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UPCOMING EVENTS

The Sound of Music

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24 Apr 2025

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The Magic of Musicals

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25 May 2025

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Anything Goes

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18 Nov 2025

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Our House - the Madness Musical

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29 Apr 2025

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Sweeney Todd: The Demon Barber of Fleet Street

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30 Apr 2025

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LATEST NEWS

Charlie & The Chocolate Factory as presented by Ballywillan Drama Group

Society name: Ballywillan Drama Group Show name:  Charlie and the Chocolate Factory Adjudicator date of attendance: 25/01/2025 Brief...

Society name: Ballywillan Drama Group Show name:  Charlie and the Chocolate Factory Adjudicator date of attendance: 25/01/2025 Brief overview  of show and evaluation of Front of House Ballywillan Drama Group presented a warm and welcoming production of Charlie and the Chocolate Factory . While the script itself presents inherent challenges, the cast and crew worked hard to bring the story to life with enthusiasm and creativity. From the moment we arrived, the front-of-house team provided an inviting and engaging experience. The chocolate bars were a charming touch, adding to the excitement of the production. The foyer displays were beautifully curated, with a selection of high-quality production photographs on screen, setting the tone for a well-organized and visually appealing event. The venue itself is an excellent space for theatre, with clear sightlines ensuring an enjoyable viewing experience from any seat in the house. Director -  Direction and Production Director Brian Logan demonstrated a strong understanding of stagecraft, ensuring a steady and engaging pace throughout the production. The transitions between scenes were smooth, and the use of additional entrances added an extra dynamic element to the staging. There was a clear effort in character development, with some standout performances from the principal cast. However, there were moments where deeper exploration of characters could have been beneficial. Willy Wonka, in particular, needed a more defined balance between charm and eccentricity to fully capture the essence of the character. Additionally, finer details such as Mrs. Bucket’s busy work and the body double for Violet could have been executed more seamlessly to enhance believability. Overall, the direction was cohesive, demonstrating a thoughtful approach to storytelling, and the use of accents and character voicing was well handled. Attention to some finer details would elevate future productions to an even higher standard. Musical Director-  Direction and Orchestra Under the skilled leadership of Musical Director Andrew Robinson, the band delivered a tight and well-balanced performance. Conducting from the subterranean pit was managed effectively, allowing for strong communication with the cast via TV screens. The harmonies from the chorus were well-rehearsed, contributing to a full and vibrant sound. The orchestration complemented the vocal performances without overpowering them, and the overall balance of music and dialogue was well considered. This strong foundation in musical direction provided great support for the vocalists and contributed to the overall cohesion of the production. Choreographer - Choreography Choreographers Sharon Logan and Laura Fisher brought some very clever ideas to the production, with several moments of ingenuity in movement and staging. The opening number had a well-conceived concept, and Queen of Pop  was a standout in terms of energy and precision.That said, while the choreography was creative, there were areas that could have benefited from more refinement and cleaner execution. Some numbers required additional polishing to achieve uniformity, particularly within the ensemble. With sharper movement and greater attention to synchronization, the choreography could truly shine. Leading Principals – Singing and Acting Willy Wonka – Alan McClarty Alan is clearly a confident and comfortable performer on stage, but his portrayal of Wonka felt somewhat understated. While there were moments of charm, the character lacked the unpredictable eccentricity that defines the role. His vocal ability was pleasant, but it felt as though we didn’t hear the full extent of his range. With more direction in terms of character development and exploration of Wonka’s depth, this performance could have been much more dynamic and engaging. Charlie Bucket – Emma Shirlow Emma was a delight to watch. She radiated energy and enthusiasm, effortlessly commanding the stage and drawing the audience into Charlie’s world. Her vocal ability showed great promise, and she demonstrated excellent characterisation. She interacted beautifully with her fellow performers, bringing a natural warmth to her role. A truly standout performance! Grandpa Joe – Paul Sleet Paul delivered an endearing portrayal of Grandpa Joe, embodying the character’s gentle and fatherly nature. His interactions with Charlie were heartfelt and engaging. There was potential to push further into the mischievous side of Grandpa Joe’s personality, which would have added an extra dimension to his performance. Vocally, he was steady, though a little more projection would have enhanced his numbers. Violet Beauregarde – Chloe Freeman-Wallace Chloe brought great energy to the role, fully embracing Violet’s self-absorbed and vain personality. Her solo number was a highlight, showcasing both vocal ability and strong characterisation. A confident and committed performance. Augustus Gloop – Patrick Connor Patrick delivered a thoroughly entertaining performance, capturing the humor and playfulness of Augustus. His facial expressions were excellent, and he remained in character throughout. His comic timing was strong, making his portrayal one of the more memorable ones. Veruca Salt – Sarah McIlhagga Sarah was the epitome of a spoiled, petulant child. She carried herself with the arrogance and entitlement needed for Veruca, and her attempt at ballet was a well-executed comedic touch. Her accent and facial expressions added depth to her character, making for a well-rounded performance. Mike Teevee – Steven Millar Steven delivered a high-energy portrayal of Mike Teevee. However, at times, the performance felt a little too manic, making it difficult to understand his dialogue. A more controlled approach would have allowed the character’s essence to come through more clearly. Supporting Roles – Singing and Acting Mrs. Gloop - Charisse McDowell.  A fantastic sidekick to Augustus, with a super accent that remained consistent throughout. Clearly a doting mother that has gone too far.  Mr. Salt - Steve Setterfield.  Played the doting father well, with a strong, unfaltering accent. Very believable as the scary oligarch that is beholden to the whims of his daughter. Mr. Beauregarde - Adam Goudy.  Perfectly irritating as a flashy social media dad, a performance that was enjoyable in its deliberate unlikability. He captured the wheeler-dealer geezer very well Mrs. Teevee - Laura Fisher  Laura needed more guidance in this role. The comic timing was missed making the role more uncomfortable. Her dialogue was difficult to understand at times. I feel she would do better in a different sort of role. Mrs. Bucket - Clare Campbell.  A motherly performance. Stern but never strict. Occasionally felt unsure of how to use her hands on stage, and the ‘busy work’ needed more fluidity to feel natural. Chorus/Ensemble- Singing, Acting and Choreography The ensemble brought good energy to the production, though there was some inconsistency in movement ability. With more precise execution and refined choreography, they could have presented a more cohesive unit. Vocally, they delivered well, though some moments lacked focus, particularly in the Oompa Loompa numbers. Stage Management & Set Design The production was generally well managed, with scene transitions handled efficiently. Tidying up elements such as the curtains hiding set pieces in the wings would have contributed to a more polished aesthetic. The set design was visually appealing, with well-executed printed flats and an effective use of a video wall, which maintained a cohesive color palette. The Bucket House was convincingly dilapidated. Some factory pieces, while conceptually strong, didn’t have the same polished finish, which made them stand out in contrast to the rest of the set. Technical- Light and Sound Lighting design had some beautifully executed moments, though there were a few issues with cue timing, particularly during the Invisible Corridor scene. Better synchronization between lighting and sound cues would have improved the overall effect. Sound was mostly well-balanced, and the mix from the underground pit was well handled. Some dialogue was difficult to hear at times, but it is unclear if this was a sound issue, or a projection issue. Visual- Costumes, Hair and Make Up Costumes were well chosen, with principals and chorus looking cohesive. The touches of red in The Factory Gates  scene were particularly effective. The Oompa Loompa costumes were an interesting concept but could have been refined further. Makeup was generally well applied, but the Oompa Loompa wigs needed more attention. Several were untidy, with visible performer hair. Tidying these details would greatly enhance the overall visual impact. Adjudicators suggestions/ comments-   overall comments on the production and comments to enhance the standard for future performances. This was an enjoyable and ambitious production with many strong elements that showcased the dedication and enthusiasm of Ballywillan Drama Group. The passion from both cast and crew was evident, and there was a great energy that carried throughout the show. One of the great strengths of this production was its ability to create an engaging theatrical experience that delighted the audience. With continued refinement in choreography, sharper execution in technical aspects, and deeper character development, future performances have the potential to be even more captivating and memorable. I would suggest dance workshops throughout the year. Attention to small technical details, including lighting cue timing and sound balance, would further elevate the professional quality of the performance. Additionally, refining the nuances of character portrayal, particularly with complex roles such as Willy Wonka, would add even greater depth and intrigue to the storytelling. In conclusion, Ballywillan Drama Group should be very proud of this production. Their hard work and commitment to excellence were evident, and with continued focus on detail and performance cohesion, their future productions will no doubt continue to impress and entertain.

