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UPCOMING EVENTS

Sunday in the Park with George

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28 Nov 2024

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Jekyll and Hyde

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7 Apr 2025

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Crazy For You

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4 Sept 2024

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Disney’s Beauty and the Beast

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13 Apr 2025

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To be announced

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1 Apr 2025

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LATEST NEWS

Fiddler on the Roof as presented by Ballywillan Drama Group

Fiddler on the Roof as presented by Ballywillan Drama Group: Monday 29th April 2024. I whole-heartedly applaud the effort of Director,...

Fiddler on the Roof as presented by Ballywillan Drama Group:   Monday 29 th April 2024.   I whole-heartedly applaud the effort of Director, Brian Logan, to draw the obvious parallel between this historical story and the current plight of the Ukrainian people. This was done particularly well with the “History Repeats Itself” section of the show program, but also with a pre-prologue voice over and sound effects of an on-going war. A soldier entered from the audience, looking to the sky as planes flew overhead, and as the sounds faded, he removed his camouflage coat and ambled into his prologue as Tevye. Different and imaginative. With one of the best written books for a musical, combined with beautiful authentic music that encapsulates the time and place of the setting, Fiddler on the Roof has long been one of my favourite musicals. It’s a story of fortitude and stoicism amid the most awful adversity, but also a story of family, of love and of religious passion, with all its positive and its negative implications. The simplicity of viewing all of life through the eyes of one humble milkman is the touch of genius that makes the whole package work so brilliantly.  The show had good pace that was interrupted only by slightly laboured scene changes, sometimes with what seemed like unnecessary movement of some pieces. While the set for the show had a good rustic feel about it, there were occasions when the moving pieces seemed a little abstract. It was nicely constructed and well-painted though. There seemed to be a lot of Americanization of accents during the show, possibly following that annoying aspect of the movie version, but many characters maintained their Eastern European accents better than others. There were also occasions when comedy was lost, for example, the joke of ‘the new arrival at Motel and Tzeitel’s’ lost its impact because the sewing machine was clear to see from the start of the scene.  Musically, the show was very solid indeed, due in part to a fine orchestra, led by Musical Director, Andrew Robinson, who appreciated the feel and rhythm of the traditional Jewish style of music that permeates this score. The Fiddle playing throughout was very good indeed. Andrew also ensured that the orchestra were well-balanced with the vocals from a disciplined chorus and the strongly reliable principal singers. In Sabbath Prayer and Sunrise Sunset, in particular, the harmonies were rich and delightful. The tricky Nightmare number was also very well performed.  Choreographers Sharon Logan and Laura Fisher got the showoff to a good start with a nicely drilled display of patterns and movement for “Tradition.” There was good movement too in the “To Life” number, and their Russian soldiers made a good attempt at some difficult steps. The wedding was a lot of fun, but I’d prefer to see an attempt at an authentic bottle dance with real bottles. The “Matchmaker” number and the “Chavalet” ballet were nicely designed and executed.  The mammoth role of Tevye was played by Alan McClarty, with many moments of strong emotion and pathos, particularly in Act Two, when he struggled with losing Hodel and then Chava. These were his best scenes. I was a little distracted by his accent, which fluctuated between the expected Russian slant and some very American-sounding passages, and on one or two occasions, his dialogue was a little rushed. Particularly in his monologues to God, perhaps a slightly more pensive or undecided hesitancy might have been appropriate. I’m  delighted to say that my favourite pieces in the show, “Chavalet” and “Do You Love Me” were beautifully handled. He also gave a good robust performance of “If I Were A Rich Man.” It was a lovely touch, too, that he collected his camouflage jacket and took it with him as he left Anatevka.  Úna Culkin’s Golde was delightfully abrupt and impatient with her family members, beautifully tolerant of her encounters with Yente, and her distress at losing her daughter was very palpable. This was a very nicely played role, with good vocal quality and fine emotions. Olive Hemphill made a very convincing Yente, nicely befuddled in trying to impart her news, looking, and acting just right, and despite forgetting a line or two, she maintained her character very well throughout.  Paul Sleet was a gentle and amiable Lazar Wolf in his first encounter with Tevye but showed a good more aggrieved countenance during the wedding scene. He sang well beside Alan in the “Too Life” number.  Clare Campbell was a lovely Tzeitel, particularly in her acting when her father tried to force her to marry Lazar. There was a good genuine bond between herself and Motel, and she sang delightfully, albeit with, again, an American twang.  Patrick Connor gave a nice light comedic portrayal of Motel the Tailor, scared of his own shadow, but somehow summoning up the courage to stand up to Tevye when the chips were down. His “Miracle of Miracles” was abundant with joy, and he sustained his character beautifully throughout the show.  Megan Paul was a sincere and impetuous Hodel, quick to challenge the attitudes of Perchik, but susceptible enough to be moved by his authenticity. She played her relationship with her father very well, and “Far From The Home I Love” was nicely delivered. Adam Goudy was a spirited and forthright Perchik, full of idealism yet open to change. This was played at just the right level, making him likeable to Hodel and earning the respect of Tevye. “Now I Have Everything” was sung with sincerity.  Chloe Freeman-Wallace played young Chava with assurance and vulnerability, handling her relationship with Fyedka with caution but caring. Her passionate pleading to her father was a most touching scene.  Steven Millar was a respectful Fyedka, gentle in his approaches to Chava, and cautious in crossing her father, yet strong when he needed to be. Nicely played.  As the town busy-body, Tom Waddell was a convincing Avram, while Jim Everett had good self-importance as innkeeper, Mordcha. David McDowell was suitably pompous and uppity as Mendel, the Rabbi’s son, and Harry Stinson was a suitably dithery Rabbi. There was a condescending tone about Greg Edwards as the Constable, but his character has more depth if he shows more reluctance about the pogrom that disrupts the wedding. Richard Campbell looked well and played extremely well as The Fiddler. There were very good cameo performances by Vicky Hogg as Grandma Tzeitel, and Kellyann McKillen sang splendidly in a fine and original representation of Fruma Sara. Lesley Reynolds as Shandel, Adam Campbell as Nachum and Steve Setterfield as Sasha all contributed well to the overall performance.  Sphrintze and Bielke were delightfully played by Ela Richards and Sophie O’Neill, with nice character and good clear voices.  Perhaps the Chorus could have been a little more challenged in their dancing, but they performed   all that was asked of them with good confidence. Their reactions to the drama around them was good and vocally, they were very secure. “Sabbath Prayer,” “Sunrise Sunset” and “Anatevka” were all very easy on the ear.  There was good attention to detail in the costuming of the show, prayer shawls in place and heads covered as one would expect. Russian outfits were good too, and the principal characters all seemed to be appropriately attired to suit their individuality. There was good work done on beards, etc., and make-up was perfectly fine, with nice attention to Grandma Tzeitel and a good novel approach to the presentation of Fruma Sara. Props and stage dressing were good throughout. Likewise, the lighting was generally quite good, providing atmosphere for many scenes and more often than not effectively highlighting the main action. The crew, under stage manager, David Wray, sometimes seemed uncertain of where each piece was to be positioned, but they went about their task with decent efficiency. The sound for the show was very satisfactory.  My thanks to all involved in the many Ballywillan shows that I have enjoyed over the years, and I wish you good fortune and many wonderful productions in the future.

