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Calendar Girls as presented by North East Musical and Dramatic Society

North East Musical and Dramatic Society  Calendar Girls – The Musical  Thursday 3rd April 2025  ‘Calendar Girls - The Musical’ is a...

North East Musical and Dramatic Society  Calendar Girls – The Musical  Thursday 3rd April 2025  ‘Calendar Girls - The Musical’ is a beautiful, true story which focuses on a Yorkshire community coming to terms with the loss of a loved one due to cancer. Everyone has been touched by its themes at some point and so it resonates with audiences in a very personal way. North East Musical and Dramatic Society's production was full of raw emotion and some lovely, clever touches which went down a treat with the packed audience at Castleblayney’s marvellous Iontas Theatre. ‘Calendar Girls’ is a show close to my heart and revisiting the village of Knapely was like encountering an old friend.  House management was exceptionally well organised with plenty of helpful personnel on hand to usher people to their seats.  Sunflower colouring competition entries, by local children, were prominently displayed in the foyer and there was also a lovely remembrance tree upon which audience members could hang little sunflowers, having written a personalised message or tribute to loved ones. This was a beautiful touch.   Brian Gilligan brought his extensive experience as a performer to this production, taking on the role of director. Mr. Gilligan directed a show which moved at a good pace. There was lots of emotion, which was generally well-balanced with more comedic moments. There was very good work with the ensemble, who appeared in tune with the narrative at all times. The W.I.   ladies had clearly defined characters and worked well with one another. I felt that some of the more emotional moments needed more time and thought. John's death, for instance, felt a little bit rushed. The three husbands standing with gaping, open mouths at the top of Act Two, was hilarious. And what a stroke of comic genius it was to have Marie close Denis’s   mouth before her exit. The use of beauticians, complete with syringes, in ‘So I've Had a Little   Work Done,’ was another clever touch. The photography scene will always garner huge audience support and the ladies brought the house down as each one, in turn, got their moment to pose. The use of rosettes to cover Chris's modesty was a very clever touch.   I felt that there was an over reliance on moving lights, which were quite distracting and not entirely appropriate for this style of show. Overall, a strong directorial debut.  Shane McVicker's musical direction was very solid. The opening number, ‘Yorkshire,’ was a little bit problematic in that the level of the band was too high, overwhelming the vocalists and the underscored dialogue. However, things did settle as the show progressed and we were treated to some excellent principal singing and a very strong choral work.   In general   though, there was good attention to underscored dialogue with sympathetic accompaniment and awareness of dynamics. Once levels settled, the band did a terrific job. Super work from Mr. McVicker overall.  There are relatively few opportunities for a choreographer in ‘Calendar Girls.’   However,   movement director Gavin Quigley did a very good job with the limited requirements. The emphasis was more on movement and formations, which was always strong and appropriate to the style of show and suited the abilities of the cast. Movement was always natural and I particularly liked the formations in the opening number, ‘Yorkshire.’ There was great fun in ‘Who Wants a Silent Night?,’ one of the few choreographed numbers in the show. ‘Protect Me Less’ was very well performed with Jenny and Danny, even if it felt a little bit too busy. ‘Sunflower of Yorkshire’ was a nicely moved, very appropriate and very well synchronised number from all.  Louise Steele gave an inspired, well-studied performance as Chris and was an audience favourite from the start. She was funny, she was brash, but underneath it all was a heart of gold. Ms. Steele had great comic timing and much work had clearly gone into perfecting tone   and mannerisms which were appropriate to the role. Her emotional outpouring during the W.I. conference was well-pitched. Ms. Steele had a wonderful emotional range but she was also very funny. Her Greta from Eindhoven scene drew much laughter and her performance of ‘Sunflower’ was a standout musical moment in the show. There was nicely gauged emotion too as she struggled with Danny going off the rails. A very good all-round   performance from Ms. Steele.  Carol McCourt was a strong Annie, delivering a good characterisation, full of the raw emotion that everyone experiences on the death of a loved one. At times, I felt that the intensity of her emotion was fractionally too much. As performers, we sometimes feel that the harder we push emotion on stage, the more we will affect the audience. This is not always the case. In a show that is steeped in realism, sometimes less is more when trying to find truth and authenticity. Ms. McCourt had a fine voice, which was at its very best in ‘Kilimanjaro’ and the wonderful ‘Scarborough.’   She showed great vulnerability, balanced with strength, as she dealt with her grief and resolved to address the W.I. Conference. Overall, a very strong performance.   Lisa Buckley was a very funny Cora, “the best dad a mum could ever be.” She had great delivery, wonderful diction, and very natural comedic timing. She got great mileage from her   teasing of Celia's “baggage allowance.” As funny as Cora's quips were, there was also a deep vulnerability there which Ms. Buckley captured very well. There was a great warmth for her son Danny, in spite of always being on his case and shoving toast in his mouth. Her sense of fun was clearly apparent in the wonderful ‘Who Wants a Silent Night?,’ a hugely uplifting and joyous number which showed off Ms. Buckley’s big voice.   Claire Malone stood out from most residents of Knapely as Celia, the target of village gossips who giggled over coffee about her ‘enhancements.’   She was very funny, yet there was an underlying insecurity there which was nicely played. Ms. Malone played the ‘keeping up appearances’ role very well, with her superior tone and strong physicality. Her suggestive banter with Tommo was very amusing. And what a huge belt of a voice she had too, showcased perfectly in ‘So I've Had a Little Work Done.’   Sheena Duffy gave an excellent interpretation of Ruth, Marie's trusted organiser at the W.I.   This was a beautifully touching and sincere performance. Her baking an inordinate number of scones for the fete, was the source of much hilarity, but underneath we knew that her baking was symptomatic of her personal battles. Ms. Duffy’s Ruth conveyed deep sadness in her fractured relationship by finding solace in vodka during the very poignant but terribly sad ‘My Russian Friend and I.’ She delivered a wonderful vocal performance in this song and it was very funny too. Ms. Duffy was hilarious in her drunken photography scene. Indeed her arrival lifted this entire scene to a different level. The very talented Mags Carrick Kirk was a stern Jessie, the retired local school teacher. When she said, “sit down!,” everybody sat down! There was no messing with Mags.   Her fabulous performance in the poignant ‘What Age Expects’ and her wonderful lower register,   was a delight. There was a touch of ‘Mr. Cellophane’ to the number as she laid out how the elderly can often be treated as if they are invisible. At times, I did feel that she overplayed things for laughs but, in her subtler moments, she was beautifully sincere.  Pauline Clarke was very strong as Marie, chairwoman of Knapely W.I. Ms. Clarke was a strong actress, playing the role with a haughty air of superiority. However, underneath, it became apparent that she too had a very vulnerable side. Ms. Clarke had some very funny moments too. I loved her waving at the audience as she arrived at the WI conference, as if she was somebody. Her confrontation with Chris in Act Two was very well studied and   strongly performed.   