and the MD clearly worked hard to create a polished and engaging musical landscape. Choreographer - Choreography The choreography by Aoife McClafferty was ambitious and inventive in places but did not always maintain consistency. There was a clear understanding of how movement could reflect character and environment, and the cast approached their choreography with energy and commitment. The opening number held potential for more character-driven, quirky choreography. It felt somewhat safe, especially given the whimsical opportunities within the song. The number Under the Sea , which should be a showstopper, had moments of charm but became repetitive in its movement vocabulary and lacked the crispness needed to give it real impact. The full cast gave it their all, but further cleaning and variation would elevate the piece. Conversely, the pax de deux  was a true highlight. This duet between the two leads was graceful, emotive, and beautifully suited to their strengths as performers. It brought a wonderful stillness and intimacy to the show that contrasted effectively with the more energetic ensemble pieces. Positoovity , while upbeat and engaging, suffered from the tightness of the taps on the shoes. The taps were not loud or clear enough to register fully with the audience. Les Poisson’s  leaned into chaos, but in doing so, lost some of its structure. Slapstick requires precision, and while there was evident enthusiasm, the timing and coordination needed further sharpening. This scene would benefit from additional comedic “business” to flesh out the visual humour. Kiss the Girl  was sweetly staged but underutilised the ensemble. With such a tuneful and romantic number, there is ample opportunity to layer in gentle choreography or additional movement from the chorus to enhance the atmosphere. Leading Principles – Singing and Acting Ariel – Emily Uí Cheallaigh: Emily delivered a standout performance that anchored the entire production. She embodied Ariel with a natural charm, grace, and youthful wonder. Her physical performance, especially during the scenes where Ariel had no voice, was deeply expressive. Facial expressions conveyed emotion clearly, and she used her body with confidence and intention. Vocally, Emily was exceptional. Her transitions between chest and head voice were smooth and well-controlled, and she sang with an emotional clarity that drew the audience into Ariel’s inner world. Prince Eric – Jamie Callanan: Jamie brought charisma and presence to the role of Prince Eric. His portrayal captured both the nobility and the vulnerability of the character. His vocal delivery was polished and rich, and his performance had an effortless charm. Notably, his dancing was a strength – a refreshing and impressive surprise that added texture to his character. Sebastian – Eoin Croffy: Eoin gave a committed performance with great vocal consistency and a flawless Caribbean accent that added authenticity to the role. His physicality was lively, though he occasionally seemed a little uncertain. More direct engagement with the other characters on stage, rather than a side eyed delivery, would have helped maintain energy and connection. Nonetheless, he offered warmth and humour throughout. Flounder – Teagan Farrell: Teagan was a delight onstage. Her enthusiasm was contagious, and her commitment to character never wavered. Her dialogue delivery was sometimes tentative, but this is something that will improve with experience. Once the music began, she lit up – vocally strong, assured, and confident. Her dedication, including keeping up the underwater arm movements during bows, showed tremendous professionalism and passion, making her one of the production’s brightest sparks.  Ursula – Heather Colohan: Heather had the vocal power and physical presence to command the stage. Her performance felt too restrained and static. Ursula is a character brimming with theatrical potential, and while Heather hinted at this, she didn’t fully unleash the villainy or flair that the role demands. A more expansive physical performance and greater play with dynamic energy would have elevated her portrayal. King Triton – Paul Singleton: Paul brought authority and warmth to the role of Triton. His voice was commanding and rich, though his physical performance was somewhat hindered by the tail costume. Despite this limitation, he conveyed a full emotional arc and gave a convincing portrayal of a conflicted, loving father. His singing voice had a lovely mellow tone that added gravitas to his scenes. Supporting Roles – Singing and Acting The Mersisters- Sara Jane Mangan, Aoibhínn Goode, Rachel Walker, Kate Timothy, Bláithín McCann, Sadhbh Mechan. The Mersisters formed a strong and engaging ensemble, delivering clear harmonies and bringing individual character to life with flair. Their distinct personalities added colour to each of their appearances, and several lovely comedic moments were well played. While the group worked well together overall, there were occasional dips in energy and focus that, in such a small ensemble, were more noticeable. With more attention to maintaining consistency throughout, this already promising group could shine even brighter.   Grimsby – Padraic McDonagh : Padraic gave a grounded performance with suitable stuffiness and paternal concern. Accent work occasionally wavered, but his scenes with Eric were tender and believable. Scuttle – Adam Carr: Adam was a comedic gem. His take on the character was refreshingly unique, and his consistent vocal choices and physicality made him stand out. A warm and quirky performance that won over the audience. Chef Louis – Paul Masse: Paul brought high energy, but the lack of control in physical comedy made the scene feel chaotic. With more precise timing and structured gags, this number could become a real show-stealer. His authentic French accent really added to the character. Flotsam & Jetsam – Adam O’Kane & Ruth O’Neill  Adam and Ruth were vocally effective with their sibilant dialogue but needed much stronger puppetry technique. The physical manipulation of their eels lacked coordination with the dialogue. Greater direction in puppet work would significantly improve these roles. Pilot – Cian O’Ceallaigh : Cian gave a perfectly serviceable performance, but the role didn’t leave a strong impression. A bit more presence and projection would help elevate the character’s impact early in the show. Chorus/Ensemble – Singing, Acting and Choreography The ensemble were a high-energy, cohesive group that