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11 Oct 2025

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10 Sept 2025

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15 Feb 2026

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23 Oct 2025

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LATEST NEWS

Sister Act as presented by Banbridge MS

Banbridge MS  Sister Act  Saturday 12 th April 2025  Another trip up the M1, this time to see Banbridge Musical Society's production of...

Banbridge MS  Sister Act  Saturday 12 th April 2025  Another trip up the M1, this time to see Banbridge Musical Society's production of the fabulous ‘Sister Act’. ‘Sister Act’ is one of those feelgood musicals that I never tire of seeing. It has pretty much everything. A complicated love story, tension, and intrigue, lots of comedy and cracking tunes and dance numbers galore that never fail to lift the spirits and bring a smile to the face. Banbridge's production delighted its capacity audience, in spite of a significant technical issue which threatened to derail proceedings in Act 2. By some divine intervention though, all was resolved after a break and we left raising our voices and singing all the way across the border.  The Marketplace Theatre in Armagh is a stunning venue with three audience levels and a wonderfully unique ambience. I was delighted with the warm welcome in the very comfortable surroundings of the theatre's foyer. Everything appeared well organised and front of house personnel were in great spirits, setting a very positive tone for the afternoon's entertainment.  Director Jordan Walsh-Rhodes had a good eye for comedy, generally. However, some elements of the performance style bordered on being ‘pantomime-esque,’ and at odds with the comedic style of the show. Pace was generally good and there was good use made of the playing space. There were some curious choices throughout. Curtis sang ‘When I Find My Baby’ to the audience, breaking the fourth wall as if singing in a concert. Eddie played his role in a very over-the-top manner, pushing the humour to extremes at times and playing for laughs. The point of Eddie's ‘I Could Be That Guy’ is that he goes from a mundane, humdrum existence to being something that he clearly is not and then reverts back to normal again after his ‘dream.’ But on this occasion, Eddie was left in his vest and boxer shorts, which I felt fell short of the intended message of the song.  Brian Greene did an excellent job as musical director. His wonderful orchestra showed exceptional musicianship. There was an excellent orchestral sound throughout the show. Choral singing was generally very good, particularly amongst the nuns’ ensemble. However, things were not as secure during the ‘Lady in the Long Black Dress,’ in which the three gangsters struggled with the upper register quite a bit. Principal singing was quite strong, particularly Deloris whose powerhouse vocals really impressed.  Choreographer Aveen Stewart devised some fun routines which suited, for the most part, the abilities of her cast. In Deloris's ‘Fabulous Baby,’ her two backing dancers were out of sync with one another, which was unfortunate given that it’s one place in the show where precision is required, as they are supposedly professional performers. ‘When I Find My Baby’ was a fun routine and the gentlemen really squeezed a lot of humour out of their performance. ‘Raise Your Voice,’ with its ragtag bunch of nuns, became a little bit of a free-for-all at times but it kind of worked given the context. ‘Sunday Morning Fever’ was a fabulous routine, a real highlight of the show, full of energy and exhilarating movement from all. And the finale number featured unbridled energy and joy in what was a very uplifting end to the show.  Maille Meehan played everyone’s favourite ‘nun on the run,’ Deloris Van Cartier. This was an exuberant, larger-than-life characterisation and yet there was plenty of heart and warmth underneath her sassy exterior. She got so much humour from being out of her comfort zone in Mary Queen of Angels but this humour was nicely balanced with Deloris’s vulnerability. Ms. Meehan's accent was a little inconsistent, I felt. She appeared to have a bit of a Southern drawl at times, which was far removed from downtown Philadelphia. Vocally, Miss Meehan really came into her own in the fabulous ‘Raise Your Voice,’ which was a tour-de-force performance.  