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UPCOMING EVENTS

Our House The Madness Musical

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17 Sept 2026

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Jekyll and Hyde

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2 Nov 2026

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The Addams Family

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10 Nov 2026

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Calendar Girls The Musical

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27 Jan 2027

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All Shook Up .

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19 Nov 2026

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LATEST NEWS

Review: Frozen - Clara Musical Society

Society name: Clara Musical Society Show name: Disney’s Frozen The West End Musical Adjudicator date of attendance: 08/05/2026 Clara Musical Society’s production of Disney’s Frozen The West End Musical was an ambitious and visually engaging staging of the hugely popular modern musical, delivering an evening full of warmth, energy and theatrical spectacle. From the outset, the production embraced the scale, and magic audiences expect from Frozen, while also maintaining the sense of community...

Society name: Clara Musical Society Show name: Disney’s Frozen The West End Musical Adjudicator date of attendance: 08/05/2026 Clara Musical Society’s production of Disney’s Frozen The West End Musical was an ambitious and visually engaging staging of the hugely popular modern musical, delivering an evening full of warmth, energy and theatrical spectacle. From the outset, the production embraced the scale, and magic audiences expect from Frozen, while also maintaining the sense of community spirit and enthusiasm that is so important in amateur musical theatre. The result was a polished and entertaining production that captured much of the heart and humour of the piece, while showcasing a company clearly committed to delivering a memorable theatrical experience. Under the direction of Alan Recks, the production moved confidently and maintained strong momentum throughout the evening. There was a clear understanding of the show’s pacing and structure, with scenes transitioning smoothly and the stage rarely feeling static. Alan demonstrated a strong instinct for comedy, allowing many of the lighter moments to land naturally and effectively without becoming overplayed. Frozen contains a considerable amount of humour, and much of it was handled very successfully here, creating an audience atmosphere that remained engaged and responsive throughout. Visually, the production created many attractive stage pictures, particularly during the larger ensemble sequences. Blocking was fluid and purposeful, helping scenes feel dynamic while maintaining clarity of storytelling. The overall staging reflected a thoughtful understanding of the demands of the piece. While the broad emotional arc of the story was communicated successfully, there were moments where greater subtlety and emotional layering may have deepened the impact of some of the quieter scenes. Frozen ultimately centres on themes of fear, love, isolation and reconciliation, and at times the softer emotional beats could have benefitted from more nuance and vulnerability. Nevertheless, the production remained consistently entertaining and theatrically assured. Musically, the show was one of the strongest aspects of the evening. Alan Recks also took on Musical Direction duties and handled them with confidence and control. Tempos were well judged throughout, allowing numbers to maintain energy while still giving performers room to communicate story and character. The band produced a rich and supportive sound, and balance between band and vocals was consistently strong, ensuring lyrics remained clear and intelligible throughout the performance. The opening number immediately established the high musical standard of the evening, with excellent ensemble harmonies and a full, confident sound. The company should be commended for the strength of their ensemble singing, particularly given the relatively small number of male voices available. Diction across the company was consistently clear, and there was evident care taken in the vocal preparation of both principals and ensemble. Importantly, the performances rarely felt simply sung for vocal effect alone. There was generally a strong connection to storytelling and emotional intention behind the musical delivery, helping the score feel dramatically motivated throughout. Lea Carroll’s choreography added greatly to the energy and visual appeal of the production. The opening number was especially effective, featuring flowing movement patterns and varied formations that immediately established the scale of the piece. Ensemble choreography throughout the evening was cleanly executed and full of energy, while remaining appropriate to the storytelling rather than becoming unnecessarily busy. “Fixer Upper” stood out as one of the strongest choreographic moments of the evening, bursting with life and comic energy while remaining impressively precise. The addition of dancers to “In Summer” also proved a very effective choice, adding movement and theatricality to the number while supporting Olaf’s comic storytelling beautifully. Lea demonstrated a clear understanding of how choreography can support character and narrative while still creating strong visual interest. Karen Monaghan took on the role of Elsa and delivered a vocally confident and assured performance. The demanding score sat comfortably within her range, and she handled songs such as “Let It Go” and “Monster” with strong vocal control and capability. Her singing voice was very well suited to the role, and she managed the musical demands with ease. Dramatically, the performance occasionally felt emotionally restrained, and there were moments where greater variation in vulnerability and intensity might have added further depth to Elsa’s emotional journey. However, this remained a capable and committed portrayal that handled the substantial challenges of the role successfully. Aoife Digan brought tremendous personality and stage presence to the role of Anna. Her comic timing was excellent, and she possessed a natural flair for comedy that kept audiences thoroughly engaged throughout the evening. Facial expressions and reactions were consistently entertaining, and she created a character that was immensely likeable and warm. Particularly effective were her interactions with both Hans and Kristoff, where relationships developed naturally and believably. While the humour was undoubtedly one of the performance’s greatest strengths, there were opportunities to explore more of Anna’s emotional vulnerability beneath the comedy. Nonetheless, this was a hugely charismatic and entertaining performance. Rian Fitzmaurice Condron gave a lovely performance as Kristoff. He demonstrated a strong understanding of the character’s journey and developed a very believable chemistry with Anna. His scenes with Sven were particularly warm and engaging, and vocally he performed with confidence and strong characterisation