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Review: Guys and Dolls - Ballywillan Drama Group

Society name: Ballywillan Drama Group Show name: Guys and Dolls Date of attendance: 30 th  January 2026 ________________________________________________________________________ My second trip north to Coleraine this season and another most enjoyable evening of musical theatre. This production of ‘Guys and Dolls’ marked a major milestone for Ballywillan Drama Group, as it was their first show staged in Coleraine Leisure Centre following the closure of their long-established home at the...

Society name: Ballywillan Drama Group Show name: Guys and Dolls Date of attendance: 30 th  January 2026 ________________________________________________________________________ My second trip north to Coleraine this season and another most enjoyable evening of musical theatre. This production of ‘Guys and Dolls’ marked a major milestone for Ballywillan Drama Group, as it was their first show staged in Coleraine Leisure Centre following the closure of their long-established home at the Riverside Theatre. Perhaps the greatest risk taken by the production was the decision to relocate Damon Runyon’s colourful world into a modern setting. On paper, this felt like a gamble that could have undermined the charm of this classic show. However, the concept was so thoughtfully developed and so cleverly integrated into the storytelling that my initial scepticism was short-lived. It was an original interpretation that was most refreshing and highly entertaining; a fitting debut in this wonderful new theatrical space. Front of house was an immersive experience in itself, immediately drawing the audience into the world of the show. There was fabulous attention to detail throughout the foyer, with themed décor, Mindy’s Café selling refreshments and production photographs beautifully displayed. The pièce de résistance, however, was the incredible cabaret staged front of house during the interval. This was an exciting addition, transforming the break into a performance moment in its own right. It was a wonderfully classy touch that complemented the production so well. Brian Logan’s direction was brave and bold. His decision to set the show in the modern day required clear vision and careful thought. That confidence was evident from the outset in the opening Runyonland sequence, as the stage came to life with familiar characters. The Naked Cowboy strummed his guitar, while modern-day tourists, a juggling clown, joggers, shoppers, and charity collectors created a vivid and recognisable street scene. The clever integration of exceptionally designed graphics on the enormous LED video wall left no doubt as to where the action was taking place and, just as importantly, when it was happening. Pace was exceptional throughout the show. I loved the superbly reimagined crap game set in a rundown theatre as a clever nod to the closed Riverside Theatre. That sequence, in particular, was outstanding. It was fast, precise and so well-rehearsed, reflecting Mr. Logan’s meticulous attention to detail that underpinned the entire production. Musical Director Andrew Robinson was tasked with bringing Frank Loesser’s sumptuous score to life. Under his direction, an impressive eleven-piece orchestra delivered a confident and stylish performance, with Mr. Robinson himself playing piano. At times, there did feel to be scope for more bass in the overall mix, which might have added extra weight and drive to some of the numbers. Vocally, the production was extremely strong. Principal vocals were excellent, with confident delivery and clear musical storytelling throughout. The choral singing was superb, particularly from the male chorus, who sounded terrific. ‘Fugue for Tinhorns’ was sung with real vocal strength from all three talented performers. At times, however, the dynamics between the three lines felt unbalanced, with all voices operating at full intensity simultaneously. This was a minor point, however, in what was otherwise a very accomplished and polished musical presentation. Choreography was a collaboration between Laura Fisher and Sharon Logan, who worked with a cast of varying dance abilities and, for the most part, achieved strong results. They pitched numbers very well within those abilities and were always conscious of the storytelling. I felt that ‘A Bushel and a Peck’, while generally together and cleanly staged, would have benefited from greater confidence and attack from the showgirls. ‘Guys and Dolls’ was imaginatively staged, with each group springing into life in response to the lyrics. The Havana (Los Cabos) sequence, traditionally a huge burst of colour, energy, and exuberance, did not quite reach its usual impact. The decision to begin the number with a single dancing couple resulted in a quieter opening than the music demands. The omission of the ‘Crapshooters Ballet’, arguably one of the most iconic dance sequences in the show, was disappointing. ‘Luck Be a Lady’ featured simple but effective choreography, elevated by strong collective effort and conviction from the men. ‘Sit Down You’re Rockin’ the Boat’ was a standout, brilliantly conceived, confidently performed and very well-rehearsed.  Alan McClarty delivered an astonishingly good performance as Nathan Detroit, one that felt thoroughly professional from start to finish. It was a performance that was polished, confident and consistently funny throughout. From his first appearance, he captured Nathan’s restless energy and constant scheming with ease. Mr. McClarty immediately set a high bar for the rest of the cast. His sense of pace was superb throughout, driving scenes forward with momentum and purpose. Comic timing was razor sharp, and he held the audience in the palm of his hand, knowing exactly when to push the comedy and when to let it breathe. Nathan is not a vocally challenging role, however, Mr. McClarty had a fine singing voice, most notably in ‘Sue Me’.  Laura Fisher took on the role of Adelaide, one of musical theatre’s most iconic female comedy characters, and brought many strengths to the performance. Vocally, she was excellent, with ‘A Bushel and a Peck’ superbly sung and delivered with confidence and control. ‘Adelaide's Lament’ was also very well sung. Lines such as “Tell him I never want to talk to him again… and have him call me here!” were perfectly delivered, with excellent timing and instinctive comic rhythm. Her reprise of ‘Adelaide’s Lament’ was beautifully heartfelt and genuinely poignant, revealing a touching vulnerability. There was also wonderful comic intent in her scene with Nathan before ‘Sue Me’, and in the number itself she really let go, showing true comic flair and confidence.  Adam Goudy was a very cool and assured Sky Masterson. His acting was exceptionally strong and he was always in tune with the narrative throughout. Mr. Goudy had a confident command of dialogue, rhythm, and pace. He drove scenes forward with ease, most notably in the abandoned theatre sequence, where his control of tempo and intent helped to drive the action and maintain momentum. Vocally, Mr. Goudy brought a beautifully rich and expressive baritone to the role. ‘I've Never Been in Love Before’ was beautifully sung, with sensitivity and warmth, displaying an emotional side that contrasted nicely with Sky’s outward confidence. Throughout the show, his vocal work was consistently strong and well supported. This was very evident in ‘Luck Be a Lady’, which was a standout musical number.  Clare Campbell delivered an excellent performance as Sarah Brown, with superb command of dialogue and great clarity. Every word made sense, and it was clear that much thought had gone into the text. Ms. Campbell brought a beautifully expressive soprano to the role, with exceptional tone and emotional nuance. Her voice was at its best in ‘I'll Know’ and ‘I've Never Been in Love Before’, both of which were sung with sensitivity, control, and excellent storytelling. Her work in the Los Cabos sequences showed a different and equally impressive side to the character. The catfight was brilliantly performed and she proved to be a very funny and entirely believable drunk.  Patrick Connor was very impressive in the role of Nicely Nicely Johnson, giving a performance full of character and sharp comic instinct. He was an excellent character actor, with superb comic timing and a natural sense of comedic physicality that never felt forced or overplayed. ‘Sit Down You're Rockin' the Boat’ was sensationally performed and was unquestionably the best number of the night. His vocals were full of character and control, combining strong musicality with his flair for storytelling.  Steve Setterfield gave another very skilled performance as Benny Southstreet, bringing intelligence and humour to the role. His comic choices were sharp and well judged. He worked particularly well with Mr. Connor, bouncing off him effortlessly. The rapport between the two performers was excellent. Mr. Setterfield was also very strong in the vocal department. Combined with his acting skill and comic awareness, this helped Mr. Setterfield deliver a very memorable portrayal. Paul Sleet was very strong in the role of the hard-nosed Lieutenant Brannigan, delivering a suitably authoritative performance. Another good character actor, he projected control and confidence whenever he appeared on stage, his presence in stark contrast to the silliness around him. Mr. Sleet’s delivery was very impressive, with excellent diction and dialogue that was always delivered with purpose and precision. It was a very solid, well-judged performance that supported the narrative throughout with a no-nonsense delivery and a light comic touch.  