Peter Phillips did well in the role of John, whose death sets the events of the calendar shoot in motion. Mr. Phillips had a laid-back gentle style of delivery which endeared him to the audience and made his subsequent passing hit harder. He worked very well with Ms.   McCourt.   I did feel that we needed to see a more gradual deterioration in John's health as the story progressed. Much credit is due to Mr. Phillips for shaving his head in preparation for this role, one which I'm sure he will remember for a long time to come.  Ian Rountree delivered an excellent performance as a most thoughtful and sincere Rod. Indeed, for me, this was the standout performance of the night. Mr. Rountree's light comic touch and ability to deliver a knowing, smart-assed quip gave real insight into Rod's coping mechanism as he dealt with all of the challenges that Chris threw his way. Underneath all his banter about “crazy paving,” there was a heart of gold and genuine love, which Mr. Rountree played with absolute truth and sincerity.  Adam Pentony played the role of Lawrence, the hospital porter and amateur wildlife photographer, who fittingly gets roped into taking photographs for the ladies' nude calendar shoot. Mr. Pentony was beautifully sincere in his scenes with John and Annie in the hospital.   However, overall, I felt that more could have been done to bring out Lawrence’s awkwardness and nervous disposition. Mr. Pentony is a very talented young man and, with more pointed direction, I felt that he could have gotten more out of the comedy of this role.  Paul Kiernan and Brendan Parsons played the parts of husbands Colin and Denis. These were strong cameo roles. Their utter shock at the discovery that their wives would be partaking in a nude calendar shoot was exceptionally well played at the top of Act Two and they really shone in their number with Rod, which was very funny, yet poignant.  Karl Parge was a strong Danny, Chris and Rod’s son whose fall from grace as former head boy sends Chris into an emotional spiral.   He shone particularly in his drunk scene in which he showed his dramatic range very well. He did very well in ‘Protect Me Less’ with Jenny and, overall, had great fun with this performance.  Hannah Mullen delivered an excellent, knowing performance, highly self-aware, as Marie's tearaway daughter, Jenny. I loved her unlikely journey from rebellious Little Miss Sambuca to fully-fledged member of the W.I. She had a superb vocal in ‘Protect Me Less,’ one of the standout musical moments of the night for me. Ms. Mullen had excellent stage presence and wonderful comic timing. Equally, she could be subtle, and her “Spread your wings and trust the air” at the end of the W.I.   Conference was very thoughtfully delivered. Zac McCormick was an excellent actor with a great accent in the role of Tommo, Cora’s wayward son. He played the awkward teen, full of testosterone-fuelled bravado, who claims to know far more about the female species than he actually does, very well indeed. Of course when Celia approached him with a dose of double entendre, he nearly lost his life. A very funny portrayal from Mr. McCormick.  Marie McSorley and Roma Mullen were Miss Wilson tea and Miss Wilson coffee. They were a very funny duo and I applaud the bravery of their costuming in the photography scene.  Mandy Cumiskey played a nice cameo as a very enthusiastic but far from engaging Brenda Hulse and Orla McAllister was a very posh, upper crust Lady Cravenshire.   The ensemble worked well right through the show. There was good work in the opening as the village of Knapely came alive with authentic looking characters that looked like they had j ust stepped out of the Yorkshire dales. ‘Who Wants a Silent Night’ was full of energy and raucous celebration and the finale ‘Sunflower of Yorkshire’ sounded and looked superb. Great work from all.  Lisamarie Wilmot had a relatively quiet night as stage manager, with little in the way of set pieces being brought onto and off the stage. Of course, there's an awful lot more to stage management than what we see on the stage and I'm sure that she had her hands full backstage, marshalling furniture, carts, and suchlike. Pieces like the flower cart and the maypole were moved by cast and transitions were generally smooth. Crew were in too soon with the hospital couch at the end of ‘Time Passing,’ which created distraction in what should have been a very poignant moment between Mr. and Mrs. Raistrick.   The hired set was a visual treat. The beautifully finished houses of the village of Knapely framed the action perfectly. The stone-walled ramp and upper levels allowed for some interesting staging and all of this tied together with the LED wall graphics which, for the most part, were appropriate and visually pleasing.  ‘Calendar Girls’ is, by its nature, a show steeped in realism. The lighting should be about   supporting the creation of mood and atmosphere, rather than any bells, whistles, or special effects. The heart of the show is in the story and lighting should enhance and support that narrative. This is where this production could have been better, in my opinion. Many lighting cues were abrupt and jarring, with quick snaps in transitions, rather than fades into and out of cues. There was over reliance on moving lights and effects which were not appropriate for this style of theatrical presentation, in my opinion. All of that said, there were some clever choices. Isolating Celia, Ruth, Jessie, and Cora as they ‘thought out loud’ during ‘Mrs.   Conventional’ was such a clever, creative touch which isn't called for in the script and which added greatly to the theatricality of the number.   After a shaky start, sound improved greatly. The band was very loud in ‘Yorkshire’ with   vocals and underscored dialogue inaudible. The kick drum was unnecessarily high in the mix. However, things did settle and generally the operation was very solid. There was very good balance between pit and stage and a good balance within the vocal harmonies also. I liked the prerecorded tannoy announcements at the fete which were excellent. EQ levels were well set, giving us full and warm dialogue throughout.  There were some stunning graphics throughout the show, with well-chosen, still images and animated sequences adding so much to the depth of the set and its overall aesthetic.   The  moving field of sunflowers as ‘Sunflower’ built was very effective. However, there was a glitch on stage right of the LED wall, giving rise to intermittent flashes which were very distracting.  Props were very well chosen from the flowers for Rod's flower shop, the projector in the W.I., the wonderful array of cakes and containers for the spring fete, the Christmas tree, and   decorations for ‘Who Wants a Silent Night?’ The W.I.   cartwheel and many other authentic looking pieces. John's use of a portable drip, complete with stand, was an inspired choice which really added to visual and the narrative of the piece. Overall, props were very well chosen and appropriate to the era.   There was great work too in the costume department. The Christmas costumes and accessories worked very well in ‘Who Wants a Silent Night?’   Cora’s collection of t-shirts was   a delight. Celia's over-the-top outfits, Jessie's conservative attire and all of the costuming, reflected the personalities of the principal characters. The colour palette at the end of the show with its yellows, oranges, blacks, and greens, tying in with the sunflower theme, was simply inspired. Bravo.   Hair and makeup was generally well looked after. John's wig at the top of the show worked well. However, I did think that Jessie's wig did not look overly natural and needed some attention.   Calendar Girls the Musical is a delightful show with much comedy and sadness which hits every audience member in a different way. It is about life, death, love, loss and, above all, the importance of community. For anyone lucky enough to be involved in a production, it is a truly special show and I'm sure that this was no different for the cast and crew of North East Musical and Dramatic Society. I must commend the ladies of the W.I. for their incredible bravery in doing something that I'm sure they never thought they would do on stage. W hat an empowering experience this must have been for you all and I hope it lives long in your memories and hearts.   Well done to all.  Pat McElwain   Gilbert Adjudicator 2024/2025

