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Review: The Witches of Eastwick - Athlone Musical Society

Society name: Athlone Musical Society Show name: Witches of Eastwick Adjudicator date of attendance: 06/03/2026 Athlone Musical Society presented an enjoyable and committed production of The Witches of Eastwick, a show that relies heavily on atmosphere, chemistry, and a careful balance between humour, sensuality, and darkness. There was much to admire across the production, particularly in the musical elements and several standout performances, and it was clear that a great deal of work and...

Society name: Athlone Musical Society Show name: Witches of Eastwick Adjudicator date of attendance: 06/03/2026 Athlone Musical Society presented an enjoyable and committed production of The Witches of Eastwick, a show that relies heavily on atmosphere, chemistry, and a careful balance between humour, sensuality, and darkness. There was much to admire across the production, particularly in the musical elements and several standout performances, and it was clear that a great deal of work and dedication had gone into bringing this ambitious piece to the stage. Under the direction of Dominic Reed, the production demonstrated a solid understanding of both the narrative and tonal demands of the piece. The storytelling was clear and coherent throughout, allowing the audience to follow the progression of events with ease. The central relationships were well established, and the interactions between Darryl Van Horne and the three witches were particularly well judged. The tone in these moments was appropriately sensual and playful without ever straying into discomfort, which is no small achievement given the nature of the material. While the direction was consistently competent, there was a sense that it remained somewhat within safe boundaries. At times, the blocking could have benefitted from closer attention, as some transitions lacked fluidity and felt slightly mechanical rather than fully motivated by character intention. These are relatively small adjustments, but ones that could greatly enhance the overall flow and polish of the production. A key aspect of The Witches of Eastwick lies in the relationship between the three central women, and while each character was individually well realised, the collective dynamic did not quite convey the depth of friendship that underpins the story. There was a clear connection between them, but not always the warmth or shared history that would make their bond feel fully lived in. With more focused work on ensemble chemistry, this relationship could become an even stronger emotional anchor for the piece. The ensemble also plays a crucial role in creating the world of Eastwick, and while they brought energy and commitment to the stage, their presence sometimes felt more functional than fully developed. A greater emphasis on characterisation within the chorus would help to build a richer, more immersive environment and move beyond simply facilitating the musical numbers. Musically, the production was in very safe hands under the direction of Ger Madden. This was arguably the strongest aspect of the show, providing a solid and dependable foundation throughout. Tempos were well judged, allowing the music to breathe where necessary while maintaining momentum. The balance between orchestra and cast was handled effectively, ensuring clarity of vocals without sacrificing the richness of the score. The chorus vocal work in particular deserves commendation. Harmonies were secure, diction was clear, and there was a strong sense of cohesion that reflected the work put in during rehearsal. The ensemble sang with confidence, contributing significantly to the overall quality and polish of the production. While there may not have been any particularly standout musical flourishes, the consistency and reliability of the musical direction ensured that the show was always well supported. Choreography by Kori Kilduff presented a more mixed picture. There were moments of clear creativity and intent, but overall the work would benefit from further refinement and cleaning. “Dance with the Devil” stood out as one of the stronger numbers, with energy and purpose driving the movement and allowing the performers to fully engage with the moment. In contrast, the opening number lacked the impact one might hope for, missing an opportunity to immediately draw the audience into the world of the show. “Dirty Laundry” featured some pleasing formations and ideas, though it did not quite achieve the level of visual excitement that could elevate it further. Across the choreography, there was a sense of potential that had not yet been fully realised. Greater attention to precision and uniformity would help to create a more cohesive and polished visual effect. In the leading roles, there were several strong performances that anchored the production effectively. Art McGauran delivered a confident and engaging portrayal of Darryl Van Horne, bringing both charisma and control to the role. Vocally secure and dramatically assured, he navigated the complexities of the character with ease. His interactions with each of the witches were distinct and well considered, avoiding a one-dimensional approach, and his Act Two meltdown provided a particularly entertaining highlight. Linda Murray brought warmth and sincerity to Alexandra Spofford, grounding the character in a believable emotional reality. Her maternal qualities were evident and effective, particularly in her interactions with Michael, which felt natural and convincing. Vocally, she offered a rich and pleasing tone, delivered with confidence and control. Cherise O’Moore stood out as Sukie Rougemont, offering a performance that was both endearing