Harry Stinson’s performance as Arvide was a standout portrayal, for me. His clear understanding of the narrative was reflected in his clever delivery throughout. His beautiful performance of ‘More I Cannot Wish You’ was one of the most memorable moments of the show. The genuine warmth and gorgeous connection with Sarah was heartwarming. A superb performance. Jim Everett gave an excellent cameo performance as Harry the Horse, making a strong impression despite limited stage time. He displayed superb comic timing, judging pauses and delivery with real confidence and instinct. His offer to lend Nathan his getaway car was particularly funny, landing perfectly with the audience.  Stevie Black was an imposing presence as Chicago “scout leader” Big Jule, combining genuine menace with a strong comic edge. He struck an excellent balance between intimidation and humour. His gravelly delivery of “which nobody can deny” was particularly funny, landing with deadpan precision.  Una Culkin was an excellent General Cartwright, bringing authority and strength to the role from the moment she appeared on stage. She was a very strong actress, commanding attention with a very confident delivery. and a clear sense of purpose, which grounded the character and gave weight to her scenes. She also showed a terrific comic side, particularly in her wonderfully funny dance with Nicely as she lost herself in the euphoria of ‘Sit Down You're Rockin' the Boat’.  Tom Waddell enjoyed his moment as mechanic Joey Biltmore. It was a strong turn, in spite of a momentary lapse where he thought he was talking to himself! Greg Edwards was a charismatic Hot Box MC and I loved his integration into the bows as he introduced each group and principal performers. This was a really nice touch. The ensemble was generally strong throughout the production and added greatly to the overall energy of the show. The opening Runyonland sequence, in particular, gave them the opportunity to inhabit an eclectic mix of characters, from the Naked Cowboy to juggling clowns and modern-day tourists. The Hot Box girls brought good energy to their scenes, although the numbers would have benefited from a stronger sense of confidence and a more performative style that these showgirls require. There was excellent ensemble commitment in ‘Guys and Dolls’, as each group came to life. Strong ensemble work continued in the mission scene and carried through into the superb ‘Sit Down You're Rockin' the Boat’, where the cast fully lost themselves in the joy and spirit of the performance.  David Wray and his stage crew did sterling work throughout the production, delivering an impressively slick and well-coordinated operation. Crew movement was precise and efficient, with transitions handled smoothly and confidently, ensuring the show maintained its strong sense of pace. The level of organisation and communication showed thorough preparation and clear leadership from the stage manager. ‘Guys and Dolls’ is a particularly challenging show to manage, given the frequent transitions in and out of the mission and the need to shift locations quickly without disrupting the flow. Overall, stage management was of a very high standard and played an important role in the success of the production. The set design was large in scale, making full use of the large performance area available in the venue. Three platforms formed the backbone of the staging, offering flexibility and varied playing levels. These platforms were used intelligently throughout. The LED video wall was central to the design. Its graphics were sharp, vibrant, and exceptionally well chosen, establishing location and time while supporting the modern-day concept of the production. Smaller scenic elements were used very effectively. The mission scene was clearly defined with excellent furniture and dressing and the Hot Box benefited from striking, light up lettering which was a clever touch. Another inspired design choice was the relocation of the crap game to an abandoned theatre space, a clever nod to the closed Riverside Theatre. The trucked pieces for this scene added greatly to the visual and the tongue-in-cheek reference to the group’s former venue.  The lighting design did a very good job overall, delivering some beautifully atmospheric work that supported both the storytelling as well as the modern setting of the production. ‘I’ll Know’ looked particularly well, with breakup gobos adding texture and depth that enhanced the intimacy and mood of the scene. The use of two follow spots here was especially effective. There was also some very imaginative lighting work in ‘A Bushel and a Peck’, where moving lights were used to create a more stylised, theatrical state appropriate to the show-within-a-show setting. The lighting for the Los Cabos fight sequence was well judged, reflecting the chaotic onstage action with a busy, aggressive quality that mirrored the confusion of the scene effectively.  Sound design and operation were excellent throughout the production, contributing significantly to the overall technical polish of the show. There was a consistently strong balance within the band. While some of the heavier numbers would have benefited from a little more bass presence to add extra weight and drive, this was a minor consideration within an otherwise impressive orchestral mix. The balance between band and vocalists was superb. There were some nicely chosen sound effects, all of which were well timed and integrated smoothly into the action.  The modernised setting required a shift from the norm in terms of props, and this was handled with confidence by the props team. Props added greatly to the contemporary take, leaving us in no doubt that the production was set firmly in the present day. The Naked Cowboy’s guitar proved vital in preserving his modesty while also serving as a strong visual gag. In the opening Runyonland sequence, a wide array of appropriate modern props added great realism. The mission was especially striking in its updated appearance. Modern furniture, an electric keyboard and a laptop blended with the mission’s signage, creating a believable, contemporary environment. The Hot Box tables were attractively dressed, complete with candles that added to the atmosphere. Props for the “kitchen shower” sequence were perfectly chosen, adding to the humour to the scene.  The costume design continued the contemporary vision established elsewhere in the production. It was a very clever overall concept. Traditional elements such as trilby hats and tailored jackets were there, but these were often paired with T-shirts, braces, and more contemporary trousers and footwear. The balance between old and new really worked, especially for the gamblers, whose costumes kept their iconic shape but felt very current. The Hot Box numbers were especially striking. The ‘A Bushel and a Peck’ cowgirl look was sassy and stylish, with black and silver costumes that added glamour. The girls’ long blue dresses that ripped away to reveal blue basques were very classy. The Salvation Army uniforms also worked very well, with a contemporary feel.  Hair and make-up were well handled, with nothing standing out for the wrong reasons or appearing out of place within the modern setting. The overall look was clean, consistent, and appropriate to character. There was particularly good attention to detail for the Hot Box girls, whose hair and make-up reflected the glamorous nature of their professions. In contrast, the Salvation Army performers were presented in more muted tones, far from the glitz and glamour of the Hot Box. Overall, hair and make-up contributed to what was a very impressive visual presentation. This production of ‘Guys and Dolls’ was a bold and imaginative piece of theatre that demonstrated what can be achieved when strong creative vision is matched by careful execution. The decision to modernise the setting was thoughtfully realised, resulting in a version of the show that felt fresh while remaining true to its spirit. Principal performances were exceptionally strong, with great strength in depth throughout the cast. Much credit is due to the technical team who transformed an unconventional venue into a fully realised theatrical space. Ballywillan Drama Group should be immensely proud of a production that not only met a significant challenge head-on but delivered a memorable, engaging, and thoroughly entertaining night of musical theatre. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Sister Act - North East Musical and Dramatic Society

Society name: North East Musical and Dramatic Society Show name: Sister Act Adjudicator date of attendance: 20/11/2025  North East Musical and Dramatic Society’s production of Sister Act  offered an evening of lively, energetic musical theatre, presented with warmth, enthusiasm, and a clear affection for this much-loved show. While bright, comedic, and uplifting on the surface, Sister Act  is a deceptively demanding piece that requires strong ensemble cohesion, confident musical leadership,...