The Sound of Music as presented by St. Patrick's Choral Society

St. Patrick’s Choral Society  The Sound of Music  Friday 28th March 2025  Set in Austria before the onset of World War II, ‘The Sound of...

St. Patrick’s Choral Society  The Sound of Music  Friday 28th March 2025  Set in Austria before the onset of World War II, ‘The Sound of Music’ is a classic musical with an enduring charm and uplifting score that transports many of us back to childhood Christmases, watching TV with family whilst tucking into turkey sandwiches. It has everything a good musical should have; romance, comedy and plenty of tension. And, of course, every good musical needs a chorus of singing nuns. Only, in the St. Patrick's Choral Society version, it was a case of all singing, all set changing nuns.   The Great Hall in Downpatrick is a fabulous, historical venue with stunning acoustics and impressive interior architecture. As I waited to be shown to my seat, I took the opportunity to admire some beautiful artwork, with a theme of ‘My Favourite Things’, which had been created by local primary school children. A lovely way to involve the youth of the community.   Gary Warnock returned to the director’s chair in Downpatrick after an eight-year sabbatical. There was wonderful ensemble business in a superbly put together opening sequence during the beautifully played overture, as Mr. Warnock created some clever and beautifully evocative pictures. Ensemble business was always very meaningful. There was great use of the two playing levels, which incorporated both the stage and the auditorium floor. Mr. Warnock did exceptional work with the very talented children of this cast, from their militaristic marching, which was perfectly in sync, to their exceptionally good characterisations. He ensured that the show was very slick with superbly fluid transitions from scene to scene. I did feel that more attention needed to be given to some characterisations and that more focus on the nuances of the script were required. I also felt that much more could have been done to develop the romantic tension between Maria and Captain Von Trapp. ‘So Long, Farewell’ was nicely staged with the children waving down to the guests on the auditorium floor from the main stage. Overall, a good solid job from Mr. Warnock, especially in his work with a very talented group of children.   MD Wilson Shields presided over a nine-piece orchestra, conducting from his keyboard with great aplomb. Unusually for this style of show, the orchestra was visible on stage, but it really worked. The exceptional musicians guided us through a treasure trove of Richard Rodgers' classic musical numbers. There was a most gorgeous, perfectly balanced sound during the overture. Choral work was exceptionally good, from the nuns' wonderfully tight harmonies in ‘Preledium’, to the superb chorus sound of ‘The Lonely Goatherd’. There was great choral singing throughout, in spite of the limited opportunities the score provides for the ensemble to shine musically. Principal singing was very secure and there was wonderful balance in duets and trios. A superb job overall by the very talented Mr. Shields. Alex MacFarlane, choreographer, did superb work with the children in this show. ‘Do Re-Mi’ was wonderful in its dynamic movement, which was fun and reflected the childlike innocence of the performers. ‘Sixteen Going on Seventeen’ featured Liesl and Rolf. Both were clearly excellent dancers. However, I felt that the number was over-choreographed. We should never come away from ‘The Sound of Music’ marveling at Rolf's dancing. I felt that it was too over-the-top and needed to be toned down to reflect Rolf's character. ‘My Favourite Things’ was another great number, performed so well by the children and I loved ‘The Lonely Goatherd’, with children as puppets, and the superb use of both performance space levels.   Sara Kelly did very well in the iconic role of postulant-turned-governess, Maria. Overall, this was a very charming portrayal. Ms. Kelly was a lovely actress with a light comic touch necessary for the role. She had a fabulous rapport with the children and all of their numbers radiated joy and positivity. Ms. Kelly's scene with the Mother Abbess when she returned to the Abbey, was excellent; really well performed with just the right amount of vulnerability. Ms. Kelly’s crystal clear soprano voice was a joy throughout, especially when she let loose with her yodelling in ‘The Lonely Goatherd’ Overall, a really strong portrayal.   Brian McElroy played the role of Captain Von Trapp. Mr. McElroy had commanding physical presence on stage. I did detect some nervousness and hesitancy on the night that I attended. At times, I felt that more thought needed to go into dialogue. The relationship between Captain Von Trapp and Maria needed more consideration. We should see the ‘defrosting’ of the Captain as Maria's spell takes hold. It is a journey central to the story, not just a moment. Mr. McElroy sang well in ‘Edelweiss’, showing his rich baritone very nicely in his strongest moment of the night.   Jess Sloan was a wonderful Liesl. Ms. Sloan was a very strong actress, capturing the conflict between her inner child and her yearning to be an adult. She played the blossoming teenage romance with Rolf very well and sang beautifully in ‘Sixteen Going on Seventeen’. Ms. Sloan was also a strong dancer throughout, completing her triple threat in a very rounded performance.   Jake Bennett played the role of Rolf. He too had strong presence but I felt that he needed to consider his lines more and think more about the subtext. ‘Sixteen Going on Seventeen’ showcased Mr. Bennett's lovely voice but his performance did need to be reined in a little bit, as I felt it was overly theatrical for the character. His final moment, in which he went against his political loyalties to allow the Von Trapps to escape, was very nicely played, giving us an insight into his inner struggle.   Laoise Carney was a firm, but warm Mother Abbess. She was a superb character, very strong, and brought great gravitas to the role. Her scene with Maria when she returned from the Von Trapps was a heartfelt highlight of the show. Ms. Carney had a very impressive voice with a wonderful upper register. ‘Climb Ev’ry Mountain’ was a moving rendition, showcasing her wonderful vocal quality. A wonderful, well rounded performance.   Sisters Berthe, Margaretta, and Sophia were played by Marissa McKittrick, Bronagh Reid, and Charlotte Warnock. This was a wonderful trio that produced an excellent sound in ‘Maria’ along with the Mother Abbess. I loved their quirky, energetic characterisations and their exasperation at Maria’s antics.   Mel Carney was a very demonstrative Max. I felt that Mr. Carney needed more guidance in relation to cueing and pace, as scenes tended to drag somewhat at times. His accent wasn't always secure but he did sing very well, though, in ‘How Can Love Survive?’   