Oliver! as presented by Encore Performing Arts Academy

ENCORE PERFORMING ARTS ACADEMY OLIVER THE ALLEY THEATRE STRABANE, 11th April to 20th April 2024 ADJUDICATION PERFORMANCE MATINEE SATURDAY...

ENCORE PERFORMING ARTS ACADEMY  OLIVER THE ALLEY THEATRE STRABANE, 11th April to 20th April 2024 ADJUDICATION PERFORMANCE MATINEE SATURDAY 20th April  I recently had the pleasure of attending the Encore Performing Arts Academy production of "Oliver" at The Alley Theatre in Strabane for my second adjudication of this lovely company. The Front of House team was excellent on arrival. Everyone is made to feel so welcome and comfortable, just like a family. It's always a pleasure to attend a show when the front-of-house team is confident and assured in their roles, smiling like the stars in the sky. Congratulations to the team for doing an excellent job! The show was a fantastic production, filled once more with talented performers who brought their A-game to the stage. From the opening number to the final bow, the audience was not just treated to a theatrical experience, they were also part of it, feeling the emotions and being invested in the story. I was back amongst these lovely people again, which was so beautiful. Thank you.  The Director was Rebecca Thompson. The production was a feast for the senses, from the opening number to the final bow. The staging was creative and practical, transporting the audience to Victorian-era London. The cast was superb, with each member delivering solid performances throughout the show. She brought a clear and vivid vision to the production, and her meticulous attention to detail was evident everywhere. The pacing was perfect, with each scene flowing seamlessly into the next. The balance between the musical numbers and dialogue was expertly handled, ensuring the audience remained engaged and invested in the story. Ms. Thompsons' vision, attention to detail, and gift for skilful direction brought this production to life, and the result was a truly memorable theatrical experience.  The Musical Director was Mr Gerard Bradley. Mr Gerard Bradley did an excellent job. He led the orchestra with skill and calmness ensuring that the music flowed beautifully throughout the show. The songs were well-arranged and complemented the action on stage perfectly. Again, I must mention Mr. Bradley's guidance when conducting the children was very good, and there was a profound empathy between Mr. Bradley and the cast, both adults and children. This was palpable in the performers' exceptional vocal skills and expressions. I specifically mention the accompaniment for “Who Will Buy” and the gorgeous emotionally filled “As Long as he needs me.”  Ms Rebecca Thompson, who also served as the show's director, was responsible for the choreography, and her talent was evident in every dance number. The choreography was creative and innovative, and the children were so young, and yet they moved so beautifully around the stage, like the little stars that they were. Every time they had movement in their songs, they performed the moves flawlessly and were as cute as buttons! Ms Thompson's ability to bring out the best in her performers was commendable, and her dedication to choreography was evident throughout the production. I loved “Consider Yourself,” “Food Glorious Food,” and” Oom – Pah – Pah.” Overall, the choreography was excellent.  The Stage Manager was Ian Thompson. The sets were very good. I could see the intricacies of the set, and the slightest attention to detail, such as the natural water feature in the fountain of rock, was a beautiful addition that added a touch of elegance to the stage. The sets were cleverly recycled from other shows, which was impressive and eco-friendly. Mr Thompson's attention to detail was remarkable, with intricate painting and small details that made everything look polished and professional. The handkerchief hanging in Fagin's lair added a beautiful collage of colours that perfectly complemented the set. The bridge was another picturesque addition to the production, and it was built solidly with great attention to detail. Overall, the sets were lovely and greatly added to the production. The lighting for this production was excellent. It created a perfect scene atmosphere and added to the overall experience. The lighting was not too bright or too dim but just right. It highlighted the adults and the children on stage very well. Very well done here, team lighting.  The sound for this production was also excellent. The sound levels were balanced, and everything was clear and audible. The sound effects were spot on. The music was well-mixed, and the vocals were clear and easy to understand.  The costumes were impressive. They were well-designed and again perfectly reflected the Victorian-era London setting of the show. The colourful costumes worn by the children in their chorus numbers added a touch of joy and a lovely sense of innocence to the production.  The makeup was good. The hair was also styled to suit each character and the period, and again, in this area, the attention to detail was impressive, with each performer's hair and makeup suitable for the era. Each prop reflected the period and setting of the show. There were many handcrafted props, and they were impressive. The props were minimal, yet attention to detail was excellent, such as Mr Brownlow's books, Sykes ' evil-looking weapon that he carried, which looked dark and dangerous, Fagin's jewellery box and the beautiful bouquets in Who Will Buy.  Ronan Drummond played the part of Fagin. Mr Drummonds’ performance of Fagin was good. He brought a sinister quality to the character that made him both captivating and repulsive, yet a paternal element one could also see in his care of Oliver when he arrived in Fagin’s lair. Mr Drummond acted very well in this role. He had a great costume. His delivery of the dialogue was sharp and witty, and he had a commanding presence on stage that drew the audience's attention. His movements were calculated and added to the overall effect of the character.  Aimee Kelly played the part of Oliver. The young lady did an excellent job of capturing the innocence and vulnerability of the character. Her singing was clear and on key, and her delivery of the lines was convincing. She was very lithe on stage and had a lovely voice, and at her young age, she held her own against the more experienced actors. I hope Ms Kelly continues on her Musical Theatre journey as there is a talent here in bucketloads.  