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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.

Review: Annie - St. Patrick's Choral Society

Society name: St. Patrick’s Choral Society Show name: Annie Date of attendance: 18 th  November 2025 It may well be the musical theatre equivalent of Marmite, with polarising views aplenty out there regarding its merits or lack of. However, I am a fully paid-up member of the ‘Annie’ fan club and a proud one too! It is a lot more challenging than some might give it credit for. With a need for a very talented cast of children, adult performers who understand the difference between caricature...

Society name: St. Patrick’s Choral Society Show name: Annie Date of attendance: 18 th  November 2025 It may well be the musical theatre equivalent of Marmite, with polarising views aplenty out there regarding its merits or lack of. However, I am a fully paid-up member of the ‘Annie’ fan club and a proud one too! It is a lot more challenging than some might give it credit for. With a need for a very talented cast of children, adult performers who understand the difference between caricature and ham acting, and multiple locations required, it asks a lot of any society prepared to take it on. St. Patrick’s Choral Society, Downpatrick embraced those challenges with great enthusiasm and very good attention to narrative detail, with their upbeat, highly energetic production at the Great Hall, Downshire Estate. It was a most welcome, uplifting evening that celebrated some excellent local talent, especially the cast’s younger members, many of whom were making their musical theatre debuts.  The society’s front of house team did a lovely job in creating some magic for people arriving into the foyer space of this most unique venue, which dates back to the late 1800s and oozes character. The mood and tone were immediately set by the friendly, efficient volunteers who ensured that everything ran smoothly.  Colouring competition entries, submitted by local schoolchildren, were a lovely touch, bringing colour and a sense of community to the evening’s proceedings before the orchestra had even tuned up. The simple New York City ‘photo wall’, complete with a ring light, was another nice addition, as children (and adults!) took selfies against the skyscraper backdrop.  Gary Warnock’s direction had great clarity and heart throughout. There was exceptional work done with the orphans, in particular. The excellent cast of children were confident and expressive and there was always a great sense of purpose to their performance, both individually and as a group. Storytelling was always to the fore, with good attention to the narrative in evidence all through the show. I loved the use of the different playing levels, which allowed for some very fluid transitions between scenes. There was great integration of projected backgrounds to enhance the overall visual spectacle and I loved the very appropriate black and white animated sequences which, though sparingly used, were a delightfully unique and clever touch, which added greatly to the songs in which they were used. A really strong piece of direction overall from Mr. Warnock. Wilson Shields’s musical direction was one of the strongest elements of this production. His talented, seven-piece orchestra were tight and polished from the top of the overture to the final bows. Balance was generally good within the orchestra, although I did feel that more support was required from the sound operator during underscored dialogue to ensure that levels were appropriate. Tempos were well chosen and maintained throughout and there was some really standout vocal harmony work from the children, ensemble and smaller groups. The standout musical moment of the show for me, was ‘Easy Street’ in which Hannigan, Rooster and Lily harmonised flawlessly throughout their very energetic routine. Of course, there was some excellent principal singing also, with Hannigan and Warbucks leading from the front with their stunning vocals. A superb job from Mr. Shields on all fronts. Alex McFarlane’s choreography was highly effective and perfectly pitched for the abilities of her cast, young and not so young. Ms. McFarlane’s attention to storytelling was most impressive, with props and authentic business built into routines, always making them an organic part of the narrative. Her work with the children was superb. ‘Hard Knock Life’ was so sharp yet full of expression and chaos. ‘You’re Never Fully Dressed Without A Smile’ was simply fabulous from all of the children. I loved the storytelling in ‘I Think I’m Gonna Like It Here’. The movement, timing and use of props were so well thought through and executed. ‘Hooverville’ was an impressive routine, with its sharp synchronicity from a well-drilled ensemble. ‘Easy Street’ was my favourite routine of the night, dynamic, slick and brilliantly performed. An excellent job all round, especially considering that this was an opening night performance.  Lyla Edgar’s wonderful performance as Annie was confident and bright throughout. She had natural stage presence and clever delivery of dialogue, which felt beyond her years.  She was always in tune with what was going on around her, always focused. Vocally, Lyla was very strong and musically assured. ‘Tomorrow’ was the expected showpiece, sung with heartfelt warmth and longing. Phrasing was very confident and Lyla didn’t fall into the trap of belting to impress. My sources, who saw Eliza White in the role later in the run, informed me that she was equally impressive on all fronts. With a depth of young talent like this at their disposal, the future of St. Patrick’s Choral Society looks very safe indeed. Fergal White’s larger than life Warbucks was a nicely judged portrayal. He avoided the temptation to descend into caricature, bringing an authoritative but surprisingly emotionally in tune quality to the role. This allowed for some wonderfully contrasting moments, from his no-nonsense bluster to his heartwarming interactions with Lyla. Mr. White’s singing performance elevated his portrayal even further, with his wonderful baritone voice providing many of the evening’s musical highlights. What struck me most though, was his generosity as a performer in his scenes with Lyla. Their scenes together were genuinely tender and their performance of ‘I Don’t Need Anything But You’ was as heartwarming as it gets. Charlotte Warnock gave a very intelligent performance as a warm, likeable Grace Farrell. From her first entrance during the overture, she oozed confidence and competence. Ms. Warnock balanced concern and affection for Annie with her respect for Warbucks so well. Her beautifully clear soprano voice in ‘I Think I’m Gonna Like It Here’ was a delight. Diction was excellent and her harmonies throughout the show were always secure. A superb performance all round. Initially, I felt that Laoise Carney’s delivery as Miss Hannigan needed an injection of pace, as pauses and cueing felt slightly delayed in her opening interactions. This could have been down to some opening night jitters or even just trying to gauge audience reaction for the first time. However, once she settled and got into her stride, Ms. Carney really took off, delivering an energised, thoroughly entertaining portrayal. Facial expressions and physicality were exaggerated but never too over the top and her comic timing shone as she warmed to the audience. Her stunning vocal quality, phrasing and control, combined with clever characterisation, made ‘Little Girls’ a standout moment of the show.  