Charlotte Warnock was a standout performer in the role of the scheming Baroness Elsa Schrader, Maria's love rival. Miss Warnock was a highly intelligent actress who brought nuance and layers to the role. Subtext and thought process were clearly evident at all times. She had a glorious soprano voice in ‘How Can Love Survive?’ There was a wonderful sophistication in her portrayal, contrasting greatly with Maria. I loved how she was always in character, always thinking, even when she wasn't the direct focus of the audience's attention.  Donal Carney was a very strong Herr Zeller, playing the villainous nazi to perfection. His scene, as he ordered the nazi flag to be flown, was suitably tense, thanks to his intimidating portrayal.   Marie-Therese Ross captured the wry comedy of housekeeper Frau Schmidt. She will have gained great confidence from playing this role, and I look forward to seeing her in more roles in the future.   Alex Simpson, double jobbing as stage manager, played a very impressive Admiral Von Schneider with an excellent accent.   Of course, many of the show’s highlights involved the well-drilled, enchanting and mischievous Von Trapp children, all with their own unique personalities. Gretl was played by Caitlin Warnock; cute as a button. Skye Gracey was a feisty Brigitta. There was excellent work too from Jonah Kelly as Kurt and Alex Johnston as Friedrich. Eva Denver was a quiet Marta and Maya Kelly played the mischievous Louisa. The children were excellent in ‘Do-Re-Mi’, a super routine with sharp, precise moves, which was very well rehearsed. They were equally good in ‘My Favourite Things’ and ‘So Long, Farewell’ was another memorable highlight. It doesn’t seem right to single anyone out from this talented group of children but I was particularly impressed by the intelligent acting of Skye Gracey, a real star turn and a young lady to look out for in the future.   There was good support too from Aaron McElroy as the butler Franz, Tim Currie (not that one!) as Baron Elberfeld, and Amelia McKeown as Ursula.  There was a very strong and committed ensemble. Their movement and business was always meaningful, from the excellent opening sequence during the overture, which was a visual delight, to the wonderful group of nuns in the Abbey. There were lovely cameos from ensemble members also and I particularly liked the second and third prize recipients at the concert who brought a great sense of fun to proceedings, with some much needed levity amidst the tension of the moment.  Not content with just playing the Admiral, Alex Simpson was equally successful as stage manager. He utilised cast very cleverly to carry out most scene changes and this worked very well, with nuns moving the large pillars and servants setting and striking furniture and set pieces. This was a very slickly managed crew. The Austrian flag unfurling from above was a very nice touch and its perfectly timed drop as Maria exited was very impressive. There was a super transition into the concert as the swastika banner was unfurled. There was a very dramatic touch as these dropped at the end, perfectly timed, but it might have been nice to clear them in blackout rather than rush into the bows.  The set was not overly elaborate. It was visually appealing and suited the space very well. It utilised both stage and auditorium floor in a very clever way to ensure slick changes. The four towering marble pillars, which moved around to create different locations, worked very well. The on-stage band was enclosed upstage by white trellis fencing. The maypole in the pre-set was a nice touch. There was a lovely finish to the floor thanks to some excellent scenic artistry. The steps down to the floor of the auditorium cleverly folded down to become Maria's bed. Excellently chosen projection images combined with all of these physical elements, adding great depth in what was a most aesthetically pleasing design overall.   Lighting was simple but effective. In the absence of a front lighting bar, I was surprised at how well things worked overall, even though there was nothing overly elaborate in the lighting plot. Both the design and operation ensured good atmosphere throughout. One small detail was that one lamp spilled onto the proscenium on stage right and just needed to be focused better. A relatively small point.   Sound was excellent throughout. There was superb balance in the orchestra and an equally good balance between pit and stage. There was exceptional clarity to dialogue with every word heard. There was wonderful work too with sound effects which added layers of realism. Church bells, thunder and lightning all added greatly to the authenticity. I did think that crowd applause/murmuring sound effects could have really enhanced the concert scene.  Props were generally well chosen with good attention to detail. There were great props in the opening sequence during the overture. The chair with wheels in the Abbey allowed for great fun with Maria as the nuns dragged her across the stage. I did think that Maria's suitcase was terribly small until it struck me that, of course, she would only have had meagre possessions as she headed off to the Von Trapp’s. Rolf's bike looked of the era, as did the parasols. And of course, we had the obligatory brown paper packages tied up with string. Gretl's teddy was a cute little touch too.  Costumes were very well chosen. I loved the kids' navy uniforms and their clothes fashioned from curtains were a delight. There was excellent finery amongst the dinner guests with gentlemen in their tails and the ladies were very well turned out in their formal wear. I did feel however that they could have done with more accessories, necklaces, bling etc. Maria's wedding dress was lovely, and I loved the authentically traditional look for ‘The Lonely Goatherd’. All of the nuns' habits went to the floor except for two brazen ‘hussies’ who had theirs suggestively hitched up above their ankles! Also, Frau Schmidt should really have changed out of her maid's uniform to go to the Abbey for the wedding ceremony. The least she could do for her employer.  Hair and makeup were strong across the board with nothing looking out of place. A good job from all involved.   This was a very entertaining and nostalgic trip down memory lane for many in the audience. There's something very comforting about the familiarity of such a classic musical. It was familiar and yet there were many new touches and a modern feel with the integration of technology through thoughtfully chosen, projected images which gave this iconic show a refreshing lift. Well done to all in St. Patrick’s Choral Society on what was a very entertaining production featuring a wealth of local talent, young and not-so-young. A credit to you all.   Pat McElwain   Gilbert Adjudicator 2024/2025

9 to 5 as presented by Queen's Musical Theatre Society

Society name: Queen’s Musical Theatre Society Show name: 9 to 5 Adjudicator date of attendance: 01/03/2025 Brief Overview of Show and...