Rosemary Kelly was a stern but caring Mother Superior, trying her best to control the whirlwind that was Deloris. Ms. Kelly was a wonderful actress, very clever in her delivery and understanding of the narrative. As stern as she was, this was balanced skilfully with her cutting wit and her many put downs, played with delightful deadpan delivery, were comic highlights. Ms. Kelly had a very expressive, tuneful voice. ‘Here Within These Walls’ was beautifully contemplative.  Laura McGuckin did very well as the shy postulant, Sister Mary Robert. She balanced innocence with courage, and her transformation from being shy and reserved, to her empowering display of newfound confidence in the wonderful ‘The Life I Never Led’ was quite the journey. Ms. McGuckin is to be commended highly for her focus when her microphone failed during ‘The Life I Never Led.’ She never let it affect her performance and her voice carried beautifully when Mr. Greene brought the orchestra level right back.  Aoife Corr was an enthusiastic and exuberant Sister Mary Patrick, oozing optimism, and life. She was bubbly and upbeat, with infectious good humour that brought a smile to our faces every time she set foot on the stage. She was always in character and her “powerful instrument” was incredibly impressive as she belted out top notch vocals.  Jacqueline Mathews was a very funny Sister Mary Lazarus. She was boisterous and full of character in what was a most hilarious portrayal. Lines were a little insecure at times but Ms. Mathews' characterisation was such that we forgave the odd hiccup. Her showcase rapping went down a storm.  David McClelland kept his own Northern accent for the role of Monsignor O'Hara. I felt that Mr McClelland needed more directorial input and support with delivery of dialogue at times. However, he did well and was extremely funny as he bopped along to ‘Take Me to Heaven,’ losing himself in the moment.  Peter Gallagher was a menacing and sinister Curtis. He was a formidable antagonist, bringing great tension to proceedings with his strong presence and great accent. ‘When I Find My Baby’ was well sung but delivered largely to the audience, which was unusual for the style of show. Something else that was quite unusual was his unnatural handling of the gun in the convent, as he swapped hands depending on which way he pointed it.  Ruairí McAlinden played sweaty lawman Eddie Souther, who harbours a secret affection for Deloris. This was a very over-the-top characterisation, largely played for laughs, with a nod and a wink and an over awareness of the audience. I felt that Mr. McAlinden needed to consider his lines more and to trust the book. He was clearly very talented, but the characterisation tended to run away from him at times. He did extremely well in the scene with Deloris in his apartment in Act 2, in which he was calm, sincere, and believable.  Canice McIlvenna, Nathan Hawthorne, and Darryl Galloghly played the trio of gangsters, Pablo, Joey, and TJ. They had great fun throughout and played very well off one another. ‘When I Find My Baby’ had a lot of comic business, which the three of them revelled in. Some very funny movement and falsetto, which was played up to the nines, made this a very memorable number. All three struggled with the upper register in ‘Lady in the Long Black Dress,’ but they made up for it with their conviction and commitment to the comedy.  There was great support too from Jordan Cummings as Sister Mary Martin-of-Tours and Jessica McGreevy as Sister Mary Theresa.  The wonderful ensemble of nuns did very well. Their choral singing was generally very strong and for the most part they were in tune with the show's narrative, acting and reacting appropriately. The bigger dance numbers were full of energy and commitment and everyone on stage was clearly enjoying themselves.  Andrew McKnight was stage manager and he and his crew ensured very slick movement of trucks on and off. Casters were visible on the trucks and it is always best to mask these if possible. Mr. McKnight used cast at times to move certain set pieces and this helped to keep the show moving at a good pace. There was a slight hiccup when a fully lit Wurlitzer jukebox came on as the police station was being set up but it was struck quickly when the error was realised.  