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Oklahoma

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15 Oct 2024

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The Addams Family as presented by Letterkenny Musical Society

LETTERKENNY MUSICAL SOCIETY. THE ADDAMS FAMILY, THE MUSICAL An Grianán Theatre, Letterkenny. 5th – 9th March. Adjudication Performance...

LETTERKENNY MUSICAL SOCIETY. THE ADDAMS FAMILY, THE MUSICAL An Grianán Theatre, Letterkenny. 5th – 9th March. Adjudication Performance Saturday 9th March. An Grianán Theatre was the stage for the Letterkenny Musical Society's 2024 production of The Addams Family. A Musical to be staged in 2020 which had to be cancelled as, before our eyes, our world changed forever. The foyer of the theatre was alive with energy. So many people were milling around, and I thought the show had been sold out twice because the noise level was so loud. I was looked after wonderfully by Ms Rushe, and I can honestly say it was such a lovely experience to be back in this theatre and warmly welcomed. As it was my 2nd show of the day, having travelled straight across from Belfast to Letterkenny, I was tired and a little stressed when I arrived due to the concern that I may not get there on time. But I did. I was welcomed warmly with open arms and got a tour of backstage operations before the show opened, which was lovely and settled me down for the evening. I could not have been treated more warmly by Ms Rushe, Mr O’Donnell, and your excellent Front of House Team. Thank you. Director for this Production was Ms Maria Rushe. From the moment the show opened, I was transfixed by the beautiful visual in front of me. Ms Rushes’ direction was very effective. This show has two sides: the darkness and then the comedy element. I loved the way the stage was set and on view before the show, with the creepy green mossy-coloured lights enveloping the stage, the big old stone walls adorning the complete stage dramatically, and that gorgeous full moon beaming down on the audience. Rather than having the stage closed to use this scene while the audience arrived at their seats, it felt as if we were already a part of the show, allowing the audience a glimpse and a view of what was to come. Every scene was a picture. Every character was successfully directed that this show flowed beautifully. Ms. Rushe has vast experience in many facets of production as a performer herself, and this was evident in so many areas in the immaculate castings, the clever direction of the development of each character, the visuals, the production, and the overall picture that was presented to the audience throughout to mention and highlight just one as an example – when Fester said goodbye and flew to the moon, and at the finale, the moon was beamed in and Fester's face was on the moon. This brought the house down with applause. There were many gorgeous moments such as these, way too many to mention in this production, all adding up to the success that it was that had the audience in the palm of your hand, lavishing up the scene and story that was developing before us on stage in such a beautiful way. Bravo. Mr Gerard Bradley was the Musical Director. There was a lovely pace, a beautiful warm tone from the Orchestra, lovely empathy towards the Cast, particularly in the solo numbers, and a remarkable sound throughout the entire show from this very professional Orchestra with Mr Bradley as its Captain. Lovely attention to detail, for example, when Pugsley couldn’t sleep, and Morticia was soothing him in such a comedic way, the underscoring of the Orchestra here with accompaniment was beautiful. It is so delicate and discreet yet effective. “Not Today,” sung by Gomez, was a lovely, gorgeous, emphatic rhythm and bounce. However, “Tango de Amor” was fabulous, and the orchestra was mighty in sound and accompaniment. Mr Bradley, created a lovely empathy between his Orchestra and his Cast. You were as one. Beautiful. You are a very talented gentleman, Mr Bradley. I loved your Musical direction in this performance from beginning to end without fault. Congratulations. The Choreographer was Emmet Stewart. Smashing Choreography throughout. Beautiful movement , so well drilled and wonderful timing and variation. “Tango de Amor” was magnificent. “Anything Else but Love” was outstanding, and “Full Disclosure” with the Company was so simple yet with some beautiful movement, lovely visuals, and precision-like steps moved to perfection by the Company. It highlighted the amount of time, effort, and rehearsals that have gone into this show. Bravo The sets were simply magnificent. This set and all its changes filled the stage, creating a vast area for the Company to work with. It was so versatile, creating a beautiful setting for the show. The gates, the wall, the beautiful stand out piece for me – the moon, The life-like trees downstage left and right bringing the audience right into the storyline, the dining table which was arranged in such a way that every single character sitting around it could be seen and heard while also maintaining a striking visual for your audience enhancing the story and the success of the production. The rack that Pugsley was tied to and pulled by Wednesday was so dramatic and compelling as was that chair. It looked like something out of Game of Thrones, and each time Mr. Beineke sat on it, my eyes watered with the thought of the possible outcome if he answered this question incorrectly with Gomez in control of the lever for the chair. An implement of torture – leaving nothing to one's imagination! The Gothic arches and the beautiful goth doors like church doors were so clever and picturesque, and then the gorgeous set of all Fester faces in the moon at the end of the 2nd half. This is a memory I will never entirely forget: such a surprise and such beauty. The sets were simply outstanding. Bravo to the Crew and the team involved The sound was by NC Sound and Communications. The sound was so very, very good throughout. Given the vast stage, the characters, the whole house, and many radio mics, this job could quickly go wrong! It did not. The excellent sound throughout this entire production, as well as its volume, tone, and balance, added to the success of this production hugely. It was done on a mammoth task and completed to an extremely high standard. Lighting was by Niall Cranney. Lovely lighting. Excellent teamwork and experienced people in this area. The illumination from the green mossy eery lights before the curtain opened to the “Game” beautifully lit through the scene with Fester and the Ancestor's beautiful emphatic use of green and blue lights here, creating a lovely tone and atmosphere as they did throughout the show. An excellent Team here with experience, which most definitely showed—notably the mention of the pinks used in “Secrets” in Act 1. The stage was a glorious fusion of pink, simply gorgeous. A fantastic job on lighting in this production throughout. Costumes by Nomac Productions Waterford and costume Co-Ordinator Ms Lorraine Porter were exemplary. The whole cast in total costumes were so very detailed and appropriate, creating lovely light and dark contrasts. Colours such as Ms. Beineke's yellow dress, the creams of the Ancestors and the black of the Addams Family, and, of course, the showstopping costume of Grandma menagerie of layers which were simply fantastic, all showed a wonderfully thought out vision that Ms. Rushe and her team had to give the best possible version of The Addams family they could. Costumes played a massive part in that success. Props were excellent, and time was put into this area, with Props Manager Tara McLaughlin at the helm. The scythe by the Grim Reaper, the gorgeous grey umbrellas used for the finale of Act 2. Pugsley's fabulous “Coffin bed” ( despite being a coffin, it looked extremely comfortable!) The candlesticks for the dinner are small but noted. The bowl of fruit on the long dinner table was full of fruit. Small details like this show huge attention, care, and pride in production, which is something to mention. I am only mentioning a few. There were many more. Congratulations. Makeup Design was superb under the eye of Niamh Porter. The Makeup, I am sure, took hours, and the team involved did a remarkable job, not only with the front line – all of you, but also with the Ancestors, the dancers, the grim reaper, and the entire company. This area is extensive and time-consuming, requiring much patience, knowledge, and depth of awareness to ensure that the makeup and its effects travel to the audience. I was in the back row