Society name: Queen’s Musical Theatre Society Show name: 9 to 5 Adjudicator date of attendance: 01/03/2025 Brief Overview of Show and Evaluation of Front of House Queen’s University Belfast’s production of 9 to 5  offered an energetic, feel-good evening of theatre. This vibrant musical, set in a 1970s office, celebrates friendship, resilience, and female empowerment. The production leaned confidently into these themes, supported by a dedicated cast and creative team. Front of House was friendly and professional. The welcome was warm, signage was clear, and there was an excited buzz from the audience before the show. These small but significant details created an encouraging and enjoyable atmosphere, setting the tone for the evening. Director-  Direction and Production Charlie McCready showed strong potential as a developing director. The show had a coherent flow, and the overall tone remained consistent throughout. Scene transitions were well-paced, and the company demonstrated a good understanding of the show’s style and comedic beats. Some moments in the staging would have benefitted from more careful blocking. Group scenes in particular occasionally lacked visual clarity or natural movement. Collaborating more closely with lighting and choreography teams could help strengthen these moments, ensuring that physical staging supports the action effectively. Charlie laid a solid foundation for character development, especially among the three leads. Encouraging actors to explore emotional nuance and character arcs more deeply will help future productions achieve greater subtlety and impact. Musical Director-  Direction and Orchestra Wyatt Brower’s musical direction was a highlight. Vocal harmonies were confident, diction was clear, and the ensemble singing felt polished. The choice to perform to tracks rather than a live band was handled with care, and the cast stayed impressively in sync with the music. Wyatt brought emotional depth to solos, supporting each performer to find their own musical style while ensuring overall cohesion. The musical dynamic throughout was strong, and the balance between vocals and track was well managed for most of the show. Choreographer - Choreography Russell Unsworth approached this project with enthusiasm and creativity. The choreography reflected a strong understanding of the story and music, and Russell did well to bring variation to each number. The cowboy sequence was a particular standout – lively, engaging, and well-executed by the cast. There were, however, moments where choreography didn’t quite align with performers’ strengths. Tailoring movement to suit cast members’ abilities will help achieve more consistent results. More use of angled formations, varied levels, and stage spacing could also elevate the visual storytelling. A bolder approach to scenes like the nightclub sequence, for instance, could better reflect the mood and era. Leading Principals – Singing and Acting Violet - Clio Byard.  Clio delivered a controlled and layered performance. Her quiet confidence grew steadily, and her vocal work was consistently strong. The emotional restraint in her portrayal was effective, though a touch more assertiveness early on could help underscore Violet’s journey. Judy - Anna Neeson.  Anna brought bright energy and warmth to Judy, with lovely comedic timing and vocal clarity. Her solo number was especially well-delivered, showcasing both vocal range and emotional growth. Her natural chemistry with the other leads added greatly to the trio’s dynamic. Doralee - Megan Byrne.  Megan’s portrayal of Doralee was confident and charming. Her accent was consistent, and her vocal power carried easily. Her physical presence, energy, and sincerity made her performance a standout. She captured Doralee’s strength and vulnerability with authenticity. Franklin Hart - Adam English.  Adam leaned convincingly into Hart’s smarmy, villainous persona. He was enjoyable to watch and played well to the audience’s reactions. With more risk-taking – particularly in physicality and comedic timing – the performance could become even more memorable. Roz - Serena Smart.  Serena gave a bold and committed performance. Her vocal strength was striking, and she clearly understood Roz’s comic potential. A touch more emotional nuance could bring out the character’s inner turmoil and heighten her scenes. Technical mic issues slightly impacted her big number, but her strong voice still carried it through. Supporting Roles – Singing and Acting Kathy, Margaret, Maria - Amber Monaghan, Emily Lavery, Catherine Pollen. Amber, Emily, and Catherine created a well-balanced trio in the office ensemble. Their interactions were lively and distinct yet blended seamlessly into the show’s overall rhythm. Each had a clear character identity and complemented the leads effectively. Josh - Ethan McCarron . Ethan brought just the right amount of teenage sulk to his performance. It’s a smaller role, but he made a memorable impression and handled the role’s comedic beats well. Dwayne - Jackson Allen . Jackson gave a gentle, heartfelt performance. His chemistry with Megan’s Doralee felt genuine and tender – a lovely grounding element in a show full of larger-than-life personalities. Joe  - Callum Tickner.  Callum portrayed Joe with charm and sensitivity. His interactions with Violet sometimes felt slightly stilted, but this may have been a character choice. A little more ease and warmth could help the romantic subplot feel more natural. Bob - Alan Goleac.  Alan fulfilled his role adequately. He hit the character notes required but might benefit from exploring more physical or vocal quirks to make the character more distinct. Dick - Noah Glenn.  Noah was an ideal fit for the role of Dick – full of swagger and appropriately punchable. His work as part of the ensemble was equally strong, demonstrating commitment and clarity in every scene. Russell Tinsworthy - Corey Cowan.  Corey brought an imposing presence to the role, though his moment of realisation regarding Franklin Hart didn’t quite land emotionally. A greater shift in energy or tone in this final scene would help the audience feel that change more clearly. Missy - Hannah Ferguson.  Hannah was wonderfully characterised. She struck just the right note of cluelessness, creating a character that was both entertaining and believable. Her vocal and physical choices worked beautifully. Chorus and Ensemble – Singing, Acting and Choreography The ensemble maintained strong vocal energy and tight harmonies. Each group number was carried with enthusiasm and musical clarity, adding much to the production’s momentum. Vocally, the ensemble work was one of the show's greatest strengths. There was a noticeable variance in dance ability, but all performers remained committed and engaged. Continued focus on facial expression and emotional connection will further lift ensemble scenes. In musical theatre, storytelling doesn’t stop when you’re not in the spotlight – using the face and body to react in character helps build a more convincing stage picture. Stage Management and Set Design The set was simple but functional. The desks were used smartly in different configurations to help indicate shifts in location. The overall visual impact of the set could be improved with more attention to finish. Masking visible joints and adding subtle paint detailing would help elevate the look from functional to polished. Repeated use of the same couch in various scenes could be improved with small additions, such as throws or cushions, to signify different settings. Scene transitions were mostly well-paced, though a few moments could benefit from more coordination between cast and crew, especially with timed music tracks. Reducing movement visible in the wings would also help preserve the stage illusion. Technical – Lighting and Sound The lighting rig available had great potential, but it wasn’t used to its fullest. Some cast were left in partial or full darkness due to patchy front-of-house focus. Ensuring performers are trained to find their light, and refining cue timing, would significantly improve visibility and impact. Colour usage was minimal, and opportunities for lighting effects – such as gobos or texture in fantasy or dream sequences – were missed. Programming could also be refined to prevent homing issues with moving lights that momentarily lit the audience instead of the stage. Sound was generally well-managed, with good balance between tracks and vocals. A few mic placement issues were evident, particularly in Roz’s solo. While her vocal strength helped overcome this, better positioning would have improved clarity. Working with performers on mic awareness and projection, particularly when using pre-recorded tracks, will strengthen consistency. Visual – Costumes, Hair and Make-Up Costumes were in keeping with the 1970s setting and colour palette. The overall look was coherent, though attention to smaller details – such as ironing and fit – would enhance visual polish. In group scenes, consistency in modesty garments (particularly under red nightclub costumes) is key to maintaining a clean line. Violet’s costume changes could be streamlined to reduce backstage pressure and keep the visual storytelling smooth. Double-costuming or simplifying the wardrobe may help here. Hair and makeup were serviceable but underwhelming for the era. Bolder eye makeup, more defined lips, and neater styling would better reflect 70s fashion and help characters stand out more distinctly. Some hairstyles felt rushed, slightly diminishing the otherwise well-considered visual aesthetic. Adjudicator’s Overall Comments and Suggestions for Future Productions This production of 9 to 5  had real heart. It was full of energy, commitment, and spirit, with clear enjoyment from cast and audience alike. The show’s empowering message was strongly conveyed, and the cast brought a warm and joyful energy to the material. The trio of leading ladies were particularly well cast, forming a believable and engaging central unit. Supporting roles and ensemble brought solid vocal work and enthusiasm, while the musical direction provided a strong foundation for the performance. For future productions, refining the technical and visual elements – especially lighting, costume details, and coordinated staging – will help elevate the production to the next level. Deeper exploration of character dynamics and choreography tailored to cast strengths would also benefit the overall cohesion. Charlie, Wyatt, Russell, and the entire company should be proud of their work. This was a confident step forward and a heartening example of what student theatre can achieve with dedication and care. With continued growth and attention to detail, their next productions are sure to shine even brighter. Photos are by Catherine Comer Photography