Adam Patterson was a very strong Rooster, catching our attention immediately during his brief but impressive appearance in the overture sequence. He was quite the slippery character and relished in his enjoyment of playing one of musical theatre’s finest comic villains. He was an excellent dancer and his dance performance during ‘Easy Street’ was highly impressive. Vocally too, he did excellent work in this number, holding his line through every energetic dance move. Chemistry with Lily was strong and he played very well off Ms. Carney through their well-timed, hilarious exchanges.  I was very impressed with Jess Sloan’s very funny performance as Rooster’s naive but bubbly girlfriend, Lily St. Regis. Her comic timing was very strong and we couldn’t help but like her, in spite of the shady shenanigans that she had gotten herself into. She had great physicality and moved very well in the brilliant ‘Easy Street’. Her ability to hold the top vocal line in that number was very impressive indeed and showed a superb sense of musicality. Diction was very sharp, ensuring that comedic lines landed cleanly. Herself and Mr. Patterson worked very well together, pushing the humour when required and pulling back to allow scenes to breathe, as required. Tim Currie made the most of his cameos, particularly as President Roosevelt, a role that can be easily thrown away. Not so on this occasion, with Mr. Currie bringing a warmth and conviction to the part which was most welcome. Mr. Currie had great presence, excellent diction and a good feel for the pace of the cabinet scene in particular.  Alan Currie’s singing voice impressed as Bert Healy. It was warm, clear and suited the 1930s style. His dialogue was clear but I felt that he could afford to lean more into the character’s performative flamboyance and give us more of his inner showman. He just needed to let go and enjoy the moment to elevate his performance from very good to excellent.  Marissa McKittrick was a perfectly cast Star to Be. Her confidence, optimism and poise made her arrival in ‘NYC’ the impactful moment that it is meant to be. Her Broadway belt was perfect for the role and we were left in no doubt about her dreams and aspirations during her short but standout moment.  Aaron McElroy played Drake with an understated authority. His calm and poise were a nice contrast to the bustle of the Warbucks mansion. Mr. McElroy showed impressive versatility in doubling up as Bundles, the jovial laundry man. A talented and reliable performer. Lucy Moore, Grace McCartney and Abbie McCarthy brought delightful Andrews Sisters charm to ‘You’re Never Fully Dressed Without A Smile’. They looked and sounded wonderful, impressing with their excellent blend of vocal harmonies and synchronised movement. There was great support too from Marie Therese Ross as Mrs. Pugh and Bronagh Reid as Mrs. Greer and Perkins. All other secondary roles were very well played. The Team Brooklyn orphan ensemble, made up of Lasairíona Maguire as Molly, Skye Gracey as Pepper, Aoife Reid as Duffy, Alice Taylor as July, Eva Denver as Tessie, Aoife Martin as Kate and a host of other talented children, deserve great praise for their discipline, commitment and musicality. Their focus, facial expressions and interactions were always in tune with the narrative and they would have put a lot of more experienced performers to shame with their talent and polish. Excellent work from all. Again, my sources have been in touch to say that Team Manhattan was equally impressive throughout the week.  The adult ensemble was equally impressive, making the most of their moments, whether as down-and-outs in Hooverville, government officials in Roosevelt’s cabinet or servants in the Warbucks household. They added great atmosphere to every scene, always focused and involved. Movement and choreography in the Warbucks mansion were clean and slick. Scene changes were not always as seamless but, as it was opening night, I have no doubt that these tightened up as the week progressed. The set design was imaginative and functional, making great use of both the stage area and the lower floor level of the Great Hall. The NYC skyline was cleverly stylised, with a nod to the original animated source material. The simplicity of this background allowed lighting, minimal changes of furniture and props, and projections to transform the stage very quickly. The centre screen provided one of the show’s standout elements for me. The black and white animated sequences during ’Tomorrow’ and other key moments, were a beautiful touch. They were never too busy or distracting. They complemented the narrative and always fit the tone and mood perfectly. The tracked sheets for the orphanage were so simple yet highly effective in transforming the stage and the dropping of the red drapes for the final scene added greatly to the opulence, even if there was a slight technical glitch on stage left. Alex Simpson’s stage management was generally slick and well-rehearsed. At times, servants were used as stage crew and this was an inspired decision which allowed many scene changes to be featured, rather than completed in blackout by black-clad crew. This helped momentum, giving us smooth transitions set in the narrative, with ‘staff’ rearranging furniture and moving pillars and ‘preparing’ locations in full view. Overall, changes were slick, precise and kept the show moving at a brisk pace. Well done to all.  The lighting design was simple and functional throughout, making good use of a limited rig. There was excellent use of follow spot and some well-timed effects such as the red and blue for squad car lights and the nicely featured LX in the windows of the upstage skyscrapers. The searchlights in ‘NYC’ were another nice touch. Key lighting was generally very good, with no obvious dark patches on the mainstage. The floor area was more difficult to manage with the tight angles but the designer did well in coping with the physical restrictions of the venue. There was a missed opportunity to isolate the radio announcer, who looked like he was in the orphanage, and there was an occasional programming issue with moving lights sweeping across the stage before settling on their intended ‘target’.  Sound was generally very good, especially given the amount of microphones in use for this very large cast. The vocal mix was warm and clear and cueing was surprisingly accurate at such an early stage in the run. Balance between cast and orchestra was very impressive during ensemble numbers. Things weren’t as successful during underscored dialogue sequences, however, where it was often a struggle to hear cast. That said, the overall sound design worked really well. The band was well-balanced, warm and full. The children’s voices came across strong and soloists were set at a perfect level. The balance for both the Boylan Sisters and ‘Easy Street’ was quite remarkable. Nice work from all. I was highly impressed by some remarkable attention to detail from the props team. My inner nerd delighted in the use of a 1930s-appropriate American flag, with its 48 stars rather than making do with a modern day 50 stars version. It was a very busy show for the props department. Attention to detail was in evidence, with well-chosen suitcases, newspapers, general set dressing and, of course, Annie’s infamous locket. Buckets, rags and other paraphernalia were very authentic looking in the orphanage and desk accessories for Warbucks were perfect, as was the radio in the cabinet scene. Roosevelt’s wheelchair looked like it had just come out of a museum, such was its authentic look. However, there may not have been enough time to work on its practical use, as it didn’t behave itself on the night that I attended.  