Shrek as presented by Letterkenny Music and Drama Group

Society name: Letterkenny Music and Drama Group Show name: Shrek Adjudicator date of attendance: 07/12/2024 Brief Overview of Show and...

Society name: Letterkenny Music and Drama Group Show name: Shrek Adjudicator date of attendance: 07/12/2024 Brief Overview of Show and Front of House Attending Letterkenny Music and Drama Group’s production of Shrek  was a delightful experience that combined humor, charm, and a heartfelt story. The audience was clearly engaged throughout, demonstrating a strong connection with the performances and the overall energy of the production. The Front of House team worked efficiently, creating a welcoming atmosphere that set the tone for the evening. The program and other materials were professionally presented, and the audience flow was well managed.  Director-  Direction and Production The direction of Shrek  by Tina Higgins and Maire McGinley demonstrated a strong vision with many effective elements. The use of space and set pieces was creative, particularly in maximizing the stage’s dimensions to deliver a visually dynamic performance. Moments such as the additional journey in the opening scene, and the extra characters crossing the stage during musical numbers were thoughtful touches that enriched the storytelling. There were areas for improvement. Some blocking choices led to awkward upstaging, which disrupted focus in key moments. The extension and additional entrance DSL were underutilized, missing opportunities to further enhance the spatial dynamics. While the use of body doubles was an inspired choice—especially for transitions involving Fiona—this technique could have been pushed further to create even more seamless and striking moments. Overall, the direction provided a solid foundation for the production, but refining these details would elevate the performance even further. Musical Director-  Direction and Orchestra The orchestra’s performance was one of the highlights of the evening. The band delivered a fantastic sound that was well-balanced across the instruments, creating a rich and vibrant musical backdrop under the capable baton of Denise Roper. The electronic tone of the score lent an 80s-inspired charm, which worked well for the whimsical nature of the show. That said, there were notable issues. The villagers at the beginning were inaudible due to a lack of microphones, which impacted the clarity of the opening scene. Additionally, the chorus occasionally faltered with harmonies, particularly in the soprano and alto lines. The inconsistency in harmony was most surprising among the mic’ed performers, which may indicate areas where further vocal coaching could enhance precision and balance. Choreographer - Choreography Choreographically, the show had moments of energy and creativity but lacked overall precision from Tina Higgins and Maire McGinley. The tap sequence in “Morning Person” was a standout, showcasing a high level of skill and coordination. However, other numbers, such as the Duloc sequences, suffered from untidy execution. Given the rigid synchronicity required for these scenes, the lack of uniformity detracted from their comedic impact. The Soldiers numbers also reflected varying levels of ability within the cast. While this diversity is a natural part of amateur productions, simplifying the choreography to lean into performers’ strengths would have been more effective. With additional drilling and polishing, the overall execution could reach the desired level of sharpness and professionalism. Leading Principles-  Singing and Acting Shrek (Ricky Kyle) -  Ricky delivered a commendable performance as Shrek. His voice had a lovely quality, although there were occasional moments of pitchiness. His characterisation was strong, and his stage presence commanded attention. Due to the prosthetics covering most of his face, facial expressions were limited. To overcome this, Ricky could have leaned more into vocal variation and physicality to convey emotions more vividly. Nevertheless, his portrayal was engaging, and his journey felt believable. Fiona (Ella Terry-Sweeney) -  Ella shone as Fiona. Her stunning voice was a highlight, with an impressive ability to balance the character’s dual nature as a sweet princess and a spirited, quirky individual. She was confident in her movements and physicality, and her chemistry with Shrek was palpable. Her distaste for Lord Farquaad was particularly well-executed, adding depth to her performance. Donkey (Conor White) - Conor brought humor and energy to the role of Donkey. His comedic timing was excellent, and his consistent accent added to the authenticity of his performance. While his “off-script” moments were entertaining, he could have pushed the comedy even further to make Donkey’s larger-than-life personality truly unforgettable. Vocally, he was strong and smooth, and his physicality perfectly embodied the character. Dragon (Rachel Akkoc) - Rachel impressed with her stage presence and powerful belt voice. Her head voice had a lovely tonal quality, though there was a noticeable weakness in the transition between the two registers. Her movement on stage was confident and fluid, but her chemistry with Donkey felt underdeveloped. Enhancing this relationship would strengthen her performance. Lord Farquaad (Shane Gallagher) - Shane Gallagher’s portrayal of Lord Farquaad was amusing but lacked consistency. While the exaggerated approach suited the character to an extent, it occasionally felt overdone. His singing voice was pleasant, but his physicality on his knees appeared awkward, which affected the overall believability of the performance. Greater comfort and confidence in this aspect would make his portrayal more impactful. Supporting Roles:  Singing and Acting Pinocchio (MJ McFadden) -  MJ brought humor to Pinocchio, with a good voice that unfortunately lost clarity due to