Charlie & The Chocolate Factory as presented by Ballywillan Drama Group

Society name: Ballywillan Drama Group Show name:  Charlie and the Chocolate Factory Adjudicator date of attendance: 25/01/2025 Brief...

Society name: Ballywillan Drama Group Show name:  Charlie and the Chocolate Factory Adjudicator date of attendance: 25/01/2025 Brief overview  of show and evaluation of Front of House Ballywillan Drama Group presented a warm and welcoming production of Charlie and the Chocolate Factory . While the script itself presents inherent challenges, the cast and crew worked hard to bring the story to life with enthusiasm and creativity. From the moment we arrived, the front-of-house team provided an inviting and engaging experience. The chocolate bars were a charming touch, adding to the excitement of the production. The foyer displays were beautifully curated, with a selection of high-quality production photographs on screen, setting the tone for a well-organized and visually appealing event. The venue itself is an excellent space for theatre, with clear sightlines ensuring an enjoyable viewing experience from any seat in the house. Director -  Direction and Production Director Brian Logan demonstrated a strong understanding of stagecraft, ensuring a steady and engaging pace throughout the production. The transitions between scenes were smooth, and the use of additional entrances added an extra dynamic element to the staging. There was a clear effort in character development, with some standout performances from the principal cast. However, there were moments where deeper exploration of characters could have been beneficial. Willy Wonka, in particular, needed a more defined balance between charm and eccentricity to fully capture the essence of the character. Additionally, finer details such as Mrs. Bucket’s busy work and the body double for Violet could have been executed more seamlessly to enhance believability. Overall, the direction was cohesive, demonstrating a thoughtful approach to storytelling, and the use of accents and character voicing was well handled. Attention to some finer details would elevate future productions to an even higher standard. Musical Director-  Direction and Orchestra Under the skilled leadership of Musical Director Andrew Robinson, the band delivered a tight and well-balanced performance. Conducting from the subterranean pit was managed effectively, allowing for strong communication with the cast via TV screens. The harmonies from the chorus were well-rehearsed, contributing to a full and vibrant sound. The orchestration complemented the vocal performances without overpowering them, and the overall balance of music and dialogue was well considered. This strong foundation in musical direction provided great support for the vocalists and contributed to the overall cohesion of the production. Choreographer - Choreography Choreographers Sharon Logan and Laura Fisher brought some very clever ideas to the production, with several moments of ingenuity in movement and staging. The opening number had a well-conceived concept, and Queen of Pop  was a standout in terms of energy and precision.That said, while the choreography was creative, there were areas that could have benefited from more refinement and cleaner execution. Some numbers required additional polishing to achieve uniformity, particularly within the ensemble. With sharper movement and greater attention to synchronization, the choreography could truly shine. Leading Principals – Singing and Acting Willy Wonka – Alan McClarty Alan is clearly a confident and comfortable performer on stage, but his portrayal of Wonka felt somewhat understated. While there were moments of charm, the character lacked the unpredictable eccentricity that defines the role. His vocal ability was pleasant, but it felt as though we didn’t hear the full extent of his range. With more direction in terms of character development and exploration of Wonka’s depth, this performance could have been much more dynamic and engaging. Charlie Bucket – Emma Shirlow Emma was a delight to watch. She radiated energy and enthusiasm, effortlessly commanding the stage and drawing the audience into Charlie’s world. Her vocal ability showed great promise, and she demonstrated excellent characterisation. She interacted beautifully with her fellow performers, bringing a natural warmth to her role. A truly standout performance! Grandpa Joe – Paul Sleet Paul delivered an endearing portrayal of Grandpa Joe, embodying the character’s gentle and fatherly nature. His interactions with Charlie were heartfelt and engaging. There was potential to push further into the mischievous side of Grandpa Joe’s personality, which would have added an extra dimension to his performance. Vocally, he was steady, though a little more projection would have enhanced his numbers. Violet Beauregarde – Chloe Freeman-Wallace Chloe brought great energy to the role, fully embracing Violet’s self-absorbed and vain personality. Her solo number was a highlight, showcasing both vocal ability and strong characterisation. A confident and committed performance. Augustus Gloop – Patrick Connor Patrick delivered a thoroughly entertaining performance, capturing the humor and playfulness of Augustus. His facial expressions were excellent, and he remained in character throughout. His comic timing was strong, making his portrayal one of the more memorable ones. Veruca Salt – Sarah McIlhagga Sarah was the epitome of a spoiled, petulant child. She carried herself with the arrogance and entitlement needed for Veruca, and her attempt at ballet was a well-executed comedic touch. Her accent and facial expressions added depth to her character, making for a well-rounded performance. Mike Teevee – Steven Millar Steven delivered a high-energy portrayal of Mike Teevee. However, at times, the performance felt a little too manic, making it difficult to understand his dialogue. A more controlled approach would have allowed the character’s essence to come through more clearly. Supporting Roles – Singing and Acting Mrs. Gloop - Charisse McDowell.  A fantastic sidekick to Augustus, with a super accent that remained consistent throughout. Clearly a doting mother that has gone too far.  Mr. Salt - Steve Setterfield.  Played the doting father well, with a strong, unfaltering accent. Very believable as the scary oligarch that is beholden to the whims of his daughter. Mr. Beauregarde - Adam Goudy.  Perfectly irritating as a flashy social media dad, a performance that was enjoyable in its deliberate unlikability. He captured the wheeler-dealer geezer very well Mrs. Teevee - Laura Fisher  Laura needed more guidance in this role. The comic timing was missed making the role more uncomfortable. Her dialogue was difficult to understand at times. I feel she would do better in a different sort of role. Mrs. Bucket - Clare Campbell.  A motherly performance. Stern but never strict. Occasionally felt unsure of how to use her hands on stage, and the ‘busy work’ needed more fluidity to feel natural. Chorus/Ensemble- Singing, Acting and Choreography The ensemble brought good energy to the production, though there was some inconsistency in movement ability. With more precise execution and refined choreography, they could have presented a more cohesive unit. Vocally, they delivered well, though some moments lacked focus, particularly in the Oompa Loompa numbers. Stage Management & Set Design The production was generally well managed, with scene transitions handled efficiently. Tidying up elements such as the curtains hiding set pieces in the wings would have contributed to a more polished aesthetic. The set design was visually appealing, with well-executed printed flats and an effective use of a video wall, which maintained a cohesive color palette. The Bucket House was convincingly dilapidated. Some factory pieces, while conceptually strong, didn’t have the same polished finish, which made them stand out in contrast to the rest of the set. Technical- Light and Sound Lighting design had some beautifully executed moments, though there were a few issues with cue timing, particularly during the Invisible Corridor scene. Better synchronization between lighting and sound cues would have improved the overall effect. Sound was mostly well-balanced, and the mix from the underground pit was well handled. Some dialogue was difficult to hear at times, but it is unclear if this was a sound issue, or a projection issue. Visual- Costumes, Hair and Make Up Costumes were well chosen, with principals and chorus looking cohesive. The touches of red in The Factory Gates  scene were particularly effective. The Oompa Loompa costumes were an interesting concept but could have been refined further. Makeup was generally well applied, but the Oompa Loompa wigs needed more attention. Several were untidy, with visible performer hair. Tidying these details would greatly enhance the overall visual impact. Adjudicators suggestions/ comments-   overall comments on the production and comments to enhance the standard for future performances. This was an enjoyable and ambitious production with many strong elements that showcased the dedication and enthusiasm of Ballywillan Drama Group. The passion from both cast and crew was evident, and there was a great energy that carried throughout the show. One of the great strengths of this production was its ability to create an engaging theatrical experience that delighted the audience. With continued refinement in choreography, sharper execution in technical aspects, and deeper character development, future performances have the potential to be even more captivating and memorable. I would suggest dance workshops throughout the year. Attention to small technical details, including lighting cue timing and sound balance, would further elevate the professional quality of the performance. Additionally, refining the nuances of character portrayal, particularly with complex roles such as Willy Wonka, would add even greater depth and intrigue to the storytelling. In conclusion, Ballywillan Drama Group should be very proud of this production. Their hard work and commitment to excellence were evident, and with continued focus on detail and performance cohesion, their future productions will no doubt continue to impress and entertain.

