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Back To The 80s

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9 Apr 2026

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18 Mar 2026

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28 May 2026

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15 Apr 2026

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LATEST NEWS

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

Review: The Wizard of Oz - Newcastle Glees

Society name: Newcastle Glees  Musical Society Show name: The Wizard of Oz Adjudicator date of attendance: 15/11/2025 Newcastle Glees Musical Society’s production of The Wizard of Oz  offered audiences a colourful, energetic, and warmly delivered interpretation of one of musical theatre’s most enduring classics. This is a show that arrives with enormous expectations, both from audiences who know it intimately and from the sheer scale of its visual, musical, and emotional demands. Its...

Society name: Newcastle Glees  Musical Society Show name: The Wizard of Oz Adjudicator date of attendance: 15/11/2025 Newcastle Glees Musical Society’s production of The Wizard of Oz  offered audiences a colourful, energetic, and warmly delivered interpretation of one of musical theatre’s most enduring classics. This is a show that arrives with enormous expectations, both from audiences who know it intimately and from the sheer scale of its visual, musical, and emotional demands. Its familiarity can be both a blessing and a challenge, requiring a careful balance between nostalgia and fresh storytelling, alongside a score and structure that demand clarity, ensemble unity, and confident characterisation. Newcastle Glees approached this challenge with evident enthusiasm, strong musical foundations, and a genuine affection for the material, resulting in an enjoyable and engaging evening of theatre. From the outset, the production established a strong sense of forward momentum and theatrical energy. The pacing was generally well judged, allowing the episodic nature of the story to unfold clearly while maintaining audience engagement throughout Dorothy’s journey. There was a consistent sense of movement, both physically and emotionally, that helped the narrative feel purposeful rather than meandering. Importantly, the heart of The Wizard of Oz , its emphasis on courage, compassion, friendship, and self-belief, came through clearly. While there were moments that would benefit from deeper refinement and more detailed shaping, the overriding impression was of a company sincerely committed to telling this story with warmth and charm. Laura Kerr’s direction demonstrated a solid understanding of the narrative demands of the piece, with a clear sense of pace, energy, and overall structure. The production flowed well from scene to scene and rarely felt static, maintaining a pleasing sense of continuity as Dorothy moved from Kansas into Oz and along the Yellow Brick Road. One particularly effective directorial choice was the use of the auditorium aisle as an extension of the Yellow Brick Road itself. This simple but imaginative decision reinforced the sense of constant travel, strengthening engagement and storytelling. The overall energy of the production was commendable, with scenes generally landing cleanly and transitions moving at a good pace. There was a clear effort to keep the action alive and engaging, and this served the piece well. However, the direction was not entirely consistent throughout. While some characters were clearly well developed, others would have benefited from clearer objectives, more focused guidance, and deeper character work to ensure a more even standard across the cast. Blocking emerged as a recurring area for improvement. There was a noticeable tendency for performers to drift upstage, often resulting in fellow cast members being forced to speak upstage towards them. This led to moments of unintentional upstaging and reduced clarity of communication with the audience.  The tornado sequence was another moment that would benefit from greater coordination between direction and choreography. Unfortunately, the storytelling here lacked clarity and energy, resulting in a transition that felt underdeveloped. With a clearer shared vision, stronger physical storytelling, and tighter collaboration between creative departments, this sequence has the potential to become a standout moment. Despite these issues, the production maintained good flow, and the director’s ability to sustain momentum across a large ensemble cast was evident. Musically, the production was on very strong footing under the direction of Mark Tilley. Vocal work across the cast was of a high standard, reflecting careful preparation, clear musical leadership, and a strong understanding of ensemble singing. Harmonies were particularly impressive: clean, well balanced, and confidently delivered, adding