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UPCOMING EVENTS

Pippin

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4 Apr 2027

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The Addams Family

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24 Nov 2026

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Sweeney Todd

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27 Oct 2026

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Come from Away

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14 Feb 2027

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West Side Story

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28 Oct 2026

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LATEST NEWS

Review: Come From Away - Portrush Musical Society

Society name: Portrush Musical Society Show name: Come From Away Adjudicator date of attendance: 3rd June 2026 Director Kerry Kane and the production team and company chose this smaller venue. The tiny space lent itself well to the interior scenes in the planes, and the café/bar where most of the action is depicted. We were treated to a fast moving, faithful and very sensitive interpretation of this very moving story by a very well-rehearsed and confident company of fine actors and singers....

Society name: Portrush Musical Society Show name: Come From Away Adjudicator date of attendance: 3rd June 2026 Director Kerry Kane and the production team and company chose this smaller venue. The tiny space lent itself well to the interior scenes in the planes, and the café/bar where most of the action is depicted. We were treated to a fast moving, faithful and very sensitive interpretation of this very moving story by a very well-rehearsed and confident company of fine actors and singers. The phrase “chairography” comes into its own in this production with chairs and tables in constant motion throughout the production to create the various scenes required. The cast responded very well and it was nice to see not just placement of furniture, but also careful placement of props and costumes to assist each other in the rapid costume changes – often just a jacket/cardigan/hat, but which assisted the actors in switching between roles as the story unfolded. Terry Cloghley as MD, was squeezed into the wings with a tightly packed band of 8 other musicians, I could pick out about 5/6 from my seat but quite where the others were hidden is a mystery. However – the Playhouse is blessed with an excellent acoustic, and the sound from the band was just right, with the percussion (lots of bodhran – which is central to this score) and other instruments sharing the drone like underscoring of the narrative as the story unfolded. Whilst the songs and storyline are presented by the many individual characters as single lines, both spoken and sung, there are many opportunities for harmonies and these were handled well by the company and supported very well by the small but well-designed musical accompaniment. In particular the “prayer” was well sung and blended together nicely. The band joined in for the “tavern” scene – with the percussionist hopping on stage with an “ugly stick”. The Finale – “Somewhere in the middle of nowhere” which involves the entire company was a fitting and moving end. Rosemary O’Connor – choreographer - had the challenging task of designing – I assume in close collaboration with Ms. Kane, a subtle range of head and body movements for the people whether in the plane, or on buses, and moved the cast and the many chairs in time to the music when required and had a few opportunities for appropriate “dancing” especially in the tavern scene which occurs towards the end of the story. Aaron Jamieson took on the role of Claude and effectively opens the show with the full company with “Welcome to the Rock”, a rowdy joyous introduction to the town of Gander and its small group of inhabitants. As with all the principal characters Aaron had to switch in and out of various characters during the show and he did this with minimum effort and fuss and adopted different accents – including the quirky “gander” or newfoundland accent. His interactions with the other characters were on point and his various accents were excellent. His singing was always in character. Lindsay Johnson played Bonnie and was confident and secure in her dialogue and handled the accents well. She also covered the part of “Martha”. Ms. Johnson showed the emotional connection this character has with all animals and the story with the Bonobo chimpanzees was handled with great sensitivity. Emma Thorpe played Beulah, the head of the Gander Legion and also doubled in some scenes as “Dolores”. Beulah organizes all the towns folk to arrange food and bedding and later forms a close bond with Hannah, who has a son in New York who is a firefighter. These scenes were played with great sensitivity. As Dolores she rips into a rendition of “my heart will go on” eliciting a huge laugh (and light relief) from the audience. Tim Brown – Oz ((Also Joey, Customs Officer, Mr. Michaels, Terry, Matty, Rabbi and Head Cardiologist) – is a strong singer and actor, and moved between the many cameo roles effortlessly. His various accents were good and he supported the other actors with great confidence. Playing eight different roles is a challenge for any actor but Mr. Brown slipped in and out of each one with ease. Yasmin Walker played “Janice” the eager “first day on the job” reporter who is landed with the biggest news story of her life. Yasmin was excellent in the role and handled the accents well for the parts of “Britney” and the “Flight Attendant”. As the “Flight Attendant” she also covered the house announcements at the beginning of the show. Elaine Macauley – Beverley (Also Annette and Reporter), had the unenviable task of singing probably the only solo song in the show – i.e. “Me and the Sky”. Her voice was nicely suited to the part, and she was joined by a group of backing singers with flight attendant caps. She also had multiple roles playing Annette and a reporter. Ms. Macauley easily embodied this strong and successful character managing a plane and its passengers whilst processing the awful news that has just changed her life forever. Nicole Williams was Diane and also covered minor roles as Crystal and Brenda. Her main character was played with great sensitivity and her evolving relationship with Nick was both funny and moving as two strangers found solace in each other’s company in a time of crisis. Her duet with Nick for “Stop the World” was well sung and poignant. Aidan Hughes, as well as being Chair of the society, also took on the main role of “Nick” as well as some minor roles. His acting and singing were well suited to the part of “Nick” -his English accent clipped and on point, and his phrasing and timing in “Stop the World” was perfect. As with his colleagues he also switched between parts effortlessly. I particularly liked the use of chairs in “Stop the World”. David Mitchell was excellent as Garth, the hard-nosed Union Official. He also had to portray President Bush making his address to the nation. As Kevin T, he sang at the start of “Prayer” which is a mash up of the Christian Hymn “Make me a Channel of your Peace” and several other songs/chants from various religions. This particular piece is very moving, and he was supported by the entire company with great sensitivity. David McDowell as Kevin J – (doubling as Ali and Dwight) is one of my favourite characters in this musical. David used the same simple costume addition of a skull cap to portray Ali and whilst he only has a few moments, this was delivered with great empathy. As Kevin J he was secure, confident and believable. Rosemary O’Connor played the role of Hannah principally, as well as covering the minor roles of Margie and Mickey. Her frantic search (on the phone) for her fire-fighter son who she fears is lost in the tragedy leads us to the very poignant “Phone home” song which Ms. O’Connor performed with great tenderness and vulnerability. Richard Mairs was a strong supporting actor with multiple roles. As Captain Bristol he was suitably pompous and strutting, and gave the audience a much-needed laugh with his various entrances. As the very nervous “Bob” he was suitably untrusting of everyone in the sky, and again as he tries to settle into the welcoming arms of the friendly people of Gander. Ensemble – There are two groups of ensembles alternating shows for this production and ensemble “A” were on stage on the night I attended. They supported the principal cast well in the bigger chorus numbers book-ending the show for the opening number and finale as well as assisting with moving furniture and props and helping cast members with the quick-fire costume changes. Some joined in for the “Cardiologist” scene which was very funny. As already outlined above there was very little space to move either chairs, tables or any type of set pieces on or off the stage, but Mr. William Thompson as stage manager managed the well drilled cast well and managed to assist the fast-flowing scenes as they unfolded. Mr. Thompson, along with Ms. Kane also built and painted the set – a proper community theatre! There was a Tim Hortons sign on one side of the stage and a beer sign on the other to indicate various scenes. I noticed very few stage markings and again it was a credit to the cast when it came to positioning the chairs, as well as finding spot lights. The clear-out of chairs after the tavern scene was smooth and efficient. Lighting was simple throughout but effective at creating the atmosphere for each scene. There was very little space to hang lights so the designer had to be creative with positions and types of lights used. I particularly liked the lighting in the “Blankets and Bedding” scene, and the spot on “Ali” at a certain point worked well. Given the number of live mics on set – there were little or no drops in volume and no bangs or feedback that I could tell. Sound overall was mixed very well with the band and the singers. Costumes were all simple and effective, given the number of characters being portrayed on stage the base costumes had to suffice, with characters created by the addition of hats, jackets, coats, skull caps etc. This all worked well. I didn’t notice a wig, if there was one it was excellent! Make up was simple and appropriate. Adjudicators Suggestions: I had the opportunity to speak at length to the Director and to some of the company before and after the production. The Playhouse was a perfect setting for Come from Away, and I know they have difficulty securing an appropriate home for larger scale musicals, so I hope the local public representatives can get on board and bring a much-needed theatre to this town, which has so much talent available to it. As regards the production itself all I can say is bravo to one and all for their incredible hard work in presenting this beautiful piece of theatre.

