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UPCOMING EVENTS

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Anything Goes

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14 Apr 2026

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The Witches of Eastwick

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17 Feb 2026

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Annie

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20 Nov 2025

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LATEST NEWS

Review: Come From Away - Agnes Choral

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

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

Review: My Fair Lady - Portrush MS

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

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

Shrek as presented by Newry Youth Performing Arts

Society Name:  Newry Youth Performing Arts Show Name:   Shrek Adjudicator Date of Attendance:  16/04/2025  Brief Overview of Show and...

Society Name:  Newry Youth Performing Arts Show Name:   Shrek Adjudicator Date of Attendance:  16/04/2025  Brief Overview of Show and Evaluation of Front of House Newry Youth Performing Arts’ production of Shrek  was a vibrant and heartwarming rendition of this modern fairytale musical. With its colourful characters, satirical humour, and messages of self-acceptance and love, Shrek  offers performers a chance to shine in a fun, demanding, and highly theatrical setting. This production clearly showcased the group’s enthusiasm and dedication, with committed performances from the leads, clever staging choices, and a solid grasp of the material’s playful tone. The show was anchored by an ensemble who brought energy and joy to every scene, and standout performances across the board helped to keep the momentum lively throughout. The direction, music, and choreography all demonstrated a solid understanding of the balance required between parody and sincerity in this piece. While there are always areas to continue refining, particularly in moments of precision and timing, this was ultimately a confident and capable production that thoroughly entertained its audience. The Front of House team was efficient, courteous, and warmly welcoming. Audience members were guided with clarity, and there was a clear sense of pride in the air. The pre-show logistics were handled with professionalism, and patrons were made to feel at ease. It was an environment that fostered excitement and community spirit. The entire experience, from arrival to curtain call, was handled with a level of warmth and care that greatly enhanced the evening. Director – Direction and Production This was a very well-executed piece of direction by Jordan Walsh-Rhodes, with strong attention paid to storytelling, blocking, and character development. The pacing of the show was well-judged, ensuring that scenes moved fluidly without ever feeling rushed or static. A particular strength of Jordan’s direction was the clarity with which each character’s journey was drawn. Both Shrek and Fiona had strong arcs that developed believably and kept the audience engaged from beginning to end. There was a clear understanding of the show’s heart, and the comedic moments were balanced nicely with its emotional core. Set changes were integrated smoothly into the action, and the physical staging of scenes was thoughtful, ensuring that stage pictures were always clear and visually interesting. Moments of intimacy, like Shrek’s solo reflections or Fiona’s longing, were not lost amidst the spectacle, which is a credit to the directorial eye. Overall, this was a mature and effective interpretation that brought out the best in the cast. Musical Director – Direction and Orchestra Musically, the production was extremely well-managed. Aislinn McGinn led a tight and responsive musical ensemble, particularly impressive given that the band was positioned in a separate room, always a logistical challenge. Despite this, the balance between vocals and instruments was consistently excellent. The sound was rich and supportive, never overpowering, and allowed the young cast to shine vocally. Tempos were well judged and kept the narrative moving forward at a good pace. Harmonies were clear and balanced, with crisp diction and confident ensemble singing. Cueing was tight, and the musical transitions between numbers were handled with assurance. Only a couple of minor cuing slips were evident, and they did not detract from the overall high standard. Aislinn deserves real credit for developing such a strong choral sound from the cast and maintaining musical integrity throughout the performance. Choreographer –  Choreography The choreography was lively, imaginative, and well-tailored to the cast’s abilities. Paul Burns managed to strike a smart balance between visual flair and practical delivery, ensuring that movement sequences felt purposeful and well-rehearsed. The Duloc number stood out as particularly inventive, using robotic movement to great comedic effect, though further cleaning would have elevated the “droid-like” impact even more. Precision is key for this kind of stylised number, and some additional polishing would help to land the visual humour more sharply. The tap number was a true highlight, full of infectious energy and rhythmic accuracy. The cast handled the syncopation with confidence, and the uniformity of movement demonstrated a high standard of preparation. Throughout the production, choreography supported the story rather than distracting from it, which is always a positive sign of thoughtful creative choices. With just a little more attention to fine detail, particularly in unison sections, this choreography will continue to lift the overall standard of performance. Leading Principles – Singing and Acting Shrek – Jordan Walsh-Rhodes:  Jordan offered a strong, grounded performance in the title role, bringing warmth, vulnerability, and gentle humour to the character. His understanding of Shrek’s emotional journey was clear, and he showed impressive control in transitioning between comedic gruffness and heartfelt sincerity. Vocally, he held the part well, with a tone suited to the character and solid projection. His chemistry with Fiona felt genuine, and