brought joy and enthusiasm to the production. They clearly enjoyed themselves, which translated directly to the audience’s enjoyment. Their commitment to characterisation was strong, and their focus never wavered. From sailors to sea creatures, each ensemble member contributed to the world of the play. Vocally, the ensemble produced a solid sound, with moments of excellent diction and dynamic variation. Harmonies were often underused or too light to make a significant impact. A fuller choral sound would elevate big group numbers, giving them the grandeur they deserve. Particularly commendable were the seagulls, who brought standout energy and sharp character work. They were a comedic and choreographic highlight. Stage Management & Set Design Set design was clever and adaptable. The use of projections added depth and visual interest and complemented the physical set pieces effectively. Moving elements were thoughtfully constructed and painted with care. There was some inconsistency in how projections were used during transitions – a clearer choice on whether they remain on or fade during scene changes would improve cohesion. Stage management showed commitment but struggled with pace. Scene changes occasionally felt slow or disrupted the rhythm of the story. Smoother transitions would help maintain momentum and immersion. Technical – Lighting and Sound The lighting design created some beautiful stage pictures, particularly in combination with the projections. It helped to differentiate the various locations – undersea, on land, in the palace, etc. However, the rig seemed capable of even more, and some scenes could have used additional lighting creativity. A recurring issue was actors moving outside the lit areas during smaller scenes, such as in Ursula’s lair. A closer collaboration between lighting and direction would help avoid these moments and maintain focus where it belongs. Sound design was generally strong. Vocal amplification was clear and well-balanced with the band. Cues were timely, and no mic issues or missed entrances were noticeable. It’s a real achievement to blend the live band and voices so well in a show with such dynamic musical shifts. Visual – Costumes, Hair and Makeup Costumes were delightful and well-matched to the fantastical world. Bright, well-fitted, and thematically appropriate, they did much to bring the undersea kingdom to life. Some more variation in “Under the Sea” costumes would have been appreciated to add visual interest. Hair and makeup were thoughtfully executed, maintaining continuity with costume design. Wigs were generally well-integrated, although Prince Eric’s was noticeably artificial due to its sharp hairline. A softer lace or styling approach would enhance realism in future. Triton’s tailpiece was visually effective but clearly hampered movement. A redesign that balances aesthetics and mobility would better serve both actor and audience. Adjudicator’s Comments and Suggestions Ballinasloe Musical Society’s production of The Little Mermaid  was a joyful, enthusiastic, and largely successful staging of a beloved family musical. The society should be proud of the energy, commitment, and community spirit evident throughout the evening. To enhance future productions, here are a few key suggestions: Pacing and Transitions:  Smoother scene changes and quicker transitions will keep the show’s rhythm strong. Puppetry Training:  Focused work on puppet technique and integration into performance will lift visual storytelling significantly. Choral Harmonies:  Deepening ensemble harmonies will add richness and elevate musical numbers. Physical Comedy:  Structured direction for slapstick scenes will ensure that chaos reads as controlled humour. Lighting Precision:  Tighter coordination between lighting design and blocking will help focus audience attention and maximise stage space. Costume Functionality:  Ensure costumes, especially larger pieces, allow performers to move freely while maintaining visual impact. Overall, this was a commendable effort filled with heart, talent, and potential. The audience responded with genuine delight, and the society’s passion for theatre was clearly on display.

Cry Baby as presented by Athlone Musical Society

Athlone Musical Society  Cry Baby – The Musical  Saturday 8th March 2025  If ‘Grease’ and ‘The Book of Mormon’ were to have a love child,...

Athlone Musical Society  Cry Baby – The Musical  Saturday 8th March 2025  If ‘Grease’ and ‘The Book of Mormon’ were to have a love child, it could quite possibly look like ‘Cry Baby - The Musical.’ The ‘Girl from the right side of the tracks falls for boy from the wrong side of the tracks’ show pits 1950s, post-war conservatism against rockabilly rebelliousness through a lens of irreverent humour and razor-sharp parody. With an opening number about an ‘Anti-Polio Picnic’ and an amusingly titled showstopper (Girl, Can I Kiss You With Tongue?) shining a satirical light on the consent conversation, ‘Cry Baby - The Musical’ is quite bonkers. In order to succeed, the tone of its delivery must be just right. The audience needs to connect with its absurd style of comedy from the off. Thankfully, Athlone Musical Society pitched the absurdity at just the right level to produce a highly entertaining, very funny production.   The 400 plus seater Dean Crowe Theatre was packed to capacity on the night that I attended. I received an exceptionally warm welcome and was delighted to hear all about the history of the society. Sincere thanks for the reserved car parking spot outside the theatre. It was much needed and most appreciated!  Director, Alfie Kilduff, produced a wonderful show full of energy and comedic business. From the very outset, as cast entered through the audience, encouraging us to take our seats and switch off our cell phones, there was great buy-in from the audience. Mr. Kilduff elicited fabulously exaggerated characterisations from his cast, which were perfectly in tune with this type of show. Pace was exceptionally good and there was good use of the available stage space. There was clever use of well chosen projections to complement the scenery. Delivery and style of performance is so important in a show like this and well done to Mr. Kilduff for recognising that and for instilling the tone in his cast. One small thing was that cast did need to wait for applause to subside, on occasion, after musical numbers before continuing with dialogue. This is a small thing but some lines were lost and that's simply because the audience were enjoying the show so much.   