throughout. Combined with a relaxed and assured stage presence, this created a very appealing and wellrounded portrayal. Joe Steiner brought strong energy and charm to the role of Olaf. The vocal characterisation captured much of the warmth and innocence associated with the beloved snowman, and while the puppetry occasionally appeared slightly awkward due to the positioning of the puppet mouth, the overall handling of the role was very successful. Steiner maintained excellent engagement throughout and brought considerable humour and heart to the character. Dylan O’Keeffe delivered one of the strongest character performances of the evening as Hans. From his first appearance he projected charm, confidence, and princely poise with ease, making his eventual betrayal particularly effective dramatically. “Love is an Open Door” was especially convincing due to the sincerity and charisma he brought to the role. Vocally and dramatically, Dylan maintained strong control of the character throughout and gave a very polished and complete performance. The supporting cast contributed greatly to the overall success of the production. Hollie Cornally handled the challenging puppetry role of Sven extremely well, maintaining strong engagement and interaction throughout. Thiago Braga brought entertaining comic energy to Weselton, particularly during his tango sequence, while Cameron Daly proved highly entertaining as Oaken, combining strong vocals with excellent comic timing and character work. Sinead Handy and Oisin Dowling worked effectively together as Queen Iduna and King Agnarr, balancing royal composure with warmth towards their children. Eoin Handy and Ruth Kelly brought grounded energy and humour to the roles of Pabbie and Bulda, particularly during the lively “Fixer Upper” sequence. Jack Veale approached the smaller role of The Bishop with care and attention, contributing positively both vocally and dramatically. The younger performers also impressed greatly. Grace Kelly gave a lovely performance as Young Elsa, capturing both the spirited nature of the child and the gradual emergence of fear and uncertainty very effectively. Maia Steiner brought infectious enthusiasm and joy to Young Anna, delivering “Do You Wanna Build a Snowman” with excellent confidence and charm. The ensemble proved to be one of the major strengths of the production. From the opening moments they established excellent energy and commitment, remaining consistently engaged throughout the performance. There was a strong sense of cohesion within the group, with performers well matched in style and energy levels. Ensemble scenes felt vibrant and alive, populated with genuine character interactions rather than simply functioning as background movement. Vocally, the chorus was consistently strong, with confident harmonies and excellent diction throughout. Choreography was handled cleanly and confidently, and the ensemble dealt very effectively with the physical demands of the production, including numerous costume changes and transitions. Importantly, they also contributed significantly to building the world of Arendelle and helping scenes feel populated and theatrically alive. Visually, the production was very impressive. The set design successfully balanced spectacle with practicality, creating a cohesive theatrical world that supported the storytelling throughout. The timber interior flats used in the opening scenes established the Scandinavian-inspired aesthetic beautifully, while the transformation into the icy world of Elsa’s palace through the addition of icicles created a striking visual contrast. The bridge unit added useful levels and visual variety, and the large beds in the opening scenes effectively established the scale and royal nature of the setting. The integration of the video wall into the set design worked particularly well, blending naturally into the overall aesthetic without feeling intrusive. Stage management under Wayne Handy was excellent, with swift scene changes maintaining the pace and flow of the production throughout. The construction of the ice palace was particularly well handled. One small distraction occurred during “Monster,” where crew members were briefly visible behind the scrim while preparing the staircase, but this was a relatively minor issue within an otherwise very polished technical presentation. Elsa’s dress reveal was especially effective and achieved the magical impact audiences hope for in that iconic moment. Lighting throughout the production made excellent use of the rig and helped reinforce the differing moods and settings of the story. Colour choices complemented the set beautifully, particularly the contrast between the warmer tones of Arendelle and the cooler icy palette of Elsa’s world. While “Let It Go” perhaps could have benefitted from additional sparkle and movement to heighten the spectacle even further, overall, the lighting design supported the production very effectively. Sound balance was also consistently strong, with vocals remaining clear and well supported throughout. Costumes, hair and make-up all contributed significantly to the polished appearance of the production. Costumes were attractive and highly appropriate to the style of the show, helping establish a cohesive visual identity throughout. Minor issues included the visibility of underlying costumes beneath the white coats in “Colder by the Minute” and the fit of Anna’s coronation dress, but overall, the costume presentation was very successful. Hair styling and wigs were particularly well done, especially amongst the townspeople, while make-up was consistently well applied and appropriate for stage performance. Before the opening curtain, it was also clear that considerable effort had gone into creating a welcoming and enjoyable audience experience. Front of House was warm, organised and efficient throughout the evening, helping establish a lovely atmosphere from arrival onwards. Audience members appeared very well looked after, and there was a genuine sense of occasion and excitement in the auditorium prior to the performance beginning. Clara Musical Society clearly understood the importance of creating an experience that felt special for audiences of all ages, particularly given the popularity of Frozen with families and younger patrons. Overall, Clara Musical Society delivered a highly enjoyable and visually engaging production of Disney’s Frozen The West End Musical. Combining strong musical preparation, energetic choreography, appealing performances and impressive visual presentation, the society succeeded in creating an entertaining and heartfelt evening of musical theatre. While there remain opportunities to deepen emotional nuance and character development further, the overall standard achieved was very impressive. Congratulations to all involved on a production full of warmth, enthusiasm and theatrical magic.

Review: Shrek - Ballinasloe Musical Society

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

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

Review: 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

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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