richness and texture to the overall sound. There was a consistent sense of musical security that allowed performers to focus on character and storytelling. The chorus was a major strength of the production, with the crows and the trees providing some of the strongest harmonic moments of the evening. These sections were sung with clarity, precision, and a pleasing blend, demonstrating both musical discipline and expressive engagement. Diction across the company was clear, ensuring that lyrics landed effectively and that storytelling through song remained accessible to the audience. The orchestra provided a lovely, full sound that complemented the vocals without overpowering them. Achieving this balance is no small feat, particularly with a brass- and wind-heavy score. Overall, the musical direction provided a strong backbone for the production and was one of its most consistent strengths. Amy Blackshaw’s choreography revealed a production of contrasts. At its best, the movement was imaginative, engaging, and well matched to both the performers and the style of the show. Munchkinland was a particular highlight, with choreography that was clearly designed with care, well-rehearsed, and executed with confidence and clarity. The use of space was clever and visually interesting, creating dynamic stage pictures. These routines were lively, characterful, and full of detail, contributing significantly to the sense of magic and celebration in this section of the show. The snowflakes in the poppy field were also handled thoughtfully, with movement that created a sense of atmosphere and flow. However, this only served to highlight the relative lack of development in the poppy choreography itself, which felt underwhelming by comparison. The tornado sequence again stood out as an area lacking energy and theatricality. As a crucial storytelling moment, it required greater imagination, stronger physical storytelling, and a heightened sense of spectacle. Greater consistency in choreographic ambition and refinement would significantly strengthen the overall impact. As Dorothy, Anna Moore delivered a strong vocal performance with a beautiful, legit tone well suited to the score. Her presence was confident and commanding, and she moved comfortably and naturally. Vocally, she sang with assurance and clarity. A pronounced Judy Garland–style accent proved distracting and somewhat artificial, creating a barrier to emotional connection. Allowing her own voice and interpretation to emerge more fully would help Dorothy feel more authentic and relatable. Allen Gordon gave an excellent performance as the Scarecrow, marked by outstanding physicality and strong comic timing. His floppy, loose-limbed movement was sustained consistently, even through dance sequences, demonstrating impressive physical control and commitment. Lively facial expressions added depth to his characterisation, and his vocal performance was confident and secure, making this a thoroughly enjoyable portrayal. Josh Clarke offered a warm and relatable Tinman, with well-observed physical movement and a sincere, grounded characterisation. There was an opportunity to push the comedy further, particularly in the crying and rusting moments. Leaning more fully into these physical jokes would heighten their impact and add extra sparkle to an already solid performance. Francis McKinney was a standout as the Cowardly Lion, delivering a confident, funny, and deeply likeable performance. His comic instincts were excellent, his character arc was clear, and his relationships with Dorothy and the other companions felt genuine and well established. Every comedic moment landed effectively, resulting in a highly accomplished and engaging portrayal. Emma-Jane McKnight brought a strong vocal instrument to the role of Glinda, delivering with a rich, warm tone. However, the characterisation felt oddly cold and disconnected. Visible tension in facial expression worked against Glinda’s inherent warmth, and greater relaxation and emotional openness would help align the performance more closely with the character’s intention. Emma Nugent delivered a commanding and highly effective performance as both Miss Gulch and the Wicked Witch. The connection between the two characters was clear while still allowing each to remain distinct. Her stage presence was powerful, and she held focus effortlessly in every scene. Overall, this was a real highlight of the production. Sean Trainor gave an enjoyable and well-judged performance as both Professor Marvel and the Wizard. His physical comedy as the Wizard was particularly effective, with a charming sense of bumbling humour. Both characters were clearly defined, and his comic timing and stage presence served the production well. Among the supporting roles, Aunt Em and Uncle Henry would benefit from more detailed character development and stronger emotional grounding. Lines often felt