Musical director, Ger Madden, presided over a superb orchestra which delivered the pastiche score with multiple styles of music from rockabilly to barbershop. There was excellent work with the Whiffles, whose close harmony work was stunning. Whilst written for four, using five was a great call. There was a superb choral sound right through this show. Both the on-stage and off-stage vocals were excellent, with great attention to balance and dynamic detail. Offstage vocals in ‘Girl, Can I Kiss You With Tongue?’ and the ‘song with the exceptionally long title in the prison scene at the top of Act 2’ were top class. A fine job from Mr. Madden. Jay Molyneux did excellent work on the choreography. What was most impressive   overall about the choreography was the manner in which Mr. Molyneux was in tune with the comedic style of the show. This was reflected in the myriad dance numbers, which were a huge part of the visual comedy. The drapes were introduced with a bang, encouraging one and all to ‘Watch Your Ass.’ This was a fantastic, high energy, brilliantly performed routine which set the irreverent tone for what was to come. There was excellent work too in Dupree’s ‘Jukebox Jamboree.’ The ladies were stunning in ‘A Whole Lot Worse’ and I loved the simple but wonderfully precise movement of the ensemble and Whiffles in ‘You Can't Beat the System’. ‘All In My Head’ was a standout number with Wade and Allison as bridal shop mannequins. When the chorus joined, complete with masks, the number really took off. The perfect blend of choreography and visual comedy. There was delicious irony and highly energetic performance levels in the tongue-in-cheek titled ‘Nothing Bad’s Ever Gonna Happen Again’, clearly poking fun at musical theatre's tendency to favour happy ever after endings.   Nathan Canning played the titular role of Wade ‘Cry-Baby’ Walker with great charisma and vulnerability. He was wonderful as the romantic, yet rebellious protagonist. Mr. Canning had excellent comedic timing and a superb voice, which made him a most likeable character. ‘I'm Infected’ highlighted his wonderful vocals and his comedic timing was superb in numbers such as ‘Baby Baby Baby’ and the hilarious ‘Girl, Can I Kiss You With Tongue?’ He perfectly encapsulated Wade’s   teenage angst with his great body language and wonderful understanding of the comedic style of the show.   Izzy Tuohy, only 18 years of age, was a revelation as Allison Vernon-Williams. Her comedic timing was excellent, as was her physical comedy. Her chemistry with Mr. Canning was very strong. Allison’s stifled upbringing and her inner turmoil as she longed to cross over to the dark side inhabited by the drapes, were superbly played by Ms. Tuohy. She had a big voice that belied her years, with excellent range and impressive control in her upper register. This was showcased superbly in ‘Nobody Gets Me.’ Her comedic understanding was so sharp and this was particularly evident   when she joined Wade in ‘Baby Baby Baby.’   From the moment Aoife Digan introduced her character, Lenora Frigid (!), as “Cry Baby's destiny” and proceeded to suck his finger, we knew that this was going to be a very funny portrayal. Ms. Diggin's characterisation was hilariously psychotic and she played her unhealthy infatuation with Wade so well. Her performance of ‘Screw Loose,’ in which she told one and all how unhinged she was, due to her love for Cr Baby, left us in no doubt as to her psychotic tendencies. It quite literally stole the show, with Ms. Digan’s powerhouse vocals and brilliant comedic timing almost bringing the show to a standstill.  Nicola O'Sullivan played pillar of society, Mrs. Cordelia Vernon Williams. Ms. O’Sullivan was an excellent actress. She was very funny as the conservative leader of the community, obsessed with keeping up appearances. Her ‘I Did Something Wrong Once’ was superbly performed as she wrestled with her conscience. It really was a powerful rendition. I also loved her very funny monologue about the burning of the factory. You really could have heard a pin drop. It was both dramatic and hilarious at the same time. Girl gang ‘The Teardrops’ were a formidable trio with their powerhouse vocals, excellent stage presence and comedic timing to die for. Teenage pregnancy in the 1950s probably wasn't the source of much amusement. However, in the hands of Eva Glynn, it was quite hilarious. Ms. Glynn played teenage mother-to-be Pepper Walker with great comic flair and excellent physicality. Not only was she a great comedienne, but she was also a super singer, shining particularly in ‘A Whole Lot Worse.’ A very funny characterisation. Anna Doherty was a fabulously energetic Wanda, the final member of the troublesome trio. She was flirtatious and in your face, with excellent comic timing and presence. She too was excellent in ‘A Whole Lot Worse.’ Hannah Darling played the less than subtle Hatchet-Face, who had an unhealthy penchant for knives, with a great range of facial expressions and hilarious comedic timing. Kudos to Ms. Dowling for her very impressive miming of the bass in ‘Baby Baby Baby.’ Her ‘post-op’ reveal in the prison was very funny indeed. A superb performance all round.   Richard Brown was a very funny leader of the Whiffles, Baldwin Blandish. He was delightfully smarmy, but highly manipulative under it all. Mr. Brown was one of those characters that we should really hate, but we just couldn't help but finding him so funny. He had great physicality and wonderful comedic timing. Mr. Brown shone in all of his songs, whether solo or with the Whiffles. A very funny characterisation.   In an interesting departure from the usual ‘boy band,’ Baldwin's fellow Whiffles were more gender balanced. Two boys, two girls and Baldwin. These were played by Eoghan Rogers, Jonathan Kilduff, Kori Kilduff and Cherise O'Moore. This was an inspired piece of casting by the director, Mr. Kilduff. As the nerdy Squares, they were so cheesy and saccharine, with hilarious facial expressions and physicality. They had excellent vocals, which blended so well, their voices complementing each other’s perfectly. Each and every one was a very strong comedian in their own right, shining in all of their musical numbers with their close harmonies, wonderfully synchronised movement, and razor-sharp understanding of the tone of the show.   Had one been weak, they would have stood out like a sore thumb, but they were universally excellent, with everyone on the same page. Exceptional work from all.   