Shrek as presented by Letterkenny Music and Drama Group

Society name: Letterkenny Music and Drama Group Show name: Shrek Adjudicator date of attendance: 07/12/2024 Brief Overview of Show and...

Society name: Letterkenny Music and Drama Group Show name: Shrek Adjudicator date of attendance: 07/12/2024 Brief Overview of Show and Front of House Attending Letterkenny Music and Drama Group’s production of Shrek  was a delightful experience that combined humor, charm, and a heartfelt story. The audience was clearly engaged throughout, demonstrating a strong connection with the performances and the overall energy of the production. The Front of House team worked efficiently, creating a welcoming atmosphere that set the tone for the evening. The program and other materials were professionally presented, and the audience flow was well managed.  Director-  Direction and Production The direction of Shrek  by Tina Higgins and Maire McGinley demonstrated a strong vision with many effective elements. The use of space and set pieces was creative, particularly in maximizing the stage’s dimensions to deliver a visually dynamic performance. Moments such as the additional journey in the opening scene, and the extra characters crossing the stage during musical numbers were thoughtful touches that enriched the storytelling. There were areas for improvement. Some blocking choices led to awkward upstaging, which disrupted focus in key moments. The extension and additional entrance DSL were underutilized, missing opportunities to further enhance the spatial dynamics. While the use of body doubles was an inspired choice—especially for transitions involving Fiona—this technique could have been pushed further to create even more seamless and striking moments. Overall, the direction provided a solid foundation for the production, but refining these details would elevate the performance even further. Musical Director-  Direction and Orchestra The orchestra’s performance was one of the highlights of the evening. The band delivered a fantastic sound that was well-balanced across the instruments, creating a rich and vibrant musical backdrop under the capable baton of Denise Roper. The electronic tone of the score lent an 80s-inspired charm, which worked well for the whimsical nature of the show. That said, there were notable issues. The villagers at the beginning were inaudible due to a lack of microphones, which impacted the clarity of the opening scene. Additionally, the chorus occasionally faltered with harmonies, particularly in the soprano and alto lines. The inconsistency in harmony was most surprising among the mic’ed performers, which may indicate areas where further vocal coaching could enhance precision and balance. Choreographer - Choreography Choreographically, the show had moments of energy and creativity but lacked overall precision from Tina Higgins and Maire McGinley. The tap sequence in “Morning Person” was a standout, showcasing a high level of skill and coordination. However, other numbers, such as the Duloc sequences, suffered from untidy execution. Given the rigid synchronicity required for these scenes, the lack of uniformity detracted from their comedic impact. The Soldiers numbers also reflected varying levels of ability within the cast. While this diversity is a natural part of amateur productions, simplifying the choreography to lean into performers’ strengths would have been more effective. With additional drilling and polishing, the overall execution could reach the desired level of sharpness and professionalism. Leading Principles-  Singing and Acting Shrek (Ricky Kyle) -  Ricky delivered a commendable performance as Shrek. His voice had a lovely quality, although there were occasional moments of pitchiness. His characterisation was strong, and his stage presence commanded attention. Due to the prosthetics covering most of his face, facial expressions were limited. To overcome this, Ricky could have leaned more into vocal variation and physicality to convey emotions more vividly. Nevertheless, his portrayal was engaging, and his journey felt believable. Fiona (Ella Terry-Sweeney) -  Ella shone as Fiona. Her stunning voice was a highlight, with an impressive ability to balance the character’s dual nature as a sweet princess and a spirited, quirky individual. She was confident in her movements and physicality, and her chemistry with Shrek was palpable. Her distaste for Lord Farquaad was particularly well-executed, adding depth to her performance. Donkey (Conor White) - Conor brought humor and energy to the role of Donkey. His comedic timing was excellent, and his consistent accent added to the authenticity of his performance. While his “off-script” moments were entertaining, he could have pushed the comedy even further to make Donkey’s larger-than-life personality truly unforgettable. Vocally, he was strong and smooth, and his physicality perfectly embodied the character. Dragon (Rachel Akkoc) - Rachel impressed with her stage presence and powerful belt voice. Her head voice had a lovely tonal quality, though there was a noticeable weakness in the transition between the two registers. Her movement on stage was confident and fluid, but her chemistry with Donkey felt underdeveloped. Enhancing this relationship would strengthen her performance. Lord Farquaad (Shane Gallagher) - Shane Gallagher’s portrayal of Lord Farquaad was amusing but lacked consistency. While the exaggerated approach suited the character to an extent, it occasionally felt overdone. His singing voice was pleasant, but his physicality on his knees appeared awkward, which affected the overall believability of the performance. Greater comfort and confidence in this aspect would make his portrayal more impactful. Supporting Roles:  Singing and Acting Pinocchio (MJ McFadden) -  MJ brought humor to Pinocchio, with a good voice that unfortunately lost clarity due to the altered vocal tone. Slowing