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LATEST NEWS

Review: Kinky Boots - Londonderry Musical Society

Society name: Londonderry Musical Society Show name: Kinky Boots Adjudicator date of attendance: 11/03/2026 Londonderry Musical Society took on the vibrant, high-energy challenge of Kinky Boots with clear ambition and enthusiasm, tackling one of modern musical theatre’s most demanding contemporary scores and staging requirements. It is a show that requires exceptional confidence, technical polish, slick choreography, and strong emotional storytelling to truly soar, and while this production...

Society name: Londonderry Musical Society Show name: Kinky Boots Adjudicator date of attendance: 11/03/2026 Londonderry Musical Society took on the vibrant, high-energy challenge of Kinky Boots with clear ambition and enthusiasm, tackling one of modern musical theatre’s most demanding contemporary scores and staging requirements. It is a show that requires exceptional confidence, technical polish, slick choreography, and strong emotional storytelling to truly soar, and while this production did not always fully achieve the precision the material demands, there was undeniable heart, commitment, and determination on display throughout the evening. Director Alan McClarty found the strongest success in the principal storytelling, particularly in the emotional journeys of Charlie and Lola. Their relationship formed the heart of the production, and their evolving dynamic was clearly and thoughtfully developed across the evening. The emotional arc between the two landed well, with several scenes carrying genuine weight and sincerity. Charlie’s relationships with those around him were also well differentiated, allowing the audience to clearly understand the dynamics at play within his world. Blocking of principal scenes was generally solid, with good attention given to positioning and stage pictures, though some scenic placements occasionally distracted rather than enhanced the storytelling. Broader use of the full stage space could have created more dynamic and visually engaging compositions. Where the direction could be strengthened was in the handling of ensemble and factory scenes. At times, these lacked the detailed realism needed to make the factory feel like a believable working environment, with some background business appearing arbitrary rather than purposeful. In a show so rooted in workplace dynamics, the ensemble’s onstage activity must feel motivated and practical. Similarly, some of the larger production numbers, particularly the opening and “Step One,” felt somewhat static and could have benefited from more movement and momentum to better establish the world of the show. There was also a tendency toward overplaying in some ensemble performances; greater grounding and consistency of style would help create a more cohesive world overall. Musically, Peter Doherty kept the score moving at an appropriate pace, with tempos generally well judged and the evening maintaining momentum throughout. However, sound balance issues significantly impacted the musical presentation, making it difficult at times to fully appreciate the orchestral work. Wind instruments were almost entirely lost in the mix, strings were only intermittently audible, and the overall orchestral texture often felt thinner than the score requires. There were also occasional timing inconsistencies between pit and stage, with cast members visibly waiting for musical cues or underscoring. Ensemble harmonies occasionally lacked confidence and balance, particularly in larger numbers where internal lines overpowered the melody. Despite these challenges, the company continued gamely and the musical pacing remained steady throughout. Choreographically, this was an area where the production struggled to fully meet the demands of the material. Kinky Boots requires confidence, glamour, polish, and stylistic flair, and while the company approached the choreography with enthusiasm, the execution often lacked the precision and finish needed. There were visible inconsistencies in timing and technique across the ensemble, with some performers appearing unsure of the choreography at times. The movement vocabulary often felt repetitive and somewhat basic for a show that thrives on bold, dynamic visual spectacle. In some instances, choreography appeared to stretch beyond the technical comfort level of certain performers, particularly in kicks and tricks. As ever, choreography tailored to the strengths of the cast will always prove more effective than ambitious material performed hesitantly. With additional rehearsal time and further stylistic coaching, this area could improve significantly. Luke de Belder gave a thoughtful and emotionally grounded performance as Charlie Price, charting the character’s development from reluctant heir to determined leader with sincerity and clarity. His emotional journey was particularly strong, and his confrontation with Lola carried genuine dramatic impact. Vocally, Luke’s voice was well suited to the more lyrical elements of the score, and while some of the higher belt passages appeared to push him vocally, his upper register eased considerably when he moved into falsetto. A well-considered and sincere portrayal. William McFadden was one of the standout performers of the evening as Lola, delivering a charismatic, layered, and highly engaging performance. He captured both Lola’s fabulous confidence and Simon’s vulnerability with sensitivity and assurance, creating a portrayal full of heart and humanity. Physically he moved extremely well in heels and fully inhabited the role’s physicality, while vocally he sang with warmth and control throughout. His emotional work was particularly effective, and he maintained a strong connection to the character from start to finish. Caitlyn Kelly proved a true audience favourite as Lauren, bringing excellent comic timing and infectious energy to the role. She hit every comic beat with confidence, made strong choices