Review: Anything Goes - St. Patrick’s Choral Society, Downpatrick

Society name: St. Patrick’s Choral Society, Downpatrick Show name: Anything Goes Adjudicator date of attendance: 16th of May 2026 My second show this season took me to The Great Hall, Downshire Estate, Downpatrick -a former psychiatric facility with a Grand Hall – which is available to the community for events such as these and what a joy to see such a facility and such a joyful production presented in the grounds. Parking was plentiful and the entrance into the foyer was very spacious with...

Society name: St. Patrick’s Choral Society, Downpatrick Show name: Anything Goes Adjudicator date of attendance: 16th of May 2026 My second show this season took me to The Great Hall, Downshire Estate, Downpatrick -a former psychiatric facility with a Grand Hall – which is available to the community for events such as these and what a joy to see such a facility and such a joyful production presented in the grounds. Parking was plentiful and the entrance into the foyer was very spacious with members of the cast – in costume - circulating with the front of house staff, offering patrons the option of a non-alcoholic beverage in the bar – on the stage, which was open early to suit the patrons, and also a certain Mr. Elisha Whitney who it seems had an unquenchable thirst. A nice touch was Reno popping to silently enquire with Fred the barman if he had seen a certain person, which would become clear a few minutes into the show. The seating was at two levels, about 10 rows on the floor and the rest tiered. The acoustics in the Great Hall were also excellent. Director Matthew Campbell set the bar in a half open front curtain, with a very realistic bar sitting between the opening, and a half curtain shielding what we knew would be the Ship. This was a very traditional and faithful tribute to this wonderful musical with the Cole Porter score sweeping us along through the story about to unfold. The set was designed and by the director and choreographer and built locally, and it served the production well, with the usual pull out side panels revealing the interior staterooms, and stairways leading to an upper level which allowed for lovely pictures throughout the production. Musical Director – Wilson Shields. The orchestra – an 8 piece with the MD playing for most of the numbers, was well balanced and underscored the singing nicely, with sound support and balance excellent throughout. Principal singing was of a high standard, supported by a well drilled chorus, although I did notice that the harmonies in public enemy were a bit shaky at times. Overall though I enjoyed the singing and in particular I noted that diction, particularly in the singing was excellent. Choreographer Alex McFarlane also took on the role of costume mistress, which in itself is a first for me. St. Patrick were blessed with a very enthusiastic group, and they embraced the big numbers such as “Anything Goes”, “Blow Gabriel” and even “Buddy Beware” with gusto. The two big showstoppers – “Anything Goes” and “Blow Gabriel” are always the biggest chorus numbers in any production of this show and this proved to be the case. Led by the fabulous Ms. Rosborough as “Reno”, both numbers one closing act 1 and the other opening act 2 were fantastic. It was fitting therefore that for an encore the full cast gave us a reprise of the Anything Goes tap number and this was well received by the already standing audience who were begging for more. Jordan Rosborough fully embodied the role of “Reno”. As a singer and an actress Ms. Rosborough is excellent, good accent maintained throughout, good comic timing, particularly in the “You’re the Top” and “I Get a Kick” and later excelled in the “Gypsy in Me” scene. But it was in moving and dancing where Ms. Rosborough came into her own and in fairness was in a class of her own. “Anything Goes” was danced at a blistering pace and Blow Gabriel was equally amazing with Reno held shoulder high by the sailors – in the splits, whilst still singing at full voice. Another highlight was in the “gypsy” scene where she went into full “Velma Kelly” mode and with Evelyn’s assistance performed No. 17 - the “spreadeagle”, to the bemusement of the Captain who was walking by and uproar from the very appreciative audience. Sean Harkin was a very solid “Billy”, very confident on stage both in terms of accent and dialogue. He possessed a very rich baritone, slipping effortlessly between head and chest voice. His scenes with Reno, Hope and Moonface were well paced and assured, and he handled the various accents well. The “laugh” at the end of “Public Enemy” was well delivered and mimicked by “Reno”. Simon Piper as “Moonface” is a trained dancer, and this evidenced itself throughout the production as he took full part in the big chorus dance numbers, but he is also a fine actor with great comic timing and excellent diction. His entrance from the basket was funny and well timed, and he was always thinking on stage, twice in the scenes with Spit and Dippy they dropped money on the stage, and he noticed it both times and pocketed the cash, perfect for both the character and for covering up the error. His duet with Reno in “friendship”, was moved well and they both created well-crafted images of the various verses in the song. Sara Kelly gave a very solid portrayal of what Irma describes as the “drip” that is Hope Harcourt. A debutante under the thumb of her mother who is determined to marry her off to a rich man, she interacted with Billy very well, danced in “de-Lovely” with great confidence and sang with a nice, understated tone. Overall, a very good performance of what is often - as Irma suggested - a very “drippy” part. Tim Pentland was in his element as the fuddy duddy Lord Evelyn, and both his accent and characterisation were excellent throughout. His “Gypsy in Me” was well sung, though perhaps could have been hammed up even more. The back story for “Plum Blossom” was different in this production from recent versions I’ve seen, but it worked just as well. A mere 20 years old and already displaying the timing and talent of a seasoned performer, Jess Sloan embraced the character of Erma with some relish. Often a foil for the other characters to set up gags, this character often gets overlooked but no chance of that with this young lady. She was the perfect comedy partner for Moonface, and her routine with the sailors in “Buddy Beware” was both well danced (more tapping) and well sung. I’m guessing this young lady will have “Reno” on her CV at some stage in the future. Brian McElroy as Elisha was first to be seen and witnessed in the pre-show bar scene. A tad underplayed for me at times, (the “testify” scene) but in fairness to Brian this is from someone who just recently played the same part so I appreciate that I was waiting for the lines to be delivered exactly as I would have, and of course this is unrealistic. He did though deliver a “coup-de-theatre” of sorts when he managed to time the opening of a champagne bottle and pop the cork exactly in time to the music. Karen Oakes took on the persona of Evangeline Harcourt for this production and gave a good account of herself. I thought at times she could have gone bigger with her reactions, and at times dropped vocal levels which if you didn’t know the dialogue might have been hard to follow but as Hope’s pain in the neck mother, she did well. I liked the props and the timing though in the “ship is sinking” scene, Andrew Devonshire and Tim Currie were the Captain and Purser and therefore in charge of many openings and closures of scenes, particularly in the first act. They were good and strong and lent a sense of authority to proceedings as befitting men in uniform. They play a big part in “Public Enemy”, and they did this with great confidence. Two very important characters in a play set on a ship! A brief cameo as the “Minister” was handled with ease by Matthew Johnston. His interaction with Moonface for the “Indochina” routine was very well timed and was an important moment in the show as it is the first “test” for “Moonface”. Spit – Jonah Kelly, Dippy – Adam Patterson. These two young men are part of a larger young cast – not surprising given that in the last 20 or so years this society have also managed to produce a junior version of many different musicals in the same year as presenting at least one other “adult” production. Some achievement for any society and it shows how well the society is set up for the future. They acquitted themselves well particularly in the “jail” scene with Billy and Moon. Fred (Barman) – Donal Carey, Photographer - Abbie McCarthy, Reporter – Shea McGrath - again three young performers who I’m sure will be filling principal roles in the near future. Chorus/Ensemble - A very committed company, many of whom were in the foyer before the show commenced, and who were very confident dancers and singers. Their harmonies for the most part were on point, I could hear the different lines, and their dancing – with the front-line tappers taking the lead, was well supported by this enthusiastic chorus. Visually this was a very attractive show with good attention to costumes. Sailor suits were uniform, officers’ suits good and fitted well, and character costumes and accessories were in the main - on point. I counted 8 costume changes for Reno, I may have missed a few, but they all fitted beautifully and were appropriate for each scene. There is no credit in the programme for hair and make-up, so I assume cast looked after themselves. Wigs were good in the main with Reno’s probably the best looking/fitted/styled. Lighting and sound - As mentioned above the room itself is very well suited acoustically and sound throughout was well balanced, the odd knock or click from mikes getting hit on stage which is to be expected in this knockabout production. Lighting was solid but not exceptional. I was pleased to see not one but two follow spots following the principals from the start, but this particular design relied a bit too much on what were very white follow spot(s) and often missed other performers (e.g. sailors) as they were singing support. There were nice changes in “Easy to love”. Blow Gabriel was probably the most colourful scene from both a lighting and costume perspective. Stage Management. Apart from the opening and closing of the staterooms, stage crew had little to do as cast were generally used to bring on and off large props and furniture. A very simple and well-designed set makes for a very stress-free show for the stage manager. Adjudicators suggestions and comments. Apart from kidnapping your leading lady and keeping her for yourselves, it would be churlish of me to suggest anything to a group capable of producing two adult and one junior musical per year. Bravo on having such a young chorus to both encourage with opportunities and draw from in the future. Photo credit: Marty Campbell