of the Theatre, and the makeup to me was as clear and beautiful as a bright blue sky on a summer's day. It was wonderfully created with so much detail. It was indeed most effective all around, throughout, and simply stunning with great attention to detail again in this area and others. Bravo Team. Giles Murray played the part of Gomez. From the moment this gentleman arrived on stage, I loved his character, look, accent, wardrobe, stance, and voice. Mr Murray, you have a lovely stage presence and a lovely onstage connection between yourself, Morticia, and the rest of the cast, especially with Wednesday and Pugsley. Your love for your wife, Morticia, was evident throughout. You adored her and had an endearing and lovely onstage connection with each other. Your accent was perfect. Your movement with fluidity and ease around the stage was remarkable. Your solos were consistent: “Two Things,” “Three Things,” and “Four Things.” “Live before We Die” loved this number with Morticia, which was heartfelt, and “Not Today” was simply a highlight of Act 2. Your love for your beloved daughter Wednesday was palpable; she wrapped you around her little finger. This was a gorgeous Father / Daughter relationship, and your song “Wednesday’s Growing Up” brought a lump to my throat. It was sung with such heart and emotion and was so real. “Trapped” is another great vocal. A significant role that suited you. Bravo. The part of Morticia was played by Sarah Terry Sweeney. Very well cast, with excellent vocals and a lovely stage presence as you glided slowly through the show with your relaxation and nobody messed with the Matriarch of the Addams family. Your hair and costumes was fabulous. You danced and moved so gracefully. It was indeed a lovely performance. You were elegant in your dance, mentioning the Tango in particular, which was superb, but also your softer side, showing Alice Beineke the photo album shortly after being introduced to her. You were a strong Morticia equally in every facet of the role, and I thoroughly enjoyed you bringing your mark on this lovely role and making it your own. Elle Terry Sweeney played the part of Wednesday Addams: a gorgeous part, so very well cast. You were a fabulous Wednesday, with a lovely voice. This was an excellent role for you. Your interactions with your father were comedic in places, such as the power you had over him and your nudges to keep secrets from your Mum, Morticia. Visually, you looked great. You loved the relationship you had with your little brother Pugsley. Your vocal and acting in “Crazier Than You” with Lucas Mal and Alice was excellent, beautifully staged, and directed. You have a gorgeous vocal and a beautiful, strong stage presence, and indeed, you were outstanding in this role. Watching you consistently in every aspect of your role as Wednesday Addams was a joy. Sean Bonner played the part of Fester. From the moment this talented gentleman landed ( yes, landed) on stage, I loved your character and what you made of it. So strong. So vocal. You are so experienced in stagecraft and a beautiful actor; you had it all. Your song ‘To the Moon’ was most definitely a highlight. Your character was soft and eccentric, and I loved it. You had a lovely, dry humour, but I loved your physical presence. Fists clenched with a slight stoop, looking down towards the floor to speak and then up to the moon to declare your love for her. This number was gorgeous. It was such a simple lullaby lyrical number that you made your own, and it was indeed just so beautiful and sung with such care and affection for your love – the Moon. “Fester Manifesto” in Act 1 was so very well sung. However, it was indeed “The Moon and Me” with you and the Ancestors that you came into your own here. Excellent character, Mr Bonner. I loved you in this role and all you did with it to make it yours. Ethan Barron played Pugsley Addams. What an immense talent you have, young man. You had the audience in the palm of your hand throughout the evening with your fun and a bit of a naughty character. The audience loved you. The scene where you were being pulled on the rack by Wednesday was acted beautifully. You have a natural stage presence for somebody so young, and it was a joy—your solo “What if” in Act 1 was lovely. Your singing has a beautiful timbre and clarity that is commendable for one so young. I hope you continue your theatrical journey for many years, Mr Barron. You were such a strong Pugsley; in your interactions with Grandma, your mutual adoration of each other came across well. Significant presence and excellent vocal Mr Barron. Donal Kavanagh played the part of Lurch. What a thunderous stage presence you possess. Your movement throughout was so well done, laboured, slow and so effective. This was an excellent role for you. Comedy was also part of this character. When Gomez asked you to hurry up, the audience laughed at what speeding up was and how it was done. And then – your massive vocal at the show's end blew me away. What strength and impact have you made in this role. It was a fantastic part, so very well done with a stunning bass vocal solo. It was simply brilliant—no such thing as a minor role. You were a catalyst in linking the full story throughout, and you did an excellent job. Nicola Shields played Grandma. Firstly, fantastic wig and costume. It was so successful and so very authentic. The great voice when speaking, sounding old and doddery, limping around the stage, but there was a glint in your eye of dry humour that you cannot be taught how to do; it comes to some naturally. Lovely relationship with your grandson Pugsley. You had it all in a bucketload. You fit into this role very comfortably and with ease. Great part. Great visuals and great acting. So very well done, Ms Shields. Chris Duddy played the part of Mal. Great character. You looked the part, and the contrasting ways of life, even in how you dressed compared to the Goth-like Gomez family, were commendable. It was such a funny moment when you arrived at the end of the 2nd half as a biker again. What a great tee shirt! This was a charming role, and I loved what you brought to it in your way. I thoroughly enjoyed you in this part. And when you let rip, boy, did you let rip!! Catriona Doherty played the part of Alice Beineke. Again, what a lovely character you created here. You are an outstanding actress and looked so well beside your husband Mal and your relationship, which was quite funny in parts when you passed out and came to and brought Mal back to when you first met. This was superbly done. Again, another strong vocal. You and Mal were a good team and acted well together. Jamie Lee Gallagher played Lucas. Smart, educated, and an utter gentleman who was so very well dressed and entirely in love with Wednesday Addams. You were a charming Lucas, Mr Gallagher. You and Wednesday suited each other. You looked great together and acted well together, and there was a lovely ease about you on stage that made me think you are very at home in a theatre. “Crazier than You” was already mentioned as a fabulous number. You had a powerful stage presence and lovely interaction with everyone in the Addams family. I warmed to you from the moment you arrived on stage. It is a lovely role beautifully played. From the opening of this show, this Chorus was simply excellent. There are many numbers involving you all and many highlights. “When You're an Addams” and “Full Disclosure” with the entire Company, as Ancestors, male or female, this Chorus was adorable. Great sound, lovely balance in harmonies throughout, and gorgeous volume again with emphatic accompaniment from your Orchestra. I looked forward to each time you all came on stage to sing. Your costumes were again splendiferous, and you created such a beautiful sound every moment. So strong. So professional and so effective. I loved listening to every note. Bravo. This show of yours highlighted your enormous talent and joie de vivre. And I realise this show was so special, having had to cancel it due to Covid and the lockdown four years ago. It was brave to take it on board again, give it the chance it deserved, and allow the Company to get this on stage finally despite many obstacles after such a lengthy time. But you did. And you did it with aplomb. I wish you nothing but success, continued strength, and happiness in this family of yours, which is Letterkenny Musical Society in a beautiful place, An Grianán Theatre, which you call home. Congratulations. Caroline Daly Jones Sullivan Adjudicator AIMS 2023 / 2024 Some photos kindly shared by the society - Photographer - Liam Porter