and fully realised. She captured the sweetness and vulnerability of the character with great sensitivity, and her interactions with Clyde were especially charming. Her voice was warm and melodious, adding further depth to an already engaging performance. Petrova Mulvey rounded out the trio as Jane Smart with a strong and complementary presence. Her voice blended well within the group, contributing to the overall vocal cohesion, and her performance of “Waiting for the Music to Begin” was particularly effective. Her interactions with Darryl were also well handled, adding nuance to their relationship. While each of the witches was individually strong, the trio as a whole would benefit from a deeper sense of connection. A more fully developed sense of shared history and camaraderie would elevate their collective impact and strengthen the emotional core of the production. Among the supporting roles, Jay Origan delivered an excellent performance as Felicia Gabriel, showcasing superb comedic timing and a confident stage presence. Her handling of the magical elements was assured, and her performance of “Evil” stood out as a comedic highlight. Eva Glynn brought a sweet and engaging quality to Jennifer Gabriel, with believable interactions with Michael and a strong vocal blend in their duets. Her later transformation would benefit from further exploration to fully realise the shift in character. Eoin McGlynn portrayed Michael Spofford with an appealing awkwardness that suited the role well. His performance captured the innocence of the character, though there is room to further develop his comic timing. Vocally, he offered a mellow tone that blended effectively, particularly in his scenes with Eva Glynn, and he was particularly engaging in “Dance with the Devil.” Jim Maher brought humour and warmth to Clyde Gabriel, delivering a well-judged performance that balanced comedy with sincerity. His interactions with both Felicia and Sukie were highlights, demonstrating strong timing and an engaging presence. Jonathan Kilduff made a strong impression as Fidel, bringing clarity and purpose to the role throughout. His use of facial expression was particularly effective, communicating reaction and humour with ease and ensuring he remained an engaging presence on stage. His instinct for comedic timing enhanced key moments without drawing focus, resulting in a confident and well-executed performance. Eva Bergin delivered a confident turn as the Little Girl, with a particularly striking scream that made a clear impact. Her vocal contributions to the interludes were well handled, adding to the overall atmosphere of the production. Featured ensemble members Caoimhe Croasdell, Lisa Holloway, Kasey McCormack, and Hannah Dowling all contributed positively, particularly in “Dirty Laundry,” helping to build the world of the show and adding texture to the ensemble work. The chorus as a whole displayed great enthusiasm and commitment. While there was some variation in ability, the overall energy and effort were evident throughout. With further work on precision in movement and more detailed acting choices, the ensemble could develop into an even stronger component of the production. Vocally, however, they were consistently strong, reflecting the high standard set in the musical direction. Stage management, led by Jonathan O’Brien, was efficient and effective, with smooth scene changes that maintained the pace and flow of the show. The set design was functional and served its purpose. The projected images were well constructed, though not always fully cohesive with the physical set elements, creating a slight visual disconnect at times. The brightness of the screen occasionally made it difficult to clearly see performers positioned in front of it. One particularly effective element was the staging of the witches’ flight, achieved through the use of tilting stairs and smoke effects. This was both inventive and visually engaging, adding a welcome sense of theatrical magic to the production. Lighting design was generally adequate, though there were some inconsistencies in focus and balance. Variations in colour temperature and intensity between different areas of the stage were occasionally noticeable. However, there were also some strong visual moments, particularly in numbers such as “I Wish I May” and “Another Night at Darryl’s,” where the lighting contributed effectively to the mood. Sound design was well managed overall, with a consistent balance between orchestra and performers and no significant issues with cueing. This ensured a smooth and uninterrupted auditory experience. Costuming was well considered and largely effective, with the colour-coding of the three witches working particularly well in distinguishing their characters. Sukie’s earlier pale yellow costume appeared somewhat washed out under the lighting compared to the richer tones of the others, but overall the costumes were well fitted and suited the performers. Hair and make-up were also of a high standard, supporting the visual cohesion of the production. Front of House interactions with the audience were, overall, handled well and contributed positively to the theatre-going experience, supporting the smooth running of the evening. Athlone Musical Society should be commended for delivering a solid and enjoyable production of The Witches of Eastwick. There is a clear foundation of talent within the group, supported by strong musical direction and several standout performances. With continued attention to detail, particularly in ensemble work, character relationships, and overall polish, future productions have the potential to reach an even higher standard. This was a production with much to admire and a great deal of promise for what lies ahead.