Review: Guys and Dolls - Belfast Operatic Company

Society name: Belfast Operatic Company Show name: Guys and Dolls Adjudicator date of attendance: 14th May 2026 Guys and Dolls was inspired by the writings of Damon Runyon, who based his writings on his experiences and characters encountered in and around the Broadway area of the 1930’s. Inspired by the Runyon - Frank Loesser, Jo Swirling and Abe Burrows conspired to crunch together a number of short stories into what we now know as Guys’n’Dolls the Musical. Belfast Operatic chose this...

Society name: Belfast Operatic Company Show name: Guys and Dolls Adjudicator date of attendance: 14th May 2026 Guys and Dolls was inspired by the writings of Damon Runyon, who based his writings on his experiences and characters encountered in and around the Broadway area of the 1930’s. Inspired by the Runyon - Frank Loesser, Jo Swirling and Abe Burrows conspired to crunch together a number of short stories into what we now know as Guys’n’Dolls the Musical. Belfast Operatic chose this musical, it appears from the programme, for the first time, and produced a fine interpretation. Belfast Operatic are blessed with the amazing Grand Opera House in which to present their shows and this alone should be an inspiration to any production. The Opera house was renovated recently in June 2021. They added a beautiful atrium to the side of the theatre which now acts as the entrance foyer and have lovingly restored the interior to a very high standard. The first thing I noticed, after staring in wonder at the beautifully ornate décor in the theatre, was a very large orchestra pit with a very large orchestra. Aside from this being my first outing as adjudicator in the new Opera House another first for me was the presence of a sign language interpreter throughout the production. In the Director’s chair for this production, was Kerry Rodgers. Ms. Rodgers had a very clear vision for the look of this show, it began with a gauze onto which there were gobos with various motifs of dice and cards etc., and a lone desk in front. As the overture commenced this was filled with a person seemingly typing at the desk and as the chorus entered and moved around with various newspapers with large text, it was evident this was to represent the above-mentioned Damon Runyon, who’s stories inspired the original production. Along with this behind the gauze appeared various montages with cast members giving little hints and tasters of what was to come. Her use of dice as the main focal point of the production, as chairs, tables, stairways, and even phone holders worked really well, and I liked the consistency of the theme. Where it didn’t resonate quite so well, was in the Havana scene and in the sewer scene where along with the very distinctive markings on the floor the look was very much the same. I didn’t like the staging of Adelaide’s “Lament”. I was confused as to whether it was supposed to be her dressing room, or the hot box, and this scene as mentioned elsewhere would have benefitted from clearer, more defined lighting restricting it to a certain area. Using the whole stage – again with the very large markings took away from any sense of place. Ms. Rodgers work with the chorus was evident as the show took flight with very effective groupings and images throughout the production. I’m guessing there was close collaboration with the choreographer for the Havana scene, particularly in the tour of historic places in Havana. The use of the chorus here representing statues, buildings, archways etc. was very effective. Colin Scott had charge of the above-mentioned 19-piece orchestra, and from the opening note to the last toot of the finale he was in total control. His work with a very talented group of singers was evident throughout the production, all principals sang very well, and they were supported by an orchestra which in theory should have drowned out much of the singing, but in Mr. Scotts hands they had no concerns, and along with a very efficient sound design we could hear every note of every song. Harmonies were also very clear and bravo to a very well-rehearsed chorus for their support and delivery in all the chorus numbers. A choral highlight of this production, and I suppose most productions of Guys’n’Dolls, was of course “Sit Down You’re Rockin’ the Boat”. We could hear all 4 parts distinctly throughout. However, respect is also due to the “guys” who produced a very energetic and well sung version of “Luck be a Lady”. Timothy Bell returns again as Choreographer for this production, and he worked well with the director to deliver a very energetic and effective set of routines. Guys’n’Dolls can often get carved up into the Hot Box scenes for the dancing girls and the “Luck be a Lady” and “Sit Down” for the guys, but Mr. Bell ensured that there was as much to do for the full chorus as possible. This was evident from the start in the various scenes depicting Broadway, and in almost every number outside of the big numbers to depict the various images painted by the lyrics. Perhaps most impressive was the use of the chorus in Havana as the various sight-seeing points that Sarah was determined to see, and they added greatly to the effect. There was a very full stage for the dance number in Havana, and this was danced and moved very nicely. The crap shooters ball and Luck be a Lady were very well-staged and executed with the full company of men providing a riot of colour and energy, whilst singing very well - and this was most impressive. There was also very impressive “Hatograpghy” on display from the guys in “Good Old Reliable”, the first big chorus number and this kicked off the production nicely. Sky Masterson was played by Dessie Havlin, and he gave a nice interpretation of the role. As with all the principals he had a singing voice that was well trained, strong and suited to the range of the various songs. “My Time of Day” was well sung, leading into the beautiful duet “I’ve Never Been in Love Before”. Sarah Brown – Naomi Smyth – had a beautiful soprano voice and she excelled in all her songs. “I’ve Never Been in Love Before” was beautiful from both. Pretending to choke whilst drinking in “Marry the Man” was excellent. I felt there could have been more made of the drinking scene in Havana, there needed to be a few more coconuts for her to drink from. Ms. Smyth was every bit the prim and proper Sarah Brown. Greg Fox - Nathan Detroit – yet another beautiful singing voice, a feature of this very musically talented cast. I thought his accent was a bit patchy in his opening few lines, but he warmed up quickly and maintained a good level for the remainder of the performance. Nathan took full part in the crapshooters dance as well as “Luck be a Lady” and danced very well. Adelaide – Emiko Seawright – was a wonderful singer and had a good consistent accent throughout. I must confess I didn’t like her wig – it was poorly styled as were many of the other Hot Box girls. As mentioned above her “Lament” suffered from too much movement around the stage, but the “Lament” reprise worked better, as she remained in one place and this gave her the opportunity to tell the story. Nicely – Conor Anderson – sang well from the beginning. His intro into “guys and dolls” song from the preceding dialogue was a bit rushed timing wise. I felt that whilst they both sang well, both Benny and Nicely were lost and at times upstaged with the various couples/activities happening around them. Benny – Daniel Clarke. Good supporting performance from this actor and a strong contribution to both the three-hander in “Fugue” and the two-hander in the “Guys’n’Dolls” numbers. I felt that both he and Nicely could have been dressed a bit “louder” to make them stand out from the other gangsters. Rusty – Adam Callander. The third wheel in the opening “fugue” was a strong singer and supported the other two with ease. Brannigan – Kevin McIlhennon, had a nice consistent accent, and good costume. His early scenes with Nathan and the gamblers were well handled but I felt the entrance in the mission scene for “Sit Down” could have been handled better. General Cartwright - Laura Kerr – was calm, poised and gave a strong and well-judged performance as the General. A cameo yes, but Ms. Kerr demonstrated confidence in her character and delivered her lines with conviction. Arvide – Michael Bradley. “More I Cannot Wish You” is always a difficult scene and song but Mr. Bradley handled it well and sung in a gentle and appropriate manner. Big Jule – Luke Allen – was introduced by Harry and started very twitchy but didn’t maintain this, so it was confusing to the audience what he was trying to portray. He waved (and revealed) his gun too early, and this was clearly seen by Brannigan. Timing of dialogue was rushed in places, and for me was - too jokey throughout. Harry – James Marsden. A good supporting role from this young man, although some lines were either lost or dropped, e.g. the “buick” line was completely inaudible, and the “show me where it says that in Hoyle” completely lost. Agatha – Emma McCourt, played with the right amount of gravitas in the mission scenes where she featured. Joey – Rachel Halliday –adopted a good persona for this character, but I didn’t like the gun piece – it didn’t seem appropriate (looked like a red water pistol). I liked the dice as holders for the phones. Mimi – Kathryn Aiken, timed her “looking for an earring” scene well and delivered her lines with great confidence. I loved that she found the earring in her hair! Mistress of ceremonies – India Clements and Claire Howell, Angie - Lucas Levy and Society Max – Oliver Stevenson, were good in their supporting roles as were all the gangsters/gamblers. The Chorus in Belfast Operatic were on show from the beginning behind the gauze with well staged montages of various scenes. Along with the principal players they sang very well, and all harmonies were clear and correct. The chorus particularly impressed in the Havana scenes, initially as the human versions of landmarks and places that Sarah wished to see, and afterwards as a full ensemble dancing in the Havana/pre-fight scene. Guys were excellent in the all-male numbers and in particular the “Crapshooters Ballet” and “Luck be a Lady” were highlights. The Ladies in the Hot Box numbers sang and danced well and both numbers were well received. The Stage Manager was the very experienced – Andy McKnight. As mentioned above the majority of props were various sizes of dice used as tables chairs and trees, lamps etc., along with one staircase – again dressed as dice, and these were all moved on and off by the cast. There were appropriately styled chairs for the mission scenes and again these were moved by cast. There was one moment of delay between removing boxes/dice and bringing on mission furniture, but this was minor. The stairs – which was the largest piece, was moved effortlessly by cast and principals throughout the performance and as I found out afterwards there was ample room both sides of the stage to store these. The stairs disappeared for Havana, although the same dice were used as furniture, and I felt it needed something different to distinguish it from New York. Same for the sewer scene, and the “If I Were a Bell” scene - no distinction. They needed something different, particularly given the very strong and distinctive markings on the floor. Lighting – good in “Good Old Reliable”, effective at start with gobos and images behind gauze, nice spotlight for the “jack of spades” line in the scene with Nathan and Sky. Nice feel to the lights at the end of “I’ll Know” but felt they were a bit too bright at start of the “Lament” scene, also too bright at the start of “My Time of Day”. I felt that for some of the interior scenes the use of very discreet lighting of just certain parts of the stage e.g. in “Lament” and “Interior Mission” would have added to the look. Sound – excellent throughout with balance of orchestra and mics perfect. With such a large room, band and cast we could hear all the individual principals over the orchestra, and the harmonies were also mixed well. Good collaboration between the MD and the Sound Designer. Makeup and wigs – I noted that there was no mention of a makeup or wig person so assume cast looked after their own. This was evident in some of the styling of the wigs and for me some were not tidy enough and of the period. Costumes – overall good, the “take back your mink” dresses looked like they had seen better days, and although I liked the “bushel” dresses, a second “reveal” to me took away from the big reveal in the “mink” scene. I wondered about men in shorts in Havana? I would also have liked a different look for the locals, maybe capri pants for some of the ladies or bolder colours. This along with the same décor, dice for tables etc. didn’t offer a different look for “Havana”. I liked the Sally Army uniforms; they fit well and were consistent. The different range of colours on display for “Luck be a Lady” scene was impressive. Overall, this was a very enjoyable start to this new year, and a very enjoyable visit to this beautiful venue. A society with this level of history and resources don’t need any advice from me, but for what it’s worth – and I know it’s show dependent – if there are wigs in use, they need to be of a certain standard and styled accordingly. Whilst the movement of the company in the larger chorus scenes was excellent, I felt that greater time needed to be given over to not just learning the lines, but in getting to grips with the timing of the many gags in this very funny show. There were many things to enjoy about this production, and a few tweaks here and there will almost certainly bring it to another level. Photo credit: Belfast Operatic Company Production Photography