throughout, and created a hugely entertaining and watchable performance. Her chemistry with Charlie was excellent, and she balanced ensemble integration with standout moments very effectively. Orflaith McGee delivered a solid vocal performance as Nicola, with a voice well matched to the material. While the character can naturally be somewhat difficult to warm to, some visual adjustments, particularly around hair styling obscuring facial expressions, would help the audience connect more fully with the performance. David Keown was a comic highlight as George, delivering his dry humour with excellent timing and understated control. Importantly, he also captured the warmth beneath the wit, conveying George’s caring, dependable nature and making him feel like the true backbone of the factory operation. It was a warm, likeable, and very well-observed performance. Among the supporting cast, Adam Goudy impressed as Don, capturing the character’s unpleasant bravado convincingly while also making his eventual change of heart believable and satisfying. His boxing scene was a particular highlight. Natalie Armstrong brought great confidence and attitude to Trish, delivering a bold and entertaining performance, while Scott Hawthorne sang strongly and brought excellent energy to Harry. Brendan Brady’s Mr. Price would benefit from a more naturalistic acting approach, and some vocal tuning issues were noticeable. The younger performers both made strong impressions. Noah Given delivered a charming and confident Young Lola, particularly impressive in heels, while Daniel Moynihan gave a grounded and sincere performance as Young Charlie. The Angels showed flashes of strong potential, with Grace Cavanagh and Niamh Murray standing out as particularly confident movers, and Gary McHugh, Matthew Irwin, and Simon Quigg also bringing commendable physical commitment. Chamberlain Ndu unfortunately lacked confidence in the choreography. As a unit they lacked the polished cohesion and confidence that these iconic roles demand. Greater stylistic coaching and rehearsal would help the group develop into a stronger visual and performance unit. Featured ensemble players Joshua Donnell, Amy Astbury, Christine Baggley, and Lorraine Roddy all contributed effectively in their roles, with Amy particularly notable vocally and Christine bringing excellent comic work and accent execution to her featured moment. The ensemble as a whole worked hard throughout the production and brought strong commitment and energy to the stage. Vocally they produced a good sound despite the challenges of the sound mix, and there was clear enthusiasm in their performance. They would benefit from more detailed character work and stronger background acting choices to make the ensemble scenes feel richer and more believable, particularly in factory sequences where environmental realism is so important. Visually, the set was one of the strongest aspects of the production. The factory design was polished and impressive, with the upper office level and moving staircase particularly effective additions that added scale and depth to the stage picture. Additional scenic details such as machinery and practical set pieces helped establish the world well. The sliding panels forming the factory façade looked effective, though scene changes occasionally lacked smoothness, with some moving pieces colliding with static set. Greater precision in stage management coordination would improve transitions and maintain immersion. Costuming was strong overall, with the boots, appropriately, serving as a particular highlight. The finale costumes in particular created a striking final image and added real visual impact. Most costumes were well fitted and character appropriate. Hair and wigs were more variable in quality, with some visible wig mesh and untidiness detracting slightly from the finish. Make-up was generally effective, particularly for Lola and the Angels, who looked appropriately glamorous and stylised. Technicals were unfortunately the area most in need of refinement. Lighting lacked consistency in both cueing and focus, with several cues appearing late or incorrectly placed. There were missed opportunities to enhance storytelling visually, including moments where practical lighting changes referenced in dialogue did not register on stage, and scenic reveals that were not sufficiently highlighted. Follow-spot work also lacked precision, with some featured performers left underlit or entirely untracked during key vocal moments. Sound presented similar challenges. Excessive reverb reduced vocal clarity and contributed to feedback on several occasions, while numerous microphone cues were missed or delayed. Balance between orchestra and cast remained inconsistent throughout, with percussion, winds, and strings all suffering from uneven integration into the mix. Greater technical polish in both departments would elevate the overall standard of the production enormously. Front of House deserves commendation for creating a warm and welcoming atmosphere from the moment patrons arrived. The audience experience was handled efficiently and professionally, contributing positively to the evening and reflecting well on the society’s commitment to presentation and hospitality. Overall, Londonderry Musical Society should be applauded for taking on such a technically and theatrically demanding production. Kinky Boots is no easy undertaking, and there was much to admire in the company’s ambition, effort, and commitment. Strong principal performances, an impressive set, excellent costumes, and clear emotional storytelling gave the production many enjoyable moments. With further focus on technical refinement, choreography polish, and ensemble detail, this company has all the ingredients to take future productions to an even higher standard. There is clear talent and passion within the society, and with continued development and attention to detail, they are well positioned for continued success. Photos by John Purvis attached