the altered vocal tone. Slowing down dialogue when using such a high register would improve comprehension. Singing in this register is challenging, and while MJ’s efforts were commendable, more vocal support could enhance delivery. Gingy/Ugly Duckling (Aoife Flanagan) -  Aoife managed to differentiate between the two characters effectively. Her energy as Ugly Duckling was infectious, though her vocal performance was not as strong. This role, however, benefited from her enthusiasm and commitment. Big Bad Wolf (Craig Peoples) -  Craig struggled with audibility and clarity, which hindered the impact of his performance. Stronger projection and diction would greatly improve this role. Wicked Witch (Brighidin Carr) - Brighidin Carr delivered a standout performance with strong characterisation and a great sense of fun. Her energy brought the Wicked Witch to life, making her a memorable presence on stage. Pied Piper / Teen Fiona (Grace Gavigan):  Grace Gavigan delivered a lovely performance as Teen Fiona, showcasing a good voice and strong characterisation. She effectively captured the charm of the younger Fiona. As Pied Piper, her portrayal could have embraced more quirkiness to fully highlight the comedic potential of the role. Thelonius (Luka Pecar):  Luka Pecar provided some funny moments as Thelonius, though these could have been pushed further for greater comedic effect. Overall, the performance was fairly understated, and embracing more exaggerated physical comedy could make the character more memorable. The Three Bears played by Jenny Yourell (Mama), Jamie Kelly (Papa), Belle Terry-Sweeney (Baby), created a lovely family unit, with good energy.  The Three Blind Mice played by Jessica McDaid, Orla Nelis, and Veronica Haughey, created a strong back up for “Make a Move”. Some further fun could have been added to their choreography to add to their characterisation. Other supporting characters, such as Sugar Plum Fairy (Laura Gleeson), White Rabbit (Aida Gornes), Elf (Zuzanna Rotusta), Dwarf (Orla Nelis), Fairy Godmother (Audrey Coyle), Peter Pan (Johnny Campbell) were competently performed and a great addition to the ensemble but lacked standout moments. Adding more specific character quirks or comedic elements would make these roles more impactful. Chorus/Ensemble- Singing, Acting and Choreography The chorus and ensemble were enthusiastic and energetic, which translated well to the audience. However, their performances varied significantly in precision and execution. Some cast members demonstrated excellent movement skills, while others appeared less confident. Additional rehearsal focused on finessing choreography and unifying energy levels would help achieve a more polished and cohesive performance. Vocally they created a good sound overall, with a few odd sounding harmonies coming through at times.  Stage Management and Set Design The set design was a highlight, with creative choices that supported the storybook theme. Printed flats for the wings and the use of projections to “turn pages” between scenes were clever and visually appealing. Moving set pieces were well-designed, and the decision to have cast members handle them added to the charm. However, the style of scene changes felt inconsistent. It would be more effective to choose either blackouts or visible changes rather than blending the two approaches. Ensuring changes are fully complete before lights come up would enhance the overall flow. Technical- Light and Sound The lighting design was functional but underutilized given the size of the rig. Transformative moments, such as Fiona’s transitions, would have benefited from more dramatic effects like gobo rotations or strobe lighting to heighten the impact. Sound design faced challenges, including excessive reverb on dialogue and several missed cues, particularly for one-liners. Mic balance issues affected some songs, and un-mic’ed performers were occasionally lost in the mix. These issues, while not overly disruptive, did detract from the overall polish. Visual- Costumes, Hair and Make Up The costumes, hair, and makeup were mostly strong, particularly for the principals. Shrek’s prosthetics were professional and impressive, while the Dragon’s design was striking and effective. However, some elements—such as Donkey’s makeup—felt overly stark, resulting in a loss of facial expression. More shading would improve this. The Duloc costumes appeared ill-fitting, which detracted from the precision of these scenes. Additionally, minor characters such as the deer and others crossing the background were not fully costumed, which disrupted the cohesive visual design. Attention to these details would further elevate the production’s overall aesthetic. Adjudicators suggestions/ comments- Direction : Address blocking issues to reduce upstaging and make full use of the stage, particularly the DSL extension and additional entrances. Push creative ideas, such as body doubles, even further to enhance magical moments. Music : Address balance issues in harmonies and ensure all performers’ vocals are audible through appropriate mic coverage. Choreography : Simplify numbers to match cast strengths and focus on precision through additional drilling and rehearsals. Acting : Encourage performers to explore character depth and physicality, especially for roles constrained by costumes or makeup. Technical Elements : Expand lighting creativity and refine sound design for better clarity and balance. Visual Design : Ensure costume fit and consistency for all characters, including minor ones, to maintain a cohesive look. In conclusion, Letterkenny Music and Drama Group’s Shrek  was an enjoyable and ambitious production. While there were areas for improvement, the effort and enthusiasm of the cast and crew were evident. With attention to detail and refinement in the highlighted areas, future performances will undoubtedly reach even greater heights.