Eoin McGlynn was a very charming Dupree in a characterisation that was full of flair and energy. His ‘Jukebox Jamboree’ was a fabulously funny number with its false endings adding great hilarity. Mr. McGlynn had a superb voice and an infectious energy that made this character very memorable.   Joe Steiner played Judge Stone, looking every inch like he should be selling fried chicken. This was an excellent portrayal, with wonderful comedic timing, facial expressions and understanding of the narrative detail and quirky style of delivery required. What a great mover he was too in the fabulous finale ‘Nothing Bad’s Ever Gonna Happen Again.’   There were some nicely played cameo roles too. Paul Holloway was a very funny Father Officer O'Brien, bringing all of his considerable experience to bear with very strong stage presence and natural comedic timing. His tongue in cheek ‘Oirishness’ was very well played. You always know you have a good show on your hands when a cameo role like this can be played by somebody as strong as Mr. Holloway. John McGlynn, no stranger to the Dean Crowe Theatre, also provided great support as Mr. Woodward.   The ensemble in this show performed with power, passion and precision throughout.   There was a fabulous energy and focus right through the show, testament to a lot of input from the production team as well as the individual and collective talents within the ensemble. Occasionally, they needed to be careful not to be overly exuberant as there was a tendency, now and then, to distract from what should have been the main focus with their background business. This was purely a case of trying too hard sometimes and, whilst the show does require a certain level of exaggeration, it should never distract from the point of intended focus. The overriding take home was that the ensemble was very in tune with the tone of the show.   Stage manager, Jonathan O’Brien, also credited with set design, ran a tight ship.   Front tabs were moving quite a bit before the show commenced but, once we were up and running, things settled. The well-rehearsed cast set and struck furniture and were very sharp and slick in doing so. There was excellent work from crew turning the centre truck when needed and all changes were very slick and efficient.   I really liked the clever cartoon-like set with its bold colours. The angled flats were interesting. Signs for ‘Safety Awareness Day’ and ‘Maidenhead Country Club’ were perfectly in keeping with the cartoon-like vision for the show. The raised area upstage allowed for the ‘shows within a show’ at the Country Club. The flown fairy lights were a nice touch and the fabulous upper level provided for some very interesting staging options. Overall, I was very impressed with the wonderful scenic artistry. The bunks and bars looked very well in the prison and little details like the ‘On Air’ sign flown on stage left were a nice touch, as was the Statue of Liberty flown in for the ‘Star-Spangled Funland.’   Lighting was excellent throughout, perfectly complementing the director’s vision and the show’s colour scheme, set and costumes. Cues were exceptionally well-timed, always a sign of great musicality in a lighting operator. Lighting was cleverly realised and suitably ‘showy’ for the Whiffles’ ‘Squeaky Clean’ performance within a performance. ‘A Little Upset’ was a huge number with superb lighting as it built. The moving ‘prison bars’ were a lovely touch. I did feel that the slow-motion sequence in ‘A Little Upset’ could have benefited from a more dramatic lighting change or effect though. There were great blues and reds as the sirens went off and the finale, ‘Nothing Bad’s Ever Gonna Happen Again,’ was a feast of colour with everything but the kitchen sink thrown at it. A superb job overall, perfectly in tune with the style of show.   Sound was very strong throughout. There was a very impressive balance within the orchestra and a superb stage pit balance also. Choral singing was excellently mixed both off stage and on stage. Cueing was excellent and dialogue could be heard clearly throughout. There were excellent sound effects like the air raid siren, car horn   and crickets. A super job.   As would be expected, the props list for a show like this is quite quirky. I mean, where do you go to find an iron lung for one fleeting appearance? But it's a great gag, so it needs to be there! The gas masks looked great, as did the air raid siren and the Wurlitzer jukebox. The two license plate machines in the prison looked authentic and the myriad license plates used for percussive purposes were an excellent touch. Overall, a superb props plot which added great authenticity to the show.   Hair and makeup was very well handled. Hatchet-Face had suitably over-the-top makeup. The 1950s styles shone through and everything appeared to be era appropriate. Hair was nicely slicked back for the boys and perfectly chosen makeup palettes for the girls.  Costumes were excellent throughout from the fabulously colourful pastels of the Squares to the bold, adventurous, even raunchy, reds and blacks of the Drapes.   Everything was 1950s era appropriate with great attention to detail. The Whiffles were always fabulously uniform with their waistcoats, perfectly pressed skirts, and trousers. My only little quibble was that I wasn't sure about what looked like green and white football socks on the female Whiffle members. I felt that a little white sock might have worked better. The Whiffles' blue sparkly waistcoats, red bows and ribbons were perfect, as was Baldwin's red jacket. I loved Judge Stone's white suit and white cowboy hat. Uncle Sam, the Statue of Liberty, Abe Lincoln, and the Camel cigarettes were all brilliantly turned out.  The storyline of ‘Cry Baby - The Musical’ is as convoluted and contrived as you might find anywhere in the musical theatre canon. Its satirical, tongue-in-cheek humour may not appeal to everyone. However, hundreds of patrons thronged the Dean Crowe, embracing the absurdity and enjoying every single minute. Pure escapism and fun was the hallmark of Athlone Musical Society’s very funny production and I have no doubt that ‘Cry Baby’ will become a popular choice for many more societies going forward. Continued success to you all.   Pat McElwain  Gilbert Adjudicator 2024/2025

Jesus Christ Superstar as presented by Tullamore Musical Society

Public Adjudication  Tullamore Musical Society  Jesus Christ Superstar  Friday 21st February 2025  Tullamore Musical Society presented...