Review: We Will Rock You - Fortwilliam Musical Society

Society name: Fortwilliam Musical Society Show name: We Will Rock You Adjudicator date of attendance: 25/04/2026 A second trip up the M1 in less than twenty-four hours brought me to my fifth and final viewing of ‘We Will Rock You’ For the season. This time it was with Fortwilliam Musical Society in the lovely surroundings of The Theatre at The Mill. I never tire of seeing this show. The comedy is knowingly silly and completely over the top at times but when a cast commits fully to it, it...

Society name: Fortwilliam Musical Society Show name: We Will Rock You Adjudicator date of attendance: 25/04/2026 A second trip up the M1 in less than twenty-four hours brought me to my fifth and final viewing of ‘We Will Rock You’ For the season. This time it was with Fortwilliam Musical Society in the lovely surroundings of The Theatre at The Mill. I never tire of seeing this show. The comedy is knowingly silly and completely over the top at times but when a cast commits fully to it, it really works. Then there is the music of Queen, the iconic anthems and some wonderful choral arrangements that never fail to lift an audience. The visit got off to a slightly unusual start and, due to a miscommunication over the start time for the matinee, I unfortunately missed the opening few minutes of the show. From an adjudication point of view, it also meant that I was unable to properly appreciate the front-of-house experience in the way I normally would, which was unfortunate. Once I got settled in, though, it was clear that Fortwilliam Musical Society had a strong understanding of the style and tone needed for the show and they relished every minute on that stage. Laura Kerr did an excellent job as director. This was a cleverly staged production with a strong understanding of the heightened style needed for the show to really work.. It was a very slick production with clear, confident direction throughout. Ms. Kerr brought great clarity to the storytelling as she pushed the heightened, almost camp style that the show requires. A lot of the performances were deliberately over-the-top but this suited the material perfectly. I loved how frequently action spilled out into the audience, creating a really immersive atmosphere. There was a very strong eye for comedy right through the production. The humour was tight and very well-paced throughout. Some directorial touches stood out in particular. The reveal of Scaramouche’s transformation into the red leather look was very cleverly handled with lighting and the slow-motion fight sequence at the end of Act One was extremely well executed. Super work from Ms. Kerr, who had a very firm grasp on the humour and heart of the show. Musical direction was in the very capable hands of Ciara Bowman, who oversaw a fabulous six-piece band and some wonderful vocal work throughout the production. This is not an easy show musically, either for principals or ensemble but, for the most part, the cast handled those challenges extremely well. The band was loud and in your face, exactly as it should be for ‘We Will Rock You’, but there was never any danger of the vocals being overshadowed, thanks to excellent work from the sound department. Lyrics and underscored dialogue were clear throughout, which is no small achievement in a score like this. Balance was very well judged, while harmonies in numbers such as ‘Somebody to Love’ were particularly strong. The ensemble singing really impressed throughout. There was great warmth to the choral sound and harmony work was handled very confidently. The face-melting guitar work at the top of ‘One Vision’ was stunning, while the guitar solo in ‘Who Wants to Live Forever’ would have made Brian May himself proud. Overall, this was excellent musical direction from Ms. Bowman. Choreographer Michael McEvoy did wonderful work throughout, bringing great energy and sharpness to the production. Routines were clean, character-driven and completely in tune with the rock concert style of the piece. ‘Radio Ga Ga’ had wonderful military-style precision, with the ensemble moving sharply and confidently as one. This suited the robotic Globalsoft uniformity perfectly. ‘Somebody to Love’ was another very strong number, tight and very well-drilled. The staging of ‘Killer Queen’ was particularly effective too, including clever use of canes from the ensemble which added greatly to the visual style. ‘Crazy Little Thing Called Love’ was one of the most exhilarating numbers. Technically, the choreography itself was not overly complex, but it was so together, full of character and brilliantly staged. The use of levels throughout the number worked so well, while clever coordination with the lighting to the impact of the sequence. I really enjoyed the staging of ‘Another One Bites the Dust’, where members of the ensemble quite literally ‘bit the dust’ one by one, leaving Khashoggi to meet his fate last. It was inventive, slightly tongue-in-cheek and perfectly suited to the humour and style of the production. Rory Jeffers gave an excellent performance as Galileo Figaro. He really captured the character’s sense of confusion and isolation as a man tormented by the strange words constantly circling around in his head. He was a very strong actor with excellent comic timing throughout. A lot of Galileo’s comedy comes from his awkwardness and his offbeat reactions and Mr. Jeffers understood this humour very well. He had an excellent singing voice throughout. ‘I Want to Break Free’ was a fabulous number, showing a really strong upper register and an ability to sustain the demanding rock vocals with wonderful control. ‘Under Pressure’ was another standout moment and demonstrated just how capable a singer he was. Hannah Ferguson was very impressive as Scaramouche, bringing wonderful confidence and presence to the role. She was completely at ease throughout the performance and really relished the character’s sarcasm and attitude. Her comic timing was excellent and each of her cutting put-downs were hilariously delivered throughout. She brought a really strong singing voice to the role. ‘Somebody to Love’ was particularly impressive, with excellent control and a lovely richness to the sound. ‘Who Wants to Live Forever’ showed really impressive strength in her excellent lower register. More than anything, Ms. Ferguson was very funny. I loved her hilarious ‘guitar solo’ moment, performed with great conviction and energy. Overall, a hugely enjoyable performance. Connor Polley gave a brilliant performance as Brit and was another performer who completely embraced the heightened style of the show. He understood this kind of comedy so well, delivering lines with a wonderfully knowing sense of humour throughout. Mr. Polley also brought wonderful physicality to the role. His athleticism was seriously impressive, not least during his spectacular high kick which was both unexpected and alarmingly flexible! ‘I Want It All’ really showcased the quality of his voice, with excellent range, power and confidence needed for the rock style of the score. He was also very impressive during ‘Headlong’, which showed strong musicality as he blended so well with the other three performers. A hugely entertaining performance. Zoe Barr was another excellent performer as Oz and she brought great warmth and presence to the role. She had a very natural ease onstage. Singing was superb throughout. She was particularly strong during ‘Headlong’, which she performed with wonderful energy and musicality. Ms. Barr’s gorgeous singing voice was used to great effect across the show, but nowhere more so than in ‘No-One but You (Only the Good Die Young)’. There was real sincerity and poignancy in this number, which Ms. Barr delivered with a beautiful honesty and excellent control. Overall, this was a top-notch performance from a really strong performer. Mark Tilley brought a wonderfully malevolent presence to the role of Khashoggi, creating a villain who was both threatening and very funny to watch. That is a difficult balance to achieve but Mr Tilley did so in a very skilled way. He really got the camp, comic-book style humour of the character but always kept things edgy so that Khashoggi felt like a constant threat. There was some great character work throughout the performance. Mr. Tilley’s comic timing was excellent and he