The part of Nancy was played by Laura Douglas. With her lovely sweet lyrical voice her songs were truly moving, and her solo "As Long As He Needs Me" was emotionally charged and beautifully executed. Her character was kind, and her personality shone through in every scene she was in. Her rendition of "It's a Fine Life" with Bet, Fagin, and the boys was a joy to watch, and it showcased her fun-loving side. Laura's rapport with the rest of the cast was evident, and her character was lovable, a good friend, and a kind soul. So perfectly cast in this role Ms Douglas it was a joy to be a part of the audience to witness this, and the character you gave to us of Nancy. Your Nancy. So lovely. Well Done.  James Thompson played the part of Bill Sikes. A role that frightened the living daylights out of me with his threatening demeanour, his movements, his shouting, bringing fear to everyone and then the culmination of his terrible anger. When Nancy died, it was very emotional indeed, and Mr Thompson’s character was raw and frightening in his brutality and cruelty. He dominated the stage whenever he appeared, and his physicality added to the overall effect of the character. A powerful performance by Mr Thompson.  Shannon McKinley played the part of the Artful Dodger, and she did a good job of bringing a mischievous glint to the role. Ms McKinley had a lovely charm and a natural stage presence that made her stand out. Her singing and dancing were both good, and she had a good rapport with the other actors. Overall, this young lady gave a lovely performance.  Sadbh Breathnach played the part of Bet. A lovely role. A good friend to Nancy and just a cheerful, friendly soul in this character. Superb acting when Nancy dies, and Bet discovers that she is dead; her scream and her pain echo through the theatre as she falls on Nancy's body crying. Excellent scene and very emotional. Well done.  Andrea Logue played the part of Mrs Sowerberry. And Mr Sowerberry's part was played by Caolan Kelly. This duo brought a unique dynamic to the stage with their chemistry, timing, and attention to detail. Mr Sowerberry's interpretation of the character was spot-on, with his gruff demeanour and rough exterior perfectly complementing his wife's more gentle approach to the role. Mrs. Sowerberry's performance was equally impressive. Both these roles were performed well.  Ricky Kyle played the part of Mr Bumble. Firstly, I know that Mr Kyle stepped in to play this role with only a day or two to go to the opening to cover cast illness. Knowing this gentleman had just completed the same role immediately with Londonderry Musical Society, Mr Kyle was brilliant in this character. Looked great, acted brilliantly costume perfect and had a lovely rapport with Widow Corney. Mr Kyle was part of the family at this stage and blended magnificently in this role to cover the emergency casting. Not only was it admirable, but it was also a marvellous performance by Mr Kyle. The saying “The Show Must Go On” certainly applied to Mr Kyle here. And you were honestly excellent.  Clare Bradley played the part of Widow Corney in a small role in this Musical, but her presence is essential to the story. In this production, Ms Bradley brought a lot of humour to the role. She had a fabulous stage presence and interacted well with the other actors, especially with Mr Bumble, who, as already mentioned, was standing in the role. She quickly handled the role's comedic aspects, was very comical, had a dry wit, and was a likeable character.  Erin Dolan played Charlotte. She did an excellent job portraying the character's snippy and entitled demeanour. Her vocal performance was strong, and she delivered her lines with conviction and confidence. Her interactions with other characters, particularly Noah Claypole, were entertaining, as she was simply besotted by him and the overall comedic tone.  Harry Thompson played the part of Noah Claypole. This character is easy to dislike, and Mr Thompson did an excellent job embodying the character's smug and arrogant personality. He had a strong stage presence and interacted well with the other actors. His vocal performance was strong, and he delivered his lines with conviction and confidence. His interactions with different characters, particularly Charlotte, were entertaining and added to the show's comedic tone.  Daithí Harrigan played the part of Charley Bates. It was a small role but an important one. Mr. Harrigan did an excellent job of bringing the character to life. He had a great stage presence and interacted well with the other actors. His performance was strong, and he delivered his lines with conviction and confidence. His interactions with other characters were very entertaining. Well played, Mr. Harrigan.  Mark Leonard played Mr Brownlow, and Anna Gallagher played Mrs Bedwin. Mr Leonard brought a sense of kindness and wisdom to Mr Brownlow's role, making it easy for the audience to connect with him. Ms Gallagher was an absolute delight as Mrs Bedwin, the housekeeper. She brought a sense of warmth and a maternal perspective to the role, and her chemistry with Mr Leonard was so sweet and lovely. Her performance added depth and richness to the production. It was such a pleasure to watch them on stage. Two lovely parts, well cast.  I was so impressed by this Chorus. They were the backbone of the production and played an integral role in bringing the musical to life. This Chorus had an infectious energy that was palpable throughout the show, and their enthusiasm was contagious, especially the children whose vocal abilities were awe-inspiring .  Everyone did a fantastic job with this lovely show. This Society can become even more successful in the future (if possible). Still, I sincerely hope you continue building on what you have here at Encore Theatre Productions. You have talent in bucketloads and a production team that is one of the best. I wish you nothing but continued success. Keep doing your gorgeous shows, and thank you for your fantastic hospitality, welcome and care. It will stay with me always. Caroline Daly Jones Adjudicator Sullivan 2023 / 2024 Photos by Rebecca Thompson / Sean Mc Intyre