Costumes were successful in general, adding greatly to the visual across the board. There was good attention to detail with the orphans’ outfits which were appropriately worn but not overly dull. Grace’s wardrobe was wonderfully elegant, giving a great air of professionalism and warmth. Warbucks’ suits were very impressive, well-tailored and conveyed a great air of authority. Rooster’s pinstripe suit was a standout piece which reflected his exaggerated personality. There was an eclectic mix of characters created for ‘NYC’, with the four ladies in headdresses and sequinned dresses being particularly well turned out. Maids and servants were impeccably dressed in their green and white uniforms. The only element that I felt needed attention was the Hooverville scene which, overall, I felt looked too clean and tidy in its costuming.  Hair and make-up were generally authentic to the era. Wigs, where used, were natural looking and well fitted. Miss Hannigan was suitably dishevelled and servants were tidy and well presented. The only thing that needed attention, I felt, was the overall look of ‘Hooverville’. Hair appeared too tidy, generally, and the ladies’ style of make-up wasn’t entirely appropriate for the down-and-outs. This was a most uplifting and enjoyable production, of which St. Patrick’s Choral Society should be very proud. With so many joyous musical and comical moments, it was a pleasure to attend. My main takeaway? The superb young talent that is being inspired and mentored so well by everyone involved. It was a show full of heart; exactly what I needed as I reflected on the lyrics of ‘Tomorrow’ on the long drive back. Congratulations to all. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Made in Dagenham - Tullyvin MS

Public Adjudication Society name: Tullyvin Musical Society Show name: Made in Dagenham Date of attendance: 18 th  October 2025 There is something so uplifting about amateur musical theatre produced by local, community-based groups. There is a palpable passion and sense of togetherness as collective energies come together to create a unique, shared experience for performers and audiences alike. Tullyvin Musical Society’s ‘Made in Dagenham’, performed at Tullyvin Community Centre, was exactly...

Public Adjudication Society name: Tullyvin Musical Society Show name: Made in Dagenham Date of attendance: 18 th  October 2025 There is something so uplifting about amateur musical theatre produced by local, community-based groups. There is a palpable passion and sense of togetherness as collective energies come together to create a unique, shared experience for performers and audiences alike. Tullyvin Musical Society’s ‘Made in Dagenham’, performed at Tullyvin Community Centre, was exactly that kind of evening. Life imitated art, as cast and crew pulled together and supported one another, in difficult circumstances, to achieve something they believed in, just as the Dagenham Ford workers had done before them back in 1968. Based on a true story, ‘Made in Dagenham’ poses many challenges for any society. A myriad fast-changing locations, challenging music, and the need for sharp comedic delivery keep the cast and crew on their toes from start to finish. Tullyvin Musical Society faced these challenges head-on, mirroring the very spirit of solidarity at the show’s core. The beautifully decorated foyer set the perfect tone for the evening. As we entered the community centre, we were immediately immersed in the world of the show. Great effort had gone into the atmospheric décor and the front of house team’s 1960s-themed attire. It was a nicely nostalgic touch. There was something very special about the genuine, warm welcome which was extended to everyone with such enthusiasm and efficiency.  It was clear that Tullyvin’s front of house team had thought carefully about audience experience.  Aoife Shalvey made her directorial debut, having worked as Assistant Director for the society’s last production. And what a show to take on as a first-time director! Ms. Shalvey had a good awareness of pace, ensuring that the show moved along in a fluid, entertaining way throughout. She balanced comedy and conviction well and she had a good handle on the show’s tone. She embraced the humorous tone without losing sight of the emotional core of the show. It was an impressive debut and Ms. Shalvey will have learned a great deal from the experience. A bit more attention to detail would have brought this production to another level. Of course, that will come with experience and Ms. Shalvey has a bright future ahead as a director.  Dave McGauran’s musical direction was nothing short of excellent. From the first bars of the overture, the audience was enthralled by the precision and gusto of his very accomplished eight-piece band, which was impressively well-balanced and never overpowered the cast. The wide range of styles was very well handled, from rousing anthems like ‘Everybody Out’ to poignant ballads such as ‘The Letter’. Vocal dynamics were generally very good. Harmonies in ‘Made in Dagenham’ were nicely balanced, even if the male chorus ran slightly ahead of the band in their excitement. The ensemble sound in ‘Pay Day’ and ‘Viva Eastbourne’ was raucous and energetic, adding greatly to the narrative context. There was a very strong rapport between the pit and the stage overall. Underscoring was exceptionally well handled, with the band level being pulled right back, where required, to ensure that dialogue was always heard. Excellent work all round. Aisling Rountree’s choreography was inventive and full of purpose, always driving the narrative. Ms. Rountree has a keen eye for creating routines that feel organic to the world of the show and her ability to tap into the heart of the story was very clear. All of the factory floor sequences worked very well. Routines were well-rehearsed and precise whilst still maintaining the raw energy required. I loved the guys in the titular number with their industrial energy perfectly matching the setting. Their use of props, such as tyres and torches was great fun. ‘Cortina’ was a comic highlight, poking fun at 1960s advertising with the cheesy performance style of the ladies and the equally cheesy, gyrating Cortina Man. The routine was slickly staged, funny and very well performed. There was great unity and power in ‘This Is What We Want’ and ‘Always a Problem’ was quirky and fun with Harold and his aides. ‘This is America’ was suitably precise, with its well-rehearsed military exercises and there was lovely work from the two majorettes and their twirling batons. ‘Stand Up’ was uplifting and organic in its movement, leaving anyone with a pulse feeling a heartfelt sense of togetherness and solidarity. A super job from Ms. Rountree. At the centre of the production was Andrea Fitzpatrick’s strong performance as Rita O’Grady. This was a convincing portrayal with Ms. Fitzpatrick demonstrating great emotional depth and vocal power. There was humanity to Ms. Fitzpatrick’s interpretation of the role that was most compelling. Her Rita felt very real. She was warm and witty, endearing herself to the audience from the start. She demonstrated considerable strength throughout the show but managed to balance this with some lovely moments of vulnerability. Vocally, Ms. Fitzpatrick was very strong. Her performance of ‘Stand Up’ was an emotional high point of the evening. Her powerfully delivered speech segued into the song with conviction and passion that literally encouraged everyone to “stand up”. An impressive performance all round. Enda Gill gave a heartfelt performance as Rita’s husband, Eddie. He played Eddie’s struggle to adapt to the changing world around him with great sincerity. Mr. Gill had a fine comic touch and a natural stage presence which made him instantly likeable. This made his inner conflict all the more poignant. ‘The Letter’ was one of the highlights of the show, performed with heart wrenching sincerity and well-judged emotion. Mr. Gill’s scenes with Ms. Fitzpatrick were very well paced, capturing all of the complexities of their relationship, from the tenderest moments, to the heartache, to their eventual reconciliation.  