The set was simple but effective with wall flats and a number of trucks which came in to suggest various locations. I felt that the choice to use a black backdrop was problematic, as there were so many black costumes on stage. I was delighted when the blacks eventually opened to reveal the very detailed stained-glass windows. These worked so well when lit from behind. I understand why they were held for their dramatic reveal but I felt that they might have been used for all of the convent scenes to enhance the overall visual impact of the show. The flying cross, complete with LX, looked great but the blinding intensity of the lights on the cross was quite uncomfortable.  Lighting was generally quite good. I felt that more thought needed to be given, at times, to the suitability of some effects for the various scenes. The chasing lights for Deloris's opening ‘Fabulous Baby’ were very busy. The use of haze was very effective. However, with the haze machine being visible on stage, we were very aware of haze being pumped on and this became quite distracting. The lighting operator lost their way during ‘Raise Your Voice,’ as the various vignettes played out after the initial rehearsal, and cues were out of sync. The LED battens built into the set worked well. I liked the swirling lights for ‘Lady in the Long Black Dress’ which added to the visual comedy. There was very effective use of backlight and haze for the title number, ‘Sister Act,’ creating a gorgeous, dramatic picture which really complemented Ms. Meehan’s powerful performance.  Things started off well from a sound point of view. Balance within the orchestra was exceptionally good and, for the most part, cueing was very good for dialogue and balance between vocalists and orchestra was very strong. However, in Act 2 things went awry as we lost most microphones on stage. Cast battled through and Sister Mary Robert in particular did very well to get through ‘The Life I Never Led’ with no amplification. Full credit to MD, Mr. Greene, for sitting on the orchestra as much as possible to ensure that Ms. McGuckin could be heard. Eventually, the right decision was made and the show was stopped whilst a solution was found. To be fair, when things eventually resumed, the sound issues had been largely rectified. It was an unfortunate technical hitch on the last day of the show but these things do happen in live theatre and the show, as always, must go on.  Props were generally well sourced and looked authentic and suitable. There was good dressing in the police station. The typewriter looked well as did the hat stand, the notice board, and various other pieces. White tablecloths in the convent were badly in need of an iron and the bar did need to be dressed as it was completely bare. Small details are important. The clock on the Mother Superior's desk was facing the audience rather than facing where she would have been sitting. All other props were appropriate to the era.  There was good attention to detail in the costume plot. Deloris's coat, the nuns' habits, vestments for the Monsignor were all appropriate. Eddie's trick costume change worked well with his white suit; however, I did question him being left in boxer shorts and vest at the end of the number. Deloris's leopard-skin dress looked very well and was very authentic to the 70s era. Eddie's hat was frequently pulled down over his eyes, casting a shadow over his face. The nuns' glitzier costumes were a delight, in complete contrast to their white nightdresses. Their white and silver habits for the “Pope gig” were particularly striking and the prisoner’s uniforms added to the comedy.  I felt that hair and makeup, generally, could have benefitted from a little bit more attention to detail. Deloris's two backing singers at the top of the show in ‘Fabulous Baby’ needed more of a co-ordinated, glamorous look to emphasise the fact that they were professional performers. Ms. McGuckin's nails were perfectly manicured, which wouldn't have been the case for a postulant, of course. Generally, more detail to hairstyles of the 1970s would have really added to the visual impact of the show.  This was an entertaining ‘Sister Act’ from Banbridge Musical Society and, in spite of the technical issues in Act 2 and having to stop the show for a period of time, the audience was very much swept along on its feel-good vibe. Well done to all and keep being fabulous baby! Pat McElwain  Gilbert Adjudicator 2024/2025