recited rather than lived, accents were inconsistent, and the relationship between the two characters lacked warmth and clarity. Elsewhere, smaller roles were handled with confidence and clarity. Katy Keaveney’s Munchkin Mayor and Chris Mooney’s Coroner added humour and character to the Munchkinland scene, while Finbar Finnegan as Emerald City Guard delivered a particularly funny and engaging performance with strong audience connection. The ensemble demonstrated strong energy, enthusiasm, and commitment throughout the production. Vocally, the chorus was excellent, with clear diction and well-blended harmonies. Munchkinland again stood out as a showcase of the ensemble at its best. Movement was generally strong, though slower, more fluid sections would benefit from greater extension, focus, and precision. Simpler choreography demands even greater clarity, and refining this would elevate the ensemble work further. Behind the scenes, the stage management and set design supported the storytelling well and helped maintain the production’s pace. The set was functional and serviceable, making effective use of multipurpose elements and turning flats that allowed scenes to shift without becoming laborious. The opening backdrop was particularly well painted and created a strong first impression, immediately establishing a sense of place and theatrical intention. Some design elements, such as wrinkled fabric pieces and tree designs that felt less refined, slightly detracted from the overall polish. Stage Manager Clair Williams played an important role in keeping the evening moving. Scene changes were well managed and rarely intrusive, and the transitions generally maintained momentum rather than interrupting it. This sense of flow is vital in a show with many locations and quick shifts in tone, and the work here contributed significantly to the overall smoothness of the performance. Technically, the production was well supported by reliable lighting and sound. Sound was particularly well balanced, especially given the size of the space and the nature of the band. Vocal and instrumental balance remained strong throughout, allowing singers to be heard clearly while still preserving the richness of the orchestration. The overall effect was controlled and supportive, enhancing the musical storytelling without becoming overpowering. Lighting design was straightforward, dependable, and competently executed. While it did not lean heavily into especially stylised stage pictures, it was well focused and accurately cued, providing consistent visibility and mood support without drawing attention away from the performance. The fundamentals were strong and, importantly, never caused issues or distractions. Visually, the production was genuinely eye-catching and played a major role in establishing the magical world of Oz. Costumes were vibrant and imaginative, particularly in Munchkinland, creating a joyful explosion of colour on stage and helping the audience immediately understand the heightened world of the story. While the Tinman costume showed signs of wear and would benefit from maintenance to restore its original polish, the concept remained effective. The poppy costumes, though creatively conceived, felt slightly at odds with the wider design language of the production; adjusting these to align more closely with the overall palette and style would strengthen visual continuity.  Make-up was an absolute standout and one of the strongest elements of the evening. The artistry, detail, and execution were exceptional, with clear character definition and confident design choices that elevated the production’s overall aesthetic. The Tinman’s make-up was particularly striking, showcasing impressive precision and craftsmanship, while the Munchkins benefitted from intricate details that gave individuality and depth to the ensemble. The speed and efficiency of the transformations, from Oz characters back to farmhands, was genuinely impressive and speaks to the professionalism and organisation of the team backstage. Hair styling was equally well executed, polished, and well suited to each character, adding another layer of finish and cohesion to the visual storytelling. The audience experience was supported from the moment of arrival by a calm and well-organised Front of House operation. Patrons were welcomed in a friendly and efficient manner, with clear systems in place to manage seating and audience flow. The atmosphere before the performance was relaxed and inviting, setting a supportive tone for the evening. Overall, Newcastle Glees Musical Society delivered a production with strong musical foundations, high visual standards, and several excellent individual performances. This company has every reason to feel proud of what they achieved and is well placed to continue growing artistically, producing increasingly polished and cohesive work. Photographer Toby Watson