knew just how to get the most out of the corniest of moments. His “ignorant plucker” gag was one of many examples of this, as he timed his run perfectly. He also had a wonderful singing voice, with excellent range and very strong harmony work throughout. ‘A Kind of Magic’ highlighted the quality of his vocals, and ‘Seven Seas of Rhye’ gave him the chance to really shine. Kelly Brown was, for me, the standout performer of the production as Killer Queen. This was a truly stunning performance and one that completely dominated the stage whenever she appeared. Ms. Brown brought a fierce, commanding presence to the role, mixing glamour, danger and outrageous camp perfectly. There was no messing with Ms Brown’s Killer Queen. She was also exceptionally funny throughout. Her singing was outstanding throughout. ‘A Kind of Magic’ showed wonderful control and confidence. She attacked the number with real authority and style. ‘Fat Bottomed Girls’ was another huge moment for her, completely owning the stage from beginning to end with her excellent vocals, power and attitude. I also loved the strength of her lower register at the beginning of ‘Another One Bites the Dust’, which can often be lost under the band. An excellent performance all round. Michael Rose gave a very strong and hugely entertaining performance as Buddy Holly and the Crickets (Buddy for short!). Mr Rose fully embraced the heightened style of the character and was a firm audience favourite from the outset. He had a real ease and confidence and handled the breaking of the fourth wall very naturally. The comedy was cleverly and knowingly played and he really understood the style of humour. He also sang extremely well. ‘These Are the Days of Our Lives’ was beautifully delivered with warmth and sincerity, providing a quieter and more heartfelt moment for Buddy. Mr Rose handled this contrast very well. The ensemble work was very strong throughout and played a big part in driving both the energy and storytelling of the show. There was real commitment from the cast right across the board, whether performing as the identikit Globalsoft citizens or as the wonderfully eccentric Bohemians. The colourful group of girls alongside Scaramouche during ‘Somebody to Love’ worked really well together, interacting brilliantly while also producing a terrific vocal sound. ‘I Want It All’ had wonderful energy and featured excellent harmony work from the cast. What impressed me most though was the level of focus and character detail amongst the ensemble. The Bohemians in particular were highly entertaining. They were delightfully over-the-top at times but always controlled, which is the sign of excellent direction and wonderful cast discipline. Excellent work all round. Stage management was in very safe hands with Andrew McKnight, who did an excellent job keeping the production moving smoothly throughout. Whether using cast members or stage crew to complete scene changes, transitions were handled with great fluidity and efficiency, helping to keep the pace and energy of the show at all times. Everything moved very well and contributed greatly to the slick overall feel of the performance. Great work from Mr McKnight and his team. The set design presented a strong futuristic world and really suited the comic-book style of the show. The trucked scenic pieces were very versatile and functional, allowing transitions to happen very fluidly. The space was used very well throughout, particularly during the bigger ensemble numbers. The tall mesh structures stage left and right framed the playing space nicely and created a cold, urban environment. Details such as hazard tape, warning signs, corrugated metal, posters and graffiti-style dressing gave us a worn-down, rebellious feel which tied perfectly into the Bohemian world. The LED lighting around the band risers added a strong futuristic quality. The use of the upstage projection screen worked very well throughout and added to the storytelling. The projected graphics and images were very well chosen and suited the style of the production. At times though, some of the projections lacked a little sharpness and clarity and some images did not always have the visual impact they might have had. Overall though, this was a very strong visual presentation and the combination of set and graphics worked well together to create the larger-than-life world required. Lighting was excellent throughout the production and played a large part in creating the rock concert atmosphere that ‘We Will Rock You’ needs. The lighting built into the set was used to great effect, especially in the bigger musical numbers where it punched out musical beats and added real energy and movement. Cueing was superbly timed. There was also wonderfully effective use of soft focus follow spots during numbers such as ‘Under Pressure’ and ‘No-One but You (Only the Good Die Young)’. There were some especially striking looks involving the vertical LED bars, which gave certain scenes a genuinely arena-style feel. The larger ensemble numbers felt like a live rock gig at times thanks to the superb lighting design. Flash cues were beautifully timed throughout, while ‘Who Wants to Live Forever’ featured some lovely subtle moving patterns across the floor which added greatly to the mood of the scene. Sound was excellent throughout and handled the demands of the show very successfully. One of the strongest elements was the balance between band and vocals. The band always sounded superb, full and powerful without overwhelming what was happening onstage. Ensemble vocals were also mixed extremely well. Harmonies sat clearly above the band and there was a really strong balance across the cast during the larger musical numbers. Lyrics were always heard, even in the biggest ensemble numbers, which is not always easy to achieve with this score. Microphone cueing was always slick and well-timed. Overall, excellent work from the sound department, creating the full concert atmosphere the show requires while still keeping everything controlled and clear. Costumes were another major success. The Ga Ga costumes were wonderfully uniform, with matching wigs and futuristic styling helping to create a great sense of conformity. The Bohemians looked completely chaotic, with tartans, ripped denim, band t-shirts, leather and accessories all contributing to the rock aesthetic. Killer Queen’s costumes were very eye-catching with a brilliantly exaggerated and villainous look. Khashoggi’s sleek futuristic styling and tinted glasses suited the character well and I loved Buddy’s old-school rocker look. Excellent work from all involved. Props were of a very high standard with great attention to detail throughout. The jukebox, shopping trolley, video tape and various rock memorabilia all helped to create a wonderfully authentic world. Galileo’s notebooks were another good inclusion. The Harley-Davidson looked great and the retro television set was another important piece. Overall, the props department did an excellent job. Hair and makeup were very strong and suited the style of the show extremely well. The contrast between the polished appearance of Globalsoft and the more rebellious look of the Bohemians was very effective. The Bohemians had plenty of personality to their look, with their colourful makeup and wild hairstyling all adding to the fun and eccentricity of the show. Killer Queen’s hair and makeup were especially impressive and worked perfectly with Ms Brown’s commanding stage presence. Khashoggi’s look also suited his villainous characterisation very well. Despite the unfortunate confusion surrounding the matinee start time, which slightly disrupted the beginning of the afternoon from an adjudication point of view, what followed was a hugely enjoyable and impressively performed production from Fortwilliam Musical Society. In fairness to the society, once the reason for the misunderstanding was realised, they could not have been more welcoming and the quality of the production itself put the focus firmly where it belonged; on the stage. Wonderful direction, excellent musical work, slick choreography, strong technical support and a committed cast combined to create a show full of energy and fun. It was a super production and a most enjoyable afternoon at the theatre. Pat McElwain Adjudicator 2025/2026 Photo credit: Photographer Toby Watson