Oklahoma as presented by Londonderry Musical Society

Society Name:  Londonderry Musical Society Show Name:   Oklahoma! Adjudicator Date of Attendance:  11/04/2025 Brief Overview of Show and...

Society Name:  Londonderry Musical Society Show Name:   Oklahoma! Adjudicator Date of Attendance:  11/04/2025 Brief Overview of Show and Evaluation of Front of House Londonderry Musical Society’s presentation of Oklahoma!  was a warm, vibrant and joyful return to one of Rodgers and Hammerstein’s most iconic works. This production celebrated the spirit of frontier life, with a keen focus on character dynamics, a full and glorious sound from both orchestra and ensemble, and moments of genuine theatrical magic. While there were areas for refinement, particularly in technical polish and vocal clarity, this was clearly a production built on deep affection for the material and a company-wide commitment to storytelling. The atmosphere in the theatre was inviting and well-managed from the moment of arrival. The Front of House team operated with professionalism, managing guest entry with a friendly and composed approach. Patrons were welcomed warmly, and the overall environment reflected a sense of pride and anticipation. The energy in the auditorium was one of community support, creating the perfect backdrop for an engaging and well-attended night of classic musical theatre. Director – Direction and Production Michael Poole’s direction demonstrated a well-developed understanding of the show’s narrative structure and character interplay. His approach struck a strong balance between preserving the charm of a golden-age musical and breathing fresh comedic life into it. Poole brought the best out of his actors, particularly in highlighting the underlying relationships that define this tight-knit frontier community. The world he created felt fully inhabited, these weren’t just characters placed in scenes, but people with histories, routines, and grudges. Particularly effective was his treatment of Aunt Eller, whose role was expanded through subtle staging choices and reaction-based comedy that added a grounding warmth to many scenes. The romantic tension between Laurey and Curly, too, was paced with care, never rushing the emotional shifts and instead letting them bloom naturally. There were a small few moments where dialogue clarity suffered due to inconsistent diction, due to accent work. With such a text-rich script, ensuring every word is heard is vital, and future productions might benefit from additional vocal coaching. Overall, this was an excellently led production with Michael Poole firmly at the head. Musical Director – Direction and Orchestra Peter Doherty’s musical direction was simply outstanding. The orchestra brought a lush, cinematic texture to the score, with a full-bodied sound that filled the auditorium beautifully. Every orchestral line was clear and dynamic, and instrumental balances were impressively well-managed, especially in ensemble-heavy numbers where clarity is often a challenge. Vocal direction was equally praiseworthy. Harmonies from the chorus were rich, warm, and confidently delivered. It was clear that great attention had been paid not only to tuning and ensemble unity, but also to musical phrasing and dynamic shaping. The large group numbers felt alive with intention, never flat or robotic. Tempos were consistently well-judged, providing energy while allowing space for the dancers and actors to breathe. This careful pacing helped maintain dramatic momentum throughout the evening. Overall, this was a masterclass in how to lead a musical that blends intimacy with grandeur. Choreographer – Choreography Vanessa Chapman’s choreography stood out as one of the evening’s great successes. Her work showed a strong understanding of both the musical style and the physical capabilities of the cast. She built sequences that enhanced the storytelling rather than distracting from it, using changes in formation, symmetry, and energy to reflect each scene’s dramatic shifts. The “Dream Ballet” was a highlight, delicate, expressive, and emotionally charged. It made full use of Holly Dean’s balletic elegance as Dream Laurey. Vanessa also found ways to make ensemble-heavy numbers feel fresh. “Kansas City” was a joy to watch, with clever inclusion of female cast members, a welcome choice in a show that can often limit chorus involvement. However, it would have been great to see more male ensemble dancing featured in that number, given the storytelling opportunities it presents for building Will’s world. Leading Principals – Singing and Acting Laurey – Caitlyn McCrea:  Caitlyn gave a luminous performance as Laurey. Her interpretation captured the mix of coy charm and determined independence that makes the character so beloved. She struck a compelling balance, never veering into caricature, but instead delivering a young woman of depth, pride, and vulnerability. Her vocal performance was outstanding. With a silky legit soprano, she soared through the score’s upper range with ease and clarity. Particularly impressive was the emotional colouring she brought to songs like “Many a New Day,” where her inner conflict was tangible. Curly – Luke de Belder: Luke was a natural as Curly. He possessed the easy swagger and magnetism required for the role, and his relaxed stage presence made every interaction feel organic. His singing voice was gorgeously smooth, rich in tone and full of charm. Every line of “Oh, What a Beautiful Mornin’” landed with sincerity and warmth. He and Caitlyn shared an authentic chemistry that allowed their scenes to flow with believable tension and humour. Aunt Eller – Una Culkin:  Una delivered a scene-stealing performance as Aunt Eller. Her comedic timing was pitch-perfect, and her interactions with the other townsfolk showed clear thought and consistent characterisation. From her wry reactions to the town drama to her grounding presence during more serious moments, Una’s Eller was a standout. Her vocal lines were delivered with clarity and strength, and she handled the dual task of narrator and participant with seamless ease. Supporting Roles – Singing and Acting Will Parker – Aidan McLaughlin:  Aidan brought youthful energy and charm to the role of Will Parker. His physicality and dance ability were strong, and he carried himself with the perfect blend of optimism and dopey charm. He shared a delightful dynamic with Ado Annie, which made