Review: Beauty & The Beast - BOSCO Drama Group

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm,...

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm, colourful, and uplifting performance in which every young person embraced their role with commitment. Even in the occasional moments where confidence wavered or execution needed more refinement, the cast’s passion for performing shone through. They collectively created that special, unmistakable atmosphere unique to youth theatre, one built on community, encouragement, and the sheer thrill of stepping into a story together. At the heart of the show was the directorial vision of Corinna McCaughey, who approached this well-loved musical with thoughtful ideas and a clear sense of story. The production moved smoothly from moment to moment, and the essential beats of the narrative were easy to follow. Corinna demonstrated an understanding of the emotional core of the piece: the contrast between Belle’s vibrant, curious world and the Beast’s lonely, isolated one; the themes of compassion, transformation, and acceptance; and the playful rhythm of the village scenes. She created a production that allowed young performers to explore these elements within a safe, structured framework. There were moments that would benefit from deeper exploration in the future, especially in terms of energy, intention, and character specificity. Some scenes lacked the momentum needed to maintain emotional drive, often because the performers had not yet fully discovered the stakes or objective of the moment. This is completely normal for young actors, and with further coaching in physicality, motivation, and presence, these scenes have the potential to develop into richer, more confident passages. The blocking occasionally presented challenges. Several scenes placed performers upstage, reducing the clarity of dialogue and diminishing the emotional connection with viewers. These choices are excellent teaching opportunities, helping young performers learn the importance of eyeline, positioning, and sharing their performance outward. A few moments, such as the shifting placement of the well in the village scene or interactions that overlooked the balcony seating, created minor visual inconsistencies. With small adjustments, these elements can be refined to strengthen the storytelling even further. Musical direction, led by Aislinn McGinn, brought warmth and beauty to the production. The orchestra consistently provided a rich, expressive sound that supported the cast with sensitivity. Harmonies were well prepared, and the ensemble sang with unity and confidence. Aislinn clearly guided the young performers with care, ensuring they had musical foundations strong enough to carry them through even the more challenging numbers. Transition cues between dialogue and music occasionally felt extended, with underscoring beginning slightly too late or introductions lingering too long after lines had ended. Greater coordination between Director and MD would help tighten these transitions and keep the pacing crisp. Balance between orchestra and cast also presented a small challenge, as the band sometimes overpowered dialogue. This is an entirely common issue for young performers still building projection skills and simply requires attentive collaboration between MD and the sound team in future productions. Despite these minor issues, the musical atmosphere was vibrant and expressive, contributing greatly to the show’s overall charm. Choreography by Ann Marie Morgan elevated the production with creativity, elegance, and an evident understanding of how movement can drive story. Each number showcased clear rehearsal and clean execution, with the ensemble performing confidently and enthusiastically. Several dancers demonstrated notable ability, adding polish and dynamism to the group work. The “Prologue” was particularly striking, skilfully blending movement and narration to introduce the world of the story. “Gaston” was another standout, with clever tankard choreography and a strong sense of ensemble unity. “Be Our Guest,” while lively and colourful, occasionally lost energy in sections, suggesting an opportunity to revisit pacing and structure to sustain the full spectacle the number promises. The wolf scenes incorporated an interesting swaying motif, but the narrative clarity could be sharpened to enhance the sense of danger. Most importantly, the iconic waltz between Belle and the Beast, the moment where their relationship subtly shifts, would benefit from even closer collaboration with the director to ensure the storytelling of emotional progression is fully realised. Still, Ann Marie’s work consistently provided the cast with both structure and expressive freedom, allowing them to shine. Among the principals, Belle, played by Emily Morgan, delivered a truly lovely performance. Her beautifully controlled voice displayed excellent technique, smooth transitions, and a warm, clear tone far beyond her years. Emily’s portrayal was sincere and grounded, capturing Belle’s independence and gentleness with ease. Her calm stage presence and confident physicality contributed greatly to her character’s credibility. She is a performer with enormous potential.  