Review: Come From Away - Letterkenny MS

Society name: Letterkenny Musical Society Show name: Come From Away Date of attendance: 11th March 2026 ________________________________________________________________________ Letterkenny Musical Society brought one of this season’s most popular choices, ‘Come From Away’, to the wonderful surroundings of An Grianán Theatre. This is a wonderful piece of theatre, heartwarming, heart-wrenching and theatrically dynamic in equal measure. Its storytelling is deceptively simple, yet it demands an...

Society name: Letterkenny Musical Society Show name: Come From Away Date of attendance: 11th March 2026 ________________________________________________________________________ Letterkenny Musical Society brought one of this season’s most popular choices, ‘Come From Away’, to the wonderful surroundings of An Grianán Theatre. This is a wonderful piece of theatre, heartwarming, heart-wrenching and theatrically dynamic in equal measure. Its storytelling is deceptively simple, yet it demands an exceptional level of precision, with a strong ensemble and a high degree of technical and musical expertise required to fully realise its potential. There was no doubting the intent, commitment and enthusiasm of the group in taking on such an ambitious and challenging piece. However, while the heart of the production was understood and embraced, the execution did not always match the demands of the material and, at times, fell short of providing the clarity that the show relies upon. The front of house experience proved to be an immersive event in itself, setting the tone for the evening from the moment of arrival. A particularly impressive element was the high-quality promotional video, shot in Donegal Airport, which played in the foyer. This helped to give the production a local context while building anticipation. The sense of occasion continued inside, where the striking pre-set, beautifully lit, immediately caught the eye. The pre-show safety announcements were delivered in the style of flight attendants, while performers positioned throughout the auditorium executed coordinated demonstration gestures with broad smiles. Maria Rushe’s direction showed a good understanding of the heart and humanity at the core of the show. There were several moments where this shone through, particularly in the handling of relationships. There were also thoughtful staging choices throughout. Background movement during ‘Blankets and Bedding’ was purposeful and contributed nicely to the sense of community. The rotating focus in ‘Something’s Missing’, as each character stepped forward to share their update, was particularly effective in its simplicity and poignancy, reinforcing that community feeling, yet again. However, ‘Come From Away’ is a piece that demands not only emotional clarity but also an exceptional level of precision in execution, and this was not always consistently achieved. Accent work presented a further challenge. The Newfoundland dialect is highly specific and central to the authenticity of the piece and while there was clear effort from the cast, consistency was an issue across a number of performances. From a technical and staging perspective, the production encountered ongoing difficulties. Performers consistently missing their lighting positions was a recurring issue. Overall, Ms. Rushe’s direction had a strong understanding of character and narrative, with some genuinely effective and moving moments. With more integration of technical precision and detail, this production could have realised the considerable demands of this challenging piece even more. Mark Bradley assembled a very fine group of musicians to bring the distinctive trad/folk-inspired score of to life. Their presence on stage, thoughtfully integrated into the set, added greatly to the authenticity of the piece. Musically, there were moments of real strength. The ensemble sound in ‘Welcome to the Rock’ was impressive and energetic, setting a strong tone early on. It was also a pleasure to see the musicians themselves becoming part of the storytelling at key moments, joining the cast onstage. ‘Come From Away’ is a score that relies heavily on balance, sensitivity and dynamic control, particularly in its use of underscoring, and this is where the production encountered some challenges. There were also instances where amplification levels could have been more carefully managed. Overall, there was clear musical ability and commitment on display, with a strong ensemble and some genuinely sensitive moments. Giles Murray gave an assured performance as Oz, bringing both presence and clarity to the role. He had the most consistent Newfoundland accent on stage, which greatly enhanced the authenticity of his character and set a good benchmark for the ensemble. Mr. Murray was very comfortable when addressing the audience directly, handling these moments with confidence and a natural connection that suited the storytelling style of the piece. Patrick Moore gave us one of the standout performances of the evening in the dual roles of Kevin T. and Garth, bringing great character detail, humour and vocal quality to both. As Kevin T. Mr. Moore had a natural comic instinct, with excellent timing and a relaxed, assured presence on stage that made his performance most engaging throughout. Vocally, he was equally impressive. His wonderful tenor voice shone in ‘Costume Party’, delivered with expression and control, while his contribution at the top of ‘Prayer’ was especially sensitive, with a beautiful tone that allowed the emotion of the