Public Adjudication  Tullamore Musical Society  Jesus Christ Superstar  Friday 21st February 2025  Tullamore Musical Society presented the iconic musical ‘Jesus Christ Superstar’ to a   capacity audience at the wonderful Eskers Arts Centre. It was a most exciting, exhilarating and thought-provoking production which blended the more traditional elements we have come to expect with a brave modernised vision which breathed new life into a tried and tested classic.   Front of house was a most welcoming experience and how wonderful it was to see the photographic displays showing the rich history of the society and its generations of local families who have been part of their many productions over the last seventy years. The atmosphere in the Esker is always electric but there was a palpable sense of something special in the air as we entered the auditorium.  Art McGauran's innovative direction was a huge part of the show's success. Each scene transitioned smoothly into the next, ensuring a most impressive flow to the production. Attention to detail in characterisation was exceptional. Indeed, there were some very bold casting choices, which I don’t mind admitting I initially dismissed as a concept. But what do I know?! How very wrong I was. Dramatic pictures were created all through this show with the fabulous use of a multi-level set allowing for some beautiful visual highlights. Mr. McGauran captured the dramatic tension which is at the heart of JCS so well. There was brilliant coordination of Judas’ hanging with the lighting operator, which was perfectly timed. I did feel that a well-chosen sound effect might have added even more to what was an already brilliantly dramatic moment. The lashes were so real, so violent and so brutal. The audience’s discomfort was palpable, exactly as it should be. A superb job all round.   Musical director Enda O'Connor did an excellent job with this show. His brilliant orchestra,   comprised of some of the country’s top musicians, created a rich tapestry of sound which supported the storytelling from beginning to end. It’s a roast of a show, with no downtime for an MD and their musicians. Huge credit to all on exceptional work. The balance within the band was as good as I have heard anywhere. Numbers such as ‘What's the Buzz?,’   ‘Everything's Alright’ and ‘Simon Zealotes’ were remarkable in their choral sound. There was beautiful work too with the apostles during ‘The Last Supper.’ Excellent work all round.   Graham Finnerty’s choreography was very strong with the dynamic movement complementing both the narrative detail and the production’s bold, visual choices very well. Mr. Finnerty drew on an eclectic mix of dance styles. ‘Hosanna’ featured more traditional movement, whilst ‘Simon Zealotes’ was more contemporary, highly energetic and, most importantly, drove the narrative. There was fabulous choreography in ‘King Herod's Song’   with Herod and his dancers doing exceptional work in a truly flamboyant spectacle. A superb j ob from Mr. Finnerty and his cast.  Liam Egan did exceptionally well as the main protagonist. He was a very charismatic Jesus with commanding presence and warmth which drew us in from the start. Yet there were layers of vulnerability there too, adding great depth to his characterisation. His emotional range was most impressive from his fury in the temple to abject fragility in ‘Trial Before Pilate.’   Mr. Egan had a most smooth, melodic voice, great control, and a very sweet falsetto, which was used cleverly throughout. ‘Gethsemane’ was very well sung, showcasing his superb range. For me, this was a masterclass in acting through song, an exceptionally intelligent rendition.   Mr. Egan's writhing in agony during the lashes and his screams as the crown of thorns was placed on his head were so chillingly real.  Eoin Fingleton gave a most electrifying and compelling portrayal of Judas, the arbiter of Jesus' downfall. He played this role with great nuance and passion. Mr. Fingleton’s excellent vocal appeared effortless at times, in what has to be one of the most challenging sings in musical theatre. ‘Heaven On Their Minds’ was stunning in its vocal control and the amazing colour that Mr. Fingleton brought to it through his very clever interpretation. ‘Judas’s Death’ was brilliantly performed with a raw desperation that was perfectly judged. An excellent portrayal by Mr. Fingleton which really captured the emotional demands of this deeply   conflicted and challenging role.   The very talented Karen Martin O’Brien brought a wealth of experience to the role of Mary Magdalene. She played the part with great confidence and strength. I did feel that more softness and vulnerability might have added more depth to her character but there was no doubting her emotional range. She sang beautifully in ‘Everything’s Alright.’  ‘ I Don't Know How to Love Him’ was full of sincerity and emotion.  John Conroy was a wonderful Pilate, bringing a commanding presence and great gravitas to the role. This was a very strong interpretation from Mr. Conroy who found nuance and layers in every interaction. ‘Pilate’s Dream’ sat beautifully on Mr. Conroy’s voice and ‘Trial Before Pilate’ was powerful in both its vocal performance and its emotional connection to the narrative as we witnessed his rage during the lashes before the symbolic washing of hands.   Rian Fitzmaurice Condron gave a standout, powerhouse performance in the role of Simon. This was a most captivating portrayal with an exceptionally good vocal during ‘Simon Zealotes.’  He had excellent stage presence and his focus never once wavered. He had a great emotional range, as was seen from his rage with the soldier after Jesus’s crucifixion.   An excellent performance all round.  Chris Corroon played Herod in a moment of much-needed levity. As one would expect from Mr. Corroon, this was a Herod like we’d never seen before and more than a hint of dramatic license was employed as he was revealed on his throne in very over-the-top drag. His extravagant makeup, flamboyant outfit and pink high heels created a stunning aesthetic for what was a brilliant performance and an unforgettable comedic highlight. But it wasn't all fun and games and Mr. Corroon showed quite the depth to his character, descending into anger as the number built.   