Sister Act as presented by Newry Musical Society

NEWRY MUSICAL SOCIETY “SISTER ACT” NEWRY TOWN HALL 5TH – 8TH MARCH 2024 Adjudication Performance Date 8th March 2024 Newry Town Hall was...

NEWRY MUSICAL SOCIETY “SISTER ACT” NEWRY TOWN HALL 5TH – 8TH MARCH 2024 Adjudication Performance Date 8th March 2024 Newry Town Hall was lit up like a beacon on the evening of 8th March to see Sister Act. A society celebrating its 79th year. Both inside and out, this lovely Theatre was awash with laughter, noise, and an air of excitement I was greeted by an absolute gentleman and stalwart of this Society, Mr Donal Fegan, Chairman of the Society. Effusive in his welcome, it was a joy to be in his company. I am so grateful to you for your time and for making me feel so at home at the interval, taking me backstage to meet the cast after the show, and escorting me to my car. You are a charming man and an asset to this Society as Chairman. Thank you. There was however an issue with the view from my seat and unfortunately the person representing front of house did not cover themselves in glory in helping me. Thankfully a lady next to me heard the exchange and stepped in to help – THANK YOU! Mr. David Cunningham was the Director of this show. Mr Cunningham had a vision for this show with the Production team. This was a strong cast and for the most part the show flowed well and looked super. Sets in the most were very good apart from a couple of scenes where a little more effort could have made a big difference. I did feel in some places, the pace of the show was slowed with the use of the black curtain across the stage in numerous scenes. Scenes with Mother Superior and Dolores were laboured particularly in scene changes and broke the continuation of the story in a few areas such as the Confession Box scene, the scene with Curtis and his crew, and “I haven’t got a prayer” (beautiful vocal) sung my Mother Superior. When the whole stage was utilized, the story flowed much more freely. The use of the black curtain to be pulled across and putting the actors in front of it for their dialogue and various scenes, I did feel it was used to excess. Once the black cloth was lifted, the whole set was complete with life, character, and colour, and the story continued. The cast was directed very well individually with the various characters well developed and strong in their interactions. Good casting and acting and the contrasts between them all worked exceptionally well. The Choreographer was Ms Lisa Irvine. Super choreography here, Ms Irvine. The show's more significant choral numbers leaped off the stage with energy, joy, and professionalism. They were fast-moving, colourful, and energetic. “Take Me to Heaven” lifted the roof of the Town Hall. Vibrant, joyful, and very colourful, this was one of the show's most uplifting, energetic, and lively scenes. “Fabulous Baby” had confidence and flair, and Deloris owned the stage. The finale was joyful, celebratory, and magical. I wanted to stand up and clap myself. “Get the Vibe Make Some Noise” was very well executed and performed with precision and was a highlight of the show. You are a very talented Choreographer, Ms Irvine. Your talent shone through your dancers and ensemble and enhanced the show immensely. Indeed, Choreography was a highlight of the evening. Super. Fiona Flynn was the Musical Director for this production as well as Conductor, and Chorus Mistress. In some parts, I felt that the orchestra was a little too loud for the performers on stage (the bar scene); however, for the most, the musical direction here was very good. A vast orchestra played beautifully throughout, and you, Ms Flynn, are a very assured Conductor, bringing the Orchestra and Company together. Music in this show is demanding, with variations between gospel, pop music, and numbers such as “Here Within These Walls,” which are quieter, move reverend, and prayerlike. The principals were well rehearsed and very assured of their music. Well done Ms Flynn. The Stage Manager was William McLennon. As mentioned, I felt that some of the scene changes could have been a little faster in some parts. I believe a Stage Manager in any production is an unsung hero behind the scenes, and organization, dedication, and expertise are vital in bringing a show to life. In this role, Mr. McLennon, you were most certainly all of these, creating a memorable experience for your audience and, most importantly, your cast. Having the privilege of going backstage after the show, I was very impressed by the work of your setup, meticulous organization and tidiness, and rapport with your crew and cast. This company, Mr. McLennon, is blessed to have you as their Stage Manager. Set Construction was by Theatre Sets Ireland Limited. Sets in the more significant ensemble numbers were very effective, with beautiful gothic-like arches and attractive and practical stained-glass windows that were huge in appearance and effect and were magnificent visually for the audience. I did feel that some sets were a little too minimalistic at times, for example, the Mother Superior Office, which only had a desk and chair on stage, and the Confession Box scene, which just had the wall of a confession box with characters sitting on chairs on either side in the middle of the stage. I felt this could have been filled with more detail, such as more furniture and attention to detail. Lighting was Shane Tumilty and the team's responsibility. It was excellent throughout. Beautiful colours, visions, striking reds, blues, and yellows create life, fun, drama, dance, pop, and religion. Lighting throughout was perfect, consistently professional, and very effective. Lighting lifted the show to another level, warmed the stage, created spaces and pops of colour throughout, and most definitely enhanced the show hugely. The spots were perfect. The ice blue lighting on the nuns as a choir was stunning, as was the gorgeous lighting for the finale and throughout every ensemble and choral number. Well done. The sound was by McCusker’s Pro Audio. Balancing the sound between the live Orchestra and the performers on stage can be a challenge, and for the most part, the balance was perfect. However, the sound for the Chorus numbers was excellent. When the sound and the performances were ideally in sync with one another, the balance captured the beauty of this musical in every aspect and significantly contributed to its overall success. The costumes were by Ciara Jennings, & Kathleen McAteer (Sew Me Costumes). Deloris’s bling dress for the Opening of the show set the bar high for the rest of the show as this was indeed an eye-catching, glamourous diva-like dress that gave us an idea of the character of Ms. Cartier and the type of character she was going to be from the first moment on stage. Nun costumes were very authentic and looked comfortable. The one costume that stood out for me glaringly above all the rest and in the most excellent way was Curtis’ red leather coat! Gorgeous! The props were good. Props to me always play a critical role in setting the scene or scenes; the jukebox in the Bar was very authentic, Curtis’ gun to mention, the fan on the desk, and the TV where Curtis discovers Deloris's whereabouts to mention but a few were perfect throughout. Maille Connolly played the part of Deloris Van Cartier. From the moment this young lady stepped on stage, there was an energy and a dynamism, bringing out her sassiness and vulnerability to her character, which was endearing. An excellent vocal performance displays her journey from a lounge singer wanting only to be famous to a woman who finds herself and her true purpose in life later in the show after her stay in the Convent. Ms Connolly is a vibrant, fun character who acted well in this role. Lovely singing voice, great comedic timing, and great chemistry with the Company. It was a treat to watch this young lady in this role. Veronica Barr played the part of the Mother Superior. What a beautiful voice full of emotion and empathy, and a part that Ms Barr took on board and made her own to great success. There was a grace about you, Ms Barr, that I very much liked, and gradually, as the show progressed and your character developed, I did warm to you in this role. Your rendition of “Haven’t Got A Prayer” was a highlight of this show for me. For me, it was the moment in the show that you showed beautifully and with such grace the internal struggles you faced with change and control. Your vocal here was exceptional and sung beautifully. You could hear a pin drop in the audience. You had a beautiful, stoic demeanour, with a softening beauty of your character in the latter part of the show. Sister Mary Robert, played by Judith Quinn, was another lovely performance. In the beginning, this quiet, shy, withdrawn nun blossomed into a butterfly in the later parts of the show. Your vocal “The Life I Never Led” was a showstopper. Maeve Bell played Sister Mary Patrick. What a delightful character you were, Ms Bell. Your enthusiasm was infectious, consistent optimism, cheerfulness, smiling, bubbliness, and vivacity. Your comedic timing was also perfect, and this role suited you perfectly. The parts of Sr Mary Lazarus, Sr Mary Theresa, and Sr Mary Martin of Tours were played by Eithne Bell, Janice Gribben, and Helena Hughes, respectively. Charming parts, played very well by these young ladies, with your humour, camaraderie, and a little impishness on occasion blending beautifully and enhancing the performance and success of the show enormously. There were lovely vocals throughout, and there was indeed a lift when you arrived on stage on many occasions. You were influential in these roles, ladies, with each character bringing a vast amount of laughter and memorable presence on stage, consistently reminding your audience of the power of community. Anna Smyth played the part of Michelle. It's a lovely role you played with just the right amount of sassiness and perfect comedic timing. You had a natural flair and ease as you moved around the stage. You delivered a confident performance and a lovely, warm tone to your voice. This part suited you very well, Ms Smyth. Lovely. Shannon Copeland played Tina, the lovely Tina. Although not a prominent role, there is no such thing as a small part. You had a lovely enthusiasm about you, and you consistently brought a spark to the stage throughout. Eoin Sands played the part of Eddie Southern. What a great Eddie you made, Mr Sands. You were awkward but with charm. You have a tone to your vocals and a stage presence that flows. You were very comfortable on stage. I particularly liked “I Could Be That Guy ” - simply brilliant; you came into your own in this number, and you shone. Well played Mr Sands in a role that suited you immensely. Ruairi McAlinden played the part of Curtis. This part was made for you! Your appearance, booming threatening voice, and attitude towards Deloris and your boys brought enormous life to this show. I looked forward to each time you came on stage. That red coat was a find! Loved it! Vocally, you were powerful, had excellent diction, and made an impact visually in every scene. Your role brought critical tension and drama to the otherwise reverend show, and the contrast between your character and others worked so well. A significant part played with great aplomb and success. Well done, Mr McAlinden. Super part for you in every way. The parts of Curtis’s henchman were Joey (played by Brian Reavey), Pablo (Shane O’Keeffe), and TJ (Conor Sands). And you were hilarious. You each had a very different character, which was a clever direction in this show. You could move superbly and were great dancers, but your demeanour when Curtis was around you produced hilarious scenes. “Lady in the Long Black Dress” highlighted your very different personalities beautifully, and yet, as individual as you were, you were also a team. And a huge success. I applaud you. Paddy Heaney played Ernie. It's a lovely part. It was memorable and well-played. You were very jittery and nervous, yet you portrayed the seriousness of the situation to the audience. You set the tone for the more severe side of Sister Act very early on, and it worked very well. It was a memorable performance for all the right reasons. Great cameo part. You were wonderfully played. Daryll Galloghly played Monsignor O’Hara’s part. Firstly – I LOVED those shades!!! What a significant part! You had excellent comedic timing, were hilarious, and freely moved around the stage as if you were born on it. You had a lovely rapport with the nuns and Mother Superior. Your character, for me, stood out. You have a vibrant voice, which suits this role and character. You brought the audience to roar with laughter (the sunglasses bop!), yet you were also authentic and believable as a Monsignor. And yet you handled this role in other parts sensitively and with lovely emotion. The gorgeous role was played beautifully. The Chorus were excellent. From the awful-sounding ear-bursting wails of the “Choir” in the beginning with horrendous vocals and “harmonies” to turning into a world-class choir singing in front of the Pope. It was a vast turnaround, and you became a fantastic gospel Choir and a force to be reckoned with. What a beautiful sound. This show has many types of music, from gospel to soul to traditional hymns. “Raise Your Voice” was exceptional. It lifted the roof and will forever stay in my mind as a melodic sound that resonated off the Theatre walls. Your harmonies were gorgeous and so well-balanced. You had fantastic energy. Your various personalities, through your chorus numbers, allowed each of you to shine individually. You had fantastic energy. The sound you created was so lovely. There is a beautiful sense of community in your Society. I felt that immediately as I walked into the Theatre. Congratulations to the entire cast and crew of this Sister Act The Musical production. Bringing such a bubbly, cheerful, and yet demanding show to the stage is no small feat, and it was evident to me that an enormous amount of time, effort, dedication, and passion went into this production. I believe your vibrant energy created fun and lively energy that kept your audience entertained from beginning to end. I thank you all for a beautiful evening and a lovely theatrical experience in the stunning building that is your home, Newry Town Hall. It was a pleasure. Caroline Daly Jones Sullivan Adjudicator 2023/24 Photographs by Jim McGuigan