Pamela McCormack was quite the scene stealer as the irrepressible, often foul-mouthed, Beryl. Her peppering of expletives into almost every interaction, was a source of great hilarity. Ms. McCormack’s comic timing was strong and her energy lifted every scene she was in. She didn’t overplay to the point of caricature, thus ensuring that we never lost sight of Beryl’s humanity. She was vocally strong and added much to the ensemble numbers. A very entertaining portrayal. Emily Smith gave a quietly understated performance as Clare. Ms Smith played the role with an endearing sincerity. ‘Wossname’ showcased her fine soprano voice, as she belted out one of the most entertaining numbers of the night. She did well at capturing the character’s vulnerability and determination. I did feel that more work could have been done with the director to help push Clare’s quirkiness and comedic side. This could have elevated a very good performance to an excellent one.  Only seventeen years old, Aiveen Sexton was charming as the wannabe airline pilot, Cass. Her sincere delivery and optimistic outlook endeared her to the audience from the outset. Ms. Sexton was a beacon of quiet hope throughout, in total contrast to Beryl and her tougher, more vocal colleagues. Vocally, she contributed well to the strong ensemble sound and she had excellent presence during choreographed numbers. It was a well-judged performance which highlighted great potential for future productions. Alannah Pepper did very well in the role of Sandra. She had strong comic timing and clearly understood the tone of the show very well. Ms. Pepper balanced the glamour and the grit of her character nicely, making Sandra more than just comic relief. Her friendship with Rita felt natural and warm. Ms. Pepper had very good stage presence and natural timing, which suggests wonderful potential for leading roles in future productions. Vocally, she shone in ensemble numbers, demonstrating impressive range and a great sense of musicality. Her range was slightly stretched at the end of ‘Everybody Out’ but that isn’t surprising, given that it was the second performance of the day, at the end of a week’s run. ‘Veteran’ society stalwart, Jackie McQuillan, played veteran union stalwart Connie, bringing a commanding presence and gravitas to the stage. Ms. McQuillan played the role with a no-nonsense attitude and a dry wit which contrasted nicely with the younger factory workers. ‘Same Old Story’ was delivered with genuine emotion, in what was a very moving and understated performance. Her warm connection with Rita was both believable and touching.  Liam McEnerney provided much levity as Harold Wilson. His caricature of the Prime Minister bordered on farcical but it was very funny indeed. From his silly mannerisms to his often salacious asides, Mr. McEnerney enjoyed every scene he was in. There was good comedic chemistry between himself and Barbara Castle and ‘Always a Problem’ was most entertaining. He didn’t always nail Harold’s Yorkshire accent. However, this was easy to forgive, given how much fun he brought to the production. Gemma O’Reilly was a strong, “fiery” Barbara Castle. She had a great mix of authority and comedic timing which made her an audience favourite from the start. She had a fabulously expressive voice and her performance of ‘Ideal World’ was a musical highlight of the evening.  Brian Feerick demonstrated great comic timing in the role of Monty and his early scenes with the girls on the factory floor were very well played. His reactions and facial expressions as the girls laid it on the line during ‘This is What We Want’ were very funny. But it was his hospital scene with Rita, after Connie’s passing, that showed Mr. Feerick’s real skill as an actor and his excellent emotional range.  Paula McEntee’s Lisa Hopkins was a well-realised portrayal. The plant manager’s wife was an unlikely but essential ally for Rita and Ms. McEntee did very well as her quiet admiration grew and her warmth and support for her husband’s adversary became stronger.  Eugene Hill played Mr. Hopkins with comic frustration and bluster that made him instantly likeable. His rather desperate focus on keeping the American overlords happy was very funny and he managed the fine line between authority and silliness very well.  Colm Shalvey gave a larger-than-life performance as the cigar-chomping executive Mr. Tooley. This was a very entertaining portrayal of the American corporate villain, full of arrogance but with a good comic edge. Mr. Shalvey had a very strong voice and ‘This is America’ was sung with the authority of a man enraged at finding a group of working-class women standing in his way.  The younger O’Gradys, Sharon and Graham, were delightfully portrayed by Zoe Hannigan and Tighearnán Ó Maol Tuile. There was a touching innocence to their portrayals, which were grounded in reality as Rita’s family life began to crumble. Tighearnán sang beautifully at the top of ‘School Song’ and Zoe’s recorder playing was very impressive.  The ensemble work was strong throughout, with the factory workers and government aides providing great energy and commitment to the storytelling. Chorally strong, they brought numbers to life with a very good understanding of dramatic context.  ‘Pay Day’ and ‘Viva Eastbourne’ were suitably raucous and there was excellent strength and resolve in the uplifting ‘Everybody Out’ and ‘Stand Up’. There was a real sense that the strength of community offstage contributed greatly to the solidarity onstage.  The set design worked very well for this production. Dominated by brickwork, we had an immediate sense of industrial working-class Britain in the 1960s. The dominating Ford logo on the back wall provided further context, as did the various safety signs. The two side aprons, with steps leading to doors with their cleverly detailed, faded paintwork, provided some nice staging opportunities throughout. The use of two upstage revolves, a tried and tested feature of previous productions of ‘Made in Dagenham’, ensured slick and seamless transitions between the show’s multiple locations. Overall, this was a wonderful use of limited space; flexible, functional and visually appealing. Scene changes were executed very slickly, thanks to stage manager Stephen Hannigan and his well-rehearsed crew. The revolves contributed greatly to the fluidity of these changes. The crew is to be commended for both the timing of these transitions and their quiet preparation of locations when the various ‘rooms’ weren’t visible to the audience. Props and set pieces moved on and off silently and efficiently, a sign of careful planning and strong backstage coordination.  