Review: We Will Rock You - Tullamore Musical Society

Society name: Tullamore Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/02/2026 Tullamore Musical Society’s production of We Will Rock You was an ambitious and high-energy take on a show that demands clarity of storytelling, bold stylistic choices, and a strong musical foundation. Set in a dystopian future where individuality and live music have been eradicated, the piece relies heavily on cohesion across all creative elements to ensure the narrative remains...

Society name: Tullamore Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/02/2026 Tullamore Musical Society’s production of We Will Rock You was an ambitious and high-energy take on a show that demands clarity of storytelling, bold stylistic choices, and a strong musical foundation. Set in a dystopian future where individuality and live music have been eradicated, the piece relies heavily on cohesion across all creative elements to ensure the narrative remains accessible. What emerged here was a confident and engaging production, underpinned by strong performances and a clear sense of theatricality. At the heart of the production was Chris Corroon’s direction, which provided a strong and cohesive framework for the entire show. From the outset, there was a clear concept in place, and importantly, it was sustained throughout. The storytelling remained easy to follow, which is no small achievement in a piece that can often feel fragmented. The narrative flowed with purpose, and the pacing was particularly well judged. There was a palpable energy driving the show forward, with transitions between scenes handled smoothly and efficiently. Chris demonstrated a keen understanding of how to shape the emotional journey of the piece. High-energy moments were allowed to fully land, while quieter sections were given the space they needed, creating a dynamic contrast that kept the audience engaged. The balance between momentum and stillness was handled with care, ensuring that the show never felt rushed, but equally never lost its drive. Character work was a standout strength. It was evident that significant attention had been given to developing clear and distinct personalities across the cast. Relationships felt authentic and purposeful, grounding the more abstract elements of the show. The chemistry between characters added depth and credibility to the storytelling. A particularly inspired directorial choice was the presentation of Killer Queen in drag. This added a rich layer of theatricality and humour, aligning beautifully with the flamboyant, camp sensibility associated with Queen’s music. It was not simply a visual decision but one that fed directly into character dynamics and storytelling. Comedy throughout the show was handled with confidence. Timing was clearly prioritised. There was a strong awareness of audience reaction, and actors were well directed in holding for laughs, creating a natural rhythm that never felt forced. This contributed significantly to the overall enjoyment of the piece. The use of the set within the direction was also particularly effective. It was not simply a backdrop, but an active storytelling tool. The space was used cleverly to delineate the contrasting worlds within the narrative, with staging choices reinforcing rather than distracting from the story. Overall, this was a thoughtful, energetic and well-executed piece of direction, demonstrating a clear and confident directorial voice. Musically, the production was in safe and capable hands with Enda O’Connor. The band delivered a strong and energetic performance, capturing the essence of Queen’s iconic rock sound while maintaining control and cohesion. This balance is crucial in a show where the music is such a central driving force, and it was achieved effectively here. Tempos were well judged throughout, supporting both the pacing of the production and the energy of individual numbers. There was a clear sense of musical shape, with songs building and resolving in a way that felt both satisfying and purposeful. Vocal work across the cast was strong. Despite a relatively small number of male voices, harmonies were clear and well balanced, a testament to careful musical preparation. The ensemble created a full and supportive sound. Diction was another notable strength, with lyrics delivered clearly and effectively, ensuring that the narrative remained accessible through the music. The overall sound retained the essential “rock” quality of Queen’s music without sacrificing clarity, which is a fine balance to achieve. Laura Douglas’ choreography was performed with enthusiasm and commitment by the cast, and there was a clear intention to support the storytelling through movement. There was an opportunity to further refine and differentiate the choreographic language within the piece. One of the key thematic contrasts in We Will Rock You lies between the rigid, controlled Cyber World and the freer, more expressive Bohemian environment. While this contrast was present, it could be developed more strongly to enhance the visual storytelling. The Cyber World sequences would particularly benefit from increased precision and sharpness. These characters are intended to feel almost robotic, and this requires clean lines, unified movement, and precise timing. At times, lines lacked clarity and beats were not always hit uniformly. Conversely, the Bohemian choreography could be pushed further towards freedom and fluidity. The movement here felt somewhat structured and linear, whereas a more expansive and spontaneous approach would better reflect the nature of these characters. Exploring more varied formations and less rigid patterns would help to create a clearer contrast between the two worlds. It is important to note that the choreography itself was well constructed; it simply required further refinement in execution and a more pronounced stylistic distinction. The cast’s enjoyment of the movement was evident and translated well to the audience. The principal cast delivered a series of strong and engaging performances. James Deegan’s Galileo was an excellent portrayal, supported by outstanding vocals that demonstrated both control and musicality. His characterisation captured the awkwardness and vulnerability of the role effectively, with a subtle stammer adding depth without becoming distracting. His relationship with Scaramouche was particularly well developed, with a believable chemistry that supported the emotional arc of the story. One area for development would be eyeline, as a tendency to focus downward at times limited audience connection, particularly in a raked auditorium. Aoife Digan’s Scaramouche was a standout performance. Vocally powerful and consistently secure, her