Joan White was an interesting piece of casting as Caiaphas but it was a brilliant choice. What we lost in the resonant bass tones of a male performer we gained with Ms. White’s stunning presence, malicious intent, and exquisite diction. Likewise, Amanda Cunningham, as Annas, was an exceptionally good performer with superb presence and an incredible understanding of the narrative. Along with the three high priests, played by the magnificent trio of Jessie Woods, Aoife Fitzsimons and Ruth Kelly, these performers created something very special, both individually and as a group. Exceptional presence backed up by incredibly creative visuals in terms of costume and accessories made these five a huge highlight of this production.   Had there been one weak link in this quintet, the whole thing would have unravelled. However, vocally, dramatically, and visually, they were an absolute revelation.  There was lovely work too from Stephen Rabbette who played Peter. He had the most beautiful voice in ‘Could We Start Again Please?’ and his sympathetic presence in comforting Mary was a most heartfelt moment in the show.  There was stellar support from the apostles, with Aisling Geoghegan as Paul, Natalee Kelly as James, Valene Greer as John, Seana Stenson as Andrew, Greg Dunne as Philip, Barry Dunne as Matthew, Jamie O’Callaghan as Thomas, Ursula Maher as James and Patricia Fleming as Bartholomew.   One of the great strengths of this show was its ensemble which was the real heartbeat of this production. This was a very cohesive group, with an amazing collective energy and unwavering commitment to the production team's vision. There was exceptional focus from each and every one, even when just observing the on-stage action. There was fabulous background business and superb individual characterisations. Background business was always meaningful and purposeful, never a distraction. There was superb work from the apostles at the last supper in what was a most heartfelt sequence.   Choral singing was   exceptionally good throughout and the various dance styles were performed with conviction and an awareness of story at all times.  There was a visually stunning and imposing set firmly rooted in the traditional. The revolving trucks downstage left and downstage right provided great options for staging. The hugely imposing centre truck, which moved downstage as required, was used to great effect, providing levels for the high priests, Caiaphas and Annas in particular. This truck reversed to reveal an imposing cross. The set was wonderfully textured taking light exceptionally well. The stunningly effective reveals on the revolves downstage right and downstage left were a great technical highlight of the show and were brilliantly timed.  Wayne Handy’s stage management was superb throughout with smooth execution of changes contributing to excellent rhythm and flow of the production. The set was moved very skilfully with military-like precision. There were excellently timed reveals downstage left and downstage right as the trucks revolved. The mounting of the cross, almost on top of the audience, was a technical triumph, providing an exceptionally emotive and immersive experience.   Great work from all involved.   The lighting in the show was exceptional, enhancing the myriad dramatic moments and creating stunning visual pictures. Cues were executed flawlessly. The highly creative lighting design added superb depth and dimension to the wonderful set. I loved the cast appearing in spots with pinpoint accuracy at the top of the show. There was superb use of haze adding greatly to the atmosphere. I loved the perfectly lit slow motion as Jesus was captured and the three soldiers attacked him. The timing of lighting cues in ‘Trial Before Pilate/39 Lashes’   was exceptional, underlining the importance of lighting operators being familiar with the score as well as needing exceptional musical timing.  There may not be enough superlatives to describe how good the sound was in this show. There was an exceptional orchestral mix. It was clear that the operator knew this score inside out, by the clever emphasis of featured instruments throughout the show. Cueing was  exceptional and the balance between the band, which was hidden away in the bowels of the stage, and cast was exceptional. Sometimes it's the small things that really stand out both good and bad. The decision to leave Jesus's mic open before Judas kissed him, whether meant or not, was a little bit of genius, as we heard his laboured breathing, adding so much to the realism of the scene. We were only short of hearing his heartbeat.  There was further exceptional attention to detail in the props department adding hugely to the realism of the show. I loved the soldiers' very authentic spears. The birdcages, scarves, baskets, and flowers in the market scene all looked well. The mandolin was a nice touch. Goblets and bowls at the last supper were appropriate. Caiaphas's staff was a stunning creation and the mallets for the crucifixion were rough and heavy, exactly as they should be.   There was incredible work in the hair and makeup department. From Jesus's braided look to   the cool, highly original contemporary makeup, great care and creativity had been put into the creation of this dystopian visual. Judas's eye makeup and dramatic hair style set him apart from the rest of the cast and Herod's extravagant makeup and wig design were a   delight. Pilate’s makeup added greatly to his imposing presence and wigs were simply stunning throughout.   There was a brilliantly original costume plot, the brainchild of Ms. Fitzsimons and Mr. Finnerty. Their dystopian, post-apocalyptic take was stunningly creative, breathing new life into what can often be a tired visual. I loved the incredibly striking individual looks of Caiaphas, Annas and the high priests in their black ensembles, which were all so different yet fabulously coordinated. Herod's incredible outfit and the pink and white of his dancers were a welcome and dramatic departure from the norm. Herod was quite the creation in his pink heels, in a very vaudevillian, drag-fusion kind of way. Exceptional work from an excellent team.  This was an excellent production of ‘Jesus Christ Superstar’ which was underpinned by an enormous amount of collaborative effort with every element contributing to a wonderful theatrical experience. There was attention to detail evident in every aspect of this show which was an enormous credit to the production team, technical team, and every single person on that stage. Huge congratulations to Tullamore MS and here’s to your next seventy years!   Pat McElwain   Gilbert Adjudicator 2024/2025 Photos by Rob Kennedy:

Sunday in the Park with George as presented by Odd Theatre Company

Society Name:  ODD Theatre Company, Newbridge Show Name:   Sunday in the Park with George Adjudicator Date of Attendance:  29.11.2024...