Lighting was an area that I felt needed more creativity and more directorial input. Overall, the design was basic but functional. Creation of atmosphere is paramount when lighting musical theatre and there was a number of missed opportunities in this regard. The ‘throwback’ to Connie joining the Labour Party during ‘Same Old Story’ needed attention. It was in her mind, not in real time, and, as such, required separation and a more ‘other-worldly’ feel. Sudden lighting transitions and unnecessary ‘snap’ cues jarred at times. Slow fades over a few seconds would have complemented moods nicely. Some scenes were very well lit. There was good separation of locations and excellent timing for the challenging ‘Everybody Out’. There was creative use of colour, with the red, white and blue, in ‘This is America’. There was lovely work in creating focus once we got into ‘We Nearly Had It All’. Overall, a basic but functional design, operated very well, which could have benefited from more attention to detail in general. Sound design was very well-managed, with only occasional balance issues in larger choral numbers. The band was particularly well mixed. Dialogue was clear throughout, with suitable EQ levels and cuing of microphones was solid. Sound effects were generally well-chosen and, for the most part, set to appropriate levels. These included all of the factory effects as well as the Liverpool-bound train during ‘Everybody Out’. The feedback when Rita tapped the conference microphone was a nice touch but I felt that the absence of additional reverb on her mic during the speech was a missed opportunity. Very good work overall. For the most part, props, were impressive for a production of this scale. Everything from sewing machines and period telephones to kitchen dressing, such as the cornflakes box and other items, looked authentic and era appropriate, helping to place the action in its historical context. The pull-out ‘profit’ sign worked very well in ‘Always a Problem’ and Graham’s football was perfect. Sharon’s stethoscope was a really nice touch, as were the aides’ mini Union Jack flags. A few things were in need of some attention. Harold’s desk was very underdressed for a busy Prime Minister and the same distinctive red and white chairs turned up in multiple locations.  The costume department did great work in recreating the late 1960s aesthetic. The women’s dresses were evocative of the era and their factory coats were reflective of the industrial conformity of the Ford plant. I felt that Barbara Castle’s dress, as lovely as it was, could have done with some more length to be more ‘politician-like’ and a change of costume for her trip to Eastbourne would have been appropriate. Tooley’s stars and stripes robe and his white cowboy suit were suitably arrogant. The stars and stripes dresses and military fatigues for ‘This Is America’ were excellent choices. ‘Viva’ Eastbourne’ was great fun with good colour choices adding to the celebratory feel.   There was good work from the hair and makeup department too. The 1960s aesthetic was well captured with good attention to detail for hairstyles and makeup colour choices. There were some very well-chosen wigs too; most notably Barbara’s “fiery” do and a very fetching blonde for Cortina Man. Tullyvin Musical Society’s vibrant production of ‘Made in Dagenham’ was everything that amateur musical theatre should be. It captured the beating heart of the Ford workers’ tight-knit community, through the collaboration, commitment, and creativity of their own. It was touching, it was funny and it was uplifting, prompting a capacity crowd to spontaneously “stand up” and show genuine appreciation. A shining example of what happens when a community stands together. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Come From Away - Agnes Choral

Society name: St Agnes’ Choral Society Show name: Come From Away Adjudicator’s date of attendance: 13/09/25 St Agnes’ Choral Society’s production of Come From Away  was a heartfelt and beautifully crafted retelling of one of the most human stories in modern musical theatre. On September 13th, a few days after a time already charged with poignancy, the company brought to life this story of compassion and community with sensitivity, precision, and warmth. The result was an evening that felt...

Society name: St Agnes’ Choral Society Show name: Come From Away Adjudicator’s date of attendance: 13/09/25 St Agnes’ Choral Society’s production of Come From Away  was a heartfelt and beautifully crafted retelling of one of the most human stories in modern musical theatre. On September 13th, a few days after a time already charged with poignancy, the company brought to life this story of compassion and community with sensitivity, precision, and warmth. The result was an evening that felt both respectful and uplifting, a production that honoured its subject matter with care and professionalism. Though occasionally a little too clean in tone, missing some of the raw edges that make Come From Away  so affecting, it remained an impressive and moving achievement from a talented and dedicated company. Director Rachel Logan-Fee shaped the production with intelligence, emotional understanding, and great attention to rhythm and flow. Her staging was fluid and dynamic, particularly in her use of the revolve, which mirrored both the motion of grounded aircraft and the shifting emotions of those caught in extraordinary circumstances. Every movement had intention, and the stage pictures she created were often striking in their simplicity. Her incorporation of projected news footage from the days following 9/11 was especially powerful. These projections, woven carefully into the storytelling, grounded the musical’s narrative in the reality of its source material, reminding the audience that these were true stories, moments of real kindness born out of unimaginable tragedy. The emotional pulse of the show was steady and sincere, though there were points where one longed for a touch more spontaneity. Rachel’s production was deeply respectful and beautifully structured, but sometimes that polish left little room for the messy, unpredictable emotion that makes Come From Away  resonate so profoundly. Certain comic beats could have been pushed further, too; those flashes of humour that balance the musical’s sadness were sometimes underplayed. Yet despite this, her work never lost sight of the show’s heart, its depiction of humanity at its best. The pacing was deftly handled, the energy of the ensemble ebbed and flowed with precision, and the final scenes were staged with breathtaking simplicity and grace. Musical Director Andrew Robinson brought the score vividly to life, both through the exceptional playing of his band and the clarity of the company’s vocal performance. In a choice inspired by the original Broadway production, the band was positioned among the trees at the wings of the stage, and at times joined the cast in full view. This integration was handled beautifully; it added atmosphere and authenticity without compromising sound quality in the slightest. The sound was rich, full, and perfectly balanced, with not a single line lost. Andrew’s tempos and dynamic choices were thoughtful and finely judged. Every number breathed naturally, and the balance between drive and sensitivity was spot-on. Ensemble numbers such as “Welcome to the Rock” and “Something’s Missing” were particularly impressive, bursting with precision, texture, and vocal unity. There was a palpable connection between conductor and cast, a shared rhythm that kept the entire show alive and moving. The band, though modest in size, had remarkable power and cohesion, creating a sound that filled the space without ever overwhelming the singers. It was clear that the musical direction was in perfect harmony with the directorial vision, both working hand in hand to craft an experience that was seamless and musically rich. Choreographer Amy Blackshaw matched this musical precision with movement that was both expressive and restrained. Her choreography was understated but deeply felt, serving the story