his presence on stage was steady and assured throughout. Fiona – Caoimhe McBride:  Caoimhe gave a standout performance as Fiona, bringing charm, wit, and vocal strength to the role. Her ability to switch between the prim fairytale princess and the impatient woman was effortless. Her vocals were clear and secure across the full range of the score, and she handled the comedy and pathos of the role with maturity beyond her years. She was particularly impressive in dance, anchoring the tap number with skill and presence. A performer with real potential. Donkey – Conor Sands:  Conor brought an enthusiastic and energetic interpretation to Donkey. His physicality and vocal delivery captured the character’s extroverted spirit. At times, a slightly slower delivery might have allowed more space for the humour to land, as some comedic beats were rushed in pursuit of energy. However, Conor’s vocal work was strong, and his stage presence was confident. With more experience, he will continue to develop the nuance and timing that this role demands. Lord Farquaad – Ruairi McAlinden:  Ruairi’s portrayal of Farquaad was both funny and well-judged. He captured the character’s self-importance and theatrical villainy with great skill, avoiding caricature and instead crafting a nuanced comic villain. Performing much of the role on his knees presented physical challenges, and while it occasionally affected mobility, Ruari coped admirably. His vocals were strong, and he delivered his songs with clear diction and commitment to character. A very enjoyable and intelligent performance. Supporting Roles – Singing and Acting Pinocchio – EJ Dunne:  EJ impressed with a consistent and believable high-pitched vocal delivery, a tricky ask for any performer. He maintained character while singing, which showed great discipline and focus. Although there was room for more physical commitment to the puppet-like movement, the performance was still strong and confidently delivered. Dragon – Tess McElherron:  Tess was an exceptional Dragon. Her vocal power and stage presence ensured she was a focal point even while maneuvering under and alongside a large puppet. She succeeded in drawing attention to both her and the puppet as needed, creating a cohesive performance. Her vocal tone was rich, and she displayed excellent control throughout her number. Gingy – Chloe Copas:  Chloe brought real personality to the role of Gingy. Her puppet work was thoughtful, and her voice gave the character a clear identity. Vocally, she was secure and expressive, delivering her moments with flair. Sugar Plum Fairy – Carragh Mailley, Elf – Cara McCormick, Ugly Duckling – Hannah Mullen:  All three brought colour and commitment to their roles. Their characterisations added variety and humour to the ensemble scenes, and they each made the most of their moments. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble was energetic, expressive, and fully committed to the world of the show. Each performer brought individuality to their roles, whether as fairytale creatures, villagers, or royal subjects, which added great depth to the overall storytelling. Vocals were tight, harmonies blended well, and diction was clear. The ensemble choreography was performed with enthusiasm and good spatial awareness. With a bit more unison in movement, their contribution could be even more impactful. A strong and supportive ensemble that clearly enjoyed the experience. Stage Management & Set Design The set design was imaginative and beautifully executed. Flats, backdrops, and suspended pieces were used effectively to suggest a variety of locations, from the swamp to the castle to Duloc. All additional pieces were well-constructed and integrated seamlessly. The design choices supported the storytelling at every turn, making the performance visually engaging and functionally efficient. The stage management was slick and professional. Scene changes were handled with minimal disruption, maintaining the flow of the show. Technical – Lighting and Sound Lighting design was creative and well-matched to the show’s fantastical world. Early moments featured well-timed effects and mood-setting washes, particularly for the swamp and dragon scenes. As the show progressed, some cues became looser, suggesting possible time constraints in tech rehearsals. Where time is short, simpler but tightly executed lighting is always preferable to overreach that risks inconsistency. Nonetheless, the ambition and imagination behind the lighting plan were commendable. The sound design was a real strength. With the orchestra remote from the action, the responsibility fell heavily on the sound operator, who did an excellent job. The balance between band and vocals was very good, with all lyrics and harmonies clearly audible. A few missed mic cues were noted but did not disrupt the overall experience. A commendable achievement on the technical side. Visual – Costumes, Hair and Make-Up Costumes were a triumph. Each character’s look was carefully crafted, and well fitted, and the visual consistency added greatly to the production’s polish. There were charming, humorous, and imaginative costume touches throughout, and the attention to detail was evident. Makeup was similarly strong; Shrek’s prosthetics were particularly well-applied and looked natural under stage lighting. Hair styling was appropriate and cohesive across the cast. These elements combined to create a strong and visually coherent world. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. Newry Youth Performing Arts should be proud of this high-spirited and entertaining production. The standard of performance, both individually and collectively, was strong across all disciplines, and the creative team crafted a coherent and joyful interpretation of Shrek . There is room for further growth in areas of precision, especially in choreographic synchrony and comedic timing, but these are refinements to build upon, not weaknesses. The society’s strengths lie in its strong leadership, clear creative vision, and highly engaged cast. Continued focus on detail, consistency, and tech-time management will help lift future productions even further. With such talent on and off stage, NYPA is well-positioned to keep delighting audiences for years to come.