Society name: North East Musical and Dramatic Society Show name: Sister Act Adjudicator date of attendance: 20/11/2025  North East Musical and Dramatic Society’s production of Sister Act  offered an evening of lively, energetic musical theatre, presented with warmth, enthusiasm, and a clear affection for this much-loved show. While bright, comedic, and uplifting on the surface, Sister Act  is a deceptively demanding piece that requires strong ensemble cohesion, confident musical leadership, clarity of storytelling, and bold character work. This production demonstrated solid foundations in many of these areas, with moments of real enjoyment and flashes of theatrical flair that connected well with the audience. From the outset, it was evident that this was a company keen to entertain. The show moved at a steady pace, maintaining momentum across scenes and musical numbers, and there was a consistent sense of energy on stage. While the production did not always reach the exuberant “wow” factor that Sister Act  can achieve at its very best, it nonetheless delivered an engaging and enjoyable night at the theatre, supported by several strong performances and a committed ensemble. The direction by Gavin Quigley delivered a production that was clear in vision and coherent in its storytelling. Scene changes were smooth, and the blocking ensured that the narrative remained easy to follow. There was a clear sense of structure and organisation throughout, allowing the story to unfold without confusion. The overall rhythm of the show was well managed, and the production moved forward with purpose. That said, Sister Act  thrives on bold character choices, heightened comedy, and strong contrasts between the worlds of the nightclub and the convent. While the blocking fulfilled its practical purpose, many moments felt played at a surface level, where deeper exploration of character relationships and motivations could have added greater richness and impact. Encouraging performers to fully inhabit their characters, particularly in quieter scenes and transitions, would help elevate both the emotional depth and comedic payoff of the piece. Visually, the production had a cohesive design concept that supported the narrative effectively, with a clear understanding of the stylistic demands of the show. However, the opening number, which is crucial in immediately drawing the audience into Deloris’s world, would have benefitted from additional rehearsal focus. A stronger sense of confidence, precision, and energy in this opening moment would help ensure the audience is fully engaged from the outset, rather than the production having to work harder later to establish momentum. Musically, the foundations of the production were strong. The band under the guidance of Shane McVicker played confidently throughout, with well-judged tempos and accurate cueing that demonstrated solid musical discipline and a good understanding of the rhythmic demands of the score. The work done with the chorus by Jade Quinn was particularly commendable with the cast on harmonies. The nuns’ ensemble vocals were one of the production’s greatest strengths, sounding full, balanced, and confident in many of the choral numbers. This level of ensemble singing is no small achievement in a show that relies heavily on close harmony work and speaks to careful rehearsal and vocal preparation. The opening number felt vocally weaker than it needed to be. As with the staging, this moment is critical in establishing the musical confidence of the show, and greater attention to vocal attack, clarity, and energy would make a significant difference. Once the production settled, the overall vocal standard improved noticeably, suggesting that early nerves or under-preparation may have played a role. The most significant musical challenge came from the sound balance. Bass levels were consistently overpowering, at times to the point of discomfort, which impacted the audience’s ability to fully appreciate the vocal performances. While the band itself played well, the mix frequently placed the orchestra above the singers rather than supporting them. Closer collaboration between the musical and technical teams would transform the overall musical experience. The choreography for this show was overseen by Jordan Rosborough, it contained several strong ideas and moments of genuine entertainment, particularly in numbers that leaned into high energy and character-driven movement. However, the consistency of execution varied across the production. The opening number again proved to be a weak point, lacking cleanliness and confidence and appearing under-rehearsed. In a show like Sister Act , this opening needs to be sharp, bold, and unapologetically showy to immediately establish the style and energy of the piece. “Raise Your Voice” featured well-conceived individual sections with clear musicality and interesting movement vocabulary, but transitions between these sections felt disjointed, causing the number to lose its overall flow. With additional rehearsal time focused on smoothing these transitions, the choreography could feel far more cohesive. “Take Me to Heaven” was a highlight in terms of energy, particularly from the younger dancers, who performed with enthusiasm, precision, and confidence. The older nuns appeared less secure, suggesting either a need for further cleaning or choreography better tailored to suit the strengths of all performers. Ensuring that everyone looks confident and successful on stage is key to maintaining ensemble unity. “I Could Be That Guy” was particularly successful, with the use of the cop dancers proving a clever and well-executed concept that added humour and theatrical flair. This number demonstrated a strong understanding of how choreography can support both character and storytelling. The leading performances were generally strong and well cast. Louise Steele as Deloris Van Cartier was portrayed with confidence and vocal assurance, with a strong stage presence and ease in the character’s glamorous, self-assured persona. Vocally, the role was well handled, and interactions with Eddie and Mother Superior were clearly defined. There remains an opportunity to deepen the comedic and emotional layers of the character by leaning further into vulnerability beneath the bravado. Cathay Evan’s Mother Superior was approached with dignity and vocal control, though some musical material sat outside the most comfortable range, affecting emotional connection in places. Dramatically, the performance felt slightly restrained, and there is scope to explore greater emotional contrast, particularly in the evolving relationship with Deloris. Sister Mary Robert was portrayed with sweetness and sincerity by Nicole McCann Finegan, capturing the character’s innocence very effectively. While transitions between vocal registers were challenging at times, her growth and confidence across the show were clearly communicated. Sheena Duffy as Sister Mary Patrick brought infectious energy and enthusiasm to the stage, engaging well with the ensemble, though bolder comedic choices could further enhance the role. Sean Harkin portrayed Eddie Souther as sweet, earnest, and endearing, with a particularly strong vocal performance. His chemistry with Deloris was one of the more successful relationships in the production, and “I Could Be That Guy” stood out as a highlight. Among the supporting cast, Mags Kirk Carrick as Sister Mary Lazarus delivered sharp comic timing and an enjoyable performance that consistently landed with the audience. Roraidh Irwin sang Curtis well but lacked the menace required to fully establish the character as a credible threat, and stronger, darker choices would raise the dramatic stakes. The trio of Adam Lynagh, Ultan O’Cinneide and Brian Harty as TJ, Joey, and Pablo respectively worked extremely well together, with strong chemistry and an entertaining collective presence. Monsignor O’Hara was portrayed dependably and appropriately by Paul Kiernan, grounding the role with calm authority. Lisa Buckley showed good commitment to the quirks of Sister Mary Martin of Tours but would have benefited from more guidance on her off script moments. Carmel Harte as Sister Mary Theresa, and Barry Kelly as Ernie added strongly to the world of the show with their characterisation. Michelle and Tina, played by Joanne Finnegan and Paige Cunningham had strong “girl power” energy in their characters, but needed additional vocal and choreographical support to truly pack a punch.  The ensemble was vocally one of the strongest elements of the production, delivering rich and confident singing throughout. Movement quality varied between younger and older members, with the younger dancers appearing cleaner and more confident. Dramatically, the ensemble brought life to each scene, though greater individual character development would deepen the storytelling further. Stage management under the management of Lisa Marie Mc Cooey and Sadhbh Finnegan was efficient and professional, with smooth scene changes that maintained momentum. While some cue points occurred during emotionally sensitive moments, slightly detracting from their impact, the overall management was effective. The box set design worked well across all scenes, providing clarity and flexibility, and the projections were a particular highlight, well designed, imaginative, and stylistically consistent, though occasionally washed out by lighting. Lighting design was a major strength, with thoughtful use of gobos, colour, and detail that enhanced atmosphere and storytelling. Minor adjustments to Front of House coverage would ensure performers are consistently lit across the stage. Costume design was strong overall, particularly in the sparkly cop costumes and habits, though greater attention to finishing details would further polish the visual presentation. Hair and make-up were generally effective, though improvements in wig quality and fitting would prevent distraction. The Front of House experience contributed positively to the evening. Audience members were welcomed in a friendly and professional manner, helping to establish a relaxed and welcoming atmosphere before the performance began. The flow of seating appeared calm and efficient, and the overall impression was one of warmth and genuine hospitality that reflected well on the society. Overall, this Sister Act  demonstrated clear commitment, enthusiasm, and a strong sense of community. With continued refinement, deeper character work, and attention to technical balance and detail, North East Musical and Dramatic Society has every reason to feel encouraged about its future productions.