rather than drawing focus to itself. The transitions between spoken text and physical storytelling were so smooth that the audience was often unaware of where one ended and the other began. The plane sequences were among her most striking work, small gestures, shifting weight, and repeated motifs that captured the tension, claustrophobia, and eventual camaraderie of those trapped in transit. There was great intelligence in Amy’s understanding that Come From Away  does not need grand dance breaks. Instead, it demands movement that grows organically from emotion and music, and she delivered just that. The energy of “In the Bar / Heave Away” was joyful and infectious, though one felt it could have been pushed a little further, perhaps just a touch more reckless, more unrestrained. Still, her choreography spoke fluently in the same visual language as Rachel’s direction, and the two worked in perfect synergy. This unity of movement and staging gave the show its distinctive flow, one of its great successes. Among the principals, there was a wealth of talent and commitment. As Hannah, Fiona Keegan anchored the piece with warmth and grace. Her calm presence radiated care and empathy, and her rendition of “I Am Here” was one of the emotional high points of the evening. Fiona’s voice was powerful yet tender, and her portrayal grounded the production in humanity and heart. Michelle Hannaway delivered two contrasting performances as Beverly and Annette, both confidently sung and thoughtfully acted. While the differences between the two characters could have been more pronounced, her vocal control and authority were undeniable. As Bob, Themba Mbondiya was engaging and charismatic, his portrayal marked by easy charm and understated humour. He found a particularly nice contrast between the comic awkwardness of Bob and the suave composure of Captain Bristol, and his vocals were consistently strong. Martin McDowell brought warmth and clarity to each of his characters, particularly as Oz, the kind-hearted police officer whose friendliness encapsulated the spirit of Gander. His transitions between roles were fluid and precise, a testament to his versatility. Gareth McGreevy’s Kevin T was sincere and well-crafted, his chemistry with Kevin J genuine though the emotional unravelling of their relationship could have gone a touch deeper. As Diane, Antoinette McMichael offered a gentle, affecting performance. She charted Diane’s emotional journey with care, making her relationship with Nick (played by Tony Young) believable and touching. Tony’s portrayal was understated and moving, his soft-spoken manner and quiet loneliness perfectly pitched. Their connection on stage brought subtle sweetness to the production’s later scenes. Emma Nugent’s Beulah was strong and assured, with commanding vocals and an aura of confidence. A few missed comedic beats aside, her performance was heartfelt and sincere. She balanced Beulah’s maternal qualities with a deep emotional intelligence. Blathnaid Scullion’s Bonnie had a lovely, grounded energy; she portrayed the character’s fierce independence and moral strength with conviction, particularly in her scenes involving the animal rescue subplot. One of the standout performances came from Vijay Sharma, who played both Kevin J and Ali. His portrayal of Ali was beautifully judged, quiet, humble, and filled with dignity. He managed to convey the character’s internal conflict and resilience with subtlety, creating some of the evening’s most affecting moments. His switch between roles was sharp and clear, and his singing voice, warm and resonant, carried great emotional weight. Helen Smyth’s Janice was confident and well-delivered, though a little more youthful nervousness might have captured the reporter’s early uncertainty. As Claude, Fergal White was utterly charming. His performance exuded humour, compassion, and decency, his soft-spoken manner reminiscent of Stephen Fry in both tone and timing. He was a delight to watch and provided a steadying warmth that perfectly embodied Gander’s spirit. The ensemble as a whole was exemplary. Come From Away  is, at its core, an ensemble piece, and the members of St Agnes’ Choral Society worked as a true collective. Their vocal blend was superb, harmonies were clear, strong, and balanced, and the company’s diction was immaculate. Movement across the stage was cohesive and always purposeful, transitions seamless and beautifully timed. Every performer on stage appeared to understand their role in the larger picture, creating a living, breathing community rather than a series of isolated performances. If there was one area that could have added more texture, it would be the individuality within that unity. A few more moments of spontaneous, character-specific behaviour, small gestures or quirks that make each islander or passenger unique, might have brought an extra layer of life to the story. But this was a disciplined, finely tuned ensemble, whose commitment and heart were evident in every beat of the show. Visually, the production was clean and cohesive. The set, inspired by the original design, was built from natural materials and neutral tones, with cerulean, blue highlights suggesting the island’s coastal setting. While attractive and functional, it did feel a little too pristine; some additional roughness or texture might have captured the ruggedness of Newfoundland life more authentically. The revolve worked flawlessly, allowing for fluid scene changes handled entirely by the cast, a feat of timing and precision. The projection screen, integrated into the back wall, added depth and emotion to key moments, particularly during the news sequences. Lighting and sound design were excellent. The lighting choices enhanced the set’s warmth, creating subtle shifts between intimate storytelling and larger ensemble moments. Colour palettes were used with sensitivity, and every cue felt carefully considered. The sound mix was clear and well-balanced, ensuring that even during complex ensemble numbers, every vocal harmony could be heard. The integration of live instruments on stage, always a technical challenge, was managed with skill, maintaining perfect alignment with the vocals throughout. Costumes, hair, and makeup were natural and understated, entirely in keeping with the realism of the piece. The neutral base costumes allowed for quick changes and supported the show’s fast-moving structure, with small pops of colour and accessories helping distinguish between characters. Nothing felt out of place or overly theatrical, the visual design remained honest, simple, and human, reinforcing the authenticity of the storytelling. Finally, it must be said that the entire experience, from arrival to final curtain, was handled with warmth and grace. The Front of House team were calm, friendly, and efficient, greeting the audience with genuine hospitality. Their professionalism set the tone for the evening and reflected the same spirit of community that Come From Away  celebrates. In all, this was a moving and dignified production that showcased St Agnes’ Choral Society’s professionalism and heart. It was a show that demonstrated remarkable discipline and unity, a testament to the strength of its creative leadership and the dedication of its ensemble. If it occasionally felt a touch too polished, its edges smoothed, its chaos neatly contained, it nevertheless carried deep sincerity and great artistic integrity. By the end of the night, that spirit, of kindness, empathy, and shared humanity, lingered in the air. This was a production that not only told a story of generosity but embodied it, both on and off the stage.