down dialogue when using such a high register would improve comprehension. Singing in this register is challenging, and while MJ’s efforts were commendable, more vocal support could enhance delivery. Gingy/Ugly Duckling (Aoife Flanagan) -  Aoife managed to differentiate between the two characters effectively. Her energy as Ugly Duckling was infectious, though her vocal performance was not as strong. This role, however, benefited from her enthusiasm and commitment. Big Bad Wolf (Craig Peoples) -  Craig struggled with audibility and clarity, which hindered the impact of his performance. Stronger projection and diction would greatly improve this role. Wicked Witch (Brighidin Carr) - Brighidin Carr delivered a standout performance with strong characterisation and a great sense of fun. Her energy brought the Wicked Witch to life, making her a memorable presence on stage. Pied Piper / Teen Fiona (Grace Gavigan):  Grace Gavigan delivered a lovely performance as Teen Fiona, showcasing a good voice and strong characterisation. She effectively captured the charm of the younger Fiona. As Pied Piper, her portrayal could have embraced more quirkiness to fully highlight the comedic potential of the role. Thelonius (Luka Pecar):  Luka Pecar provided some funny moments as Thelonius, though these could have been pushed further for greater comedic effect. Overall, the performance was fairly understated, and embracing more exaggerated physical comedy could make the character more memorable. The Three Bears played by Jenny Yourell (Mama), Jamie Kelly (Papa), Belle Terry-Sweeney (Baby), created a lovely family unit, with good energy.  The Three Blind Mice played by Jessica McDaid, Orla Nelis, and Veronica Haughey, created a strong back up for “Make a Move”. Some further fun could have been added to their choreography to add to their characterisation. Other supporting characters, such as Sugar Plum Fairy (Laura Gleeson), White Rabbit (Aida Gornes), Elf (Zuzanna Rotusta), Dwarf (Orla Nelis), Fairy Godmother (Audrey Coyle), Peter Pan (Johnny Campbell) were competently performed and a great addition to the ensemble but lacked standout moments. Adding more specific character quirks or comedic elements would make these roles more impactful. Chorus/Ensemble- Singing, Acting and Choreography The chorus and ensemble were enthusiastic and energetic, which translated well to the audience. However, their performances varied significantly in precision and execution. Some cast members demonstrated excellent movement skills, while others appeared less confident. Additional rehearsal focused on finessing choreography and unifying energy levels would help achieve a more polished and cohesive performance. Vocally they created a good sound overall, with a few odd sounding harmonies coming through at times.  Stage Management and Set Design The set design was a highlight, with creative choices that supported the storybook theme. Printed flats for the wings and the use of projections to “turn pages” between scenes were clever and visually appealing. Moving set pieces were well-designed, and the decision to have cast members handle them added to the charm. However, the style of scene changes felt inconsistent. It would be more effective to choose either blackouts or visible changes rather than blending the two approaches. Ensuring changes are fully complete before lights come up would enhance the overall flow. Technical- Light and Sound The lighting design was functional but underutilized given the size of the rig. Transformative moments, such as Fiona’s transitions, would have benefited from more dramatic effects like gobo rotations or strobe lighting to heighten the impact. Sound design faced challenges, including excessive reverb on dialogue and several missed cues, particularly for one-liners. Mic balance issues affected some songs, and un-mic’ed performers were occasionally lost in the mix. These issues, while not overly disruptive, did detract from the overall polish. Visual- Costumes, Hair and Make Up The costumes, hair, and makeup were mostly strong, particularly for the principals. Shrek’s prosthetics were professional and impressive, while the Dragon’s design was striking and effective. However, some elements—such as Donkey’s makeup—felt overly stark, resulting in a loss of facial expression. More shading would improve this. The Duloc costumes appeared ill-fitting, which detracted from the precision of these scenes. Additionally, minor characters such as the deer and others crossing the background were not fully costumed, which disrupted the cohesive visual design. Attention to these details would further elevate the production’s overall aesthetic. Adjudicators suggestions/ comments- Direction : Address blocking issues to reduce upstaging and make full use of the stage, particularly the DSL extension and additional entrances. Push creative ideas, such as body doubles, even further to enhance magical moments. Music : Address balance issues in harmonies and ensure all performers’ vocals are audible through appropriate mic coverage. Choreography : Simplify numbers to match cast strengths and focus on precision through additional drilling and rehearsals. Acting : Encourage performers to explore character depth and physicality, especially for roles constrained by costumes or makeup. Technical Elements : Expand lighting creativity and refine sound design for better clarity and balance. Visual Design : Ensure costume fit and consistency for all characters, including minor ones, to maintain a cohesive look. In conclusion, Letterkenny Music and Drama Group’s Shrek  was an enjoyable and ambitious production. While there were areas for improvement, the effort and enthusiasm of the cast and crew were evident. With attention to detail and refinement in the highlighted areas, future performances will undoubtedly reach even greater heights.

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