Nativity! The Musical - as presented by Encore PAA

ENCORE PERFORMING ARTS ACADEMY- NATIVITY THE MUSICAL THE ALLEY THEATRE, STRABANE, CO TYRONE, NORTHERN IRELAND Performance Dates: 13-16th...

ENCORE PERFORMING ARTS ACADEMY- NATIVITY THE MUSICAL THE ALLEY THEATRE, STRABANE, CO TYRONE, NORTHERN IRELAND Performance Dates: 13-16th DECEMBER 2023 Date of Adjudicated Performance: 15th December 2023 “Tonight is so pure and so special, we’ll never be lonely again, cause we are all standing together as friends”. Strabane, County Tyrone, Northern Ireland is 4 hours and 6 minutes away from Wexford, and thankfully on the day I travelled those miles across this lovely country of ours the sun was shining, the sky was blue, and it was a great day to be on the road. The Alley Theatre is one of those theatres that you arrive outside, and you just immediately think - what a beautiful theatre. From the moment I stepped inside the door I was impressed with the lovely ‘Christmassy’ atmosphere, and the craic and banter amongst the patrons. Noise levels were at a peak all in a good way as I was warmly greeted by Ms Rebecca Thompson, and Mr Ian Thompson, Producer and Set Designer for this show. I was shown to a little table and chairs in a lovely (quieter!) area of the foyer where despite the trojan responsibilities they themselves had (more on that later) they were effusive in their welcome. We chatted about the history of this Academy, some insights into previous shows and the love and pride that Rebecca and Ian have experienced over the past couple of years, the highs and lows, the memories, and most of all – the talent and friendship that abounds from this group. This was a sell-out performance, not a seat to be found. It really did feel like Christmas. Front of House. Was professional, very busy, and everyone knew what their role was. There were also many of you and many people dotted inside the theatre keeping an eye three or four down the aisles waiting for a hand to be raised or a seat to be found. The Producer for this show was Rebecca Thompson. The mastermind behind this whole Production and the ideas she had, to bring it to fruition. Ms Thompson is a very gifted, warm bubbly lady, and what one would call in the Theatre world an Oscar performing Multitasker. Ms Thompson put together a very strong, creative and talented team here for Encore and with Ms Douglas as Director along with Mr Gerard Bradley as Musical Director, Head of Dance and Choreographer Ms Caroline Barker, and her backstage crew headed up by Ian Thompson, this was a tour de force team. For me personally, one of the highlights was everybody being asked to turn on their phones to flashlight and wave them in the darkness to the music at the end. The Finale of Act 2 with the full Company “Sparkle & Shine - the ideas, and the time it must have taken to put these ideas onto a stage for the Performing Arts Academy was incredible- it just worked. Ms Thompson is also the mother of 6 boys, all of whom were on stage and along with her husband Ian as Set Designer, and one of their sons James playing one of the lead roles of Mr Poppy, this show truly is a family affair for the Thompsons but is a friendship affair for each member of the cast and crew, because that is what this show emanated. Fun, humility, friendship, music, dance, and a lovely story produced beautifully and with an empathy, to create a vision, a Christmas vision for all, and it truly worked brilliantly. Director for this show was Laura Douglas. Along with Ms Thompson as Producer it was obvious these two ladies worked very well together creating a magical world of innocence of the young children, the magic of Christmas and the talent of a cast so young in many of the characters. Ms Douglas really did have the perfect cast in this production. The movement of the children around the stage, the little characters and the one liners that were so funny “Do I have to wear a beard? “Asked the child. “Yes," says Mr Maddens, " everyone in Nazareth has a beard! Even the women!!! Ms Douglas is a gifted Director. To work with children so young and adults not so young, was no easy task. Hours and hours of work in the attention to detail here and indeed developing each and every character was a mammoth task. The detail in the scene “Together Forever” with children was gorgeous. “Good News” sung by Layla Brolly as Angel Gabriel, hoisted down from the flies and floating very high up in the air I will add was one of the most emotional scenes and beautifully directed here by Ms Douglas. It was simply superb. From the movement of the children, the bling costumes, Ms Brolly singing and swinging like a trapeze artist, the singing, the fun, the sound, everything here was a director's dream – if done properly and it most certainly was. Mr Poppy asked if anyone in the audience had a spare baby and a doll was lifted up from the seats a few rows in front of me and selected as Baby Jesus. This was very funny. I swung my own phone around the audience here for this scene and it was very emotional. It was beautiful and very special here Ms Douglas. A moment I will not forget, your direction for the actual Christmas Nativity when it did come to fruition in front of Hollywood, with the flashlights on the phones of the audience lit around the full theatre, the cast, the children, the lights the sets, the music, and the Costumes was simply stunning. Super job Ms Douglas. Rebecca Thompson and Caroline Barker were the Choreographers for this show. A tricky enough job when you have a very young cast, and I must say these ladies did a lovely job on the dance and movements for this show given the very young ages. These young children danced and moved beautifully with many numbers requiring Choreography, and it was a joy to watch the movement being so beautifully created by these young stars of the future. Musical Director for this show was Mr Gerard Bradley. A gifted musician. And a very humble, quiet man whom I had the pleasure of meeting backstage after the show and it was very clear to me upon speaking to Mr Bradley that he loves his music, he loves this Company, and he is an excellent Musical Director and shares his gift of music with many. This is his 3rd year with this group and is a huge asset to its success. There was a lovely tone from the band, and some fantastic numbers throughout including, “My Very First Day at School”, Wrapped in a Rainbow” (gorgeous), “Dear Father Christmas”, “Herod the Rock Opera”, “Suddenly”, the oh so beautiful “Sparkle and Shine”, “She’s the Brightest Star”, “One Night, One Moment”, and the oh the moving and emotional “Sparkle Finale”. Mr Bradley had the youngest of stars on stage along with Mr Madden, Mr Poppy, and the other adult Cast in perfect sync and with a beautiful sound which was warm, melodic and graceful. This magnificent sounding Band enhanced this show greatly under Mr Bradley direction and I congratulate you all. Absolutely lovely. Well done. The Set Designer was Mr Ian Thompson. A massively successful set this was and worked consistently very well. The set was designed by Mr and Ms Thompson. I loved the street houses, painted beautifully and were very authentic with their red brick walls. This set was big, yet still allowed full use of the large stage and of course the large cast. The houses were on either side of stage right and stage left and upstage centre was a simple stepped area with a gorgeous backdrop of large painted navy blue wall with massive Christmas baubles and stars twinkling and a magnificent large circle moon in the centre. This became the key area of the set being used and used very wisely and cleverly in that it enabled everyone to be on different levels and it was simple – yet very effective. This was the key here. I loved the cleverness of when the children of St Bernadette’s came on stage to sing, they used these massive boxes wrapped as Christmas presents as seats and to stand on scattered around the stage, which were very movable and very effective yet so simple. Very clever. This large centre set then changed simply by adding dramatic gothic arches above for the school Nativity Concert, and then again, a gorgeous transformation for the Manger lit in gold with lights for Finale of the School Concert, which was just adorable, and so effective. Finally for the back of the stage for the show finale, the set returned to the set same as the opening of the show for the bows. The Christmas Tree and sofa depicting Mr Maddens flat down stage right was very clever and very authentic And, then for the finale, with different lighting we again were brought back to the original set as above for the closing number. Sets were very sweet, beautifully painted and so perfectly appropriate I really could not find fault anywhere. The Set for the Nativity lowered down from the flies in gold with twinkling lights all around was special. To the Stage Management team also, Stage Manager, Laura Doughlas, and Stage Team, Ian Thompson, Charlie Thompson, Amanda Brown, Melanie Grant, Aobha Harrica, Alice O’Connor, and Yagmur Ekici I applaud you all. Scene changes when required moved freely, were perfectly executed and in great time. No delays, very little if any noise in the set changes, and a great success overall. Well done! Set Construction was the responsibility of Raymond Wright, Ian Thompson, James Thompson, Charlie Thompson, Alan Thompson, Keith Thompson, Kyle Thompson, and Cathair McCrory. This set took time and effort and there was a vast amount of very good attention to detail here. Well done to Raymond Wright, Cathair McCrory, and ALL the Thompsons on this! Props were very good. The gifts being brought into the manger for baby Jesus from the Wise Men (in black shades and gold and silver baseball caps with capes were just hilariously funny. A packet of Nappies, a hot water bottle, and a massive bar of Dairy Milk the same size as an IPAD were just a few of the “Gifts” brought to baby Jesus in the Manger! The boxes wrapped in Christmas paper were scattered around the stage and were sturdy and colourful and wrapped. I loved Mr Poppy’s lunch box in Act 1!!! Also, small things like the crib, the Coventry Evening Standard, Oakmoor King Herod Rock Opera Programme, the lovely framed photo of Mr Poppy and his aunt Ms Bevan framed with the teddy bear between them in their Christmas pyjamas, the splendid Logos on each uniform designed by Ms Laura Douglas. Great job from the Props team Ms Rebecca Thompson (again) ! and Ms Laura Douglas (again!). Simply wonderful. Lighting Design was again by Rebecca Thompson and Laura Douglas along with lighting Technician Andrew Orr. What a successful trio. The lighting was excellent. I particularly liked the fantastic opening scene “Here Comes Santa Claus”, the wonderful lighting in “Herod the Rock Opera”. And of course, “Sparkle and Shine” and “One Night One Moment” where for me personally the lighting only enhanced the emotional moments during these songs. Lighting was full of lovely colours, loved the reds and greens and a particular mention to the many spots filtering from the fly’s, strong and beaming like stars in the various colours required throughout each number of the show. I would think that Mr Orr, Ms Thompson and Ms Douglas spent long hours creating these “pictures” but for the lighting to be as successful as it was you must have a passion and adore what you are doing. Sound was by Nigel Caldwell NC Sound & Communications. No easy job with so much movement and so many young people on board, many of them also with mics. Sound was very good. The sound for the principals particularly Mr Maddens, Mr Poppy, and most definitely Mr Gordon Shakespeare played by Patrick Moore was spot on. I never struggled to