As the Beast, Matthew McKinney displayed a naturally pleasant vocal tone and clear musicality. His voice will undoubtedly grow stronger with age, and the foundations of a compelling performer are already visible. Matthew connected particularly well to the Beast’s softer and more humorous qualities in Act 2, demonstrating charm and vulnerability. The darker, more explosive emotional beats of Act 1 are areas for him to explore more deeply as he continues to develop. “If I Can’t Love Her” would benefit from more grounded stillness and intensity, but the understanding is there, and Matthew’s potential is unmistakable. Patrick McAllister, as Gaston, has a strong voice and a confident presence. With greater exploration of Gaston’s exaggerated arrogance and swagger, he could truly command the stage in this role. Youth performers often need encouragement to embrace the boldness required for such characters, and Patrick is more than capable of doing so. His dynamic with Le Fou was playful and well matched. As Cogsworth, Michael McAteer brought a pleasant vocal tone and gentle presence. His comedic potential is strong, and with more emphasis on the character’s fussy pompousness and a larger physical performance, he could land the humour more effectively. His rapport with Lumiere was promising and will elevate with further playfulness and energy. Mrs Potts, played by Emilia Quinn, offered one of the most polished performances of the evening. Her strong, expressive voice and warm characterisation made both her dialogue and her rendition of “Beauty and the Beast” particularly memorable. Emilia’s confidence and grounding onstage added a lovely sense of stability to the show. As Lumiere, Conor Powell delivered energy, charm, and confidence in “Be Our Guest.” With improved diction, projection, and a greater awareness of not backing upstage, Conor’s natural stage instincts will flourish even more. He clearly enjoys performing and has excellent potential. Among the supporting cast, several performances stood out for their energy, charm, and growing technique. Le Fou, played by Shay Devlin, delivered humour, strong harmonies, and promising comedic instincts. Maurice, portrayed by Ben Furlong, showed warmth and a gentle sincerity, though greater physicality and presence would help establish the character’s age and eccentricity more clearly. Sophia Murphy’s Babette was full of life, strong physicality, and clear character choices. Her accent work was good, though diction and projection should continue to be priorities. Robyn Cunningham’s Madame de la Grande Bouche impressed especially through her elegant vocal tone and will benefit from keeping her head lifted to reveal more facial expression. The Silly Girls, Eabha Monaghan, Molly McNally, and Orla Byrne, were a genuine highlight of the production, offering sass, humour, excellent harmonies, and wonderful stage presence. Jack Doherty’s Monsieur D’Arque could benefit from leaning further into the sinister qualities of the character, while young Aidan McCaughey was utterly charming as Chip. The ensemble was an enormous asset to the production, performing with unity, enthusiasm, and clear enjoyment. Their movement quality was consistently strong, with standout dancers lifting the overall visual impact. Vocally, they produced a warm, blended sound with lovely harmonies. They remained engaged throughout, supporting the principals and driving the larger numbers with commitment. Technical elements contributed significantly to the success of the production. Under the direction of Ruairi Gorman, stage management was exceptionally slick and professional, with smooth transitions and well-handled backstage coordination. The set design was visually stunning, with the stained-glass windows and the library piece standing out as particularly beautiful elements. These design choices added sophistication and depth to the storytelling. Lighting design supported the production well, creating atmospheric scenes and clear storytelling moments. A few cueing issues and follow spot inconsistencies occurred, but these are normal developmental moments for a youth crew. Sound design was generally effective, though balancing the orchestra with young performers remains an area for ongoing attention. No cues were missed, and the overall soundscape complemented the world of the show. Costumes were vibrant, detailed, and well suited to the story, with principal costumes and the “Be Our Guest” plates standing out especially. Some village costumes lacked finishing touches, and the decision to dress village girls as boys was interesting. Hair and makeup were good overall but would benefit from more refinement, particularly ensuring visibility of facial expressions, such as adjusting the Beast’s wig curl, which obscured his face. Before the first note ever sounded, the Front of House team helped establish a welcoming tone for the evening. Patrons were greeted warmly and guided efficiently, creating a sense of organisation and friendliness that helped the audience settle comfortably. For many young attendees and families, these early interactions can be fundamental to their overall experience, and Bosco Drama Group succeeded in providing an environment that felt cheerful, inclusive, and well managed. Their attentiveness supported the production beautifully, ensuring the evening began on a positive and reassuring note. Bosco Drama Group’s Beauty and the Beast  was a heartfelt and joy-filled production, elevated by dedicated young performers, strong musical and visual elements, and a team committed to creating a supportive and celebratory environment. It showcased the developing talents of its cast and offered a memorable evening of youth theatre at its most charming.

Review: Annie - St. Patrick's Choral Society

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

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

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