Review: Calendar Girls - Greasepaint Productions

Public Adjudication Society name: Greasepaint Productions Show name: Calendar Girls The Musical ________________________________________________________________________ ‘Calendar Girls - The Musical’ is a beautiful show, full to the brim with heart, which never fails to strike an emotional chord with its audience. Greasepaint Productions’ version at St. Mary’s Hall, Buncrana, brought us on an emotional rollercoaster of a journey as it told the true story of a community of women coming...

Public Adjudication Society name: Greasepaint Productions Show name: Calendar Girls The Musical ________________________________________________________________________ ‘Calendar Girls - The Musical’ is a beautiful show, full to the brim with heart, which never fails to strike an emotional chord with its audience. Greasepaint Productions’ version at St. Mary’s Hall, Buncrana, brought us on an emotional rollercoaster of a journey as it told the true story of a community of women coming together during a time of sadness and loss to make a difference. This wasn’t a production which relied on large budgets or special effects and there wasn’t a bell or a whistle in sight. Instead, it leaned into the simplicity of the story and delivered it with a sincerity that was heartwarming from start to finish.  The front of house experience set the tone for the sense of community that would permeate the evening’s proceedings. There was an air of warmth and friendliness as patrons were welcomed into the foyer. It was personal and sincere, echoing the mood of the show. A particularly moving feature of the foyer was the display of sunflower artwork created by students from local school, Scoil Mhuire. Each sunflower represented memories of loved ones and families affected by cancer. Reminders that both Foyle Hospice and Donegal Hospice would benefit from the proceeds of the show, added to the positive sense of collective effort. It was all about a community coming together, not just to tell a story, but to support causes that touched many local lives. Direction by Dónall Henderson demonstrated a good understanding of the balance required, moving between humour and heartbreak with sensitivity. The more emotional sequences were handled with restraint. ‘Time Passing’, in particular, was staged with great simplicity yet it still proved very moving. The focus was on truth and sincerity, trusting the book and the cast to do the emotional work. One of the strongest aspects of the direction lay in the clarity with which relationships were established and sustained. The rapport between Annie and Chris was immediately believable. The bond between Annie and John was warm and loving. These connections gave true emotional context to the production. Mr. Henderson also showed confidence in staging the show’s more complex sequences. ‘Dare’   was especially well handled, building a strong sense of anticipation, excitement and shared courage among the women, with staging that emphasised togetherness. The notoriously difficult final photo shoot scene was another success, skilfully managing the demands of props, comic business and musical timing.  Musical direction by Noel Thompson, with support from Louise Crossan as vocal coach, was generally solid throughout. The instrumental balance was generally well handled, allowing vocals to sit comfortably on top of the sound without feeling overpowered. Choral singing was generally good throughout, especially in the larger ensemble numbers where the ensemble produced a suitably full-bodied sound. Harmonies were especially strong in ‘Dare (Reprise)’   and the rousing finale, ‘Sunflower of Yorkshire’, was delivered with a joyously rich sound that sent the audience out on a musical and emotional high. Principal singing was generally of a good standard. There were, however, moments where timing issues arose for some principals. Underscoring throughout the show was handled with sensitivity, enhancing key moments without losing dialogue or detail.  Dónall Henderson was a busy man, also taking on the role of choreographer. I felt that choreography was perhaps the least consistent element of the production. While Mr. Henderson’s choreography suited the narrative, I felt that there were moments where greater structure and performance levels would have strengthened the overall impact. ‘Who Wants a Silent Night?’ was the most successful number, with simple, unforced choreography that suited both the context and the narrative intent. The movement reflected the celebratory atmosphere of the WI Christmas party, allowing characters to express freedom and fun without resorting to overly formalised steps. This worked well, keeping the focus on ensemble energy rather than dance technique. ‘So I’ve Had a Little Work Done’ introduced four air hostesses whose routine, while neat and synchronised, felt very safe. These issues did not detract significantly from the production as a whole, but they did represent missed opportunities. Maria Fitzpatrick gave a strong and engaging performance as Chris, bringing humour, boldness and a likeable presence to the role. Her brash confidence was played with good comic timing. She was particularly funny having ‘won’ the cake-baking competition with her Marks and Spencer masterpiece. Ms. Fitzpatrick understood Chris’s blunt honesty and mischievous nature yet never descended into caricature. Vocally, Ms. Fitzpatrick was impressive, with a powerful and confident singing voice. ‘Sunflower’   showcased her vocals at their best, delivering the song with emotional weight and control, though the impact might have been further enhanced with more considered movement and physical structure. She brought tremendous energy and drive to ‘Dare’, right through to her hilariously timed final appearance.  Mary Lane gave a very strong, deeply thoughtful performance as Annie. From her first appearance, she drew the audience in with her warmth, decency and inner strength. She brought raw vulnerability to scenes dealing with John’s diagnosis and eventual death. This was most evident in ‘Scarborough’, delivered with beautiful clarity and heartfelt sincerity, and in ‘Very Slightly Almost’, where the emotional balance was perfectly judged. Alongside this emotional depth, Ms. Lane also showed a wonderful sense of fun and vitality. Her energy in ‘Dare’ was infectious, clearly delighting in shocking poor Ruth. ‘Kilimanjaro’ was just heartbreaking, sung with wonderful control and understatement, capturing Annie’s grief so honestly.  Bernie Doherty brought warmth and considerable wit to the role of Cora, Knapely’s choir mistress. Her relationship with Danny was particularly well observed. Described by him as “the best dad a mum could ever be” Ms. Doherty was warm in her affection but firm in her boundaries. Ms. Doherty showed excellent comic timing, delivering Cora’s quips with a natural humour that landed so well with the audience. She brought a wonderful sense of fun to ‘Who Wants a Silent Night?’, clearly relishing the opportunity to cut loose a little while remaining fully in character. Vocally, she impressed in this number, her strong voice delivering each line with energy and comic intent.  Sue Doherty Mellon was very funny as the stern, retired schoolteacher Jessie. She captured the character’s rigidity and formality very well, yet allowed the audience to see flashes of vulnerability when required. Vocally, Ms. Doherty Mellon showed a good, characterful voice, though there were some timing issues in ‘Mrs. Conventional’. ‘What Age Expects’ proved to be one of Jessie’s strongest moments, offering a poignant reminder of how older members of society can sometimes feel sidelined or invisible. While the melody was not always secure, the delivery was emphatic, heartfelt and sincere, qualities that ultimately carried the number.  Mairé Grant brought glamour and a knowing sense of humour to the role of Celia, instantly setting her apart from the other members of the WI. She carried herself with poise and elegance, even if her golfing skills left something to be desired. Ms. Grant played Celia with just the right balance of confidence and warmth. Her comedic timing was sharp. Vocally, Ms. Grant was strong, especially in ‘So I’ve Had a Little Work Done’, where her singing was confident and character driven.  