The Wedding Singer as presented by North East Musical & Dramatic Society

Public Adjudication   North East Musical and Dramatic Society  The Wedding Singer  Wednesday 20th November 2024  The Wedding Singer is...

Public Adjudication   North East Musical and Dramatic Society  The Wedding Singer  Wednesday 20th November 2024  The Wedding Singer is one of those shows which rarely fails to leave a smile on my face. A very funny book peppered with 80s references galore and a thumping score that reflects the era perfectly, combine for a lovely blend of nostalgia and hilarity. North East Musical and Dramatic Society (NEMS) gave us a very funny production, with stunning choreography and superbly innovative and creative visuals.  This was my first visit to the fabulous Iontas Theatre in Castleblayney and what an unexpected delight the venue was. Of course, ‘Iontas’ means ‘wonder’ as Gaeilge and what a wonder this theatre is. There can’t be too many towns in Ireland that can sustain a dedicated theatre space which can hold nearly 10% of its population. The large, spacious foyer was busy and we were warmly welcomed before taking our seats in the auditorium to the sound of 80s bangers which set the tone perfectly for the night’s entertainment ahead.  Director Gavin Quigley’s vision was bold and brave, incorporating a stunningly creative visual element to the show through the use of multiple video walls. This element integrated perfectly with physical set pieces, allowing for great fluidity between scenes. Mr. Quigley had a very good sense of pace and continuity. Cast skilfully moved trucks around the stage, in slickly choreographed transitions. There were some lovely, original directorial touches too. The Pac Man animation sequence during the entr’acte, featuring the show’s characters being gobbled up, was hilarious. An excellent job pulling so many elements together to create such an entertaining production.  Musical Director Shane McVicker worked closely with chorus mistress Tomasina McGinnity to ensure that all of the musical elements of the show were of a high standard. Mr. McVicker conducted an excellent eight-piece band from his keyboard. I felt that vocals were overpowered in the opening number, ‘It’s Your Wedding Day.’ However, levels appeared to settle as the show progressed and the balance between band and stage improved greatly. Principal singing was of a high standard throughout the show. Ms. McGinnity’s choral work shone, with excellent harmonies and good balance in the ensemble numbers. ‘All About the Green’ was excellent and there was a stunning choral sound in the finale.  Leah Meagher’s choreography was dynamic, sharp, and inventive. Routines were very well rehearsed and exhilarating in their execution. The wonderfully slick opening, ‘It’s Your Wedding Day,’ set the bar very high, with its high energy and deft precision. Performance levels were off the charts from a cast that was clearly enjoying every second. ‘Saturday Night in the City’ was exhilarating and the fabulous finale was simply euphoric. But it was the amazing ‘All About the Green’ that stole the show with a perfect combination of exciting, laser visuals, superb vocals and brilliantly performed, high energy choreography.  Sean Harkin was perfectly cast as a wonderfully charismatic Robbie Hart. There was an energy and exuberance about him that drew the audience in from the very start, as we followed the bumpy rollercoaster ride of his complicated love life. Mr. Harkin’s delivery was very strong and his comic timing was exceptionally good. He had a natural understanding of comedy that is very difficult to teach and a range of hilarious facial expressions that were perfect for the comic style of the piece. He was a very strong singer too, which may not have been so evident in the hilariously roared ‘Somebody Kill Me.’‘If I Told You’ was a gorgeous highlight of the show, beautifully delivered.  Paige Cunningham was a laid-back Julia. Comic timing was good and dialogue was generally strong but I felt that some further work on subtext would have really helped to explore her conflicted state of mind at her complicated love life. She was at her best in scenes with Mr. Harkin, in which there was a nice, natural connection between the two. Ms. Cunningham was a fine singer too, shining in ‘Someday’ and the wonderful ‘If I Told You.’  Dearbhla McCreesh enjoyed every minute playing the exuberant, flirtatious Holly, owning the stage with confidence and excellent presence. Ms. McCreesh’s intelligent delivery and great comic timing were all over her portrayal, in a very humorous performance. However, it was her powerhouse vocals that really blew the audience away. The brilliant ‘Saturday Night in the City’ at the end of Act 1, with its face-melting upper register, really showcased Ms. McCreesh’s vocal prowess. An excellent all-round performance.  Brian Harty was a very funny Sammy, Robbie’s ‘loser’ bandmate; an airheaded dude who was always in the shade when it comes to relationship success. He was a strong comedian with a great sense of goofiness which was never overplayed. Diction and delivery were excellent and I was really impressed by his very convincing bass ‘playing’ too. Mr. Harty’s vocals were really strong; at their best in ‘Today You’re a Man.’  The band’s keytar player, George, was played by Adam Lynagh. He was flamboyant, without being overly camp, avoiding the trap of overplaying this very funny character. Mr. Lynagh had strong stage presence and good comic chops. He sang well and really nailed the wonderful ‘Move That Thang’ with Rosie in what was a superb performance.  Dean Mulraney was the perfect villain that everyone loves to hate as the sleazy Glen Guglia. His smug charm and arrogance was so well played, leaving the audience in no doubt as to who we wanted Julia to end up with. It’s not often that the most reprehensible individual character in a show gets to lead its standout ensemble number. However, Mr. Mulraney got to lead from the front and let rip in the hugely exhilarating ‘All About the Green,’ showing what a brilliant mover he was too. An excellent job all round!  