singing sat beautifully within her range. Her characterisation was sharp and confident, capturing the sarcasm and edge of the role with precision. Facial expressions were used to great effect, adding nuance and humour, and her accent work was excellent throughout. This was a fully realised performance that combined technical skill with strong stage presence. John Conroy’s Killer Queen was both striking and memorable. The decision to present the character in drag was executed with confidence and flair, adding a significant layer of theatricality. Vocally strong and controlled, John maintained a commanding presence throughout, embodying the authority of the role. The visual presentation was particularly effective, contributing to a bold and impactful interpretation. Amanda Cunningham’s Khashoggi was a commanding and well-controlled performance. The choice to cast the role as a woman brought an interesting dynamic, handled with confidence and clarity. The character’s authority and menace were conveyed effectively without tipping into caricature. Vocally strong and well-acted, her performance was consistent throughout, with her demise particularly well executed through effective use of physicality and facial expression. Barry Dunne’s Brit brought strong energy and physicality to the stage. His connection with Oz was clear and engaging, and their relationship provided both humour and warmth. Vocally, his performance was solid, with an interesting texture maintained through the gravelly quality of his voice. The main area for development lies in the accent. A more neutral or natural approach may better serve the performance. Sinead Handy’s Oz was a strong and confident portrayal, underpinned by excellent vocal ability. The character was clearly defined, and her energy was engaging throughout. Her relationship with Brit was particularly effective, and her accent work was consistent. This was a well sustained and enjoyable performance. Malcolm Whelan’s Buddy was warm, charming and likeable. His portrayal made the character easy to connect with, and he delivered some very effective comedic moments. While there were occasional slips in the accent, they did not significantly detract from an otherwise engaging performance. Among the supporting roles, Joan White’s Teacher stood out as an excellent example of making the most of a smaller part. She brought clarity, character and confidence to the role, ensuring it was memorable and distinct. Strong acting choices elevated what can often be an underwritten role. The ensemble provided a strong and energetic backbone to the production. Vocally, they created a full and balanced sound that supported the principals effectively. There was a clear commitment to character throughout, adding depth to the world of the show. Movement was performed with enthusiasm, though increased precision would enhance the overall visual impact. Their energy consistently lifted the production, making them a valuable and integral part of the performance. Stage management, led by Wayne Handy, was slick, clean and efficient. Scene changes were well timed and executed smoothly, contributing significantly to the overall flow of the production. The set design was both intriguing and effective. The pre-set initially felt somewhat disjointed, with elements that appeared at odds with the clean aesthetic of the Cyber World. The inclusion of fire projection seemed incongruous with the narrative. However, as the production progressed, the functionality of the set became clearer. The design proved to be versatile and cleverly constructed, allowing for the creation of distinct spaces. The moving staircases were a particular highlight, providing dynamic staging opportunities and helping to define different locations. Projections were of a high quality and added depth to the visual landscape. The use of linear glow tape and LED lighting was particularly effective in reinforcing the futuristic aesthetic. The sliding door and use of levels were also well executed. The set ultimately proved to be a strong and well utilised component of the production. The lighting design was very strong, making effective use of the available rig. Colour choices and shapes added energy and atmosphere, supporting the mood of each scene. Cueing was precise, with well-considered cue points that enhanced the storytelling. At times, the Front of House wash felt slightly dull, and there was a missed opportunity to fully heighten a key rock-and-roll moment towards the end. In “Seven Seas of Rhye,” the red lighting for the cages was effective, though the focus was slightly too wide, catching guards who should not have been highlighted. This is a minor adjustment that could be addressed through closer collaboration between departments. Sound was generally good, though there were moments where the band overpowered the solo vocals, particularly in larger ensemble numbers. A slight rebalancing would help ensure clarity of solo lines. That said, sound effects, particularly the sliding door and cage mechanisms, were very effective and well timed, adding to the immersive quality of the production. Costumes were well designed, with strong attention to detail. The styling supported the concept, with clear distinctions between different groups. The alien-like guard costumes at the beginning created a striking visual, though it would have been interesting to see this aesthetic maintained. There was a slight inconsistency among the Yuppies, with most but not all featuring the purple plait; greater uniformity here would enhance cohesion. The Bohemian costumes were particularly strong, rich in detail and individuality, capturing the spirit of the characters effectively. Gaga Girl costumes were also visually appealing and well considered. Hair and wigs were of a very high standard, well styled and appropriate to the characters, while make-up complemented the overall aesthetic, completing the visual world of the production. From the moment of arrival, the Front of House experience set a welcoming and efficient tone for the evening. There was a strong sense of organisation, with audiences guided smoothly into the space. The transition from Front of House into the performance space was seamless. It was clear that thought had been given to creating a comfortable and professional environment before the performance began. Overall, this was a strong and enjoyable production that demonstrated clear ambition, creativity and talent across all departments. With continued attention to detail, particularly in areas such as choreographic precision, accent consistency and technical balance, Tullamore Musical Society is well placed to build on this success and achieve even greater heights in future productions. Photos by Paul Moore