Caroline McGee’s wonderful and deeply affecting performance as Ruth, captured the complexity of a character who is, on the surface, the organiser supreme of the WI, yet inwardly fragile and profoundly lonely. Ms. McGee’s performance was touching, sincere and tragically funny. Ruth’s strained relationship with her husband, and his apparent infidelity, gave Ms. McGee plenty of subtext to work with and she conveyed this private heartbreak with restraint, allowing her sadness to surface subtly throughout. ‘My Russian Friend and I’ was beautifully sung, deeply poignant and tinged throughout with heartache. A superb performance overall and one of the most moving portrayals of the evening. Caroline Doherty gave a solid performance as Marie, the formidable chairwoman of the Knapely Women’s Institute. Ms. Doherty brought a nice clarity to the role, establishing Marie’s authority from the outset. Where she truly came into her own was during Marie’s confrontation with Chris in Act Two. Her emotional response was played extremely well, allowing us to clearly see Marie’s anger and wounded pride. At the WI Conference, I felt that there was an opportunity for Marie’s outrage to be pushed further. A stronger, more visibly indignant reaction here might have heightened the drama.  That said, Ms. Doherty’s overall performance was strong and intelligent throughout. Benny Porter’s portrayal of John, around whom the entire story revolves, was most moving. From his first appearance, Mr. Porter had a natural rapport with the audience, greeting them with warmth and gentle humour as he introduced the residents of Knapely during the opening number ‘Yorkshire’. His relaxed stage presence and clear musical timing immediately drew the audience in and set John at the heart of the community. His relationship with Annie was beautifully played, with a tenderness and familiarity that was heartwarming. As John’s health declined, he portrayed the progression with believable physical and emotional choices. His final monologue was beautifully delivered and genuinely heart-wrenching, framed powerfully by the surrounding community, the very people he had introduced at the top of the show.  Ciaran McLaughlin brought warmth and humour to the role of Rod, Knapely’s local flower shop owner and Chris’s ever-patient husband. Mr. McLaughlin got the fact that Rod’s humour is a coping mechanism for dealing with the “crazy paving” of life with Chris. It was a relaxed and confident portrayal, balancing comedy and emotion throughout.  Brendan Fletcher did very well as Colin, Jessie’s husband, proving that there is no such thing as a small part. A fine character actor with excellent facial expression and physical awareness, he wrung every possible comic opportunity from his limited stage time with his wonderfully funny reactions. He was always contributing to the storytelling. A fine example of strong character work in a minor role. There was strong support too from Donal Kearney in his role as Denis, Celia’s husband. His delivery was clear and he was most expressive, enabling Mr. Kearney to get the very most out of his stage time. His reactions were always well judged and he was always in tune with the narrative. Another example of thoughtful work in a smaller role. Lisa Wilson and Majella McLaughlin were a wonderful pairing as Miss Wilson (Tea) and Miss Wilson (Coffee) They were almost clones of one another, with their matching glasses and tied back hair. This added greatly to the visual humour. They looked like they were enjoying every minute on stage. Their ‘reveal’ in the photography scene was very funny indeed. Shauna McKinley was a strong Brenda Hulse, delivering her presentation with delight and Janet McGrory was a suitably upper crust Lady Cravenshire. The three teenagers were played with great skill by Ultan Henderson as Danny, Amy McGee as Jenny and James O’Toole as Tommo. Mr. Henderson was full of energy and character. His “Hello Yorkshire I’m a virgin!” got a great reaction from the audience and he shone in ‘Protect Me Less’, showcasing a fine voice. His drunken scene was very well judged. It could so easily have been overplayed but was handled with restraint. Ms. McGee had lots of attitude and a very strong presence as Marie’s rebellious daughter. She was also very strong in ‘Protect Me Less’. Mr. O’Toole’s energy and teenage bravado were very much to the fore and his comic timing was strong. He too had a strong voice and this was very evident at the end of ‘Who Wants a Silent Night’. His reaction to Celia’s “grooming” was hilarious. Dónall Henderson was most engaging as Lawrence, the amateur photographer who befriends John and finds himself unexpectedly propelled far beyond his comfort zone when tasked with photographing the WI ladies in their “native habitat”. Mr. Henderson played Lawrence as socially awkward but well-meaning, bringing nervous energy and awkward politeness to his characterisation. There was a clear sense of a man slightly overwhelmed by events but determined to do the right thing, which made Lawrence both endearing and credible. His hospital scenes were particularly effective, played with understatement and sensitivity. Mr. Henderson came into his own during the photography scene, where he confidently drove the action as the women moved from one photograph to the next.  ‘Calendar Girls’ offers relatively few opportunities for the ensemble to shine but Greasepaint Productions managed to integrate ensemble members into plenty of action in a meaningful, purposeful way. The inclusion of additional women within the WI, alongside the principal performers, added great authenticity, strengthening the idea of a living, breathing community in Knapely. There was a great sense of togetherness in the opening number ‘Yorkshire’, and the energy was strong in ‘Who Wants a Silent Night?’ ,  where the ensemble sang and moved with clear enjoyment and commitment.  The set was simple, functional and effective. The stage was nicely framed by stone-textured walls evoking a sense of a rural village hall. Upstage was a set of full-height opening doors ,  which, when closed, featured a painted backdrop depicting the rural Yorkshire landscape. When the upstage doors opened, the reveal of the Women’s Institute interior was a welcome surprise with its nicely featured stained glass windows. It all moved very smoothly, ensuring that transitions were slick and fluid without heavy scene changes.  Stephen King’s work as stage manager was solid throughout, contributing greatly to how smoothly the production ran overall. Costuming the crew alongside the cast was a smart decision, allowing scene changes to happen in full view without drawing attention to the mechanics. This resulted in largely seamless transitions throughout the show. Given the very tight backstage space, Mr. King deserves full credit for maintaining such a high level of organisation and control, ensuring that cues were met and the show maintained its momentum from start to finish.  The lighting design was, for the most part, simple and effective, supporting the storytelling without drawing undue attention to itself. There were several moments where lighting enhanced mood and focus, most notably through the use of follow spot, which worked particularly well in ‘Scarborough’ and in Chris’s ‘Sunflower’ .  In ‘Time Passing’, the lighting was nicely subdued, creating a reflective atmosphere that complemented the emotional tone. There were, however, some questionable design choices. The use of moving lights in ‘Mrs. Conventional’   felt somewhat inappropriate to the tone. Greater coordination between the lighting operator and onstage action was also needed, particularly in relation to blackouts. On several occasions, scenes clearly ended but performers began to walk off in full light, with the blackout coming late. Overall, while the lighting achieved its basic function and had several strong moments, more considered design choices and tighter execution would have elevated things considerably. Sound was excellent throughout, with a consistently strong balance between the orchestra and cast vocals, allowing lyrics to be clearly heard without ever overpowering the music. The band itself was also well balanced, with all instruments sitting comfortably in the mix. Cueing from the operator was very solid, with no missed entries suggesting confidence and familiarity with the show. Sound effects were well chosen and used sparingly but effectively, adding texture and authenticity to the storytelling. The tannoy announcements during the fete scene were well produced, with just the right amount of effect.  