Grease as performed by Craic Theatre

CRAIC THEATRE COALISLAND GREASE 4TH – 14TH April with no-shows on 8th, 9th, and 10th. ADJUDICATION PERFORMANCE 13TH APRIL Where do I...

CRAIC THEATRE COALISLAND GREASE 4TH – 14TH April with no-shows on 8th, 9th, and 10th. ADJUDICATION PERFORMANCE 13TH APRIL  Where do I start with this journey to Coalisland and to Craic Theatre? Another little place hidden away amongst a load of buildings, that in no way looked like I was in theatre land, and then in the glimpse out of the corner of my eye, I saw this theatre. This stage was so gorgeous, so quaint, with so many memories for many people. The audience's reaction to the performance was an exact testament to the quality of the production. They brought the house down. The front of the house was alight with queues, noise, and buzz, and I could not have asked for a nicer seat. I was looked after impeccably. This theatre is SO well used; everyone seemed to mill around so comfortably as if it was their home. From chatting later with some patrons, I was told this building was, at one stage, a cinema and had always been a huge part of the community. It all made sense.  Producer and Director was Sean O’Neill. Mr O’Neill focused on the high energy and nostalgic charm of the 1950s. The staging was thoughtfully arranged to maximize the use of space, creating lovely dynamic scenes that flowed smoothly from one to another. The choice of casting was apt, as each character embodied their character's true essence and core, bringing a lovely authenticity to the production. The set design was very detailed and creative especially Rydell High. Brilliant. Under Mr. O’Neill’s direction, there was a lovely balance between comedy and many of the story's more sensitive and emotional sides, which was very well maintained throughout. A great job overall especially considering Mr O’Neill took on the choreography too.  Musical Director Roisin Corr, who also served as Chorus Mistress and Conductor, demonstrated exceptional skill in directing the musical aspects of this production. The vocal performances were a testament to her direction and leadership, with harmonies that beautifully showcased the sizeable vocal range of the cast. The balance between Orchestra and ensemble was meticulously maintained, ensuring neither overshadowed the other. As a Musical Director, her direction was vital in keeping the story's pace, energy, and cohesiveness. The iconic numbers such as “Sandy,” “You Gotta Shape Up,” and “Beauty School Dropout” were orchestrated to perfection, adding a punch to the bold sound that echoed the excitement of the T Birds. The softer moments were underscored beautifully by the gentle woodwind and strings, bringing out the emotional depth of the production.  The choreography was also done by Sean O’Neill as mentioned and the dance was excellent. The cast's energy and precision was a joy to see. There was so much energy, and the choreography was so well-suited to the era of the show. “Greased Lightning” and “We Go Together” were so impressive, featuring complex dance routines performed with precision and flair. For example, the cast executed a series of intricate lifts and spins in perfect synchrony, showcasing their exceptional dance skills. It was difficult not to clap my hands and stamp my feet in the dance numbers throughout. The choreography and its energy bounced off the walls of the Theatre, giving this lovely atmosphere of “being a part of,” it was adorable to be in the audience watching this troupe consistently perfect their routines. Mr O’Neill you excelled in this area, well done. The Stage Manager was Cara O’Brien. The sets were good, but this cast still made it look bigger with such a small stage, even when they were all on it simultaneously! Rydell High, The Burger Joint, and a car garage were pivotal in the story and looked great. The transition between the sets was smooth and fast, and a lovely flow was maintained. For instance, the set for Rydell High was meticulously designed to resemble a typical 1950s high school, complete with lockers, a basketball court, and a stage for the school dance. The attention to detail in the set design added to the authenticity of the production and enhanced the audience's immersion in the story. The lighting was good. Lighting changes as part of the story made a positive difference from the fabulous use of spotlights, colour washes, and softer, warmer lights for the indoor scenes, and the starker lighting for the outdoor or daytime scenes was so well done. For example, smooth, warm lighting during the romantic scenes between Sandy and Danny created a cozy, intimate atmosphere. In contrast, the use of bright, stark lighting during the school dance scene added to the excitement and energy of the moment.  The sound system was robust enough to handle the dynamics of the vocals. The sound and its proper use here elevated the production consistently, with radio mics and choral sound giving excellent sound, increasing the output of the whole company.  The costumes, hair, and makeup were well thought out and executed. The cast looked the part, with stylish and authentic costumes to the era. The T-Birds and Pink Ladies were especially noteworthy, with their leather jackets, poodle skirts, and bobby socks. The costumes for the school dance scene were also very well done, with the dresses and suits looking particularly elegant. The props used were well-chosen, adding to the show's authenticity. From the jukebox to the vintage cars, the props were all carefully selected to reflect the period and setting of the story. Handheld microphones and radios also added to the show's overall feel, with the cast using them to significant effect throughout. For instance, the jukebox was a central prop in many musical numbers, adding to the nostalgic charm of the 1950s setting. Aaron Rooney played the part of Danny Zuko. Mr Rooney was a charismatic and confident Danny Zuko, and his portrayal of this character included lovely direction in being a natural leader in his acting. Mr Rooney was compelling in his role, had fantastic chemistry, and played the romantic scenes with sensitivity and grace. Their rendition of "Summer Nights" was just excellent! He brought a fresh, modern interpretation to the role while maintaining the character's charm. Mr Rooney was full of energy, enthusiasm, and charisma, making him an absolute delight to watch on stage. His singing was on point, and his rendition of the iconic songs "Summer Nights" and "Greased Lightnin'" were excellent. Great performance.  