Sister Act as presented by Banbridge MS

Banbridge MS  Sister Act  Saturday 12 th April 2025  Another trip up the M1, this time to see Banbridge Musical Society's production of...

Banbridge MS  Sister Act  Saturday 12 th April 2025  Another trip up the M1, this time to see Banbridge Musical Society's production of the fabulous ‘Sister Act’. ‘Sister Act’ is one of those feelgood musicals that I never tire of seeing. It has pretty much everything. A complicated love story, tension, and intrigue, lots of comedy and cracking tunes and dance numbers galore that never fail to lift the spirits and bring a smile to the face. Banbridge's production delighted its capacity audience, in spite of a significant technical issue which threatened to derail proceedings in Act 2. By some divine intervention though, all was resolved after a break and we left raising our voices and singing all the way across the border.  The Marketplace Theatre in Armagh is a stunning venue with three audience levels and a wonderfully unique ambience. I was delighted with the warm welcome in the very comfortable surroundings of the theatre's foyer. Everything appeared well organised and front of house personnel were in great spirits, setting a very positive tone for the afternoon's entertainment.  Director Jordan Walsh-Rhodes had a good eye for comedy, generally. However, some elements of the performance style bordered on being ‘pantomime-esque,’ and at odds with the comedic style of the show. Pace was generally good and there was good use made of the playing space. There were some curious choices throughout. Curtis sang ‘When I Find My Baby’ to the audience, breaking the fourth wall as if singing in a concert. Eddie played his role in a very over-the-top manner, pushing the humour to extremes at times and playing for laughs. The point of Eddie's ‘I Could Be That Guy’ is that he goes from a mundane, humdrum existence to being something that he clearly is not and then reverts back to normal again after his ‘dream.’ But on this occasion, Eddie was left in his vest and boxer shorts, which I felt fell short of the intended message of the song.  Brian Greene did an excellent job as musical director. His wonderful orchestra showed exceptional musicianship. There was an excellent orchestral sound throughout the show. Choral singing was generally very good, particularly amongst the nuns’ ensemble. However, things were not as secure during the ‘Lady in the Long Black Dress,’ in which the three gangsters struggled with the upper register quite a bit. Principal singing was quite strong, particularly Deloris whose powerhouse vocals really impressed.  Choreographer Aveen Stewart devised some fun routines which suited, for the most part, the abilities of her cast. In Deloris's ‘Fabulous Baby,’ her two backing dancers were out of sync with one another, which was unfortunate given that it’s one place in the show where precision is required, as they are supposedly professional performers. ‘When I Find My Baby’ was a fun routine and the gentlemen really squeezed a lot of humour out of their performance. ‘Raise Your Voice,’ with its ragtag bunch of nuns, became a little bit of a free-for-all at times but it kind of worked given the context. ‘Sunday Morning Fever’ was a fabulous routine, a real highlight of the show, full of energy and exhilarating movement from all. And the finale number featured unbridled energy and joy in what was a very uplifting end to the show.  Maille Meehan played everyone’s favourite ‘nun on the run,’ Deloris Van Cartier. This was an exuberant, larger-than-life characterisation and yet there was plenty of heart and warmth underneath her sassy exterior. She got so much humour from being out of her comfort zone in Mary Queen of Angels but this humour was nicely balanced with Deloris’s vulnerability. Ms. Meehan's accent was a little inconsistent, I felt. She appeared to have a bit of a Southern drawl at times, which was far removed from downtown Philadelphia. Vocally, Miss Meehan really came into her own in the fabulous ‘Raise Your Voice,’ which was a tour-de-force performance.  