This was a very busy props show and the props department rose impressively to the challenge. There was clear and consistent attention to detail throughout. In the opening number, everyday items such as bags, books and newspapers helped to create a believable, lived-in world and added authenticity to the ensemble’s presence on stage. there were many standout props throughout. Brenda Hulse’s projector, complete with working light, was an especially effective detail, while the hospital couch, deliberately grey and uncomfortable in appearance, was a great choice. John’s mobile drip , walking stick   and wheelchair were all well sourced, reinforcing the reality of his illness. The photography scene, in particular, was so well dressed and every prop was precisely placed, with no margin for error. The   John Clarke Memorial Wing plaque was a superb piece adding to the emotional weight of the final scene.  The costume design played a strong role in defining character and supporting the storytelling. Celia’s glamorous look was particularly effective, setting her apart visually from the outset. The WI Christmas party costumes were a real highlight, with fun Christmas jumpers, Santa hats and seasonal accessories creating an immediate sense of warmth, humour and community. The playful reveal of Miss Wilson Tea and Miss Wilson Coffee’s outfits during the photography scene was very funny. For the finale, the ladies’ classy black dresses were suitably elegant and in contrast to what had gone before.  Hair and makeup were well presented, with everything appearing naturalistic and appropriate to the setting. Makeup remained consistent under stage lighting, while hair was secure and practical, holding up well through movement and costume changes. Nothing distracted from the storytelling. Solid work from all involved. Overall, this was a warm, engaging and thoughtfully presented production, with some strong performances and a real sense of community on stage. The WI ladies deserve enormous credit for their bravery in the iconic photography scene. Where the production occasionally fell short was in areas of technical polish, particularly lighting coordination. Nonetheless, these were minor issues in the context of a production that succeeded where it mattered most in telling this beautiful story with heart, humour and honesty.  Pat McElwain Sullivan Adjudicator 2025/2026

Review: The Wizard of Oz - Newcastle Glees

Society name: Newcastle Glees  Musical Society Show name: The Wizard of Oz Adjudicator date of attendance: 15/11/2025 Newcastle Glees Musical Society’s production of The Wizard of Oz  offered audiences a colourful, energetic, and warmly delivered interpretation of one of musical theatre’s most enduring classics. This is a show that arrives with enormous expectations, both from audiences who know it intimately and from the sheer scale of its visual, musical, and emotional demands. Its...

Society name: Newcastle Glees  Musical Society Show name: The Wizard of Oz Adjudicator date of attendance: 15/11/2025 Newcastle Glees Musical Society’s production of The Wizard of Oz  offered audiences a colourful, energetic, and warmly delivered interpretation of one of musical theatre’s most enduring classics. This is a show that arrives with enormous expectations, both from audiences who know it intimately and from the sheer scale of its visual, musical, and emotional demands. Its familiarity can be both a blessing and a challenge, requiring a careful balance between nostalgia and fresh storytelling, alongside a score and structure that demand clarity, ensemble unity, and confident characterisation. Newcastle Glees approached this challenge with evident enthusiasm, strong musical foundations, and a genuine affection for the material, resulting in an enjoyable and engaging evening of theatre. From the outset, the production established a strong sense of forward momentum and theatrical energy. The pacing was generally well judged, allowing the episodic nature of the story to unfold clearly while maintaining audience engagement throughout Dorothy’s journey. There was a consistent sense of movement, both physically and emotionally, that helped the narrative feel purposeful rather than meandering. Importantly, the heart of The Wizard of Oz , its emphasis on courage, compassion, friendship, and self-belief, came through clearly. While there were moments that would benefit from deeper refinement and more detailed shaping, the overriding impression was of a company sincerely committed to telling this story with warmth and charm. Laura Kerr’s direction demonstrated a solid understanding of the narrative demands of the piece, with a clear sense of pace, energy, and overall structure. The production flowed well from scene to scene and rarely felt static, maintaining a pleasing sense of continuity as Dorothy moved from Kansas into Oz and along the Yellow Brick Road. One particularly effective directorial choice was the use of the auditorium aisle as an extension of the Yellow Brick Road itself. This simple but imaginative decision reinforced the sense of constant travel, strengthening engagement and storytelling. The overall energy of the production was commendable, with scenes generally landing cleanly and transitions moving at a good pace. There was a clear effort to keep the action alive and engaging, and this served the piece well. However, the direction was not entirely consistent throughout. While some characters were clearly well developed, others would have benefited from clearer objectives, more focused guidance, and deeper character work to ensure a more even standard across the cast. Blocking emerged as a recurring area for improvement. There was a noticeable tendency for performers to drift upstage, often resulting in fellow cast members being forced to speak upstage towards them. This led to moments of unintentional upstaging and reduced clarity of communication with the audience.  The tornado sequence was another moment that would benefit from greater coordination between direction and choreography. Unfortunately, the storytelling here lacked clarity and energy, resulting in a transition that felt underdeveloped. With a clearer shared vision, stronger physical storytelling, and tighter collaboration between creative departments, this sequence has the potential to become a standout moment. Despite these issues, the production maintained good flow, and the director’s ability to sustain momentum across a large ensemble cast was evident. Musically, the production was on very strong footing under the direction of Mark Tilley. Vocal work across the cast was of a high standard, reflecting careful preparation, clear musical leadership, and a strong understanding of ensemble singing. Harmonies were particularly impressive: clean, well balanced, and confidently delivered, adding richness and texture to the overall sound. There was a consistent sense of musical security that allowed performers to focus on character and storytelling. The chorus was a major strength of the production, with the crows and the trees providing some of the strongest harmonic moments of the evening. These sections were sung with clarity, precision, and a pleasing blend, demonstrating both musical discipline and expressive engagement. Diction across the company was clear, ensuring that lyrics landed effectively and that storytelling through song remained accessible to the audience. The orchestra provided a lovely, full sound that complemented the vocals without overpowering them. Achieving this balance is no small feat, particularly with a brass- and wind-heavy score. Overall, the musical direction provided a strong backbone for the production and was one of its most consistent strengths. Amy Blackshaw’s choreography revealed a production of contrasts. At its best, the movement was imaginative, engaging, and well matched to both the performers and the style of the show. Munchkinland was a particular highlight, with choreography that was clearly designed with care, well-rehearsed, and executed with confidence and clarity. The use of space was clever and visually interesting, creating dynamic stage pictures. These routines were lively, characterful, and full of detail, contributing significantly to the sense of magic and celebration in this section of the show. The