Review: My Fair Lady - Portrush MS

Portrush Music Society My Fair Lady Saturday 31st May 2025 Based on George Bernard Shaw's play ‘Pygmalion’, written in the early 1900s, ‘My Fair Lady’ is a timeless musical theatre classic, full of comedy, drama and romance. It is as entertaining now as it was when it first hit the stage in the late 1950s. Portrush Music Society marked their return to AIMS with an energetic, thoughtful production which delighted their audience at the Coleraine Leisure Centre, getting my stint as Sullivan...

Portrush Music Society My Fair Lady Saturday 31st May 2025 Based on George Bernard Shaw's play ‘Pygmalion’, written in the early 1900s, ‘My Fair Lady’ is a timeless musical theatre classic, full of comedy, drama and romance. It is as entertaining now as it was when it first hit the stage in the late 1950s. Portrush Music Society marked their return to AIMS with an energetic, thoughtful production which delighted their audience at the Coleraine Leisure Centre, getting my stint as Sullivan adjudicator for the 2025/2026 season off to a very positive start indeed. I received a lovely, warm welcome from the director, Kerry Kane, and I was delighted to hear all about the society’s rich history. This was, in fact, their fourth time to stage ‘My Fair Lady’ since 1978! I was very impressed with the lovely displays of photographs in the foyer area. There was a fabulous flower cart with a book for the audience to write messages to the cast and crew, which was a lovely touch. The hall itself was transformed into an amazing performance space. The stage was purposely built for the production and the large audience space comprised of half tiered seating with the other half on floor level. Ms. Kane directed with great flair and did an excellent job on this show, transporting us to Edwardian London and creating some wonderfully engaging characters. ‘My Fair Lady’ is such a dialogue-heavy show and the biggest challenge for a director is ensuring that pace is always maintained. Thankfully, there was exceptionally good pace throughout, particularly in the scenes set in Higgins' study which, in my experience, can often drag if not handled well. Great thought was put into background business for the ensemble and there was a real sense of meaningful involvement for everyone on stage. The set, which Ms. Kane helped to design, was utilised very well. There was great use of space throughout, particularly the upper level and steps. For such a long show, the best compliment I can pay Ms. Kane is that it zipped along and never felt like it dragged. An excellent job overall. Choreographer Rosemary O’Connor did very well in pitching the routines perfectly to the abilities of her cast. ‘Wouldn't It Be Loverly?’ was very well rehearsed, with precise and appropriate movement from a very committed ensemble. There was great fun with Doolittle, Harry and Jamie in ‘With a Little Bit of Luck’ and fabulous energy and fun from the ensemble in the reprise of that number. ‘The Ascot Gavotte’ was a standout number, excellently performed. It was so controlled, restrained and disciplined in its minimalist movement, contrasting greatly with the more exuberant numbers. The ‘Embassy Waltz’ was a beautiful routine and it was such a joy to see so many couples waltzing properly. But the highlight for me was ‘Get Me to the Church on Time’ which was highly energetic, excellently rehearsed and full of life and joy. Excellent work from Ms. O’Connor. Musical director Terry Cloughley did a fabulous job in bringing Frederick Lowe's timeless melodies to life with his wonderful orchestra which delivered a really full-bodied sound. The orchestra itself was tucked away on floor level to the audience's left, as was the visual monitor for the cast to follow Mr. Cloughley, who was also the conductor. It might have been better had this monitor been positioned more centrally, behind the audience, as it was difficult for cast to keep it in their periphery vision. There was excellent choral work throughout with great attention to vocal dynamics. The gentlemen at the top of ‘Wouldn't It Be Loverly?’ were superb and I loved the excellent a cappella choral sound at the start of ‘Get Me to the Church on Time’. The chorus did, unfortunately, run ahead in ‘The Ascot Gavotte’ number but Mr. Cloughley did manage to get things back on track. Principal singing was of a very high standard and Eliza's solos, in particular, were excellent. Lindsay Johnson was a very likeable Eliza Doolittle, delivering a wonderfully impressive, powerhouse performance as the “squashed cabbage leaf” who transforms from cockney street vendor to well-spoken lady. Ms. Johnson skilfully balanced vulnerability, strength and comedy throughout. Eliza is a most emotionally complex role. Ms. Johnson recognised this, finding layers and nuance far beyond the comedy. She had the most gorgeous, crystalline soprano voice and a fabulous cockney accent. ‘Just You Wait’ was beautifully delivered and ‘I Could Have Danced All Night’ was a truly exceptional vocal performance. Ms. Johnson had a wonderful emotional range, judging the more intense scenes perfectly and never overplaying. Aidan Hughes played Professor Henry Higgins with a great air of haughtiness, superiority and arrogance. His interpretation was an interesting one, quite different to the myriad Henrys that I have seen before. It was more flamboyant and demonstrative than I have seen previously. However, it was a very memorable performance and a refreshingly different take, which is always a good thing if it can be justified in a performer’s choices. What a superb voice he had too. This was very evident in ‘I'm an Ordinary Man’, the best rendition I think I have heard. Mr. Hughes has exceptionally good diction. ‘A Hymn to Him’ was brilliantly performed as he questioned why a woman can't be more like a man. Mr. Hughes' comedic timing was exceptionally good. Aaron Jamieson brought great comic relief as Eliza's scheming and opportunistic father, Alfred P. Doolittle. Mr. Jameson created a great character, with superb expression and comedic timing. He was hilarious as the rough-talking, larger-than-life dustman drawing the audience in with his irreverent swagger. His exuberant energy bounced off the stage and his two main numbers, Wouldn't It Be Loverly’ and ‘Get Me to the Church on Time’ were absolute showstoppers. A wonderful, all-round portrayal. Equally strong was Tim Brown as Colonel Pickering. Mr. Brown was an excellent actor and a perfect foil to Higgins. His genuine warmth and compassion for Eliza, contrasted very nicely with Higgins’ more dismissive tone. Mr. Brown had a wonderful energy on stage. His performance in ‘You Did It’ was very strong. He was always thinking, always acting and reacting, immersing himself completely in the character, in what was a very intelligent and thoughtful performance overall. Emma Thorpe was a very warm Mrs. Pearce. Ms. Thorpe