moment to breathe. Daniel McCafferty was very entertaining in the roles of Kevin J. and Captain Bristol, showcasing a strong flair for comedy and versatile characterisation throughout. As Captain Bristol, he was consistently hilarious, bringing an excellent sense of physical comedy to the role in his brief appearances. In contrast, his portrayal of Kevin J., “sexetary” to Kevin T., was equally effective, capturing the character’s exasperation and wit with great humour. Sarah Terry Sweeney did a great job playing both Beverley Bass and Annette. As Beverley, she captured the calm, composed professionalism of the pioneering airline captain with great confidence, with a convincing Texan accent and a strong, commanding stage presence. In contrast, her portrayal of Annette was full of charm, with a much more playful energy that provided a lovely balance. Vocally, she was outstanding. ‘Me and the Sky’ was undoubtedly one of the musical highlights of the evening, delivered with emotional depth, clarity and superb control. Deigh Reid gave a very strong performance as Nick. A highly effective character actor with a natural ease on stage, he captured Nick’s English sensibility and slightly nervous disposition with a light, well-judged comic touch, making him immediately likeable and engaging. His connection with Diane was convincing, with a warmth and authenticity that allowed their relationship to develop in a touching way. Vocally, he impressed in ‘Stop the World’, with a beautiful, expressive performance that added to the sincerity of the moment. Nicola Shields took on the role of Beulah, the warm-hearted and community-driven trailblazer who helps organise the response to the stranded passengers. There was a lot of potential in this performance, with a genuine sense of engagement on stage. In particular, her connection with Hannah in the moment where they discover their shared link as mothers of firefighters was touchingly handled. Maria Carlin brought great warmth and charm to the role of Diane. She shared a lovely, natural connection with Deigh Reid’s Nick, with their relationship developing in a way that felt genuine and easy to invest in. Her emotional reaction upon hearing that her son was safe was particularly well judged, capturing the relief and vulnerability of the moment with sincerity. In contrast, her drunken escapades provided some of the show’s most entertaining moments with Ms. Carlin showing excellent comic timing, especially during the sequence involving the cod kissing ritual. Vocally, she impressed with a lovely, expressive tone. Aoife Farmer impressed as Janice, the eager and inexperienced reporter finding her feet in Gander as events unfold in the aftermath of 9/11. She brought good energy and clarity to the role, with expressive delivery and a natural ease in her many moments directed to the audience. Overall, a very promising and engaging portrayal, with lots of potential and a strong stage presence. Mark Bradley Jnr presented as a relaxed and confident performer in the role of Bob, bringing a natural ease to the stage that made him immediately engaging to watch and allowed him to contribute well to the overall storytelling. While his portrayal may have lacked some of the cooler, more suspicious edge often associated with Bob, there was a likability and sincerity that worked in his favour. Donal Kavanagh took on the role of Claude, the mayor of Gander and a central storyteller within the piece. It took a little time for his performance to settle, with some early moments feeling somewhat rushed, particularly in his opening introduction. As the show progressed, however, Mr. Kavanagh grew more comfortable in the role, with a greater sense of sincerity and likeability emerging. Overall, while there were some elements that would benefit from further development, there was a warmth and honesty in the performance that came through as the piece unfolded. Jenny Yourell brought great heart to the role of Bonnie, offering a funny but warm and sincere portrayal. There was an honesty in her performance that suited the character beautifully, allowing her moments to feel very genuine. Her telling the rare chimpanzee how sorry she was that she’d lost her baby was particularly touching, delivered with a tenderness and compassion that really resonated. Laura Keogh was outstanding as Hannah, delivering a performance of real depth, control and emotional intelligence. A true class act, she brought exceptional presence to the stage along with a clear and insightful understanding of the text, allowing every moment to feel authentic and purposeful. This, for me, was the standout performance of the evening. Vocally, she was superb. ‘’I Am Here’ was the musical moment of the show, with Ms. Keogh navigating the piece with impressive technical assurance. The ensemble is always the driving force behind ‘Come From Away’, and this production was no exception. As a group, the cast worked very well together as they navigated the challenge of a constantly changing stage. The movement of furniture was handled with confidence and fluidity, contributing effectively to the creation of multiple locations within the space. Vocally, the ensemble produced a strong, full sound, particularly in the larger numbers. At times, however, a greater attention to vocal dynamics would have enhanced things musically, allowing for more variation and giving key moments greater clarity. Stage Manager Lorraine Porter may not have appeared overly busy throughout the performance, though this can often be deceptive. In a production such as ‘Come