Mags Kirk was hilarious as Robbie’s Grandma Rosie. Without insulting Ms. Kirk, it was so refreshing to see someone with a credible ‘playing age’ in this role. Her comic timing was exceptionally good, as she delivered one innuendo-laden quip after another. She inhabited the role with an incredible physicality. And what a mover she was too. The incongruity of this arthritically hampered, elderly character busting a move with the energy levels and flexibility of limb that a thirty-year-old would die for, was side-splittingly funny in the hilarious ‘Move That Thang.’ A simply outstanding performance.  The biggest compliment that I can pay Louise Steele, who played the role of Linda, is that I wished it was a bigger part. I loved her brilliantly performed ‘A Note From Linda’ as she was so cleverly revealed on a spinning truck. Her high-energy, no holds barred ‘Let Me Come Home’ was a wildly seductive tour-de-force delivered with an impressively powerhouse voice and a compelling, psychotic edge. A fabulous, rock chick performance and a really fun portrayal. Carol McCourt gave an entertaining performance as Angie, Julia’s divorced and bitter mother who is more than a little shallow when it comes to her daughter’s marital prospects, wanting her to marry Glen for financial gain. Strong comic timing added greatly to Ms. McCourt’s portrayal.  All supporting characters were well cast and provided great support for the principal cast. Standout amongst these were Cillian Cromwell as Fake Billy Idol, Peter Phillips as Fake Ronald Reagan, Carmel Harte as Fake Cher, Eva McMahon as Fake Cyndi Lauper and Isaac John as Fake Mr. T. Mr. John also excelled in his incredibly impressive pole dancing routine.  A very strong ensemble, bursting with talent, sang, danced, and acted their socks off throughout. They were at their very best in big production numbers like ‘It’s Your Wedding Day,’ ‘Pop’ and ‘Single.’ Of course, All About the Green, complete with TS wristbands, stole the show with its electric enthusiasm, unbridled energy, and exquisite precision. There was good work too in other scenes as wedding guests, shoppers, and office workers. Care did need to be taken, however, to be more disciplined going into the very effective freezes.  Stage Management worked very well from the point of view of movement of physical set pieces. Multifunctional trucks were moved quickly and efficiently by cast, allowing for slick transitions between scenes, integrating superbly with the screens and greatly helping with pace and continuity throughout. However, there were some issues which really jarred on the night that I attended. Tabs being moved/adjusted during scenes were distracting. So too were the bedclothes on the pull-out bed, which took on a life of their own as a crew member had to adjust them up to thirty seconds before a scene change to ensure that the bed cleared the opening.  Set design very cleverly integrated large video walls with physical pieces in a seamlessly effective, visually stunning way. The raised levels provided great staging options for Mr. Quigley, allowing him to split the action from one location to another very quickly with the aid of a fast change of image. The images and animations were brilliant, perfectly evoking the 1980s era. The sink trucks looked well, as did the toilet cubicles, the latter proving difficult for the lighting department when cast were inside. The shopping mall looked amazing, cleverly reusing the multifunctional trucks, and the bridal shop looked fabulous. A superbly realised visual overall.  Many aspects of the lighting design and operation were superb. Some were not. The big production numbers were colourful and dynamic, with great use of moving lights to really bring out the vibrancy and colour of the 1980s. Follow spot operation needed attention. It was extremely shaky. It also caught backs of audience members’ heads during ‘If I Told You,’ as it picked up the choreography which was set too far downstage to catch in follow spot. More key light was needed for faces on the stage left upper level, which was patchy and too dark at times. Lighting was superb in the Pink Flamingo, giving that perfect nightclub feel. The angry, chasing red spots in ‘Somebody Kill Me’ were a very creative touch, as were the dramatic red movers in Linda’s extremely wild ‘Let Me Come Home.’  Sound was generally very good. As previously mentioned, band levels overpowered the cast vocals during the opening ‘It’s Your Wedding Day.’ However, this did settle as the show went on, giving us a much better balance between band and stage. Vocals were warm and full throughout. Cueing of microphones was slick and sound effects were well chosen.  There was superb attention to detail in the props department. The tiered wedding cake was most impressive. Glen’s 2-D printed car was a scream. The five bridal mannequins looked fabulous and I really want to know who had the very authentic looking Sanyo cardboard box lying around their attic! An excellent job by all. Costumes were excellent, capturing the colourful zaniness of the 1980s era perfectly. The different changes of coloured jackets for the band, worked very well. The office attire for ‘All About the Green’ was sharp and very cool. Sammy’s leather trousers were well painted on to him and George’s look was delightfully flamboyant.  Make up was colourful and fun, again reflecting that 80s vibe. Eye shadows and lipsticks were perfectly chosen…and that was just for George! There was super attention to detail with the 80s hairstyles and wigs were well chosen for the ‘fake’ characters of Tina Turner, Ronald Reagan, and Billy Idol. It was funny when Tina lost hers but perfectly appropriate as she was a ‘Fake Tina’ – her wig malfunction could almost have been written into the show.  This was a hugely enjoyable production with superb visual elements, very strong direction, top notch choreography, and some exceptional performances. It was an absolute pleasure to attend. NEMS is still very much in its infancy but what a well-deserved reputation the group has gained in its short existence. The sky is the limit. As Julia and Robbie might put it, “awesome.” Some photos kindly provided by the society; Photographer: Betty Brennan