Rosemary Kelly was a stern but caring Mother Superior, trying her best to control the whirlwind that was Deloris. Ms. Kelly was a wonderful actress, very clever in her delivery and understanding of the narrative. As stern as she was, this was balanced skilfully with her cutting wit and her many put downs, played with delightful deadpan delivery, were comic highlights. Ms. Kelly had a very expressive, tuneful voice. ‘Here Within These Walls’ was beautifully contemplative.  Laura McGuckin did very well as the shy postulant, Sister Mary Robert. She balanced innocence with courage, and her transformation from being shy and reserved, to her empowering display of newfound confidence in the wonderful ‘The Life I Never Led’ was quite the journey. Ms. McGuckin is to be commended highly for her focus when her microphone failed during ‘The Life I Never Led.’ She never let it affect her performance and her voice carried beautifully when Mr. Greene brought the orchestra level right back.  Aoife Corr was an enthusiastic and exuberant Sister Mary Patrick, oozing optimism, and life. She was bubbly and upbeat, with infectious good humour that brought a smile to our faces every time she set foot on the stage. She was always in character and her “powerful instrument” was incredibly impressive as she belted out top notch vocals.  Jacqueline Mathews was a very funny Sister Mary Lazarus. She was boisterous and full of character in what was a most hilarious portrayal. Lines were a little insecure at times but Ms. Mathews' characterisation was such that we forgave the odd hiccup. Her showcase rapping went down a storm.  David McClelland kept his own Northern accent for the role of Monsignor O'Hara. I felt that Mr McClelland needed more directorial input and support with delivery of dialogue at times. However, he did well and was extremely funny as he bopped along to ‘Take Me to Heaven,’ losing himself in the moment.  Peter Gallagher was a menacing and sinister Curtis. He was a formidable antagonist, bringing great tension to proceedings with his strong presence and great accent. ‘When I Find My Baby’ was well sung but delivered largely to the audience, which was unusual for the style of show. Something else that was quite unusual was his unnatural handling of the gun in the convent, as he swapped hands depending on which way he pointed it.  Ruairí McAlinden played sweaty lawman Eddie Souther, who harbours a secret affection for Deloris. This was a very over-the-top characterisation, largely played for laughs, with a nod and a wink and an over awareness of the audience. I felt that Mr. McAlinden needed to consider his lines more and to trust the book. He was clearly very talented, but the characterisation tended to run away from him at times. He did extremely well in the scene with Deloris in his apartment in Act 2, in which he was calm, sincere, and believable.  Canice McIlvenna, Nathan Hawthorne, and Darryl Galloghly played the trio of gangsters, Pablo, Joey, and TJ. They had great fun throughout and played very well off one another. ‘When I Find My Baby’ had a lot of comic business, which the three of them revelled in. Some very funny movement and falsetto, which was played up to the nines, made this a very memorable number. All three struggled with the upper register in ‘Lady in the Long Black Dress,’ but they made up for it with their conviction and commitment to the comedy.  There was great support too from Jordan Cummings as Sister Mary Martin-of-Tours and Jessica McGreevy as Sister Mary Theresa.  The wonderful ensemble of nuns did very well. Their choral singing was generally very strong and for the most part they were in tune with the show's narrative, acting and reacting appropriately. The bigger dance numbers were full of energy and commitment and everyone on stage was clearly enjoying themselves.  Andrew McKnight was stage manager and he and his crew ensured very slick movement of trucks on and off. Casters were visible on the trucks and it is always best to mask these if possible. Mr. McKnight used cast at times to move certain set pieces and this helped to keep the show moving at a good pace. There was a slight hiccup when a fully lit Wurlitzer jukebox came on as the police station was being set up but it was struck quickly when the error was realised.  