hear any line. A miracle with the movement of little people on stage on a constant basis. Specific mention to the sound effect of the Helicopter as if it was flying directly above our heads – “Its HOLLYWOOD!! A great job on sound Mr Caldwell. Well done. Costume Design was by Rebecca Thompson. These costumes were so full, bright, and appropriate. Mr Madden's costume was the perfect wardrobe for this very sensible, lovable teacher. The Costumes of the dancers in the opening number “Here Comes Santa Claus' lit up the stage. Of course, the children’s uniforms were splendid both St Bernadette’s and Oakmoor Prep kids, mention also to the costumes for Mr Gordon Shakespeare great attention to detail and I loved the costumes also for the Oakmoor Prep kids and indeed Mr Shakespeare in the number “Herod the Rock Opera”. Ms Jennifer Lores played by Anna Gallagher were perfect, professional and Mr Lore looked great in every costume for each scene. Really well done here. The Critic played by Shane Gallagher had such a great costume that I knew what sort of a character he was going to be without uttering a word!! Ms Bevan played by Andrea Logue what a wardrobe! I loved the Solar System costumes. They beamed out to the audience, fun, cartoon like, planet costumes, in Act 2. Fun, bright, in 3d effect worn by the cast but these were not just any planets these were awesome, huge to fit a person and magnificent in colour and dimensions and it was obvious a lot of work went into these and it worked. (My favourite was Saturn!!) Bravo. But it was the children of St Bernadette’s and Oakmoor Prep in their immaculately turned-out uniforms for both schools that for me stole the show. The part of Mr Poppy was played by Mr James Thompson. At age 19, Mr Thompson truly is the most brilliant actor and comedian, and from the moment he arrived on stage in his parka and fur collar, (with a pink lunchbox) There is not ONE thing I can criticise about your amazing performance here Mr Thompson. You had the children of St Bernadette’s in the palm of your hand and along with Mr Maddens (played by Ronan Drummond) you were the most fantastic duo. Songs, “Sparkle & Shine” “She’s the Brightest Star”, were gorgeous. Mr Thompson, you have a talent that is rare and brilliant and I do hope you continue to nurture your gift going forward and achieve all of your dreams - because that is what you instilled in those children on stage with you tonight and I sincerely hope for you, that arising from the part of Mr Poppy, you continue to reach for your stars for a long time to come. A brilliant, brilliant performance. Bravo Mr Thompson. The part of Mr Paul Maddens was played by Ronan Drummond. What I immediately liked about this fine actor was the rapport he had with Mr Poppy who consistently tested the bounds of his patience! A lovely guy, so madly in love with only one lady and she headed off to Hollywood leaving him alone in his flat he believed they would share together and teach in St Bernadette’s. Mr Maddens, you were a massive success in this lovely role for you. “Yes, we can” was indeed one of the many highlights of this show. Lovely stage presence, very gentle character and a very good actor this part was played beautifully by Mr Drummond. You were a major cog in the wheel of success for this production and you were a wonderful strong lead and I wish you many more shows and continued success. Well done and thank you for bringing to us the wonderful Mr Madden. Well done. The part of Gordon Shakespeare was played by Mr Patrick Moore. Great contrast here between Mr Moore and Mr Maddens, with the part of Gordon Shakespeare being the teacher in Oakmoor Prep. Mr Moore played this role superbly. A great actor with a brilliant rapport with his students which was obvious in every scene, with one of the highlights of the full show being “Herod the Rock Opera”. Given the connection with you and the pupils I can only imagine that hours and hours of work was spent rehearsing - indeed for Mr Maddens and Mr Poppy too to build the connections you had with them all on stage as their teachers. So lovely to see. What a number. What a great character Mr Moore was in this role. Mr Moore moved around the stage obsessed with perfection and that of his pupils to win best school Nativity. Mr Moore had a robotic and stern like character again in contrast to the warmer Mr Maddens, however Mr Moore's performance here was excellent. It is not always easy to be the “Baddie” in a show and to be liked yet Mr Moore achieved this in both his singing and his acting. Mr Moore has a lovely stage presence, acting was superb, and hair, costume and in particular the connection with the pupils was lovely and beautifully played. I loved your character Mr Moore and what you created to be a great Gordon Shakespeare. A lovely performance. The part of Jennifer Lore was played by Anna Gallagher. Jennifer is Mr Maddens love interest in this Musical, to whom he is about to propose to but at the last moment she tells him she has been offered a job in the States and she must leave. Mr Maddens is heartbroken. Ms Gallagher has a lovely stage presence, gorgeous singing voice and a lovely rapport again with fellow characters, I loved in the 2nd half of the show Ms Lore managed to get the USA producer to fly in and see the Nativity, and it was in this role and indeed that as Mr Maddens only love that I endeared myself to this young lady. Very pretty costumes, gorgeous presence on stage, lovely voice and a good actress, Ms Gallagher came across as a lovely character, great rapport with fellow actors, perfect hairstyle and makeup and overall, a very strong lady in this particular role and you enhanced this show immensely. Congratulations on a very good all round performance Ms Gallagher. A pleasure to watch you in this performance. Well done. The lovely Ms Bevan was played by Andrea Logue. What a gorgeous part. Great expression, brilliant eye rolling, and comical timing, fussy, dithery, confused, organised, lovable, a bit dippy and funny with a lovely singing voice and I personally loved you in this role as Ms Bevan. Loved your stage presence, songs, comical timing already mentioned, and then the dithering, stress, demands, and successes Ms Bevan had been seamlessly coordinated to create this lovely character that you made and did so very well. Ms Bevan. I very much enjoyed this character you created, and you were a very important link in portraying the everyday chaos that can be in a Primary School and yet do it with Grace. Well done. A very strong Ms Bevan. Congratulations Ms Logue. The Critic was played by Shane Gallagher. What a smashing voice this young man has. The scene with the Lord Mayor played by Mr Caoimhin Boyle was a delight. Two very strong voices here with lovely harmonies. Lovely actor, great costume as already mentioned, fussy, self-important and made everyone know he was a Critic. Fast moving, slick, professional and well-cast. A lovely part and very nicely played by Mr Gallagher. Miss Rye was played by Aisling McCorkell. A great actress. An air of don’t mess with me in a professional way, excellent speaking voice and diction and although not a big part you made a difference with whom you made Ms Rye to be. Noticed. Your performance was really very well done, great movement and overall, very strong in this part. The Lord Mayor was played by Caoimhinn Boyle. Mr Boyle has a lovely stage presence, and a lovely voice both in speaking and in singing. Very eloquent in his announcements and introduction of Ms Bevan his character as Mayor making the announcements and again in his singing with Mr Lovely stage movement again, and great stage presence. Particular fondness for this likeable character. Lovely performance indeed Mr Boyle. Mr Parker the USA TV Producer was a picture of importance, impatience and rudeness when we meet him. Initially abrupt, forgetful and very much full of his own importance as a Hollywood Producer who spoke to his Assistant Ms Jennifer Lore abruptly and with some impatience. Mr Parker's presence when Ms Lore finally got him to come to see the Nativity was excellently executed here with Mr Parker taking his seat in the audience to watch this Nativity as one of the audience with a spot on his group. This was very clever and worked exceptionally well. Mr Boyle is confident and assured on stage, great diction, strength of character, and excellent costumes again. (I wouldn’t like to work with you though!) Great part. Well done. Ms Nicola Jane McLaughlin played the part of Hollywood Receptionist with the most gorgeous smile and stage presence despite the short time this young lady was on stage. You made a huge impression. Excellent diction, you looked wonderful, and really did transport the audience to Hollywood with your infectious aura and stage presence, only a few minutes but a performance in this role that I can still recall. Very well done Ms McLaughlin. The part of The Priest was played by Giles Murray. What a magnificent voice and stage presence. Mr Murray, you are a very talented gentleman. Your singing was sublime, a great actor, and I hope to see you again on stage. Such is your talent of voice, acting and timing. Excellent in this role you were magnificent in this role. Congratulations. The parts of the Reporter played by Donna Ponsonby, Tour Guide Lorraine Porter, Security Guard Molly McDaid, and Angel Gabriel’s Mum Sadbh Breathnach were very well done. Small parts, but vital in the overall performance and success for this group that you call home. Great costumes, and wonderfully played by each one of you. Well done. The chorus of children in the main – well what can I say. Simply irresistible. “One Night One Moment” is a number I will remember forever because of all of you and your magic. Also “Sparkle & Shine”, “Good News” to name only three out of so many numbers you all had to perform. Given all the characters in this beautiful show, for me it was the lovely children of St Bernadette’s and Oakmoor Prep that were the highlight for me. Like the brightness in the night sky, you were like shining stars throughout. Your energy, enthusiasm, dancing, your expressions, were just a sight to behold. Each one of you, some of you very young, created your own little characters whether Mr Maddens and his assistant Mr Poppy or Mr Shakespeare you were just amazing. It is in my opinion, important that I mention you all individually such was the effect you had on me and your audience on the evening of 15th December. Whether it was sitting scattered around on your Christmas boxes, singing with Mr Poppy, Mr Maddens or Mr Shakespeare, your gorgeous singing, your perfect uniforms and your smiles, you reminded me of shooting stars lighting up the stage every time you were on it. You were adorable. Every single one of you, by your presence, gave this show its beauty and magic. You stole the show, and you stole my heart. BRAVO!. This was a team of happiness, friendship, innocence, talent, and bringing the gift of the story of The Nativity to its audience, and to those who were lucky enough to get a seat! Direction and Production were a united team. Congratulations Ms Douglas and Ms Thompson. You are a very blessed and lucky talented bunch. May it stay with you always. I will finish with one of the letters the children wrote to Santa printed in the programme…it goes like this……. “Santa, I’ve been worried for a while, I think it's because my teacher lost his smile. Please help him. Lots of love, Max. xxx” This show was special. You brought many smiles back to many people’s faces in your audience tonight. Congratulations. Caroline Daly Jones Sullivan Adjudicator 2023/2024 Some photos kindly shared by the society: Photos by Raymond Mc Carron