Review: Jesus Christ Superstar - Odd Theatre Company

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

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

Me and My Girl as presented by St. Mel's Musical Society

[Ed. Note -Few final reviews to post from last season to post before we move onto the 2025/26 season!] St. Mel’s Musical Society Me and...

[Ed. Note -Few final reviews to post from last season to post before we move onto the 2025/26 season!] St. Mel’s Musical Society Me and My Girl Saturday 26th April 2025 ‘Me and My Girl’ is one of those shows where the punchlines come at you fast and furious. There's barely time to react to one gag before the next is delivered. Comedy is hard. It requires much understanding, timing, and confidence to get it just right. Thankfully, St. Mel's Musical Society, Longford, had a skilled director in Peter Kennedy, who instilled all of the above in his talented cast. What ensued was a highly entertaining, laugh out loud night of love, laughter, and happy ever after. An enormous amount of work had gone into front of house preparations in St. Mel's College. The ‘foyer’ was transformed into a most appealing looking reception room, and there was a real sense of occasion as people sat in salubrious surroundings, before entering the school’s gymnasium. And wow, what a transformation there was there too! Tiered seating, and a specially imported stage and set, echoed the themes of the show, in completing their own dramatic transformation. A silk purse was indeed made out of a sow's ear! The front of house team added hugely to the sense of occasion in their formal wear, topping off a very classy first impression. An excellent job all round. Director Peter Kennedy did a great job on this gender reverse Pygmalion. Witty one-liners were delivered with deft comic timing and the pace was relentless throughout. It was a show full of puns and pratfalls aplenty, with impeccable comic timing and a great understanding of the genre. The Duchess's list of “don'ts” was brilliantly directed, so well-timed in what can be a difficult sequence to get right. The omission of the ‘Preparation Fugue,’ which comes prior to the Lambeth Walk, took away from the build-up and anticipation of Bill's reveal as a gentleman, in my opinion, and we lost some momentum. There was exceptionally good pace in the very challenging library scene. Overall, a typically slick and funny production from Mr. Kennedy. Musical director, Fintan Farrelly, presided over a fabulous orchestra which immediately transported us back to the 1930s during a magical overture. Mr. Farrelly conducted from his keyboard with flair and tempi were perfectly secure, whether in the bigger production numbers like ‘The Lambeth Walk’ and ‘The Sun Has Got His Hat On,’ or more balladlike moments like ‘Once You Lose Your Heart.’ Choral singing was generally very strong. It was particularly impressive at the top of ‘An English Gentleman,’ with very good harmonies. However, the balance wasn't quite right and could have benefited from some more male voices. Principals on mics in the wings could have added support, or positioning the gentlemen closer to the downstage boom mic might also have helped. Unfortunately, there were issues with the lyrics of ‘The Lambeth Walk.’ Confusion between “them all” and “us all,” and “any evening” and “every evening” was evident across the cast and, given that it was the final performance, I felt that it should have been more secure. Dylan O’Keeffe did a very good job as choreographer, assisted by the very talented Grace Hourican as dance captain. ‘A Weekend at Hareford’ was a lively, sharp, and well-rehearsed number, with a delightfully upper-crust feel. ‘Thinking of No One But Me’ featured some nicely timed slapstick with Gerald coming off worst in a very funny routine. There was great fun too in ‘The Family Solicitor,’ even if the kickline went a little bit out of kilter. ‘You Would If You Could’ was an excellent routine, with brilliantly timed and performed comic business which was so sharp, culminating in Bill doing himself a nasty injury on the back of the couch. ‘Hold My Hand’ was a lovely ensemble dance, very well-rehearsed and ‘The Lambeth Walk’ was a brilliant, lively, and joyful ending to Act One. ‘The Sun Has Got His Hat On’ was equally joyous, superbly choreographed with great commitment from the ensemble. Liam Brady was a most endearing character, likeable and laid-back, as the Cockney costermonger, Bill Snibson. Mr. Brady had wonderful comic physicality. Key to the success of this role was that Mr. Brady was very funny without ever having to try too hard. His natural delivery was never forced and gag after gag was disarmingly underplayed in this very endearing performance. Mr. Brady's secure Cockney accent added greatly to the authenticity of his character. He was clearly enjoying every moment on stage, and this was quite infectious as he brought the audience along with him on a rollercoaster ride of comic business. He also brought great energy and fun to his vocal numbers, balancing this beautifully with great heart in ‘Leaning on a Lamppost.’ Lindsay Dann was a charming and sincere Sally, Bill's girlfriend from the wrong side of the London tracks. Ms. Dann was brilliantly feisty and rough around the edges, which made her Act Two transformation all the more dramatic. She brought great energy to the role and her dancing was very strong, particularly in the Me and My Girl dance break. Ms. Dann sang beautifully. Her brilliant performance of the show’s best torch song, ‘Once You Lose Your Heart,’ was a standout musical moment. This was in complete contrast to her brilliantly upbeat and comedic ‘Take It On the Chin,’ which was delivered with great gusto and energy. Ms. Dann's scenes with Mr. Brady were a delight. The on-stage chemistry between the two added so much to the authenticity of their characterisations. Declan Neville was excellent as the upper-crust, snooty Sir John Tremayne. This was another strong, comedic performance. His very funny drunken dance with Bill in ‘Love Makes the World Go Round’ was a comic highlight, as was his delight at being labelled “Saucy!” by that excellent judge of character, Ms. Ryan. His botched proposal to the Duchess, which he blamed on his lingering war injury, was comedy gold. A super all-round performance from Mr. Neville. Emma Stowe gave a very haughty, no-nonsense performance as the imperious Duchess of Dene, Maria, who resolutely refused to accept failure when trying to transform Bill into a fit and proper gentleman. Ms. Stowe's brilliantly sharp and cutting delivery of put-downs was an absolute delight. “Oh, do be quiet you futile man!,” brought the house down as she berated Sir John, not for the first time. Her hilarious list of “don'ts,” as she laid out Bill’s rules of engagement was brilliantly delivered, superbly timed with Mr. Brady in what was one of the funniest sequences of the show. Ms. Stowe was dignified and gracious, yet tough as nails. But underneath that tough exterior, there was a hidden warmth and great heart which shone through as the show progressed. She impressed vocally too in the wonderfully performed ‘Song of Hareford.’ Gráinne Fox brought gold digging to another level as she dumped Gerald and threw herself quite literally at the heir apparent, Bill, in what was a very fine performance in the role of Lady Jacqueline. This was a very funny, vampish portrayal, with super physicality. Ms. Fox was hilarious in her spoilt brat performance of ‘You Would If You Could,’ chasing Bill around as she tried to wear him down. She sang really well in ‘Thinking of No-One But Me’ and the hilarious ‘You Would If You Could’ was a top-notch comedy performance. Oisín O'Reilly turned in a funny performance as the debt-ridden, upper class twit Gerald Bolingbroke. He wasn’t averse to attending the racetrack and had clearly lost a tidy sum in doing so, as Bill had to bail him out. Mr. O'Reilly had all the tools needed to make this a wonderful performance. He had good comic timing, facial expressions, and physicality. However, at times, his performance went so over the top that the finer points of comedy were lost. Sometimes less is more. Mr. O’Reilly’s fabulous performance in ‘The Sun Gas got His Hat On’ showed how talented, and what a great performer he was. Aonghus O'Muirí had great fun playing the eccentric role of the family solicitor, Parchester. Mr. O'Muirí had a superb voice with a fine upper register in the ‘Gilbert and Sullivan-esque’ number ‘The Family Solicitor.’ This was a very funny performance as he leapt right out of his formal role, embracing the absurdity of his character. John Kelly was a most endearing Sir Jasper, the aging family member with a hearing problem. I loved him nodding off on the couch in the opening Hareford Hall scene. There's one in every family. Mr. Kelly embraced a brilliantly consistent and doddery physicality, which was very funny. Jimmy Stenson brought great character to the role of the deadpan butler Charles. Mr. Stenson lived his best life during ‘The Lambeth Walk,’ really getting into the swing of things as Hareford Hall was beset by the Pearlies. For me, Mr. Stenson had the funniest line of the show, in response to whether he'd ever been in love. "Oh no sir, I'm married." was so delightfully underplayed but hit the collective funny bone right on target. Anthony Heavey was a strong Lord Battersby, who enjoyed a tipple or two and it was no wonder, with an overbearing wife played by Joanne Sexton, that he would try to lose himself in the bottle. Laura Hayden was very funny as the eavesdropping Mrs. Anastasia Brown. Good comic timing helped to make this a most memorable cameo. Sabina Ryan was suitably snooty as Lady Brighton before undergoing a complete transformation to accost Sir John on Capstone Street. Nicely played on both fronts. Leo Docherty as Bob Barking and Mark Wijas as the telegram boy both offered strong support in their roles. The ensemble was strong, whether as aristocrats, servants, or the Pearlies from Lambeth. Their dancing was well-rehearsed, energetic, and committed. Choral singing was very strong throughout. What was most notable was the confidence that the ensemble brought to their performances and their understanding of the tone of the show. There was such energy in numbers like ‘The Lambeth Walk’ and ‘The Sun Has Got His Hat On,’ which they threw themselves into with abandon. Kudos to the six portraits for their stillness in the library scene! No easy task. A superb job all around. Stage manager, Eddie Kiernan, did a really good job. It was a very busy show, transitioning between multiple interior and exterior locations and there was very little let up for the large crew which was most efficient and very well-rehearsed. Changes were very slick, contributing hugely to the pace of the show overall. A really superb job overall. One of the biggest challenges when designing ‘Me and My Girl’ is that the travelling entourage is transported from the exterior of Hareford Hall to the interior, in the blink of an eye, during the opening number ‘A Weekend at Hareford.’ The set needs to be very clearly conceived, for this to happen seamlessly within a few bars of music. That is exactly what we got. The rotating centrepiece was very cleverly designed and indeed the clever and efficient design overall allowed for very slick changes. The library scene looked wonderful, complete with portrait frames and Capstone Street had great attention to detail with the practical lamppost and number 21 on the door. Lighting was strong for the most part, with good distinction between interior and exterior scenes. There aren't too many opportunities to be really creative with lighting in ‘Me and My Girl.’ However, ‘Song of Hareford’ cries out for some sort of ethereal feel as the ancestors come to life in Bill's drunken imagination. This, in my opinion, was a rare, missed opportunity in this production. Clever use of haze or low fog might have given this a more otherworldly feel. There was a gorgeous, dreamlike state upon Sally's arrival in ‘Leaning on a Lamppost’ which really enhanced this beautiful scene. Sound was excellent throughout, with great balance in the wonderful orchestra and a very good pit/stage balance also. Cueing was excellent and there was great use of suitable sound effects when required. Some slight interference on Bill's mic was quickly rectified but this was a small point in what was an excellent design and operation overall. Props were generally well sourced and authentic to the era. I loved the suit of armour and the furnishings for Hareford Hall were very appropriate. The wonderful phone was just perfect for the era. The tennis racquets in ‘Hold My Hand’ were noticeably too modern-looking for the era. Wooden racquets would have been more appropriate for the 1930s. Sir John's pocket watch was perfect. Bob Barking's letter had too many words on page one, considering that Bill only read two sentences before he ‘PTOd.’ In any case, I think it unlikely that Bob, from 1930s Lambeth, would have had access to a typewriter. The croquet mallets were perfect, as were the lovely parasols for ‘Leaning on a Lamppost’ and Japer’s ear horn was very authentic looking, adding greatly to the visual comedy of the show. There was great work in the costuming department, capturing the differences between the various social classes perfectly. Sally's red dress and beret were perfect, as was Bill's iconic look with his trademark bowler hat. Parchester's costume was a strange choice, for a solicitor. His tails and white gloves were giving butler (as my teenage daughter might say) where a sharp business suit might have been more appropriate. There were lovely summer dresses, tennis whites and cricket attire for ‘The Sun Has Got His Hat On.’ The Pearlies costumes for the Lambeth Walk were excellent. The ancestors in ‘Song of Hareford’ looked great, although I would have liked a more obvious spread across the ages to support the song’s narrative. Hair and makeup received good attention with most elements appearing appropriate to the era. Lady Jacqueline's blonde wig was perfect and the Duchess was suitably aristocratic in appearance, with her wonderful wig and appropriate aging. Maids should have had their hair tied up and a few of said maids were obviously trying to catch Bill’s eye with their bright red lipstick, when a more muted look might have worked better for their characters. ‘Me and My Girl’ is a fun-filled, feelgood, often whimsical show, devoid of intricate plotlines or deep, moralistic messaging. It is pure, unadulterated escapism and St. Mel’s Musical Society embraced the joy to bring a very funny, highly entertaining production to Longford town. Thanks to a skilled production team and a very talented cast and crew, it was a resounding success and a credit to all who had everyone from Clondra to Edgeworthstown belting out the Lambeth Walk as they left St. Mel’s College. Bravo to all. Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Frank McGrath Photography