From Away’, where there are frequent entrances and exits alongside constant movement of furniture and props, there is a significant level of coordination required behind the scenes. It was clear that all of this was in very good hands with Ms. Porter and her team. The set was very much based on the original professional production and looked very well on the vast An Grianán stage. Framed by tall wooden tree trunks, there was a nod to the natural landscape of Newfoundland and a simplicity that suited the piece. The large slatted wooden backdrop, which took light so well, was a standout feature. As is traditional, chairs formed the backbone of the staging. They offered a lot of flexibility and reinforced a sense of a community coming together. The integration of the band into the set was a good decision. The draped fabric around the base of the set felt a little bit more decorative than purposeful, however, it did add another layer of texture. The lighting design felt like something of a mixed bag, with moments of excellence alongside areas that could have benefited from greater precision. The use of break-up gobos on the slatted wooden backdrop worked particularly well, creating a rugged, almost otherworldly effect. At the end of ‘Darkness and Trees’, there was a subtle suggestion of the Twin Towers engulfed in flames, which was tastefully handled. However, not all elements were as successful. Cueing was occasionally late, which disrupted the flow and impact of certain moments. A recurring issue was performers missing their lighting positions. While this is not solely the responsibility of the lighting operator, it did suggest the need for more tech rehearsal, especially for a show where isolating performers is central to the storytelling. Overall, there were some standout moments but greater consistency in cueing and tighter technical elements could have made this design even better. Sound proved to be the least successful of the technical elements on the night, with a number of issues affecting overall clarity and balance. Vocal levels, particularly in ensemble numbers, were generally too high in the mix, at times bordering on uncomfortable. A particular difficulty arose with underscored dialogue, which was frequently difficult to hear. The closing section of ‘Prayer’, with its overlapping vocal lines, became very muddied, lacking the definition and separation needed for each of the lines to fully register. There were, however, some positive elements. Sound effects were generally well handled, with the low-level wind effect proving particularly effective. This was subtle and atmospheric when used. There was wonderful attention to detail from the props department, with a great commitment to authenticity throughout. A number of standout pieces added detail and humour to the production. The cod was particularly effective and got a great reaction from the audience. The ‘ugly stick’, played with great enthusiasm by the percussionist, added a lovely touch of character and fun. The beer bottles, complete with authentic labels, reflected a high level of attention to detail. Overall, this was excellent work from the props team who were very focused on attaining a high level of authenticity throughout. Costumes looked well throughout, with good attention to detail for the 2000s. There was good attention to how costume reflected personality and status. Beverley’s pilot uniform immediately set her apart as an authoritative figure, while Claude’s suit reinforced his role as Mayor. There were also some nice touches of visual humour, particularly with the cardiologists’ coats. Overall, strong work from the costume department, with a clear eye for detail and storytelling. The hair and make-up department showed good attention to detail, ensuring that performers looked appropriate to their characters. Hair and make-up choices complemented the costumes effectively and nothing appeared inappropriate or out of place. This was an ambitious undertaking by Letterkenny Musical Society, tackling a piece that is deceptively simple in appearance yet exceptionally demanding in execution. It is a show that requires not only strong performances, but also a very high level of technical and musical expertise. There was much to admire in this production. The set design and overall visual presentation were strong. Several performances stood out and there was a collective commitment from the ensemble in bringing the piece to life. At the same time, there were areas, particularly in technical and musical areas, where greater precision and balance would have made a positive contribution to the production. That said, the effort and ambition behind this show were evident throughout. With some more focus on technical requirements, there is every potential for this society to build on what was achieved here. Pat McElwain Sullivan Adjudicator 2025/2026 Photographer was Liam Porter

Review: Guys and Dolls - Ballywillan Drama Group

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

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

Review: Sister Act - North East Musical and Dramatic Society

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

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

Review: Calendar Girls - Greasepaint Productions

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

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

NORTHERN SOCIETIES

Below is our comprehensive list of NORTHERN societies.

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

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