snowflakes in the poppy field were also handled thoughtfully, with movement that created a sense of atmosphere and flow. However, this only served to highlight the relative lack of development in the poppy choreography itself, which felt underwhelming by comparison. The tornado sequence again stood out as an area lacking energy and theatricality. As a crucial storytelling moment, it required greater imagination, stronger physical storytelling, and a heightened sense of spectacle. Greater consistency in choreographic ambition and refinement would significantly strengthen the overall impact. As Dorothy, Anna Moore delivered a strong vocal performance with a beautiful, legit tone well suited to the score. Her presence was confident and commanding, and she moved comfortably and naturally. Vocally, she sang with assurance and clarity. A pronounced Judy Garland–style accent proved distracting and somewhat artificial, creating a barrier to emotional connection. Allowing her own voice and interpretation to emerge more fully would help Dorothy feel more authentic and relatable. Allen Gordon gave an excellent performance as the Scarecrow, marked by outstanding physicality and strong comic timing. His floppy, loose-limbed movement was sustained consistently, even through dance sequences, demonstrating impressive physical control and commitment. Lively facial expressions added depth to his characterisation, and his vocal performance was confident and secure, making this a thoroughly enjoyable portrayal. Josh Clarke offered a warm and relatable Tinman, with well-observed physical movement and a sincere, grounded characterisation. There was an opportunity to push the comedy further, particularly in the crying and rusting moments. Leaning more fully into these physical jokes would heighten their impact and add extra sparkle to an already solid performance. Francis McKinney was a standout as the Cowardly Lion, delivering a confident, funny, and deeply likeable performance. His comic instincts were excellent, his character arc was clear, and his relationships with Dorothy and the other companions felt genuine and well established. Every comedic moment landed effectively, resulting in a highly accomplished and engaging portrayal. Emma-Jane McKnight brought a strong vocal instrument to the role of Glinda, delivering with a rich, warm tone. However, the characterisation felt oddly cold and disconnected. Visible tension in facial expression worked against Glinda’s inherent warmth, and greater relaxation and emotional openness would help align the performance more closely with the character’s intention. Emma Nugent delivered a commanding and highly effective performance as both Miss Gulch and the Wicked Witch. The connection between the two characters was clear while still allowing each to remain distinct. Her stage presence was powerful, and she held focus effortlessly in every scene. Overall, this was a real highlight of the production. Sean Trainor gave an enjoyable and well-judged performance as both Professor Marvel and the Wizard. His physical comedy as the Wizard was particularly effective, with a charming sense of bumbling humour. Both characters were clearly defined, and his comic timing and stage presence served the production well. Among the supporting roles, Aunt Em and Uncle Henry would benefit from more detailed character development and stronger emotional grounding. Lines often felt recited rather than lived, accents were inconsistent, and the relationship between the two characters lacked warmth and clarity. Elsewhere, smaller roles were handled with confidence and clarity. Katy Keaveney’s Munchkin Mayor and Chris Mooney’s Coroner added humour and character to the Munchkinland scene, while Finbar Finnegan as Emerald City Guard delivered a particularly funny and engaging performance with strong audience connection. The ensemble demonstrated strong energy, enthusiasm, and commitment throughout the production. Vocally, the chorus was excellent, with clear diction and well-blended harmonies. Munchkinland again stood out as a showcase of the ensemble at its best. Movement was generally strong, though slower, more fluid sections would benefit from greater extension, focus, and precision. Simpler choreography demands even greater clarity, and refining this would elevate the ensemble work further. Behind the scenes, the stage management and set design supported the storytelling well and helped maintain the production’s pace. The set was functional and serviceable, making effective use of multipurpose elements and turning flats that allowed scenes to shift without becoming laborious. The opening backdrop was particularly well painted and created a strong first impression, immediately establishing a sense of place and theatrical intention. Some design elements, such as wrinkled fabric pieces and tree designs that felt less refined, slightly detracted from the overall polish. Stage Manager Clair Williams played an important role in keeping the evening moving. Scene changes were well managed and rarely intrusive, and the transitions generally maintained momentum rather than interrupting it. This sense of flow is vital in a show with many locations and quick shifts in tone, and the work here contributed significantly to the overall smoothness of the performance. Technically, the production was well supported by reliable lighting and sound. Sound was particularly well balanced, especially given the size of the space and the nature of the band. Vocal and instrumental balance remained strong throughout, allowing singers to be heard clearly while still preserving the richness of the orchestration. The overall effect was controlled and supportive, enhancing the musical storytelling without becoming overpowering. Lighting design was straightforward, dependable, and competently executed. While it did not lean heavily into especially stylised stage pictures, it was well focused and accurately cued, providing consistent visibility and mood support without drawing attention away from the performance. The fundamentals were strong and, importantly, never caused issues or distractions. Visually, the production was genuinely eye-catching and played a major role in establishing the magical world of Oz. Costumes were vibrant and imaginative, particularly in Munchkinland, creating a joyful explosion of colour on stage and helping the audience immediately understand the heightened world of the story. While the Tinman costume showed signs of wear and would benefit from maintenance to restore its original polish, the concept remained effective. The poppy costumes, though creatively conceived, felt slightly at odds with the wider design language of the production; adjusting these to align more closely with the overall palette and style would strengthen visual continuity.  Make-up was an absolute standout and one of the strongest elements of the evening. The artistry, detail, and execution were exceptional, with clear character definition and confident design choices that elevated the production’s overall aesthetic. The Tinman’s make-up was particularly striking, showcasing impressive precision and craftsmanship, while the Munchkins benefitted from intricate details that gave individuality and depth to the ensemble. The speed and efficiency of the transformations, from Oz characters back to farmhands, was genuinely impressive and speaks to the professionalism and organisation of the team backstage. Hair styling was equally well executed, polished, and well suited to each character, adding another layer of finish and cohesion to the visual storytelling. The audience experience was supported from the moment of arrival by a calm and well-organised Front of House operation. Patrons were welcomed in a friendly and efficient manner, with clear systems in place to manage seating and audience flow. The atmosphere before the performance was relaxed and inviting, setting a supportive tone for the evening. Overall, Newcastle Glees Musical Society delivered a production with strong musical foundations, high visual standards, and several excellent individual performances. This company has every reason to feel proud of what they achieved and is well placed to continue growing artistically, producing increasingly polished and cohesive work. Photographer Toby Watson

Review: Beauty & The Beast - BOSCO Drama Group

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm,...