The Witches of Eastwick as presented by Newbridge Musical Theatre

Newbridge Musical Theatre The Witches of Eastwick Monday 21 st April 2025 “Be careful what you wish for!.” We've all heard it. But...

Newbridge Musical Theatre The Witches of Eastwick Monday 21st April 2025 “Be careful what you wish for!.” We've all heard it. But never was this saying truer than for three repressed, middle-aged women from a quintessential New England town, as they fantasise about their ideal man in ‘The Witches of Eastwick,’ only to be visited by Beelzebub himself, Darryl Van Horne, who unleashes their innermost passions and desires, whilst causing mayhem in the process. Newbridge Musical Theatre's production with its dark, subversive humour, was quite risqué at times but never overstepped the boundaries of decency, as some productions do. The show felt like a raunchy version of ‘The Music Man,’ and, boy, did the audience lap up every delicious moment! Front of house was most efficient, with everything appearing very well organised on the society’s opening night. The black and red balloon display, cast photos, etc., set a nice tone for the evening's proceedings. I was welcomed very professionally before being shown to my seat in Newbridge College Theatre. The venue had changed since my last visit, with the installation of some very welcome, tiered seating, which transformed the hall into a wonderful theatrical space. Front of house announcements, delivered in character by Felicia, went on a little bit too long for my liking. I always feel it is best to keep these to a minimum rather than to drag them out. Director Art McGauran gave us a hilariously entertaining, fast-moving production. He had an excellent eye for casting. How blessed he was with the fabulous principal line-up. There were some lovely touches throughout. Mr. McGauran was very conscious of covering transitions and scene changes with distractions and business, which added greatly to the pace of the show. The use of the little girl's doll as a voodoo doll was a nice touch and the hilarious Fidel in his black veil giving Jennifer away at the wedding was a stroke of comic genius. There was great attention to detail in the characterisations and the comedy was so well-handled and paced throughout. I loved the staging of ‘Another Night at Darryl's’ and the very funny use of Fidel popping up behind headboards and counters throughout the show. The use of the smoke jets from above was very clever. Excellent work all-round from Mr. McGauran. Dave McGauran, as musical director, presided over an exceptionally tight orchestra, which brought the show's new arrangements to life. There was great balance within the orchestra and Mr. McGauran was very sensitive to underscoring throughout the show. Choral singing was excellent with great attention to detail in the dynamics. The three leading ladies had a glorious blend of voices, which were perfectly mixed by the sound engineer. ‘I Wish I May’ was a standout musical moment for me. The harmonies were flawless; the balance and blend was incredible. And there was an exceptional vocal sound in the finale from the entire cast. An excellent job overall from Mr. McGauran.There was very strong work from choreographer Áine Foley (not McGauran!). Routines were well rehearsed and always in tune with the comedic style of the show. There was wonderful ensemble movement in ‘I Love a Little Town,’ which was very well rehearsed and sharp. ‘Dirty Laundry’ was a fantastic routine with strong, precise movement. Its Charleston-esque dance break was great fun, as was the clever use of laundry for skipping and the use of baskets and props to propel the narrative. ‘Dance With the Devil’ was an exceptional number from the men's ensemble. A superb job from Miss Foley. Mark Trundle played the role of Darryl Van Horne with a devilish glint in his eye and an effortless charm that made him mysteriously magnetic. This was a very knowing performance with exceptional comedic timing and a level of charisma that just can't be taught. Mr. Trundle is blessed with a fantastic voice and he married this with intelligent storytelling in the great ‘I Love a Little Town.’ His strong, versatile voice was velvety and hypnotic in the wonderful ‘Dance with the Devil.’ Overall, a superb performance from Mr. Trundle, who worked exceptionally well with the three leading ladies. Bravo. Bronwyn Andrews was excellent as the bespectacled teacher, Jane Smart, whose sexual repression is blown asunder by Darryl's seductive advances. Ms. Andrews had comedic timing to die for and took a wonderfully intelligent approach to the role. For instance, it was very evident that she didn't just jump into the cello ‘playing’ and that much time and thought had been put into her miming in the amazing ‘Waiting for the Music to Begin.’ Ms. Andrews completely lost herself in this fabulous number, playing the climactic moment to hilarious perfection. Her vocal was both powerful and expressive in equal measure and, coupled with her exceptional comedic timing, contributed to what was a tour de force performance. Nicola Hennessy had exceptional presence and was utterly believable as the passionately arty and wise Alexandra Spofford. She too had very sharp comedic timing and her brilliant vocal, which was so full and warm, was at its very best in ‘The Eye of the Beholder.’ Ms. Hennessy's tone, and her ability to infuse a song with great meaning, was very impressive. Another great standout performance so well played.Keelin Kilduff was a superb Sukie Rougemont, a journalist who struggles with words. Ms. Kilduff was a superbly natural comedienne and a great character actress. Her ‘Words, Words, Words’ was one of the performances of the night, with incredible diction and great storytelling in what is a very challenging patter song. Ms. Kilduff played Sukie's insecurities and low self-esteem perfectly. She never once overdid the hesitant speech. It was all very natural and believable. Comic timing was exceptionally good and, together with Ms. Hennessy and Ms. Andrews, she formed part of an exceptional trio. Cora Coffey was a formidable Felicia Gabriel and her adversarial relationship with Darryl brought much hilarity to the narrative. Felicia is such a fun role to play, with her stranglehold on the moral fibre of Eastwick so central to the comedy of the show, and Ms. Coffey clearly enjoyed every minute. She had a strong, confident singing voice and a fabulous upper register which was most impressive in the brilliant ‘Dirty Laundry.’ Seán O'Keefe gave a very funny interpretation of Felicia's henpecked, long-suffering husband, Clyde, trapped in his marriage. Mr. O'Keefe had wonderful comedic timing and very strong diction and his eventual disposal of Felicia was disturbingly hilarious. He thoroughly enjoyed every moment on stage. Bronwyn Goulding provided some of the comedic highlights of the show, in a very funny portrayal of Jennifer Gabriel, the epitome of innocence with her dreams of a happy ever after. Her timing was razor sharp and her quirkiness so well played. Her voice was strong and expressive, at its best in the wonderful ‘Something’ which was beautifully performed. Daniel Ryan was perfectly cast as Jennifer's love interest Michael. He played the seemingly innocent son of Alexandra, who has a well-hidden wild side, with great charm and honesty. Mr. Ryan is a natural comedian and his timing and facial expressions were exceptionally strong. What a wonderful voice he had too, really shining in the superb duet, ‘Something,’ with Ms. Goulding. John Mullen was a very funny Fidel, Darryl's apparently mute manservant, often popping up unexpectedly to great comic effect. Mr. Mullen had great fun with the role and his hilarious appearance in his black veil had me in stitches. This was a role which was all about presence and Mr. Mullen certainly had that. Aisling Kelly gave a wide-eyed quirky performance as Little Girl. She played the role with great naivety and innocence. Ms. Kelly's expression was wonderful throughout. Her singing voice was strong and she revelled in her comic moments as she disregarded the fourth wall and addressed the audience with great confidence and clarity. Ms. Kelly also shone in ensemble numbers. There are so many cameo roles in the Witches of Eastwick and these were all played very well, showcasing great strength and depth in the society. Clodagh Donnelly was exceptional as Felicia's opinionated crony Gina Morino. Hannah McGauran, yet another member of the powerful McGauran dynasty, was impressive as a determined busybody Brenda Parsley and Liz Stears had her nose in everyone else's business as a funny Greta Neff. There was a very accomplished ensemble who hit the ground running in the wonderful ‘Eastwick Knows,’ with a great sound and quirky, fun choreography. There was exceptional vocal work and movement in ‘Dirty Laundry’ and the gentlemen were simply brilliant in ‘Dance With the Devil.’ Choral singing was very impressive throughout, with superb balance and great dynamics. Most notably, the ensemble was always on the same page as the director in terms of the comedic style of the show and added so much authenticity to the narrative. Tom Kavanagh did a great job as stage manager, ensuring exceptionally smooth transitions. Scene changes were very slick for an opening night’s performance. The quick operation of the hinged flats added greatly to the pace of the show and all trucked pieces were well-managed. Sometimes it's the small things that stand out and I was particularly impressed by the change of time on the clock in the Gabriels’ kitchen from scene to scene. Hats off to crew for making the flying magic happen in ‘I Wish I May.’ It was a stunning ending to Act 1, seamlessly navigated by cast and crew. The sets were simple but worked perfectly within the space. The two-storey houses with shutters painted the perfect picture of the idyllic, fictional town of Eastwick. The apron downstage left and downstage right were used very well. The trellises looked well on the proscenium, as did the white picket fencing. There was a very clever use of the hinged flats which opened out onto the stage. The gravestones looked very authentic and I particularly liked the flowers on the grave, which were a nice added detail. The church which exploded at the end of the show, was very cleverly designed and worked perfectly on cue. From the fabulously atmospheric pre-set of the full moon on the cyc wall and the perfectly symmetrical beams slicing through the haze, foreshadowing the show's imminent sinister events, we knew that this was going to be an excellently lit production. There was great use of haze throughout, accentuating the mysterious, ethereal world where devilishly strange occurrences appear normal. The lighting was so locked into the drama and the narrative and was such an effective part of the storytelling. Just as lighting in musical theatre should be. One of the most impressive elements of the design and operation was the exceptional timing of cues. This was particularly evident in the wonderful ‘Dirty Laundry.’ ‘I Wish I May’ was just stunning with the most atmospheric pictures created as the witches took flight. There was great use of colour in ‘Dance With the Devil,’ which was dynamic and fun and visually stunning. Sound was excellent throughout. Sound effects were operated separately and were so well timed and appropriate to the show. The timing of the sound effects as Felicia spat was just perfect as was the whack on Felicia's head with the frying pan. Balance within the band was excellent. Underscored dialogue was always clear and vocals always sat nicely on top of the accompaniment. Balance in choral numbers was superb. There was excellent work when the three witches sang together, particularly in ‘I Wish I May.’ There was great attention to detail in the props department with everything appearing to be era appropriate. Alexandra's pottery pieces and pottery wheel looked wonderful as did Darryl's bath. An excellent job overall. There was a superb array of costumes. The pastel colour palette of the citizens of Eastwick aligned perfectly with the quirky all-American hamlet feel. This contrasted perfectly with Darryl's devilish red and black which, bit by bit, engulfed the idyllic Eastwick setting. There was great attention to detail overall and this was a perfect example of costuming used as an integral part of the storytelling and the narrative. Wonderful work from all.There was great attention to detail in the hair and makeup department too. The subtle transformations of the three witches, symbolising their awakening and liberation worked very well. I have seen some excellent productions of ‘The Witches of Eastwick’ in the past and in recent times. It is such a funny, uplifting, irreverent romp. Newbridge Musical Theatre captured all of these aspects so well, thanks to a very strong production team, crew, ensemble, and principal lineup. However, it was the central performances of Darryl and his three witches that allowed this particular production to really take flight. ‘Newbridge Knows’…how to do musical theatre! Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Aishling Conway & Liam Mullen

MIDLANDS SOCIETIES

Below is our comprehensive list of MIDLANDS 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
Athlone Musical Society
Ballinasloe Musical Society
Ballinasloe Panto Company
Birr Stage Guild
Clara Musical Society
Fun House Theatre Company
Kilkerrin Youth Musical
Newbridge Musical Society
Portarlington Musical Society
Portlaoise Musical Society
St. Mel's Musical Society, Longford
The Odd Theatre Company
Tullamore Musical Society
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