Katie O’Neill played Sandy Dombrowski's part. Ms O’Neill brought a perfect blend of innocence, & vulnerability, and yet strength to the role, effectively capturing the character's essence and personality. She demonstrated great vocal control and range, quickly hitting the high notes and delivering the emotional depth of the character's songs. I will add that Sandy's role was a standout feature of the production. Her acting and vocal skills impressed me; her performance was a production highlight. Laura McGuckin played the part of Betty Rizzo. What a sassy and rebellious attitude and her powerful vocals in "There Are Worse Things I Could Do" were simply gorgeous. Rizzo is one of the most complex characters in Grease, and I was pleased to see Ms Guckin portraying her very well. Her performance of "There Are Worse Things I Could Do" was a standout moment of the show, bringing the audience to tears with her raw emotion and stunning vocal performance.  Frenchie, played by Ellie Taggart, brought so much energy and liveability to the stage, and her performance of "Beauty School Dropout" was excellent. Her facial expressions and body language truly conveyed her many emotions and added to a fun element of the show. Additionally, Ms. Taggart's vocals were a joy to listen to, particularly in the iconic "Beauty School Dropout" scene.  Rebecca Hanna played Marty Maraschino's part. Part of the Pink Ladies. She was a bubbly, flirty, and sassy character who added a lot of fun and energy to the production and portrayed a confident demeanour. She also shone in the ensemble numbers, adding a lot of energy and attitude to the Pink Ladies' scenes. A significant part played very well.  Aoife Corr played the part of Jan. Ms Corr perfectly captured her quirky and bubbly personality. Her comedic timing and unique take on Jan's character delighted the audience. Her performance in the musical numbers was lovely. Ms Corr was a genuinely standout character in the production, a pleasant, funny, and friendly young lady with a gorgeous stage presence.  Shea Brady played the part of Kenickie. Cool, calm, authoritarian, charismatic, and with a swagger are words I would use to describe Mr Brady in this role .  I loved Mr Brady's casual swagger, confidence strides, and song with the T Birds.” Greased Lightnin” was pure stardom in this number in vocals, agility, and movement.  Daniel Taaffe played the part of Doody, and boy, did I laugh. His superb comedic timing was impeccable, and his interaction with the other characters on stage was joyous. He had a strong and clear voice and confidence. All aspects of his role were done with such precision and flair that they were imposing. Cathair Brady played the part of Roger. Roger was a fun-loving character who brought a lot of energy to the stage. One of the T-Birds gang and has a fabulous stage presence. Mr Brady did a great job portraying Roger's carefree and playful nature, and his performance during the musical numbers was super.  Canice McIlvenna played the part of Sonny. As part of the T-Birds gang, Mr. McIlvenna has a lovely, outgoing personality and can make people laugh. His portrayal of Sonny was spot-on, and there was a beautiful charm about this gentleman on stage. Constantly cracking jokes or dancing up a storm, Sonny was always entertaining to watch, and I loved each time he arrived on stage. This was a lovely performance from start to finish.  Grace McKenna played the part of Patty. Ms McKenna did a great job of bringing out Patty's personality, and her performance during the musical numbers was well done. Whether singing or dancing, Ms McKenna was always a joy to watch. Holly McCann played the part of Cha Cha. A very flirtatious dancer who caught the eye of many male characters with a dramatic and passionate appearance, Ms McCann did a great job portraying Cha Cha's seductive personality, and her dancing was particularly impressive. Ms McCann looked the part, acted the part, and danced beautifully. Bravo.  Dylan Fox played Eugene. He was such a nerdy character who was often teased by the other characters, yet I was drawn to this young man because he acted this part so well. Despite the teasing, he had a kind heart and a love for science. Mr. Fox did a great job bringing out Eugene's awkward and endearing personality, and his performance during the musical numbers was especially memorable. Eugene was a lovable character who added a lot to the production.  Johnny Casino, played by Michael Clements, was an absolute standout. The energy and enthusiasm he brought to the stage as the Johnny Casino and the Gamblers band leader were infectious. His rendition of "Born to Hand Jive" was a highlight, with his impressive vocals and dynamic dance moves getting the audience up and dancing along. Mark Shields played the part of Teen Angel, and this gentleman did an excellent job of capturing the character's flamboyance and larger-than-life personality. His performance of "Beauty School Dropout" was a showstopper, with his smooth vocals and suave dance moves wowing the audience. Miss Lynch, played by Tracy Timlin, was a delight to watch. She brought a touch of strictness to the role of the school principal but also showed a softer side in her interactions with the students. Her comedic timing was impeccable, and she had the audience in stitches with her dry wit and sarcastic one-liners. Finally, Michael Morrow played the part of Vince Fontaine. A lovely, smooth, talking, somewhat sleazy character living as a singer embodying the commercial side of the rock and roll era. Mr Morrow, in this part, was a memorable character, effectively capturing his charisma and yet oily charm. This was a class role played so very well by Mr Morrow.  The Chorus Mistress was Roisin Corr. The chorus created a lovely, bustling atmosphere of Rydell High and its surroundings. The significant musical numbers such as “Summer Nights,” “Greased Lightnin,” and “We Go Together” where their involvement helped amplify the mood and excitement. This group had lovely cohesion; they blended vocally very well, and the chorus had gorgeous, tight harmonies. There were lovely instances where the energy and the harmonies lifted off the stage, and the numbers were consistently energetic and vibrant. This theatre lent itself beautifully for your sound, your harmonies, and, of course, the Sound team themselves; however, it was apparent that lots of time, went into the Chorus, which paid off. Well done  I had a fantastic time watching this production, It was just an all-around great time! Fantastic choice of show for you as a group. I love the sense of community in this town, especially in this Theatre. I had an enchanting evening with you all, and as I had travelled from Cork and was at the show alone, I haven’t talked as much in a long time; such was your welcome. So thank you. It was simply a pleasure to be your Adjudicator. Caroline Daly Jones Sullivan Adjudicator 2023 / 2024