The set was simple but effective with wall flats and a number of trucks which came in to suggest various locations. I felt that the choice to use a black backdrop was problematic, as there were so many black costumes on stage. I was delighted when the blacks eventually opened to reveal the very detailed stained-glass windows. These worked so well when lit from behind. I understand why they were held for their dramatic reveal but I felt that they might have been used for all of the convent scenes to enhance the overall visual impact of the show. The flying cross, complete with LX, looked great but the blinding intensity of the lights on the cross was quite uncomfortable.  Lighting was generally quite good. I felt that more thought needed to be given, at times, to the suitability of some effects for the various scenes. The chasing lights for Deloris's opening ‘Fabulous Baby’ were very busy. The use of haze was very effective. However, with the haze machine being visible on stage, we were very aware of haze being pumped on and this became quite distracting. The lighting operator lost their way during ‘Raise Your Voice,’ as the various vignettes played out after the initial rehearsal, and cues were out of sync. The LED battens built into the set worked well. I liked the swirling lights for ‘Lady in the Long Black Dress’ which added to the visual comedy. There was very effective use of backlight and haze for the title number, ‘Sister Act,’ creating a gorgeous, dramatic picture which really complemented Ms. Meehan’s powerful performance.  Things started off well from a sound point of view. Balance within the orchestra was exceptionally good and, for the most part, cueing was very good for dialogue and balance between vocalists and orchestra was very strong. However, in Act 2 things went awry as we lost most microphones on stage. Cast battled through and Sister Mary Robert in particular did very well to get through ‘The Life I Never Led’ with no amplification. Full credit to MD, Mr. Greene, for sitting on the orchestra as much as possible to ensure that Ms. McGuckin could be heard. Eventually, the right decision was made and the show was stopped whilst a solution was found. To be fair, when things eventually resumed, the sound issues had been largely rectified. It was an unfortunate technical hitch on the last day of the show but these things do happen in live theatre and the show, as always, must go on.  Props were generally well sourced and looked authentic and suitable. There was good dressing in the police station. The typewriter looked well as did the hat stand, the notice board, and various other pieces. White tablecloths in the convent were badly in need of an iron and the bar did need to be dressed as it was completely bare. Small details are important. The clock on the Mother Superior's desk was facing the audience rather than facing where she would have been sitting. All other props were appropriate to the era.  There was good attention to detail in the costume plot. Deloris's coat, the nuns' habits, vestments for the Monsignor were all appropriate. Eddie's trick costume change worked well with his white suit; however, I did question him being left in boxer shorts and vest at the end of the number. Deloris's leopard-skin dress looked very well and was very authentic to the 70s era. Eddie's hat was frequently pulled down over his eyes, casting a shadow over his face. The nuns' glitzier costumes were a delight, in complete contrast to their white nightdresses. Their white and silver habits for the “Pope gig” were particularly striking and the prisoner’s uniforms added to the comedy.  I felt that hair and makeup, generally, could have benefitted from a little bit more attention to detail. Deloris's two backing singers at the top of the show in ‘Fabulous Baby’ needed more of a co-ordinated, glamorous look to emphasise the fact that they were professional performers. Ms. McGuckin's nails were perfectly manicured, which wouldn't have been the case for a postulant, of course. Generally, more detail to hairstyles of the 1970s would have really added to the visual impact of the show.  This was an entertaining ‘Sister Act’ from Banbridge Musical Society and, in spite of the technical issues in Act 2 and having to stop the show for a period of time, the audience was very much swept along on its feel-good vibe. Well done to all and keep being fabulous baby! Pat McElwain  Gilbert Adjudicator 2024/2025