All Shook Up as Presented by Letterkenny Music & Drama Group

All Shook Up as Presented by Letterkenny Music & Drama Group AN GRIANAN THEATRE TUESDAY 28TH NOVEMBER TO SATURDAY 2ND DECEMBER 2023...

All Shook Up as Presented by Letterkenny Music & Drama Group AN GRIANAN THEATRE TUESDAY 28TH NOVEMBER TO SATURDAY 2ND DECEMBER 2023 Adjudication performance 29th November 2023 “YOU'VE GOTTA FOLLOW THAT DREAM WHEREVER THAT DREAM MAY LEAD YOU”....... The furthest journey of my calendar year so far in 2023 took me to Letterkenny on the evening of the 29th November 2023 to adjudicate the wonderful, foot stamping, dance, and melodic show with well-known songs like “I can’t help falling in love with you”, “Blue Suede Shoes” “Hound dog” to name but a few. “All Shook Up”. The Venue was the beautiful An Grianán Theatre, in Letterkenny town. Upon my arrival I was met immediately by the most gracious Pluincéad O’Fearraigh, Chairman of the Society, and indeed up to last year's production was also Director and Producer of this talented group. Producer / Director of this Production were Ms Tina Higgins, and Ms Marie McGinley. This show was indeed a lovely production. There was great use of the very large stage but what I liked most was the attention to detail these two ladies brought to this show where we the audience were immediately transported back to the good old rock and roll days. Ms Higgins and Ms McGinley directed this show in such a way that it was consistently so effortlessly energetic and full of fun and humour with beautiful movement and staging throughout. All roles were perfectly cast without any exception. The attention to detail was super. Particular mention to “Come On Everybody” with Chad, Natalie, Dennis & Company and Sylvia's Bar, as the initial meeting point, with the tables and chairs and tablecloths and the very authentic jukebox in the corner. This direction in this production was simple, yet effective, detailed yet not overbearing or too exaggerated. Such fun, and joie de vivre with each character and a testament to the work done by Ms Higgins and Ms McGinley. Considering it was your first year as the Producers / Directors it was a huge success and very well directed. Lovely job beautifully done. This magic duo as Directors also were the shows Choreographers. Choreography was excellent, lovely movements, great dancers, simple yet effective moves but the most impressive detail here for me was that throughout the show this cast never ONCE put a foot or an arm out of place. Yes, in some number’s choreography was simple and slick but in other numbers “Lovin My Baby” and “All Shook Up, along with “Jailhouse Rock” were more complex – yet excellent. “Loving My Baby” was a highlight of this show for me in Choreography, Direction and Lighting, which was simply superb. Musical Director for this show was Denise Roper. Twenty five plus numbers with a band of ten in the pit. Ms Roper as well as being Musical Director played Keyboard 1. With particular mention to “I Don’t Want To” Chad, “C’mon Everybody” with full company, and a highlight of the evening for personally and musically were “Let Yourself Go”, “Follow That Dream” (simply gorgeous accompaniment here) and the magnificent Finale Music. Wonderful. This Band worked very well together. I congratulate you all on a job beautifully done here from all of you, with of course Ms Roper at the helm. Congratulations to a great team well-rehearsed and well led. Stage Manager was Ms Fiona McDaid. Ms Mc Daid had a strong team of four as her Stage Crew. Ms Anne Flannery, Elaine Gillespie, Aoife Flanagan, Olivia Kelly. Also Slides Operator Tom Neilis. The Sets were good and sometimes very good. One thing I did notice was In the Heartbreak Hotel number there were two doors down stage right surrounded by a lovely brick wall beautifully painted may I add- but when the cast went through the door when they were leaving the stage there was a gap between the wall and the wings and you could see each character head into the wings in the gap it and it was just a little distracting. “Sylvias Bar” set was lovely. The Set for of the City Museum was gorgeous and very authentic as was the Bus and the Station. The Funfair Set was a great visual with lovely lighting and ambience created enhancing each set in all of the scenes which were all very good. Set Painting was the responsibility of Mary Larkin, along with Stage Construction Tommy Kerr, and James Kenny. Set Painting was excellent lovely colours again, and great depth in each set piece. Niall Cranney was in charge of Lighting for this lovely show. Excellent lighting on the back of the bar on the shelves in Sylvia's Bar, with the different coloured bottles on the shelves throughout. The lighting overall was very effective. “Lovin 'My Baby” was superb. I loved the blues, reds and pinks all around, and the colourful pink spots on the floor this number ensured the stage was ablaze with colour, and it enhanced the production beautifully. Sound was by MK Audio, Strabane. Sound was perfect. No errors, never too loud, and always right. I particularly loved the sound from all the lead characters. Very balanced, a very warm timbre throughout the show and again, the sound greatly enhanced the success of this lovely show. Well done. Costumes were by Olivia Kelly, and Props Fiona McDaid. I loved Sylvia's Bar with the small circular tables and the white doilies placed perfectly around the stage, with the perfect bar stools and very good attention to detail all around. Given that this set is very much used throughout the show it was important that is looks right and is presented correctly to a discerning audience. Everything was in place, and it was obvious a lot of thought went into this production in this area throughout the show, and props were very good. Costumes, very appropriate for each character. Loved Sylvia's voluptuous costume, along with Mayor Matilda’s very befitting outfit, stern and austere, and I absolutely loved Dennis’ costume from start to finish dressed from top to toe. Well done to a wonderful team. The part of Natalie Haller was played by Danielle McElroy. A gorgeous Natalie. Ms McElroy created a truly lovely character here with her tomboyishness, but also her elegance later in her dress. Her connection with both Dennis (played by Luke McHugh) and Chad (Niall Brennan) floated down to the audience and I immediately wanted this young lady to have a happy ending because she was just so nice in this role in every way. Lovely moment in the dance scenes, and lovely rapport and chemistry in particular with Chad, but it was also with her pals, Dennis (in love with her) and Lorraine and finally but not least this gorgeous Father Daughter relationship she had with her Dad Jim Haller, (played by Rodney McKeague) where her caring, gentle, and love for of her Dad Jim, shone on stage. Ms McElroy created a lovely energetic, fun, caring, and sometimes lonely person in her creation of Natalie and this was indeed a very special and lovely performance. Well done Ms McElroy. Chad was played by Niall Brennan. Mr Brennan, looked, sang and acted this part beautifully and with such charm. Mr Brennan was very slick, cool, easy going, with a fluid ease of movement around the stage consistently. He really did love himself