Review: Jesus Christ Superstar - Lisnagarvey Operatic and Dramatic Society

Society name: Lisnagarvey Operatic and Dramatic Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 24/04/2026 Another trip up north brought me to the fabulous surroundings of Lagan Valley Island for Lisnagarvey Operatic and Dramatic Society’s production of ‘Jesus Christ Superstar’. This was a very striking and atmospheric take on the show, embracing its rock opera style with industrial staging and contemporary costumes. Wilfie Pyper’s production created a world that was...

Society name: Lisnagarvey Operatic and Dramatic Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 24/04/2026 Another trip up north brought me to the fabulous surroundings of Lagan Valley Island for Lisnagarvey Operatic and Dramatic Society’s production of ‘Jesus Christ Superstar’. This was a very striking and atmospheric take on the show, embracing its rock opera style with industrial staging and contemporary costumes. Wilfie Pyper’s production created a world that was modern, edgy and at times almost concert-like but it still found quieter and more emotional moments when needed. Very strong ensemble work complemented the storytelling throughout. Most importantly though, underneath all of the spectacle and atmosphere, there was a real sense of humanity at the heart of this thought-provoking production. Front of house staff were exceptionally warm and welcoming on arrival at Lagan Valley Island and there was a real buzz around the foyer before curtain up. The venue was packed with people clearly anticipating a strong night of theatre and the various photo displays added nicely to the atmosphere and sense of occasion. The show itself started very promptly, which was refreshing to see. Wilfie Pyper brought his vast expertise, experience and theatrical instinct to this production and there were many moments throughout that showed a director with a very clear understanding of the style and rhythm of the show. The image of the cross being carried through the auditorium by riot police immediately established the darker and more contemporary tone of the production, while the use of modern-day Middle Eastern footage on the projections reinforced the continuing relevance of the themes within the show. The use of microphones by the ensemble during the arrest sequence, gave the scene an aggressive, almost media-frenzied feel and added to the sense of pressure closing in around Jesus. The decision to dress the apostles in black with individual coloured scarves proved very effective and allowed for several symbolic moments throughout the piece. Judas’ death was handled with restraint, relying on lighting, sound and suggestion rather than anything graphic, which ultimately made the scene more powerful. Mr. Pyper’s use of the ensemble throughout was a real strength. Crowd scenes had huge energy and purpose and quieter interactions between characters were beautifully restrained. Keith Pyper did an excellent job bringing Andrew Lloyd Webber’s iconic score to life. From the very start, the orchestra produced a rich and powerful sound that perfectly suited the rock opera style of the piece. The band was wonderfully balanced throughout, never overwhelming the performers while still keeping the drive and energy the score requires. Principal singing was consistently impressive, with performers clearly secure in the demanding score. There was a superb ensemble sound right through the show and it was clear that a huge amount of musical preparation had gone into the show. Harmonies were very secure, entries were confident and the cast had a very good feel for the musical style. Super work from Mr Pyper and his team. Jordan Rosborough did excellent work with the choreography throughout. The ensemble was exceptionally well-rehearsed and performed the routines with confidence and commitment from start to finish. The choreography was always a part of the storytelling; exactly as it should be. ‘What’s the Buzz?’ brought great energy from the start, with strong movement and excellent use of the stage. The slow-motion section within the number was particularly effective and created a lovely contrast against the otherwise frantic pace. ‘Simon Zealotes’ was another choreography highlight, bursting with energy and driven by a cast who were fully invested in the exhilarating routine. ‘Superstar’ was a thrilling burst of energy towards the end of the show and was performed with wonderful commitment from the full company. The concert-style feel of this number really came alive here. Excellent work all round. Aodhán Halfpenny gave an outstanding portrayal as Jesus in what was a hugely compelling central performance both vocally and dramatically. Mr Halfpenny had a most natural warmth and sincerity to his acting and vocally he proved more than capable of handling the enormous demands of the role. His upper register in particular was stunning, soaring effortlessly in the more intense musical moments while still keeping clarity and control. ‘Gethsemane’ was without a doubt one of the vocal highlights of the production. It was a powerful and emotional performance of an incredibly difficult number, building superbly as his internal conflict and desperation intensified. Dramatically, Mr Halfpenny was equally strong. His reactions during the ‘39 Lashes’ sequence felt painfully real and the crucifixion scene was performed with incredible emotional commitment. Sean Harkin brought exceptional presence to the role of Judas and gave a very thoughtful and intelligent performance throughout. He captured the underlying complexity of the character so well in what was a superbly acted performance, strongly underpinned by inner conflict throughout. Vocally, I felt that there were maybe some slight signs of tiredness during ‘Heaven On Their Minds’, which is an enormously demanding opening number but he covered this very cleverly through strong characterisation. His work during ‘Superstar’ was particularly impressive, fully embracing the rock concert style and energy of the sequence. Overall, this was a very strong performance from Mr Harkin, combining excellent acting instincts with a very clear understanding of the complexity of the character. Niamh McCauley gave a wonderful performance as Mary Magdalene, bringing warmth, sincerity and emotional intelligence to the role throughout. Surrounded by larger-than-life personalities and heightened emotion, Ms McCauley’s performance provided some of the show’s most human moments. She sang with great sensitivity throughout. ‘Everything’s Alright’ was beautifully performed, with a lovely connection to both the lyrics and the emotional tone. Her ability to communicate feeling through the music was even more evident in ‘I Don’t Know How to Love Him’, which was delivered with real vulnerability and sincerity. Simon Pyper gave a very memorable performance as Herod, creating a characterisation that felt entertaining and deeply unsettling at the same time. Vocally, Mr. Pyper sang extremely well but it was his physical performance and stage presence that particularly stood out. He moved exceptionally well throughout the sequence and used the space brilliantly, constantly animated and commanding attention. Underneath the flamboyance and theatricality, there was something uncomfortable and sinister about his characterisation, which made the scene all the more effective. Lucas Levy brought a strong presence to the role of Caiaphas and created a very imposing figure. Mr Levy drove the growing fear and tension, determined to maintain order and prevent unrest at any cost, and he did so with great authority. Vocally, he had the deep, resonant bass voice the role requires and this gave his performance real weight and gravitas, particularly during scenes with the priests, with whom he worked very well. Laoise Carney and Noel Marsden both gave very strong performances as Annas and the Priest, adding to the sense of authority and menace surrounding the religious leadership within the show. Vocally, both performers were impressive throughout, particularly during numbers such as ‘This Jesus Must Die’ and ‘The