Les Miserables School Edition as performed by NEWRY YOUTH PERFORMING ARTS

NEWRY YOUTH PERFORMING ARTS LES MISÉRABLES SCHOOL EDITION, ARMAGH MARKET PLACE THEATRE, 9TH – 13TH APRIL 2024 ADJUDICATION PERFORMANCE...

NEWRY YOUTH PERFORMING ARTS LES MISÉRABLES SCHOOL EDITION,  ARMAGH MARKET PLACE THEATRE, 9TH – 13TH APRIL 2024 ADJUDICATION PERFORMANCE 13TH APRIL.  The longest journey of my year took me from Limerick to Armagh. A trip of 343 km in one morning after a flat battery delayed things even further as I was leaving Limerick, before my four hour drive for the afternoon performance of Les Misérables, School Edition with Newry Youth Performing Arts. Things could only get better. The sun was splitting the stones when I arrived in the beautiful Armagh, casting a unique light on the cobble-locked square where the most beautiful vision of glass and light stood that was The Market Place Theatre. Despite the tiredness, the whole experience of the day so far immediately lifted when I was welcomed by the Front of House crew and the Director, Mr Jordan Walsh, and everything with the sunshine, the warmth, the friendliness, and the copious lovely cokes and sugary delights I was rapidly back to my old self in no time!  The Director as mentioned was Jordan Walsh. His vision for the production was crystal clear, and he had obviously worked hard to ensure every detail was spot on. From the casting to the staging, his direction was top-notch, bringing out the talented cast's best. When speaking with Mr Walsh, he was very passionate about the show, which absolutely showed in every scene. It was a pleasure to see him in action! The direction was simple yet precise, and there was great attention to detail in the cast, the direction of their characters, and the show overall.  Matthew Milford, the Musical Director, was a rockstar in creating the musical magic that made this production an unforgettable experience. The music was the backbone of the show, and Mr Milford’s expertise and dedication ensured the score was executed perfectly. Also as a musical director, the cast's singing was brilliant, and the orchestra was super. Magnificent numbers, “ Do You Hear The People Sing”, “The Barricade”, “One Day More” were spine-tingling with the most beautiful sounding Orchestra with Mr Milford at the helm, It was a privilege to see this talented gentleman work his magic! The Choreographer was Paul Burns. He was absolutely fantastic in creating the mesmerizing dance sequences in this production. His choreography was innovative and creative and brought the story to life in an amazing way. The dancers were spot on, and it was obvious that Mr Burns had put his heart and soul into making every movement right. The dance numbers were dynamic, energetic, and emotive. It was a joy to watch the talented cast bring it to life on stage.  The Stage Manager was Andrew McKnight. The sets were impressive. The beautiful and intricate set designs stunned me when I entered the theatre. The attention to detail was impeccable, and the creativity in the set pieces was genuinely remarkable. The movable sets were executed flawlessly, and the transitions between scenes were smooth and seamless. The set design truly set the tone for the production and brought the story to life- visually stunningly. Congratulations to the set design team on their hard work, vision, and dedication in creating such a wonderful and memorable experience for us your audience and indeed your cast.  The sound design was excellent. The sound team did a fantastic job ensuring the cast's voices were clear and audible, even during the most dynamic and complex musical numbers. The balance between the orchestra and the vocals was spot on, and the sound quality was consistent throughout the performance. The sound effects were also well-executed.  The use of lighting to set the mood and tone of the production was masterful, and the lighting team should be commended for their creativity and attention to detail. The lighting effects were perfectly timed and synchronized with the music and choreography, creating a truly immersive experience for the audience. The use of colour and shadows was also impressive, and also the magnificent consistent use of spots beaming down on high were spectacular adding depth and dimension to the set design. The lighting design was undoubtedly one of the production's highlights, and the team responsible for it should be proud of their exceptional work. The costumes were excellent. The attention to detail in each costume shone and was very authentic. The costume team did an outstanding job of creating a cohesive and authentic look for the production, and their efforts truly paid off in the final product. The costumes were a crucial element in transporting the audience to 19th-century France and adding to the overall visual spectacle of the show. The costume team should be commended for their hard work and dedication in creating an impressive array of costumes. The makeup team did a wonderful job of bringing out the best in each actor's features and creating a cohesive look for the cast. Using prosthetics and special effects makeup was also impressive, adding an extra layer of depth to the characters. The hair team did a fantastic job creating authentic and period-appropriate hairstyles for the cast, and their attention to detail was evident in every scene Each prop was carefully chosen and executed, adding an extra element of authenticity to the performance. The use of period-appropriate props helped to transport the audience to 19th-century France and added to the overall visual spectacle of the show. Well done team props I commend them for their hard work and dedication in creating such a wide range of props in great detail, which added to the show's production value. Overall, the costumes, hair and makeup, and props were all exceptional elements of this production.  