Oklahoma as presented by Londonderry Musical Society

Society Name:  Londonderry Musical Society Show Name:   Oklahoma! Adjudicator Date of Attendance:  11/04/2025 Brief Overview of Show and...

Society Name:  Londonderry Musical Society Show Name:   Oklahoma! Adjudicator Date of Attendance:  11/04/2025 Brief Overview of Show and Evaluation of Front of House Londonderry Musical Society’s presentation of Oklahoma!  was a warm, vibrant and joyful return to one of Rodgers and Hammerstein’s most iconic works. This production celebrated the spirit of frontier life, with a keen focus on character dynamics, a full and glorious sound from both orchestra and ensemble, and moments of genuine theatrical magic. While there were areas for refinement, particularly in technical polish and vocal clarity, this was clearly a production built on deep affection for the material and a company-wide commitment to storytelling. The atmosphere in the theatre was inviting and well-managed from the moment of arrival. The Front of House team operated with professionalism, managing guest entry with a friendly and composed approach. Patrons were welcomed warmly, and the overall environment reflected a sense of pride and anticipation. The energy in the auditorium was one of community support, creating the perfect backdrop for an engaging and well-attended night of classic musical theatre. Director – Direction and Production Michael Poole’s direction demonstrated a well-developed understanding of the show’s narrative structure and character interplay. His approach struck a strong balance between preserving the charm of a golden-age musical and breathing fresh comedic life into it. Poole brought the best out of his actors, particularly in highlighting the underlying relationships that define this tight-knit frontier community. The world he created felt fully inhabited, these weren’t just characters placed in scenes, but people with histories, routines, and grudges. Particularly effective was his treatment of Aunt Eller, whose role was expanded through subtle staging choices and reaction-based comedy that added a grounding warmth to many scenes. The romantic tension between Laurey and Curly, too, was paced with care, never rushing the emotional shifts and instead letting them bloom naturally. There were a small few moments where dialogue clarity suffered due to inconsistent diction, due to accent work. With such a text-rich script, ensuring every word is heard is vital, and future productions might benefit from additional vocal coaching. Overall, this was an excellently led production with Michael Poole firmly at the head. Musical Director – Direction and Orchestra Peter Doherty’s musical direction was simply outstanding. The orchestra brought a lush, cinematic texture to the score, with a full-bodied sound that filled the auditorium beautifully. Every orchestral line was clear and dynamic, and instrumental balances were impressively well-managed, especially in ensemble-heavy numbers where clarity is often a challenge. Vocal direction was equally praiseworthy. Harmonies from the chorus were rich, warm, and confidently delivered. It was clear that great attention had been paid not only to tuning and ensemble unity, but also to musical phrasing and dynamic shaping. The large group numbers felt alive with intention, never flat or robotic. Tempos were consistently well-judged, providing energy while allowing space for the dancers and actors to breathe. This careful pacing helped maintain dramatic momentum throughout the evening. Overall, this was a masterclass in how to lead a musical that blends intimacy with grandeur. Choreographer – Choreography Vanessa Chapman’s choreography stood out as one of the evening’s great successes. Her work showed a strong understanding of both the musical style and the physical capabilities of the cast. She built sequences that enhanced the storytelling rather than distracting from it, using changes in formation, symmetry, and energy to reflect each scene’s dramatic shifts. The “Dream Ballet” was a highlight, delicate, expressive, and emotionally charged. It made full use of Holly Dean’s balletic elegance as Dream Laurey. Vanessa also found ways to make ensemble-heavy numbers feel fresh. “Kansas City” was a joy to