and it was quite funny at times that his ego was dented for example when Ms Sandra rebuffed his advances again and again! I must also add that the lovely number “Don’t be Cruel” was brilliantly performed. A lovely duet by two very good actors in one of the more brilliant moments of this lovely show. Mr Brennan’s performance enhanced this show beautifully every single time he was on stage. I loved the character you created here Mr Brennan. You have a lovely voice and this role suited you down to the ground. A very strong leading man. Keep singing. Well done. Superb job. The lovely part of Jim Haller was played by Rodney McKeague. A glorious role played by this talented gentleman. Mr McKeague had a lovely quiet gentle disposition, grieving for the loss of his wife – Natalie’s mother, and trying to find his way really after his wife's death and love of his life. The “Power of My Love”, sung with Chad and Miss Sandra, along with “Heartbreak Hotel” and especially the duet between himself and Chad “Don’t be Cruel” were some very lovely scenes performed with a gentleness and simplicity that endeared me to this gentleman as Jim Haller. Lovely singing voice and a lovely rapport with Natalie. This was a great role played by Mr McKeague, and I’m glad you did find love again in the end and I know think the whole audience were as well because we all had a soft spot for “Natalie’s Dad”. Well done. Lovely performance. The part of Sylvia was played by Ciara Gallagher. A beautiful actress again with a lovely stage presence and a key role in the whole story with her Bar and her customers and her lovely daughter Lorraine, and her life in general. I really enjoyed what Ms Gallagher brought to this role and the character she created. From the first time we are introduced to her in “Heartbreak Hotel” to “That’s Alright” to the beautiful solo in the second half “There’s Always Me” A key role in this story, played by a very talented young lady. Beautiful performance. Lorraine (Sylvias daughter) was played by Aoife Farmer. This young lady was a lovely Lorraine. Again, beautiful, sweet voice, lovely presence on stage, and interactions throughout the show with Dean (Ciaran O’Gallachóir) and of course with her Mam Sylvia. Gorgeous costumes, very articulate vocally, lovely moment in the dance numbers and a genuine air of happiness and carefree attitude that won the audience over with your portrayal of this lovely character that is Lorraine. “It’s Now or Never” with Dean, Lorraine and the Company absolutely shone from the stage. Dennis was played by Luke McHugh. Aww Dennis. What a lovely role you had to play and played brilliantly . Loved the dickie bow and the sleeveless v neck jumper and your facial expressions in awe of Chad when you meet him. “That’s All right “when playing the guitar and the little leg kicks as you meandered around the stage proud as punch, to be the “chosen” sidekick showed the fun side of this character you created and indeed there were many moments such as this throughout the show. Mr McHugh had several lovely attributes that endeared me to him from the moment he arrived on stage. Well done Mr McHugh. A beautiful part for you and you sang and acted it gallantly. Beautiful job. Ms Sandra was played by Ms Laura Friel. Fabulous costumes, great flirtatious moments and yet completely oblivious to Chads obvious romantic advances which really was quite funny in your barely giving him the time of day and being quite dismissive in the process. (Poor Chad!). Ms Friel had a wonderful stage presence, and a really lovely voice, and I did indeed look forward to each time she arrived on stage. The part of Mayor Matilda Hyde was played by Ms Mary Lane. What a no-nonsense woman stern with a constant frown and a constant air of disapproval of her towns people, conservative to a tee and following behind her was poor Earl the long-suffering (saintly) companion who said or was not allowed to say much at all except the odd word here and there where in these rare instances he was rapidly told to be quiet. Ms Hyde had a lovely air of superiority, and it really was effective in the contrast between herself and the rest of the cast in her seriousness. A wonderful character here is Ms Lane. It was an absolute pleasure to witness you in this role on stage. You made it your own and it was a very commendable performance in every aspect. Well done. The part of Dean Hyde was played by Ciaran O’Gallachóir. Mr O’Gallachóir had a lovely stage presence, very much under the shadow of the above-mentioned Mayor and his mother. Totally innocent minded in a cocoon by his mother and then in just one moment he saw and met Lorraine and they fell in love. Mr O’Gallachóir had a lovely singing voice and played this part well. Again, great costume and detail on the uniform especially was excellent. A lovely duo himself and Ms Farmer, a strong cast member, played a large part in the overall success of this show. Well done Mr O’Gallachóir. Well played. Sheriff Earl, played by Martin Anderson, the strong silent type (with no choice to be but anything else) was a very likeable character from the beginning. Ambling around at a very relaxed pace behind Mayor Matilda he was like a little puppy afraid to say a word. Beautifully played by Mr Anderson and a pleasure to watch you on stage in this role. Bus Driver was Mr Stephen Roche, and Warden was Mr Michael Sheehan. Two small parts but significant nonetheless in the continuation and the linking together of the different scenes and changes throughout. Excellent costumes again. Well done. This was a very strong Chorus. From the opening Jailhouse Rock with Chad and the Prisoners, to “Heartbreak Hotel”, “C’mon Everybody”, “It’s Now or Never”, “Can’t Help Falling in Love”, “The title of the show and “All Shook Up”, “A Little Less Conversation a little more action”, “Fools Fall in Love”, “Burning Love” to the full Finale Music, this Chorus created a wonderful sound that enveloped the audience and the theatre, every single time, lovely harmonies, great balance and each part in Altos, Bass, Tenors, Sopranos, all clearly syncing beautifully together. It was a treat to hear you all throughout and with such consistency and balance. A lovely sound. A lovely Chorus. Well done. An Grianán Theatre is a very large venue used very frequently and is a very busy venue given the posters and advertisements for upcoming shows that were emblazoned around the Theatre the second I arrived at the door and headed for the Box Office. I was immediately looked after and introduced to the gentleman that is the Society’s Chairman Mr Pluincéad O’Fearraigh, who was an absolute joy to speak with, giving me a background into the Musical Society to date, and his involvement from the very beginning (formed in 1991) and the history of An Grianán Theatre. I sincerely thank you all so very much for your welcome. This evening was a treat. I genuinely loved the atmosphere within your lovely Society. I drove home with a pep in my step and a song in my heart after my evening with you all. Congratulations to each and every one of you. You are a great group and I hope that greatness continues for you all for a very long time to come. Caroline Daly Jones AIMS Adjudicator Sullivan 2023 / 2024 Some photos kindly shared by the society