Daragh Burns played the part of Jean Valjean. Daragh Burns performed this part well. From the moment he stepped onto the stage, it was clear that he was the perfect fit for the role. His vocals were simply stunning, with an admirable range and power. His rendition of “Bring Him Home” would bring a tear to a glass eye, as was the emotionally filled scene where he was dying broke my heart. Mr Burns felt this role and was passionate about it. He brought a sense of gravitas to the role and looked the part, commanding the stage with his presence and delivering a very emotional and moving performance.   Michael Sloan played the part of Javert. Mr Sloane gave a strong and confident performance, and his vocal rendition of "Stars" was breath-taking. He brought the house down with his powerful voice, a production highlight. I have to mention that there were some slight issues with diction in a few places, making it difficult to hear certain lines. Mr. Sloan's performance overall as Javert was impressive. His singing was superb, and he looked great in this role with a lovely, commanding stage presence.  Tess McElheron played the part of Fantine. Ms McElherrons portrayal in the production was heartfelt. This young lady created a character that was so vulnerable I could feel every moment of her struggles. This, in turn, is reflected in her beautiful singing, which conveys the character's pain and sadness. As I watched her sing "I Dreamed a Dream," I could feel her voice's raw emotion and pain and empathize with her struggles. It gave me goosebumps, and it was so lovely. Ms McElheron, you were superb in this role. Well done.  Oliver Larkin played the part of Marius. Mr Larkin's performance in the barricade scene was particularly moving, as he fought for his beliefs with his friends. However, Mr Larkin's final scene with Jean Valjean and Cosette truly stole the show. The emotion that Mr Larkin conveyed in this scene was raw and powerful as he said goodbye to Jean Val Jean, and the feeling in this heart-breaking scene was palpable. Mr Larkin's performance was excellent.  Robyn Cunningham played the part of Eponine and was a beautiful display of excellent acting and vocal talent. Her performance was so emotional, capturing her character beautifully. She played with lovely poise and precision. Ms. Cunningham's rendition of "On My Own" was a standout moment of this production. Her beautiful vocals and captivating stage presence drew the audience into the story.  Emily Morgan played the part of Cosette. I must say that this was one of the standout performances by this talented actress. A crystal clear stunning vocal range, combined with her gorgeous stage presence, made for a truly unforgettable performance. She portrayed the character with a sense of innocence and purity that was beautiful to watch, and her singing was breath-taking. Overall, her performance was a testament to the power of talent, beauty, and grace, and I hope to see more of her in the future. Mikel Farrugia played the part of Thenardier. One of the standout scenes for the actor was "Master of the House," where he led a rousing musical number with his wife. His portrayal of Thenardier greed and dishonesty was mastered with perfection, and the audience was fully engaged in his performance. Additionally, his chemistry with the actress who played Madame Thenardier was palpable. The two made a formidable team bringing lightness and darkness to the role, and his energy and commitment to the character were admirable.  Sophie Morgan played the part of Madame The Thenardier. I couldn't help but feel that a little more facial expression could have added greater depth to her character. I understand that nerves can sometimes hold back performers, and I empathize with the fact that this may have been the case for Ms Morgan. Despite this, I want to acknowledge that she brought a lot of energy and talent to her performance, especially in the song "Master of The House." Her singing and acting were very good overall, and she blended well with the ensemble in the group numbers.  The Chorus Master was Matthew Milford. The cast's voices blended beautifully, and their ability to convey the emotion and meaning behind each song was second to none. One of the standout moments for me was the powerful "One Day More," which was a proper tour de force of choral singing. The cast's voices soared in perfect harmony, creating a spine-tingling moment that left me with goosebumps. I also have to mention "Master of the House," which was a real crowd-pleaser and had me tapping my feet along with the infectious rhythm. Overall, I have to say that the chorus exceeded all of my expectations as an adjudicator. The cast's talent, energy, and enthusiasm were genuinely infectious, and their ability to convey the emotion and meaning behind each song was truly remarkable.  You have a magnificent, jaw-droppingly beautiful Theatre and an excellent team on stage and behind the scenes at every corner you turn. I believe you could put your hand to anything and achieve your dream. Congratulations on a beautiful afternoon in your company, and I sincerely hope you had every success with the rest of your run as you deserved. Congratulations.  Caroline Daly Jones Adjudicator Sullivan 2023 / 2024

Young Frankenstein as presented by St. Agnes Choral Society

Public Adjudication: Young Frankenstein as presented by St. Agnes Choral Society: Thursday 24th April 2024. There’s very little subtlety...