Calamity Jane as presented by St. Agnes Choral Society

St. Agnes’ Choral Society  Calamity Jane  Saturday 16th November 2024  The Grand Opera House in Belfast is a wonderful venue. It is...

St. Agnes’ Choral Society  Calamity Jane  Saturday 16th November 2024  The Grand Opera House in Belfast is a wonderful venue. It is difficult not to feel the very palpable ambience, history, and character which its walls exude. And so, how lovely it was to experience an ‘old school’ musical in this historic theatre, which is over a century old. If indeed first impressions count, then St. Agnes’ Choral Society’s production of ‘Calamity Jane’ hit the ground running before a word of dialogue was spoken. There was something quite joyous and uplifting about hearing a huge choral sound right through the exquisitely played overture. Only it wasn’t the cast making that sound. It was the audience. Hundreds of voices singing ‘The Black Hills of Dakota’ set a glorious tone for what would be a most entertaining and memorable production of a true classic.  As one might expect, the front of house arrangements were excellent in the large and busy foyer of the Grand Opera House. Staff were friendly, courteous, and most efficient. I was greeted by the society representative, who shared many interesting insights into the theatre and the vibrant musical theatre scene in Belfast. As we filtered into the theatre, pre-show, the curtain was open and the Golden Garter was already open for business, with a guitar-playing old-timer banging out a tune in what was a nice, original touch by director, Laura Kerr.  Ms. Kerr gave us a superbly crafted version of this classic tale. The story may be over seventy years old but it is still relevant and entertaining. There is comedy galore, love stories aplenty and lots to be explored about challenging traditional gender roles and stereotypes. Ms. Kerr got it all and had great fun with every element. Comedy was strong, as were the more tender moments. Characterisation and attention to the narrative detail were impressive. There was great use made of the enormous playing space and Ms. Kerr ensured that the pace rattled along like a freewheeling stagecoach.  Andrew Robinson’s musical direction was top notch. From the opening bars of the sumptuous overture, we knew that this was going to be a musical feast of a show. And what a feast it was. The orchestra, superbly mixed by the sound department, was simply stunning. We may as well have been listening to the movie soundtrack, such was the incredibly rich sound, superb musicianship, and excellent balance of this wonderful fifteen-piece orchestra. Mr. Robinson conducted with considerable flair and was clearly offering great support to the company on stage. The gentlemen in ‘Adelaide’ sang beautifully and, throughout the show, we heard exquisite, well-balanced harmonies.  Choreographer, Amy Blackshaw, was very clever in how she used her very large cast. Full ensemble numbers weren’t overly intricate but the excellent precision, confident execution and high-performance levels across the cast meant that numbers like ‘The Deadwood Stage’ and ‘Windy City’ were extremely impressive. The smaller dance groups also excelled in numbers such as ‘It’s Harry I’m Planning to Marry’ and sections of ‘Windy City.’  Of course, the entire show practically hinges on one performance. How blessed we were to have Lorraine Jackson in the titular role. Ms. Jackson was captivating as the sharpshootin,’ straight talkin’ frontierswoman, Calamity Jane. She was brash and rough around the edges, entirely believable as the tomboyish spinner of dubious yarns. And yet, there was an endearing vulnerability about her performance that drew the audience in, ensuring that her characterisation avoided caricature, in what was a very balanced and nuanced portrayal. Ms. Jackson traversed the line between hilarity and sincerity so seamlessly. And then she sang ‘Secret Love.’ I can only describe her performance of this song as a tour de force, standout moment. It was quite remarkable on every front. From the heartfelt sentiment to the soaring, powerful vocal which never once faltered, this was a fabulous rendition.  I really enjoyed Kyle Emerson’s performance of legendary figure, Wild Bill Hickock. Again, Mr. Emerson avoided caricature, balancing strength, and masculinity with a sprinkle of heart and sincerity. The relationship between Bill and Calamity was well developed and Mr. Emerson worked very well with Ms. Jackson. His lovely, rich baritone was easy on the ear, particularly in ‘Adelaide’ and the gorgeous ‘Higher than a Hawk.’ It was a really authentic, down to earth portrayal.  Gareth McGreevy cut quite the dashing presence as Lieutenant Danny Gilmartin, the focus of Calamity’s affections. Mr. McGreevy had excellent stage presence and clear delivery of dialogue. There was a lovely rapport between himself and Ms. Jackson and the subplot between himself and Katie Brown was tenderly played. He also sang very well. ‘Love You Dearly’ was one of many musical highlights in the show.  Aideen Fox was an excellent Katie Brown. Ms. Fox is a very talented actor but also a skilled comedienne with super timing. Her impostor syndrome, as she nervously tried to dupe the gentlemen of Deadwood into believing that she was, in fact, Adelaide Adams, was played so well. ‘Keep it Under your Hat’ was excellently sung and performed with a deft comic touch. Once again, Ms. Fox played Katie with an underlying sincerity that really worked, allowing us to forgive her initial deception of Calamity.  There was no doubting that Kevin McReynolds, as saloon proprietor Henry Miller, is a very talented man with all of the tools necessary to play the role. He had good stage presence; his accent was strong and he had a most expressive face. However, I did feel that Mr. McReynolds needed more guidance in trusting the book and giving more consideration to the lines. I felt that he played things in a very over the top manner and that he needed to be reined in. again, I have to stress that the talent was clearly there. I just felt that it needed some coaxing to get the balance right.  Helen Smyth was lovely as Harry’s niece, Susan. She was a great dancer, had excellent stage presence and great expression in her delivery of dialogue. This was a really well-rounded performance in what can sometimes be a throwaway role.  Sam Nolan was a very likable and funny Francis Fryer. He was another very strong performer who wrung every last drop out of his character. A fine character actor, Mr. Nolan’s ‘Everyone Complains About the Weather’ was a super number, delivered with great flair, a fine voice, and a keen understanding of its comic potential.  Fiona Keegan was a very strong Adelaide Adams. Her delightfully full vocal was excellent in ‘It’s Harry I’m Planning to Marry.’ There was a tendency sometimes to play dialogue directly to the audience rather than to the character she was addressing on stage. That said, her dialogue was very clear and well delivered.  Sean Allen impressed as Rattlesnake and he sure scrubbed up well for the wedding. Stephen McQuillan did very well as Doc Pierce. There was strong support too from Paul Maguire as Joe, Jarlath Burns as Hank, Andrew Johnston as Pete, Pat Smyth as Col of Fort Scully, and Callan Hamill as Prospector.  This was a very large and committed Ensemble who were very well-rehearsed and looked like they were enjoying themselves no end. They had a fabulous, collective energy and were always engaged and focused. Their choral sound was magnificent and they were dramatically responsive, when required. Their dance routines, cleverly devised and so well rehearsed, were so precise and very well performed.  Stage manager Andy McKnight and his excellent crew did a wonderful job. Fly cues were meticulously timed, trucks were smoothly positioned and struck, and changes flowed seamlessly, contributing greatly to what was a very pacy and fast-moving show.  The very large, hired set, worked perfectly on the Grand Opera House stage. The imposing Golden Garter truck was set very far upstage left. The trucked ‘stage,’ which moved on and off very smoothly, was a great addition. Adelaide’s dressing room was very impressive with its working doors and the cleverly hinged cabin ‘transformation’ worked very nicely too. The fabulous backdrops added greatly to what was a visual feast of a show.  Props were meticulously chosen, with superb attention to detail noted in all areas. Francis Fryer’s suitcase, Henry’s pocket watch, the carpet beater, wooden trunk, wooden bucket were just a few of the fine array of well-chosen props which were authentic to the era. But it was the full-size stagecoach, with Calamity on top, that really stole the show as it was wheeled on. Lighting was excellent, perfectly complementing the tone and mood of every scene. There was beautiful use of two follow spots. These were sometimes in a soft focus, barely noticeable. At other times, such as when Katie was performing her ‘show’ song, it had a sharper edge. There were some gorgeous changes within musical numbers, beautifully capturing shifts in mood. Gobos and haze were used to great effect to help create some very atmospheric states.  Similarly, sound was top notch. The orchestra was mixed to perfection and there was an incredibly well-balanced choral sound, all the more surprising because of the sheer numbers on stage. I didn’t observe any missed cues on the night; however, I did feel that a little bit more support for underscored dialogue would have been helpful.  Costumes were brilliantly authentic and everyone was turned out so well. How great it was to see so many authentic cowboy hats and boots. The showgirls’ red, white, and blue were very striking. So too were the ‘bride’ dancers’ ensembles, with their veils, their long white gloves, and dresses. Calamity’s iconic look was very authentic, as was Danny’s uniform. A super, detailed plot, which must have taken a huge amount of coordination. Well done to all.  Hair and makeup appeared appropriate to the era. Wigs were well-chosen and well-styled. There was great fun had with Francis Fryer’s hair and make-up for his ‘Hive Full of Honey.’  This was a wonderful production of a timeless classic, in one of the finest venues that the country has to offer. A strong production team, technical crew, and some wonderful casting decisions, made this a show that will live long in the memory. Thank you and well done on a superb performance.  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos shared by the society; Photos by Nicola McKee