Society Name:  ODD Theatre Company, Newbridge Show Name:   Sunday in the Park with George Adjudicator Date of Attendance:  29.11.2024 Brief Overview of the Show and Evaluation of Front of House The moment you step into ODD Theatre Company’s production of Sunday in the Park with George , the warmth of the welcome immediately sets the tone for an engaging, intimate theatre experience. The front-of-house was notably welcoming and had a sense of ease to it, allowing patrons to feel immediately comfortable as they arrived. The theatre's layout itself was a curiosity—a space that required guests to descend downstairs to the auditorium. Yet, this unexpected element added to the charm of the venue, contributing to the overall unique atmosphere of the production. As for the space itself, the intimate studio setting was absolutely ideal for the production. The design of the venue, though compact, transported the audience effectively into the world of the show. From the very first musical notes, the atmosphere was set, and the production continued to captivate through to the final bow. The Front of House staff seemed genuinely focused on creating an enjoyable experience for everyone, and it’s clear that ODD Theatre Company values the entire audience experience, beyond just what happens on stage. Director – Direction and Production The direction of Sunday in the Park with George  by Cian O’Dowd was a remarkable display of artistry and attentiveness to detail. The director’s approach was simple, yet profoundly effective, balancing the complexity of Stephen Sondheim’s musical with the intimacy of the studio theatre space. One of the most striking features was how the director maintained clarity in the storytelling, ensuring that each character’s journey was distinct and important. The emotional depth of both George/George and Dot/Marie was explored with great nuance, drawing the audience into their internal conflicts and desires. In particular, the portrayal of George as both the artist in 19th-century Paris and the modern-day artist in the United States was skillfully handled, allowing for a seamless transition between the two characters. The emotional journeys of the two Georges and Dot/Marie were interwoven with such subtlety that it became difficult to believe they were played by the same actors. This was an achievement, considering the emotional range required by both characters, yet the director’s sensitive handling made it clear that these transitions were intentional and thought-provoking. The director also succeeded in guiding the cast to create a show where no character felt secondary. Every performer contributed meaningfully to the production, which is particularly impressive given the large ensemble of characters present in Sunday in the Park with George . The directing choices ensured that each member of the cast stood out in their own right while contributing to the overall impact of the performance. The emotional journey of the show, despite its inherently melancholic undercurrent, was not overly sentimental. The production left me emotionally moved, yet not in the manner of a tragic ending—rather, there was a quiet resonance that stayed with me long after the final bow. This balance between the rawness of emotion and the subtlety of the storytelling speaks to the director’s skill and understanding of the material. Musical Director – Direction and Orchestra The musical direction of this production by Keelin Kilduff was nothing short of extraordinary. Despite the relatively small size of the cast and instruments, the sound was rich and full, giving the impression of a much larger ensemble. The harmonies were blended perfectly, with each voice maintaining its distinctiveness while never overpowering another. The result was a captivating and cohesive sound that was integral to the emotional impact of the show. One notable strength of the musical direction was the ability to balance the limited accompaniment—a keyboard and a midi laptop—without compromising the depth of the musical experience. The music felt full and complete, and the choice of instrumentation seemed to enhance the intimacy of the setting rather than detract from it. This was further aided by the musical director’s on-stage presence, which did not interfere with the flow of the performance. On the contrary, it felt natural and added a layer of connection between the performer and the audience, ensuring that the music was always in harmony with the emotional beats of the show. Choreographer – Choreography While Sunday in the Park with George  is not a show characterized by extensive choreography, the movement throughout the musical was striking in its precision and thoughtfulness. The choreography, also by Cian O’Dowd, was less about elaborate dance sequences and more about subtle, intentional movements that served the emotional storytelling. Each movement was carefully designed to enhance the performance, and it was clear that the vision was to create a seamless integration of physicality with the overall piece. Thoughtfully staged there was a clever use of movement within the songs that not only helped to convey the emotional depth of the characters but also contributed to the flow and rhythm of the production. The ensemble was especially strong in this aspect, as their coordinated movements enhanced the dynamics between the main characters and contributed to the visual richness of the production. Leading Principles – Singing and Acting The performances of the lead roles—George/George (Peter Manning) and Dot/Marie (Orla Williams)—were extraordinary, each bringing a unique emotional depth to their respective characters. George/George (Peter Manning) - Peter's portrayal of George was a masterclass in versatility. His seamless transition between the two Georges—one a 19th-century artist, the other a modern-day artist struggling with his creative identity—was captivating. Manning’s vocal performance was effortless, moving through ranges and tonal qualities with a natural ease. His portrayal of George in both settings was nuanced and deeply felt, and his ability to switch between the two was nothing short of impressive. The physicality of both Georges was striking, with Manning adjusting his energy, movement, and mannerisms to reflect the difference in time and place. Dot/Marie (Orla Williams)  - Orla was equally mesmerizing as Dot and Marie. She delivered a portrayal of Dot that was at once stoic and emotionally raw, capturing the internal conflicts and emotional complexity of the character with incredible depth. Her transformation into Marie in Act 2 was remarkable—she almost seemed like a completely different person, from her physicality to her vocal tone and energy. Her vocal performance was stunning, effortlessly navigating the challenging score, and she handled the emotional journey of both characters with impressive skill and sensitivity. Supporting Roles – Singing and Acting Jules/Bob Greenberg (Paul McCarrick)  - Paul delivered a versatile and confident performance as both Jules and Bob Greenberg. His portrayal of the self-important contemporary of Surat was distinctly different from his performance as Bob, yet each character was fully realized, and the relationships between him and other characters were convincingly drawn. His vocal performance was also strong, adding to the production's overall vocal balance. Old