their scenes genuinely funny and endearing. His vocals were confident, and his performance of “Kansas City” was one of the show’s high points. Ado Annie Carnes – Amy Astbury:  Amy brought a vivacious spirit to Ado Annie. While her accent choice occasionally muddied some of her diction, her comic instincts were excellent. She gave the role a contagious energy, backed by impressive vocal power and range. Her relationship with Laurey was nicely drawn, two friends navigating young love in very different ways, and her solo number landed with gusto and humour. Ali Hakim – Ricky Kyle:  Ricky’s Ali Hakim was a colourful and engaging performance. His choice of a British accent over a traditional Persian one may have raised some eyebrows in terms of authenticity, but it was consistently delivered and suited the character’s flamboyant con-man persona. Ricky had excellent timing and transitioned between comedic beats and moments of desperation with great fluidity. Jud Fry – Matthew Irwin:  Matthew presented Jud Fry with a brooding presence, though the character’s full potential wasn’t entirely realised. The portrayal stopped short of being truly menacing or tragically pitiable, two poles that Jud often straddles. There was a strong foundation, however, in his interactions with Laurey and Curly, and his voice carried weight and control. With more psychological depth, this performance could have had even greater impact. Andrew Carnes – Brendan Brady:  Brendan delivered a sharp and comically charged performance. His Andrew Carnes was dryly exasperated and comically stern, especially in scenes with Ado Annie. His timing was excellent, and his reactions often elicited strong laughs from the audience. He was a believable father figure and protector, with clear emotional stakes in every scene. Gertie Cummings – Natalie Armstrong:  Natalie made the most of her limited stage time, bringing Gertie to life with an unforgettable and perfectly pitched laugh that became one of the show’s reliable comic beats. Her character was both annoying and oddly charming, exactly what Gertie should be. Dream Laurey – Holly Dean:  Holly was a beautifully expressive dancer, portraying Dream Laurey with grace and emotional openness. Her extensions, lines, and ability to tell a story through movement elevated the ballet sequence into a visual and emotional highlight.  #Ike Skidmore - Leon Cullen, Cord Elam - Simon Quigg, Slim - Joshua Donnell, Fred - Conor McColgan:  These ensemble roles filled the world of Oklahoma!  with humour and authenticity. Their movement was polished, and their ensemble work supported the leads with vigor. A word of caution: in striving for comic effect, be mindful of pushing too far into overacting, naturalism often yields greater impact. Chorus/Ensemble – Singing, Acting, and Choreography The chorus was a true asset to the production. Vocally, they created a wall of sound that was impressive, with tight harmonies and crisp diction. Their ensemble numbers were filled with commitment, and musically they never wavered. Choreographically, they moved with precision and intent, filling the stage in an organic, flowing way. Particularly in group numbers like “The Farmer and the Cowman,” they delivered excellent musical phrasing and physical storytelling. Occasionally, some performers tipped into exaggerated reactions, pulling focus unintentionally. A more naturalistic grounding would make their work even stronger. Stage Management & Set Design Set design was creative, well-constructed, and visually effective. The large, imposing set pieces gave the stage depth and scale, and the use of moving elements, like the reveal of Jud’s shack or the retreating porch, was both functional and delightful. The ballet’s set transformation was particularly impressive, with the symbolic shedding of foliage creating a powerful visual metaphor moving between the light and dark worlds. Scene changes were smoothly managed and rarely drew attention. That said, Jud’s shack appeared a little unstable at one point and could benefit from more secure bracing. Technical – Lighting and Sound Lighting design suffered somewhat due to uneven focus and dark patches—particularly in centre stage areas. This impacted key scenes and diminished visibility at crucial moments. A review of lamp alignment or bulb replacement might address this. Lighting cues were somewhat abrupt and could benefit from longer fade times. Nonetheless, the lighting served the overall storytelling well, with good cyc usage and effective mood-setting. Sound was superb, dry and crisp for dialogue, which suited the setting perfectly, and expansive and full during musical numbers. The balance between vocals and orchestra was exemplary, and no lines were lost to poor mixing. One of the strongest elements of the production. Visual – Costumes, Hair, and Make-Up Costumes captured the period aesthetic for the most part, though a few pieces, particularly some shorter skirts and low-cut blouses, felt out of place for the early 1900s setting. Fit was another issue in isolated cases, with Ali Hakim’s costume notably ill-fitted. Jud’s look could also have benefitted from more distressed, grubby textures. Hair styling was generally appropriate, though more attention to updos for married or older women would have increased authenticity. Make-up was natural and flattering, allowing expressions to be seen clearly under stage lights without feeling overdone. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. This was a heartfelt, well-constructed, and entertaining production of Oklahoma!  that showed deep respect for the material. The performances were rich in detail and delivered with warmth and intelligence. Musical and choreographic elements were high calibre, and the staging choices demonstrated creativity and cohesion. For future productions, ensure that vocal clarity and diction remain consistent across the cast. Technical elements such as lighting could benefit from refinement, and attention to period detail in costume and styling would further elevate the visual world. Nevertheless, this was an extremely enjoyable evening of musical theatre, filled with strong characterisation, spirited ensemble work, and beautiful music. Londonderry Musical Society should be proud of this vibrant and lovingly rendered show. Photos by John Purvis

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

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