Guys and Dolls as presented by Newcastle Glees MS

Newcastle Glees Musical Society  Guys and Dolls  Saturday 9th November 2024  ‘Guys and Dolls’ is one of those shows that never seems to...

Newcastle Glees Musical Society  Guys and Dolls  Saturday 9th November 2024  ‘Guys and Dolls’ is one of those shows that never seems to age. A superbly funny, snappy script and an exquisite score by Frank Loesser, combine to ensure that it is always an audience favourite. Newcastle Glees produced a very energetic and entertaining version of the classic musical. The performers often breached the proscenium, bringing the colourful inhabitants of Runyonland right into the audience, much to their delight.  I’m guessing that few societies in the country can claim to be putting on productions in a venue built over a hundred years ago. Newcastle Glees can boast exactly that, as they own and manage the wonderful Annesley Hall, built in 1891. The lovely hospitality front of house was duly reflected in the uniquely warm and welcoming atmosphere that seemed to emanate from this beautiful venue.  Laura Kerr did a fine job as director, with a close eye on the comic possibilities of the book. There was such a frenetic energy in the opening sequence, as a multitude of interesting characters vied for our focus and the show burst into life. Dialogue was generally pacy; exactly as it should be in what can be quite a long show. Pace dipped occasionally with some delayed entrances, however. For the most part, action in the auditorium worked really well, giving us an up close and personal theatrical experience. I even got some very authentic literature from the ladies of the Salvation Army! On occasion, action played in front of the audience was obscured. There was really great work in the tricky sewer scene, which had lots of pace, comedy and focus from all of the gentlemen.  Mark Tilley took up the reins as musical director, bringing the show’s delightful score to life with his wonderful, ten-piece orchestra. The orchestra sound was remarkably rich and full, excellently mixed by the sound department. The contrapuntal ‘Fugue for Tinhorns’ was so well sung, with the perfect dynamics allowing the melody to feature strongest, depending on who was singing it at the time. Chorally, this was an excellent show. From the Hot Box girls’ fun numbers to the iconic and excellently performed ‘Luck Be a Lady’ the ensemble singing was top notch. But it was the brilliant ‘Sit Down You’re Rockin’ the Boat’ that really showcased the excellent group vocals.  Choreography was in the very experienced hands of Clare Donnelly, whose vision and creativity were all over the show. She devised some wonderfully dynamic routines, culminating in the excellently rehearsed and slick Crapshooters’ Ballet which had the audience crying out for more. This really was the standout number of the show. Not to be outdone though, the Hotbox girls really impressed in Take Back Your Mink, which was a really polished, fun number with great performance levels from all. I loved the very cleverly staged ‘Sit Down You’re Rockin’ the Boat’ which swept us all along on the crest of a wave as everyone got drawn into Nicely’s ‘dream’ with unconstrained abandon.  Allen Gordon was a very charming and charismatic Sky Masterson. Mr. Gordon had excellent stage presence. He was in tune with the text at all times in what was a very thoughtful and intelligent interpretation of his role as the confident, high-stakes gambler. His knowing  manipulation of Sarah as he lured her in, his mind set on Havana, was very cleverly played. He sang beautifully too. ‘My Time of Day’ was absolutely gorgeous, showcasing Mr. Gordon’s rich, melodic tones so well.  Francis McKinney played the central role of good old reliable Nathan Detroit. Mr. McKinney gave us an extremely energetic portrayal of the eternal bachelor who has been running an illegal crap game ever since he was a juvenile delinquent. He was clearly putting his heart and soul into the iconic role and there was no doubting Mr. McKinney’s talent. At times, he needed some guidance regarding overuse of hand gestures which were very busy indeed. Mr. McKinney’s facial expressions, accent and comic timing were all very strong and he got a great audience reaction. He sang very well too, especially in the very funny ‘Sue Me.’ A solid portrayal of the role.  Emma-Jane McKnight was an excellent choice to play ‘mission doll,’ Sarah Brown. Ms. McKnight was a very strong actress who moved seamlessly from prim and proper Salvation Army girl in the earlier scenes, to a deliciously funny, drunken mess in Havana. She balanced the comic with the strait-laced so well, giving us a very gentle, yet passionate, interpretation of the role. What a voice Ms. McKnight had too. Her rich, soaring soprano was an absolute joy. She showed excellent control and was most impressive in ‘I’ll Know’ where her wonderful top register was most impressive.  That well-known fiancée, Adelaide, was played by Orla Russell, who lit up the stage in every scene. Ms. Russell was heartbreakingly hilarious. She found depth and nuance at every turn, balancing heartache with delicious ditziness, making her a most lovable character. ‘Marry the Man Today,’ with Ms. McKnight, was one of the highlights of the show for me and Ms. Russell’s vocals in all of her numbers was most impressive. An excellent comic performance.  Josh Clarke was a very likeable Nicely Nicely Johnson, with excellent comic timing. His dialogue was snappy, his diction was clear, and his reactions were suitably animated in a really fun portrayal. Mr. Clarke is clearly a gangster in real life too, as he almost stole the show with his fantastic performance of ‘Sit Down You’re Rockin’ the Boat.’ Super work!  Melissa Maguire played the hard-nosed General Cartwright, doing so with an imposing presence that was perfect for her domineering character. I felt that delivery of dialogue needed to be bigger and more boisterous, in order to match this very strong presence. I loved her little comic turn as she refused Nicely’s whiskey in ‘Sit Down You’re Rockin’ the Boat,’ a fleeting but very funny moment.  