Public Adjudication:   Young Frankenstein as presented by St. Agnes Choral Society:   Thursday 24 th April 2024.   There’s very little subtlety about the currently very popular new Musical version of Mel Brook’s Young Frankenstein, and it requires a company that isn’t afraid to go for the comedy jugular to show it to its full potential. Thankfully, St. Agnes had a cast who didn’t hold back on the silliness and totally immersed themselves in their characters. Indeed, Director, Rachel Logan-Fee, did a great job of casting this show, and of making sure that each character had strong and appropriate individuality. She presented good pictures on the stage and used the space well. The chorus were integrated nicely into the action and always with a good sense of purpose. While there was a strong emphasis on the comedy of the show, a few lines were thrown away or not as strongly delivered, and perhaps some of the risqué humour could have been even more exaggerated. Technically, a screen, centre stage, was efficient for projecting location, etc., for the benefit of the audience, and perhaps could have been used more for special effects. The solid set around it was nicely designed and well-painted, but was a little cumbersome, giving Stage Manager, Andy McKnight and his team, quite a task with the scene changes. They managed well, though, working as speedily as they could.  While most scenes were nicely presented, Frankenstein’s laboratory was disappointing. With the creation of the Monster being the dramatic high point of the show, much more effort is needed to go into making it a spectacular happening. Perhaps a rising platform, with billowing smoke, much more flashing lights, much more electrical equipment, like jump leads attached to the monster, frightening thunder and lightning effects, a dark foreboding atmosphere. Unfortunately, what we got was rather lame and didn’t have that massive impact. Sparks did fly, but they were limited, and the scene was too brightly lit for them to dazzle us. Similarly, the brain-swap between Frankenstein and the Monster needed a bit more creativity and spectacle. Lighting throughout the rest of the show was good and very satisfactory, using nice colour sequences and moving lights. There was also good mood lighting for the more intimate scenes.  Musical Director, Andrew Robinson, kept very good control of a most capable and accomplished orchestra, with well-dictated rhythms, good mellow tones, when required, and very good balance throughout. With the chorus sounding musically strong and robust in their harmonies, it was evident that good rehearsal had gone into their preparation. The show was musically and vocally most impressive.  The show opened strongly, with a good energetic rendition of ‘The Happiest Town’, and indeed, Choreographer, Amy Blackshaw, in all of her routines, had a chorus and dancers who made the most of their opportunities to shine. Amy’s best work came in the shape of “Puttin’ on the Ritz”, which was the terpsichorean treat of the show, being stylish, creative and very nicely performed. The chorus were energetic and pretty disciplined in all their dancing and moving, and they contributed good acting and reacting throughout the show.  Taking the lead as Dr. Frederick Frankenstein, Allen Gordon, looking like a cross between Albert Einstein and Groucho Marx, gave a strong and highly amusing performance, comically struggling to disassociate himself from his family name, but being easily lured back to his roots. His singing and his delivery of lines was articulate and impressive, and he played all his comedic encounters with good timing and expression. I loved his tolerance of his fiancé and his easily manipulated desire for Inga.  Thomas Martin was a strong physical comedian in the role of Igor, his look and his mannerisms fitting so well with the character. His line delivery was also very good, and he developed his relationship with the Doctor very well. Added to that, was a fine voice and more importantly, an ability to sell his lyrics.  Michelle Hannaway played the self-absorbed, narcissist, Elizabeth Benning to a T. Her demeanour, her voice and her attitude were all perfectly in keeping with the vanity of her character, and she used them all to great comedic effect. She also knows how to deliver a song, with great expression and quality vocals. ‘Deep Love’ wasn’t just funny, it was filthy, and I… I mean we, as an audience, loved it.  Sassy and sexy in a much more earthy and unpretentious manner was Lorraine Jackson’s Inga, a titivating tease, ready to fulfil all the doctor’s needs, at work and at play. Lorraine had a great accent, great dance ability, great delivery of her songs, especially her yodelling, and showed no discomfort at all at being the promiscuous, scantily clad eye-candy of the piece.  And then there was Frau Blúcher, the housekeeper from hell, with evil eyes, a flippant and fearless attitude, and superb comic delivery, as played by Emma Nugent. This was the performance of the show for me, even though I think she had the potential to be even funnier. Some visual gags were missing, and I do think she could have been made-up to be even more comically sinister. Still, she almost stole the show with ‘He Was My Boyfriend’, and her every line brought rapturous laughter from the audience.  Martin McDowell, had he been given an extra foot of height, would have been perfect as The Monster, for in every other respect, he was excellent. He had a great ability to change his facial expression from sad and pathetic to angry and terrifying, and his grunting and whimpering were delightfully animalistic. His comedic timing was spot on, and he looked superb, thanks to a great costume and fabulous make-up.  Ditanya McKinty gave a strong character performance as Inspector Kemp, playing her with an almost military, disciplinarian attitude. Secure in her music and her dialogue, perhaps her potential to be more comedic was reduced by omitting the physical gags of prosthetic limbs.  One always assumes, in the movie, that the Inspector probably lost his arm in an encounter with the original monster, hence his strong desire to get rid of the Frankensteins. Nevertheless, this was a well-played role.  The only drawback to having a female Hermit, very nicely portrayed by Gemma Duffy, is that it requires Frau Blúcher to switch her sexual preferences from a man (Dr. Victor Von Frankenstein) to a woman, when she excuses herself to go on ‘a blind date’. Regardless of that, Gemma Duffy played her well and delivered her song with good comedy.  Andrew Johnston made a worthy contribution as Dr. Victor, stepping out of his very effective portrait frame, and Chris Mooney was a guileless and quirky Ziggy, the village idiot who was actually quite smart.  From a visual perspective, the show was very nice indeed. The villager costumes had the right feel to them and the dance set for Puttin’ on the Ritz were very good, as were the ancestors’ costumes reminiscent of the Addams Family chorus. The principal costumes were  particularly good, with Elizabeth Benning looking classy and luxurious and Inga looking like she stepped out of a seventies soft-porn video. Frau Blúcher was suitably dour looking, and Inspector Kemp was suitably military. Most outstanding was the great outfit worn by The Monster. I just wish he had been given higher-blocked heels to make him that little bit more imposing. There was good attention to wigs and hairstyles, and the make-up team did a good job, especially with the monster.  St. Agnes’ should be delighted to have presented such an enjoyable night of entertainment, which only needed more exaggeration and technically enhanced to give it that extra Wow Factor! Thank you to all concerned for a very pleasurable experience. Peter Kennedy Gilbert Adjudicator 23/24 Photo Credits: Joe Carberry / Nicola McKee

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