Arrest’. Kyle Emerson gave a very strong performance as Pilate, with excellent stage presence and authority throughout. Dressed in the military-inspired costume styling, he immediately created the sense of a man used to power and control. Vocally, he sang with a wonderfully resonant baritone and ‘Pilate’s Dream’ was performed with great control and atmosphere. Following the lashes, there was a clear sense of realisation and horror at what Pilate had allowed to happen, and Mr. Emerson handled this with genuine feeling which was quite affecting. Jack Cranston had wonderful stage presence in the role of Peter and made a strong impression throughout the show. He sang beautifully during Peter’s denial scene, bringing real emotion and vulnerability to the moment. James Marsden gave a very strong performance as Simon and brought wonderful energy and presence to the role. He had a superb singing voice and he delivered an excellent performance in ‘Simon Zealotes’, attacking the number with great power and confidence. Olivia Pyper gave a strong vocal performance as the Maid by the Fire in the Peter denial sequence. There was excellent work from the ensemble throughout. They were a hugely committed group who threw themselves fully into the production, both vocally and physically. The ensemble sound was consistently strong, with very impressive work in numbers such as ‘What’s the Buzz?’, ‘Hosanna’ and ‘Simon Zealotes’. Their movement as the lepers was especially effective and genuinely unsettling. The apostles sang beautifully during ‘The Last Supper’, with strong harmonies and excellent connection to the growing tension within the story. Special mention must also go to Herod’s dancers, who performed with exceptional energy and commitment throughout his number. Later in the show, the raw passion and aggression as the crowd shouted “Crucify him!” helped create a genuinely dramatic atmosphere. With no major set pieces moving on and off throughout the show, much of Conor O’Brien’s work as stage manager may well have gone unnoticed by many in the audience but it was very clear that a huge amount of organisation and coordination was happening behind the scenes. The only noticeable issue from a visual point of view was the billowing cyc at the rear of the stage, which occasionally became a distraction. This was particularly noticeable because the shadow of the scaffold structure was being cast onto it, drawing further attention whenever the material moved. Apart from this issue, everything appeared to be in good order throughout. The set design created a very stark and industrial world for the production and this worked very well. Dominated by the large scaffold structure and staircases, the set had a cold, almost oppressive feel to it, which worked very well within the darker tone of the show. The levels of the scaffold were used very well throughout the show, allowing characters to watch and judge the unfolding events. Some projected sequences of a war-torn Middle East reminded us of the enduring relevance of the story for today’s audience. This footage was cleverly integrated into the action, even though it was used quite sparingly and I wondered if it could have been developed more to assist with the overall aesthetic. Lighting was one of the strongest technical aspects of the production and played a huge role in creating the atmosphere of the show. There was excellent use of colour throughout, with the cyc frequently transformed through deep reds, blues, purples and harsher green tones depending on the mood of the scene. There was some particularly strong use of breakup gobos throughout the evening, helping to create texture and depth across the stage. Cueing throughout the show was exceptionally well timed. The isolated image of Judas at the end of Act One, caught in dramatic lighting as the curtain closed, was particularly striking. Equally effective was the beautiful final image at the close of the show, where the cross was picked out simply but powerfully as the curtain came in. Sound was exceptionally strong throughout and played a big role in the overall success of the show. The band was particularly well mixed, producing a rich, warm sound while never overpowering the vocals on stage. It was very clear that the operator knew the score inside out, with individual instruments subtly brought forward at key moments to add colour and texture to the orchestration. The gorgeous acoustic guitar at the opening of ‘Gethsemane’ was one such example. Vocals were clear and warm throughout, with principals and ensemble both sounding exceptionally well. The creaking sound effect accompanying Judas’ death was especially effective, working perfectly in hand with the lighting and staging. Costumes worked very effectively and tied in strongly with the modern, industrial aesthetic of the show. Rather than going for traditional biblical styling, the production leaned into a much more contemporary look, which suited the rock opera feel of the show very well. The apostles were dressed in black, with each character distinguished through the use of individual coloured scarves. Jesus’ softer white styling separated him visually from the darker world around him, while Judas’ darker costume and striking purple scarf reflected the more troubled and conflicted nature of the character. This was not a particularly prop-heavy production but what was used was well chosen and effective. Judas’ striking red money pouch worked particularly well, standing out clearly against the darker costumes and acting as a reminder of his betrayal and inner conflict. Props used during ‘The Last Supper’, including the tankards and jug, suited the staging well, while the sponge on the stick during the crucifixion sequence was simple but effective. The trays used during ‘The Temple’ also worked well within the chaotic atmosphere of the scene, although the use of empty glasses did slightly break the illusion at times. Hair and makeup were very effective and suited the darker, contemporary tone of the show very well. Nothing was overly exaggerated or out of place. There was excellent attention to detail in relation to Jesus during the trial and crucifixion scenes. The increasing physical deterioration of the character was handled very convincingly, with the blood effects adding real authenticity to the final sequences. Overall, Lisnagarvey Operatic and Dramatic Society produced a powerful and emotionally engaging production of ‘Jesus Christ Superstar’. Wilfie Pyper’s direction consistently found the balance between large-scale rock spectacle and quieter human moments. Ultimately, it was a production that understood exactly what kind of show ‘Jesus Christ Superstar’ needs to be. The group should be extremely proud of what they achieved. It was a bold, visually striking and musically powerful piece of theatre that connected very strongly with its audience. Pat McElwain Sullivan Adjudicator 2025/2026

NORTHERN SOCIETIES

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If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

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Armagh Creative Theatre Society
Ballyshannon Musical Society
Ballywillan Drama Group
Banbridge Musical Society
Bardic Theatre
Belfast Operatic Company
Bosco Drama Group
Craic Theatre
Donegal Youth Musical Theatre
Encore Performing Arts Academy (inactive)
Enniskillen Light Operatic Society
Fermanagh Musical Theatre
Fortwilliam Musical Society
Glenties Drama Group
Golden Apple Players, The
Greasepaint Productions
Inish Theatre Group
Letterkenny Music & Drama Group
Letterkenny Musical Society
Lisnagarvey Operatic and Dramatic Society
Londonderry Musical Society
Newcastle Glees Musical Society
Newry Musical Society
Newry Youth Performing Arts
North East Musical and Dramatic Society
Portadown Phoenix players
Portrush Music Society
Queen's Musical Theatre Society
St. Agnes Choral Society
St. MacNissi's Choral & Dramatic Society
St. Patrick's Choral Society, Downpatrick
St. Patrick's Hall Musical Society, Strabane
Tullyvin Musical Society
Ulster Operatic Company
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