Harry the Horse was played with great comic flair by Finbar Finnegan. Mr. Finnegan was a real shady character with superb comic timing. His mix-up between his getaway car and his Buick was beautifully timed.  Diarmuid Taggart brought warmth, sincerity, and humour to the role of Arvide Abernathy. A very clever actor, he brought layers of nuance to a role that can often be thrown away. He had wonderful comic timing too, He displayed a lovely baritone in the superbly performed ‘More I Cannot Wish You,’ in which he connected with the lyrics in a most touching and sincere way. The connection with Sarah was beautiful.  Martin McDowell gave a very memorable performance as a gravelly-voiced Big Jule, the ‘scoutmaster’ from East Cicero who takes Nathan to the cleaners during the much-anticipated crap game. Mr. McDowell had a most imposing presence, (which nobody can deny!), and he controlled the pace in the sewer scene perfectly. And it has to be said that it’s not too often that you get a Big Jule who can dance the Crapshooters’ Ballet as well as Mr. McDowell did! Bravo. The decision to have hard-nosed Lieutenant Brannigan played as a very ‘stage Oirish’ cop was, for me, misjudged. That said, Sean Trainor was clearly a talented performer, with great expression, presence, and wonderful diction. However, the ‘be the hokey’ take, which was played for laughs at every opportunity, just didn’t sit well with me and took away from Mr. Trainor’s overall performance.  Stephen Donnan-Dalzell was a most exquisite Hot Box MC, played with a flamboyant flair and a touch of decadence that was both daring and original. They owned the stage and made the very most of their scenes, rocking their very unique look in a very fresh take on what is often a throwaway cameo.  James Marsden, Gordon Donaldson, and Luca Keaveney were all strong as Benny Southstreet, Angie the Ox and Rusty Charlie, with Mr. Marsden shining in the excellent ‘Fugue for Tinhorns’ and with his very funny cheesecake shenanigans.  Katy Keaveney was a supportive Agatha and Clare Cunningham got good fun out of Mimi, somehow managing to find her earring on the Hot Box floor.  A committed ensemble impressed vocally, and their dancing was strong in the big production numbers where they put huge energy into every routine. I was very impressed by the gentlemen who put such great effort into their reactions to the Hot Box routines. They were really enjoying themselves! ‘Sit Down You’re Rockin’ the Boat’ was a tour de force with every cast member giving their all and enjoying every second.  Stage manager Clair Williams ran a really tight ship and ensured that her crew were organised and slick for all changes. In such an episodic show, it is important to keep things flowing and Ms. Williams was acutely aware of this. Movement of the trucked pieces was very well choreographed and there were no obvious glitches on the night that I attended.  Set design was simple but very functional. The upstage NYC skyline looked great, and the four multifunctional pillar trucks were cleverly effective in minimising the space restrictions. The newsstand looked very well. The sewer was most impressive and the upper level for Sky and Nicely’s entrance worked really well. I really liked the straw umbrella for Havana, although the inflatable palm tree was not of the era.  Props were a little hit and miss and I would go as far as to say that some items should not have been allowed onto the stage. The Salvation Army bass drum, with Union Jack and associated branding, looked out of place, as did the flag used in the opening procession through the audience which referenced Belfast. The kitchen shower props were plentiful and authentic. There was lots of money floating about the crap game but cast needed to ensure that they had enough to accurately reflect the lines.  A very strong lighting plot complemented the dramatic action of the production very well. Havana was very impressive as the heat and driving energy of the scene were reflected in the dynamic lighting. The sewer scene was excellently lit, giving us a dark, atmospheric feel without ever compromising on clarity. A standout lighting moment was that dramatic first cue into ‘Luck Be a Lady Tonight,’ creating a stunning picture as Sky contemplated his biggest gamble yet.  I thought that the sound design was pretty much flawless in its operation. The orchestra was mixed to perfection. Dialogue and singing were crystal clear and there was a lovely array of sound effects which added nicely to street scenes and the sewer in particular. Cast just needed to be conscious of pulling back their ad libbed, background dialogue when their mics were on, as they were occasionally competing with the scripted dialogue. A superb costume plot added great depth and authenticity to the production. Everything appeared era appropriate. I loved the gangster outfits, and the spats were a particularly nice touch. The Salvation Army uniforms were perfectly staid. The Hot Box outfits, complete with birds’ nests and detachable eggs were a hoot and Adelaide’s ensembles were suitably over the top. The long dresses for ‘Take Back Your Mink’ were very elegant and Adelaide’s wedding was…well, very Adelaide.  Hair and make-up were appropriate for the era. The news vendor’s blonde wig needed attention (*prays it was a wig!) and some of the Hot Box ‘Take Back Your Mink’ wigs needed fixing for a more polished overall look.  This was a highly entertaining and fun production of one of the most iconic stage musicals ever written. It had it all and the audience responded accordingly. It was a pleasure to attend this unique and historic venue for what was a really great night’s entertainment. I sang all the way home!  Pat McElwain  Gilbert Adjudicator 2024/2025

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