watch, with clever inclusion of female cast members, a welcome choice in a show that can often limit chorus involvement. However, it would have been great to see more male ensemble dancing featured in that number, given the storytelling opportunities it presents for building Will’s world. Leading Principals – Singing and Acting Laurey – Caitlyn McCrea:  Caitlyn gave a luminous performance as Laurey. Her interpretation captured the mix of coy charm and determined independence that makes the character so beloved. She struck a compelling balance, never veering into caricature, but instead delivering a young woman of depth, pride, and vulnerability. Her vocal performance was outstanding. With a silky legit soprano, she soared through the score’s upper range with ease and clarity. Particularly impressive was the emotional colouring she brought to songs like “Many a New Day,” where her inner conflict was tangible. Curly – Luke de Belder: Luke was a natural as Curly. He possessed the easy swagger and magnetism required for the role, and his relaxed stage presence made every interaction feel organic. His singing voice was gorgeously smooth, rich in tone and full of charm. Every line of “Oh, What a Beautiful Mornin’” landed with sincerity and warmth. He and Caitlyn shared an authentic chemistry that allowed their scenes to flow with believable tension and humour. Aunt Eller – Una Culkin:  Una delivered a scene-stealing performance as Aunt Eller. Her comedic timing was pitch-perfect, and her interactions with the other townsfolk showed clear thought and consistent characterisation. From her wry reactions to the town drama to her grounding presence during more serious moments, Una’s Eller was a standout. Her vocal lines were delivered with clarity and strength, and she handled the dual task of narrator and participant with seamless ease. Supporting Roles – Singing and Acting Will Parker – Aidan McLaughlin:  Aidan brought youthful energy and charm to the role of Will Parker. His physicality and dance ability were strong, and he carried himself with the perfect blend of optimism and dopey charm. He shared a delightful dynamic with Ado Annie, which made their scenes genuinely funny and endearing. His vocals were confident, and his performance of “Kansas City” was one of the show’s high points. Ado Annie Carnes – Amy Astbury:  Amy brought a vivacious spirit to Ado Annie. While her accent choice occasionally muddied some of her diction, her comic instincts were excellent. She gave the role a contagious energy, backed by impressive vocal power and range. Her relationship with Laurey was nicely drawn, two friends navigating young love in very different ways, and her solo number landed with gusto and humour. Ali Hakim – Ricky Kyle:  Ricky’s Ali Hakim was a colourful and engaging performance. His choice of a British accent over a traditional Persian one may have raised some eyebrows in terms of authenticity, but it was consistently delivered and suited the character’s flamboyant con-man persona. Ricky had excellent timing and transitioned between comedic beats and moments of desperation with great fluidity. Jud Fry – Matthew Irwin:  Matthew presented Jud Fry with a brooding presence, though the character’s full potential wasn’t entirely realised. The portrayal stopped short of being truly menacing or tragically pitiable, two poles that Jud often straddles. There was a strong foundation, however, in his interactions with Laurey and Curly, and his voice carried weight and control. With more psychological depth, this performance could have had even greater impact. Andrew Carnes – Brendan Brady:  Brendan delivered a sharp and comically charged performance. His Andrew Carnes was dryly exasperated and comically stern, especially in scenes with Ado Annie. His timing was excellent, and his reactions often elicited strong laughs from the audience. He was a believable father figure and protector, with clear emotional stakes in every scene. Gertie Cummings – Natalie Armstrong:  Natalie made the most of her limited stage time, bringing Gertie to life with an unforgettable and perfectly pitched laugh that became one of the show’s reliable comic beats. Her character was both annoying and oddly charming, exactly what Gertie should be. Dream Laurey – Holly Dean:  Holly was a beautifully expressive dancer, portraying Dream Laurey with grace and emotional openness. Her extensions, lines, and ability to tell a story through movement elevated the ballet sequence into a visual and emotional highlight.  #Ike Skidmore - Leon Cullen, Cord Elam - Simon Quigg, Slim - Joshua Donnell, Fred - Conor McColgan:  These ensemble roles filled the world of Oklahoma!  with humour and authenticity. Their movement was polished, and their ensemble work supported the leads with vigor. A word of caution: in striving for comic effect, be mindful of pushing too far into overacting, naturalism often yields greater impact. Chorus/Ensemble – Singing, Acting, and Choreography The chorus was a true asset to the production. Vocally, they created a wall of sound that was impressive, with tight harmonies and crisp diction. Their ensemble numbers were filled with commitment, and musically they never wavered. Choreographically, they moved with precision and intent, filling the stage in an organic, flowing way. Particularly in group numbers like “The Farmer and the Cowman,” they delivered excellent musical phrasing and physical storytelling. Occasionally, some performers tipped into exaggerated reactions, pulling focus unintentionally. A more naturalistic grounding would make their work even stronger. Stage Management & Set Design Set design was creative, well-constructed, and visually effective. The large, imposing set pieces gave the stage depth and scale, and the use of moving elements, like the reveal of Jud’s shack or the retreating porch, was both functional and delightful. The ballet’s set transformation was particularly impressive, with the symbolic shedding of foliage creating a powerful visual metaphor moving between the light and dark worlds. Scene changes were smoothly managed and rarely drew attention. That said, Jud’s shack appeared a little unstable at one point and could benefit from more secure bracing. Technical – Lighting and Sound Lighting design suffered somewhat due to uneven focus and dark patches—particularly in centre stage areas. This impacted key scenes and diminished visibility at crucial moments. A review of lamp alignment or bulb replacement might address this. Lighting cues were somewhat abrupt and could benefit from longer fade times. Nonetheless, the lighting served the overall storytelling well, with good cyc usage and effective mood-setting. Sound was superb, dry and crisp for dialogue, which suited the setting perfectly, and expansive and full during musical numbers. The balance between vocals and orchestra was exemplary, and no lines were lost to poor mixing. One of the strongest elements of the production. Visual – Costumes, Hair, and Make-Up Costumes captured the period aesthetic for the most part, though a few pieces, particularly some shorter skirts and low-cut blouses, felt out of place for the early 1900s setting. Fit was another issue in isolated cases, with Ali Hakim’s costume notably ill-fitted. Jud’s look could also have benefitted from more distressed, grubby textures. Hair styling was generally appropriate, though more attention to updos for married or older women would have increased authenticity. Make-up was natural and flattering, allowing expressions to be seen clearly under stage lights without feeling overdone. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. This was a heartfelt, well-constructed, and entertaining production of Oklahoma!  that showed deep respect for the material. The performances were rich in detail and delivered with warmth and intelligence. Musical and choreographic elements were high calibre, and the staging choices demonstrated creativity and cohesion. For future productions, ensure that vocal clarity and diction remain consistent across the cast. Technical elements such as lighting could benefit from refinement, and attention to period detail in costume and styling would further elevate the visual world. Nevertheless, this was an extremely enjoyable evening of musical theatre, filled with strong characterisation, spirited ensemble work, and beautiful music. Londonderry Musical Society should be proud of this vibrant and lovingly rendered show. Photos by John Purvis

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