Lady/Blair Daniels (Helena Begley)  - Helena’s portrayal of the Old Lady was both hilarious and charming. Her comedic timing was impeccable, and she brought a lively presence to the stage. As Blair Daniels, she was effervescent, creating a contrasting character full of energy and wit. She was vocally strong with a really rich tone. Franz/Dennis (Daniel Ryan)  - Daniel delivered two enjoyable performances as Franz and Dennis. His portrayal of the bumbling technician was particularly memorable, capturing both the character’s nervousness and awkwardness with ease. His interactions with the nurse as Franz were both funny and endearing. Celeste #1/Waitress (Liz Stears) - Liz was a strong performer, particularly in her portrayal of the Waitress. Her physicality stood out in both roles, and she was an essential member of the ensemble, maintaining clear vocals and a consistent character throughout. Celeste #2/Elaine (Emmagene Cooke) - Emmagene complemented Liz Stears well as Celeste #2, creating a balanced dynamic. Her portrayal of Elaine was understated yet strong, and her vocals provided a lovely contrast to George’s dominant character as Elaine. Nurse/Mrs./Harriet Pawling (Emma O’Dowd) - Emma commanded attention on stage, delivering an engaging comedic performance as the Nurse. She shifted effortlessly between her roles as Mrs. and Harriet, showcasing strong vocals and presence without overshadowing the rest of the cast. Boatman/Charles Redmond (Conor Kilduff) - Conor’s performance was confident and grounded. He portrayed both the Boatman and Charles Redmond with ease, bringing experience and clarity to both roles. Frieda/Betty (Cherise O’Moore) Cherise brought energy to her portrayal of Frieda, creating great chemistry with Franz, and a coy clever energy during her amorous interactions with Jules. As Betty, she played a subtler role but conveyed depth with a strong, expressive voice. Mr./Lee Randolph (Adam Trundle) - Adam skillfully portrayed both the loud tourist and artist Lee. His comedic portrayal of the tourist was particularly effective, while his depiction of Lee showed a quieter, introspective side. Louis/Billy Webster (Rory Dignam) - Rory’s portrayal of Louis and Billy was subtle yet impactful. He blended well into the ensemble, providing a quiet presence without drawing unnecessary attention to himself. Soldier/Alex (Cian O’Dowd) - Cian’s comedic take on the Soldier was memorable, with great physical comedy and interactions with the Celeste’s and his life-sized puppet friend. As Alex, he brought flair and contrast to the role. Yvonne/Naomi Eisen (Keelin Kilduff) - Keelin Kilduff portrayed Yvonne with quiet strength and emotional depth, until her emotional outburst. As Naomi, she contributed to the ensemble with a grounded presence, enhancing the emotional layers of the production. Louise (Elsa Moynihan) - Elsa held her own among the adult performers with a confident portrayal of Louise. She handled the complex score effortlessly and delivered a self-assured performance with strong vocals. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble in this production was simply superb. The cast worked seamlessly together, blending both vocally and physically in a way that created a cohesive and dynamic whole. The ensemble’s ability to maintain their individuality while contributing to the collective energy of the production was a standout feature of the performance. The transition from Act 1 to Act 2 was handled brilliantly. The ensemble took on completely new characters and time periods, and the shift was both believable and impressive. The ensemble’s ability to embody these characters and shift between different contexts further demonstrated the depth of the cast’s talent. Stage Management & Set Design The set design for Sunday in the Park with George  was simple, yet effective, making full use of the small stage. The clever use of portions of the painting, with stands and easels, helped create a visual representation of the artwork central to the show. The use of the space was highly efficient, with the characters themselves building the set during the opening number—a clever touch that added a layer of theatricality and also made the audience feel like they were part of the creative process. I would have loved to see this trope carried through all the scene changes, to add a further layer of storytelling. In Act 2, the lightbox was a nostalgic nod to the 1980s, effectively marking the shift in time. The set design was simple but communicated the necessary changes in setting and tone. Technical  – Lighting and Sound The technical aspects of the production were expertly executed.  The lighting was subtle yet effective, with a good balance of color that helped define the different settings in the show. The focus was well done with no hot spots or dark patches. The cyc was used to great effect, changing colors to mark the transition between the differing locations. I particularly enjoyed the colour changing during Colour & Light. However, if I had one criticism it would be that it didn’t change on every colour and some of the lighting cues could have been slightly more precise. Sound was beautifully balanced, ensuring that the powerful vocals were heard clearly without overpowering the intimacy of the space. The choice to keep the sound at a manageable level was particularly effective in maintaining the intimacy of the performance while still allowing the voices to resonate. Visual  – Costumes, Hair, and Make-up The costumes in Sunday in the Park with George  were mostly on point, with a clear understanding of the period and visual elements that reflected the painting. The colors were well chosen, complementing the aesthetic of the artwork while allowing the characters to stand out. However, there were a few small details, such as the shape of the bustles and uneven hems, that could have been addressed to provide even more period accuracy.  The shift in costumes between Act 1 and Act 2 was particularly effective, with the 1980s costumes standing out as a well-considered visual shift. The hairstyles were generally period-specific, though there were a few moments where they did not fully align with the intended time periods. Adjudicator's Suggestions/Comments Overall, Sunday in the Park with George  was an outstanding production by ODD Theatre Company, showcasing a talented cast and creative team. The direction, music, acting, and technical elements all worked harmoniously to create an immersive and moving experience. A few small adjustments in lighting cues and costume details could elevate the production even further, but these did not detract from the overall quality. This production of Sunday in the Park with George  left me emotionally impacted and thoroughly impressed by the depth of talent and passion on display. It is clear that ODD Theatre Company has a dedicated and skilled team, and this performance will undoubtedly be remembered for its emotional resonance, captivating performances, and artistic excellence. It is difficult to find suggestions to work on moving forward other than finessing the finer details. I would be interested to see how the team would handle a bigger cast, but their strength seems to be in smaller cast shows, and “if it ain’t broke, don’t fix it”. Photos kindly provided by the society; Photographer: Liam Mullen

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