Urinetown as presented by Newcastle Glees Musical Society

Urinetown, as presented by Newcastle Glees Musical Society Date of Adjudicated Performance: Friday, 24th November, 2023. Given the...

Urinetown, as presented by Newcastle Glees Musical Society Date of Adjudicated Performance: Friday, 24th November, 2023. Given the reality of climate change and our abuse of this planet, Urinetown, despite tackling the topic in a very crazy and hilarious manner, is a show that has an important message, and it deserves to be enjoyed by audiences everywhere. It’s off the wall, outrageous, hysterical, darkly dystopian, and yet remarkably uplifting, and in the safe hands of Newcastle Glees, it was given a thoroughly satisfying treatment. It was most impressive that Director, Laura Kerr had the skill and ability to bring the best out of the comedy and the drama of this piece. Her attention to the visual detail of the show was remarkable, and the strength and variety of characterizations throughout was a tribute to a thorough and thoughtful process. There were many moments of magic, but top of the list was the unexpected and hilarious birth of a slum-baby during Run Freedom Run. I thought I would fall off my seat. One could almost imagine the stench of the public toilets, just looking at the rotten, festered set of the opening scene of the show, so detailed was the scenery. It was immediately apparent that we had been transported to the dumping ground of a world that had gone tragically wrong. More could have been done to contrast this with a gleaming and well painted Urine Good Company set, to show how much better the privileged were living. That scene was considerably brighter but maybe needed a touch more glamour and dressing to make it really opulent. Perhaps the lack of space and facilities were responsible for Bobby’s death not being as dramatic as it might have been, and maybe the highly atmospheric lighting, on occasions, needed to be balanced with a bit more key light on performers’ faces, as some expression was lost in shadow. Sound quality throughout was impressive, with good cueing and a good balance between stage and band, and while the stage crew, under stage Manager Clair Williams, were industrious and efficient, had then all worn black outfits, they would have been more invisible. I don’t know if the costumes for the show were hired or locally created, but they were fabulous, especially the ones worn by the slum-dwellers. They were stunningly stained and bedraggled, and yet still created individuality among the players. The flamboyant and delightfully over-the-top outfits of the privileged few were unexpected but entirely appropriate, given the surreal circumstances of the whole show. The cops looked great and there were some glitzy outfits for the specialty dancers. As with the costumes, wigs were very good and for the rich, deliciously effete. Hairstyles for the peasants were outrageously straggly and looked lice-filled, and the make-up, both for the powered elite and for the festering unhealthy poor, was top-notch. Visually, the whole show was excellent. If Laura Kerr’s direction was visionary, then choreographer, Clare Donnelly followed that dream to create dance routines that strongly captured the mood and tone of each scene, and were filled with energy and comedy. Particularly impressive in style and variety were The Cop Song, Don’t Be The Bunny, Mr.Caldwell and Snuff That Girl, but it was the sheer power, exuberance and delivery of Run Freedom Run that brought the house down. But then again, she was blessed to have a chorus who were quite simply brilliant. They were vocally powerful and melodic and their acting and dancing were a real backbone to this production. Taking the central role of narrator, Officer Lockstock, Martin McDowell had a strong presence and a great comedic rapport with the audience. Losing the sunglasses would have added more expression to his delivery, but he still had excellent body language and very good timing. He led the very funny Cop Song with aplomb. His co-narrator, more or less, and inquisitive on behalf of the audience, was Little Sally, quite brilliantly played by Anna Young. Her style was brash and over-the-top, like a child having tantrums, but hilariously so, and delivered with excellent comedic ability. She also had a fine vocal quality and was a good dancer. Taking the romantic lead with not just a ‘Strong’ but also a very measured performance was Josh Clark in the role of Bobby. Growing in stature as the show progressed, he was at his finest leading the Run Freedom Run number with a powerful vocal display. His comedic love of Hope was also most enjoyable. Hope, in turn, was played with innocence and naivety by Anna Moore, who also possessed a sweet and tuneful voice. Her comedy, particularly the Follow Your Heart scene, was very secure and she became a force to be reckoned with as she turned on her cold-hearted father. Lowry Hodgett played Cladwell, the controlling and maniacal director of Urine Good Company, as a kind of new age Roman Emperor, adorned with fancy robes, a bouffant wig, jewelry and a permanent sneer at all below him. He captured the nastiness of the character very well and performed his vocals confidently. The fiery and formidable warden of the filthiest urinal in town, Ms. Pennywise, was played with a terrifyingly, toxic charm by Emma-Jane McKnight. Here was a woman you wouldn’t want to get into a fight with, wielding her plunger like a sword, and with a voice that would scare the Banshees. This was great character realization, and even the make-up and the messed-up mental state couldn’t disguise the talent and the quality voice that hid beneath the grime. Very good indeed. Stephen Donnan-Dalzell turned in a comically camp performance, all flounces and feathers, as corrupt politician, Senator Fipp, alongside a sycophantic aide to Caldwell, Mr McQueen, ably played with groveling gentility by Gordon Donaldson. Sean Trainor as Dr. Billeaux and Orla McCrickard as Mrs. Millenium comfortably completed the impressive line-up for the wealthy elite. At the opposite end of the social ladder, were some brilliant character roles, not the least of which was Soupy Sue, the pregnant slum-dweller who gives birth mid-song at the comedic high-point of the show, superbly played by company chair-person, Emma Nugent. By her side for much of the show, and matching her in comedic and vocal ability was a most impressive Fiona Keegan as Ma Strong. Diarmuid Taggart made the most of his role as Old Man Strong, with the delightfully funny scene of peeing in public. Like the Bonnie and Clyde of the street rats, Fiona Keane as Becky Two Shoes and Francis McKinney as Hot Blades Harry entertained with a comical blood-lust with their hearts set on murdering Hope in revenge for the death of Bobby. Also impressive among the throng of unfortunates were Katy Keaveney as Roberta the Stockfish, Campbell Evans as Billy Boy Bill and a superb cameo of Tiny Tom, brought to life by Chris Mooney. The principal line was completed by a secure and comedic interpretation of Officer Barrell from James Marsden, performing strongly alongside Officer Lockstock. Binding everything together musically, with a full bodied accompaniment to the show that never over-powering the on-stage performers, Musical Director, Mark Tilley led a small but robust and precise band of talented musicians. Tempi were strong and steady, and the more sentimental moments were treated with a respectful mellowing of the tone. But it was in the preparation of the chorus that Mr. Tilley really made his Mark (shocking pun, I know). Vocal quality, harmonies, tone, diction and expression were of the highest order throughout the show, in what was a wonderful musical display. Having seen the show before, I was already well prepared for the journey through the gutters of Urinetown, yet despite that familiarity, I found myself swept along by the delightful irreverence, the original touches and the sheer passionate energy of a production that ticked all the boxes in providing high-calibre musical theatre and entertainment. Sincere thanks to all concerned. Peter Kennedy, Gilbert Adjudicator Some photos kindly provided by the society.

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