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm, colourful, and uplifting performance in which every young person embraced their role with commitment. Even in the occasional moments where confidence wavered or execution needed more refinement, the cast’s passion for performing shone through. They collectively created that special, unmistakable atmosphere unique to youth theatre, one built on community, encouragement, and the sheer thrill of stepping into a story together. At the heart of the show was the directorial vision of Corinna McCaughey, who approached this well-loved musical with thoughtful ideas and a clear sense of story. The production moved smoothly from moment to moment, and the essential beats of the narrative were easy to follow. Corinna demonstrated an understanding of the emotional core of the piece: the contrast between Belle’s vibrant, curious world and the Beast’s lonely, isolated one; the themes of compassion, transformation, and acceptance; and the playful rhythm of the village scenes. She created a production that allowed young performers to explore these elements within a safe, structured framework. There were moments that would benefit from deeper exploration in the future, especially in terms of energy, intention, and character specificity. Some scenes lacked the momentum needed to maintain emotional drive, often because the performers had not yet fully discovered the stakes or objective of the moment. This is completely normal for young actors, and with further coaching in physicality, motivation, and presence, these scenes have the potential to develop into richer, more confident passages. The blocking occasionally presented challenges. Several scenes placed performers upstage, reducing the clarity of dialogue and diminishing the emotional connection with viewers. These choices are excellent teaching opportunities, helping young performers learn the importance of eyeline, positioning, and sharing their performance outward. A few moments, such as the shifting placement of the well in the village scene or interactions that overlooked the balcony seating, created minor visual inconsistencies. With small adjustments, these elements can be refined to strengthen the storytelling even further. Musical direction, led by Aislinn McGinn, brought warmth and beauty to the production. The orchestra consistently provided a rich, expressive sound that supported the cast with sensitivity. Harmonies were well prepared, and the ensemble sang with unity and confidence. Aislinn clearly guided the young performers with care, ensuring they had musical foundations strong enough to carry them through even the more challenging numbers. Transition cues between dialogue and music occasionally felt extended, with underscoring beginning slightly too late or introductions lingering too long after lines had ended. Greater coordination between Director and MD would help tighten these transitions and keep the pacing crisp. Balance between orchestra and cast also presented a small challenge, as the band sometimes overpowered dialogue. This is an entirely common issue for young performers still building projection skills and simply requires attentive collaboration between MD and the sound team in future productions. Despite these minor issues, the musical atmosphere was vibrant and expressive, contributing greatly to the show’s overall charm. Choreography by Ann Marie Morgan elevated the production with creativity, elegance, and an evident understanding of how movement can drive story. Each number showcased clear rehearsal and clean execution, with the ensemble performing confidently and enthusiastically. Several dancers demonstrated notable ability, adding polish and dynamism to the group work. The “Prologue” was particularly striking, skilfully blending movement and narration to introduce the world of the story. “Gaston” was another standout, with clever tankard choreography and a strong sense of ensemble unity. “Be Our Guest,” while lively and colourful, occasionally lost energy in sections, suggesting an opportunity to revisit pacing and structure to sustain the full spectacle the number promises. The wolf scenes incorporated an interesting swaying motif, but the narrative clarity could be sharpened to enhance the sense of danger. Most importantly, the iconic waltz between Belle and the Beast, the moment where their relationship subtly shifts, would benefit from even closer collaboration with the director to ensure the storytelling of emotional progression is fully realised. Still, Ann Marie’s work consistently provided the cast with both structure and expressive freedom, allowing them to shine. Among the principals, Belle, played by Emily Morgan, delivered a truly lovely performance. Her beautifully controlled voice displayed excellent technique, smooth transitions, and a warm, clear tone far beyond her years. Emily’s portrayal was sincere and grounded, capturing Belle’s independence and gentleness with ease. Her calm stage presence and confident physicality contributed greatly to her character’s credibility. She is a performer with enormous potential.  As the Beast, Matthew McKinney displayed a naturally pleasant vocal tone and clear musicality. His voice will undoubtedly grow stronger with age, and the foundations of a compelling performer are already visible. Matthew connected particularly well to the Beast’s softer and more humorous qualities in Act 2, demonstrating charm and vulnerability. The darker, more explosive emotional beats of Act 1 are areas for him to explore more deeply as he continues to develop. “If I Can’t Love Her” would benefit from more grounded stillness and intensity, but the understanding is there, and Matthew’s potential is unmistakable. Patrick McAllister, as Gaston, has a strong voice and a confident presence. With greater exploration of Gaston’s exaggerated arrogance and swagger, he could truly command the stage in this role. Youth performers often need encouragement to embrace the boldness required for such characters, and Patrick is more than capable of doing so. His dynamic with Le Fou was playful and well matched. As Cogsworth, Michael McAteer brought a pleasant vocal tone and gentle presence. His comedic potential is strong, and with more emphasis on the character’s fussy pompousness and a larger physical performance, he could land the humour more effectively. His rapport with Lumiere was promising and will elevate with further playfulness and energy. Mrs Potts, played by Emilia Quinn, offered one of the most polished performances of the evening. Her strong, expressive voice and warm characterisation made both her dialogue and her rendition of “Beauty and the Beast” particularly memorable. Emilia’s confidence and grounding onstage added a lovely sense of stability to the show. As Lumiere, Conor Powell delivered energy, charm, and confidence in “Be Our Guest.” With improved diction, projection, and a greater awareness of not backing upstage, Conor’s natural stage instincts will flourish even more. He clearly enjoys performing and has excellent potential. Among the supporting cast, several performances stood out for their energy, charm, and growing technique. Le Fou, played by Shay Devlin, delivered humour, strong harmonies, and promising comedic instincts. Maurice, portrayed by Ben Furlong, showed warmth and a gentle sincerity, though greater physicality and presence would help establish the character’s age and eccentricity more clearly. Sophia Murphy’s Babette was full of life, strong physicality, and clear character choices. Her accent work was good, though diction and projection should continue to be priorities. Robyn Cunningham’s Madame de la Grande Bouche impressed especially through her elegant vocal tone and will benefit from keeping her head lifted to reveal more facial expression. The Silly Girls, Eabha Monaghan, Molly McNally, and Orla Byrne, were a genuine highlight of the production, offering sass, humour, excellent harmonies, and wonderful stage presence. Jack Doherty’s Monsieur D’Arque could benefit from leaning further into the sinister qualities of the character, while young Aidan McCaughey was utterly charming as Chip. The ensemble was an enormous asset to the production, performing with unity, enthusiasm, and clear enjoyment. Their movement quality was consistently strong, with standout dancers lifting the overall visual impact. Vocally, they produced a warm, blended sound with lovely harmonies. They remained engaged throughout, supporting the principals and driving the larger numbers with commitment. Technical elements contributed significantly to the success of the production. Under the direction of Ruairi Gorman, stage management was exceptionally slick and professional, with smooth transitions and well-handled backstage coordination. The set design was visually stunning, with the stained-glass windows and the library piece standing out as particularly beautiful elements. These design choices added sophistication and depth to the storytelling. Lighting design supported the production well, creating atmospheric scenes and clear storytelling moments. A few cueing issues and follow spot inconsistencies occurred, but these are normal developmental moments for a youth crew. Sound design was generally effective, though balancing the orchestra with young performers remains an area for ongoing attention. No cues were missed, and the overall soundscape complemented the world of the show. Costumes were vibrant, detailed, and well suited to the story, with principal costumes and the “Be Our Guest” plates standing out especially. Some village costumes lacked finishing touches, and the decision to dress village girls as boys was interesting. Hair and makeup were good overall but would benefit from more refinement, particularly ensuring visibility of facial expressions, such as adjusting the Beast’s wig curl, which obscured his face. Before the first note ever sounded, the Front of House team helped establish a welcoming tone for the evening. Patrons were greeted warmly and guided efficiently, creating a sense of organisation and friendliness that helped the audience settle comfortably. For many young attendees and families, these early interactions can be fundamental to their overall experience, and Bosco Drama Group succeeded in providing an environment that felt cheerful, inclusive, and well managed. Their attentiveness supported the production beautifully, ensuring the evening began on a positive and reassuring note. Bosco Drama Group’s Beauty and the Beast  was a heartfelt and joy-filled production, elevated by dedicated young performers, strong musical and visual elements, and a team committed to creating a supportive and celebratory environment. It showcased the developing talents of its cast and offered a memorable evening of youth theatre at its most charming.

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