was a clever actress and her subtle reactions were always in tune with the narrative. I loved her very consistent Scottish accent which was never overplayed. Another very strong performance. Elaine Macauley, for me, delivered one of the standout performances of the show as Henry's mother, the elegant Mrs. Higgins. This was an extremely polished and professional portrayal from Ms. Macauley, with her deliciously clipped accent and razor-sharp comedic timing. I loved her heartfelt interactions with Eliza which were in lovely contrast to her son's less favourable approach. David Mitchell was a very animated Freddy. His obsession with Eliza was very well played and he had a wonderful stage presence. What a fabulous voice he had too, showcased beautifully in ‘On the Street Where You Live’. Darren McGuigan and Andy Shaw were both excellent as Alfred Doolittle's sidekicks, Harry and Jamie. They both had excellent expression and worked off each other very well, with great timing and wonderful interactions. Mr. McGuigan, in particular, was a superb mover. Mr. Shaw did need to watch his diction a little bit when playing ‘inebriated’, but these two gave a fabulously energetic performance throughout. Mr. McGuigan also impressed when doubling up as Lord Boxington. Colin Pascoe, as Zoltan Karpathy, was obviously a strong actor who had all the required skills. However, I did feel that his performance bordered on caricature. Lines were often played directly to the audience and delivery was quite over the top. Sometimes, less is more and had Mr. Pascoe toned things down a little bit, I felt that he could have given a much more believable and authentic performance. Brenda Tosh as Mrs. Eynsford-Hill and Margaret Ferris-Curran as Lady Boxington both had strong stage presence, good diction and provided great support in their roles, The ensemble was highly enthusiastic and committed, whether playing servants, tenement dwellers in the bustling streets of London or representing the grandeur of Edwardian society at Ascot or the Embassy. They brought great life and energy to the dance numbers. ‘Get Me To the Church On Time’ stood out in particular, with the ensemble’s cheering and shouting adding great realism and authenticity. Stage manager William Thompson did an excellent job ensuring that the show zipped along. ‘My Fair Lady’ is so episodic and the transitions back and forth to Higgins' study are so frequent with lots of furniture to come on and off. However, Mr. Thompson had a very well-rehearsed stage crew who didn't put a foot wrong and they ensured that things were slickly choreographed and ran very smoothly. Furnishings on castors helped greatly to with these quick changes. The set was simple but highly effective and visually pleasing. I loved how simple additions and suggestions transported us to new locations in the blink of an eye. There was a wonderful practical lamp post on stage right. The three upstage doorways offered lots of interesting staging opportunities. Stage left steps and raised area worked superbly well also, particularly in the study. The door on stage right became The Railway Arms with the addition of some signage. The printed library curtains upstage of the doors were a very clever way of transforming the look very quickly, ensuring that pace and flow was always maintained. I loved the very ornate candelabra pieces in the doorways which gave a great air of opulence to the embassy scene. The very simple addition of bunting for Ascot worked perfectly. Lighting was generally very good, reflecting mood and highlighting key moments when required. I felt that more key light was needed in the opening scene as there were quite a few dark patches on stage. There were some great effects used in the dance break of ‘Wouldn't It Be Loverly’. There was lovely use of follow spot during ‘Just You Wait’, allowing for more dynamic staging and always highlighting Eliza's performance. Sound was generally very good. There were no missed cues for dialogue and everything appeared to be EQd very well. As I was sitting on floor level, I felt that the PA speakers were set too high above our heads and that the sound was less direct and focused as a result. It is unusual to see hanging mics for chorus these days. However, once I got used to them, I forgot that they were there and they certainly did their job very well, picking up the chorus brilliantly. I felt that Alfred needed more support in the lower register of ‘With a Little Bit of Luck’, to elevate his vocal over the level of the orchestra. There were well chosen sound effects which were very appropriate, such as birdsong and the horses galloping during Ascot. Props were excellent, adding greatly to the visual splendour of this show. Baskets of flowers, the wonderful burn barrel and the flower cart were all excellent. Higgins' study was excellently dressed with very suitable furnishings, a very authentic looking phonograph and great attention to detail in the dressing overall. Parasols, canes and fans in Ascot added great detail. My only minor point was that Eliza's velcro necklace made a very loud sound over her microphone when she took it off. However, that is a very small point in what was an excellent job on props overall. Not only did she direct, but Kerry Kane also created all of Eliza's stunning costumes for this show. These really were wonderful creations. Her stunning transformation for Ascot had a real wow factor, as did her wonderful white dress and accessories for the embassy scene and the beautiful coat which finished off her look perfectly. All costumes throughout looked wonderful. The elaborate gowns, top hats, tails and the black and white motif for Ascot were perfect, contrasting very well with the more worn costumes in Covent Garden and the tenements. The only small thing which jarred was that Alfred's boots looked too modern and clean, particularly considering his profession as a dustman. Hair and makeup were generally very good and authentic to the era. Eliza's hair was beautifully up styled for the embassy and very regal looking. Alfred was aged particularly well. The dirt smudges in the tenement scenes looked rather contrived and unnatural, almost too uniform. It's good to consider how the characters faces got dirty in the first place and work from there for a more natural believable look. This was a most worthy start to a new season. It is always great to see the old classics being performed and having new life breathed into them. Portrush Music Society did a wonderful job bringing ‘My Fair Lady’ to the stage for the fourth time in its history. It was a pleasure to attend, particularly as it marked the group’s return to AIMS after some years of a break. Well done to all and thank you for a most enjoyable performance. Pat McElwain Sullivan Adjudicator 2025/2026 Some photo kindly provided by the society

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