All Shook Up as performed by Glencullen Dundrum Musical and Dramatic Society

Society name: Glencullen Dundrum MDS

Show name:  All Shook Up

Adjudicator date of attendance:26/03/2025

Brief overview of show and evaluation of Front of House

Glencullen Dundrum MDS’s vibrant production of All Shook Up proved to be a joyous, energetic, and impressively cohesive evening of musical theatre. A jukebox musical built around the music of Elvis Presley, All Shook Up is no easy feat – blending comedy, romance, mistaken identities, and rollicking rock-and-roll. What was delivered on the night was a confident, colourful, and delightfully funny performance filled with clear storytelling, dynamic choreography, and glorious harmonies. The audience’s engagement from start to finish was a testament to the company’s ability to immerse and entertain.

Front of House was a warm and welcoming experience. Staff were efficient and courteous, and the general atmosphere before curtain-up was one of excitement and community. Seating and access were well managed, and transitions in and out of the theatre space ran smoothly. 

Director- Direction and Production

Damien Hurley’s direction brought a fresh, slick, and well-judged vision to the show. He struck an excellent balance between the campy humour intrinsic to All Shook Up and a genuine emotional through-line, ensuring the piece never tipped into parody. The storytelling was clear and engaging throughout, a significant achievement in a show that relies on fast-paced twists, mistaken identities, and multiple intertwining plotlines.

Blocking was generally strong and ensured that all key moments were visually accessible, with intelligent use of levels and depth. A few minor moments of upstaging occurred, particularly in larger group scenes, where characters occasionally obscured one another. These were minimal and did not significantly impact the narrative but could be considered for future refinement.

Characterisation across the board was thoughtful, distinct, and authentic, contributing greatly to the production's strength. There was evident cohesion among the cast, a tribute to the director’s leadership and his ability to foster a sense of ensemble. Particularly praiseworthy was the show’s pacing, which never lagged. Scene changes, smoothly executed by the cast, were well-rehearsed and timed, ensuring the show maintained its momentum. This thoughtful integration of transitions as part of the performance, rather than interruptions to it, kept the audience immersed and the energy high.

In all, Damien’s vision was confidently and stylishly realised, delivering a show that was as coherent as it was entertaining.

Musical Director- Direction and Orchestra

Musical direction by Barry Power was first-rate. The band delivered a tight, expressive, and energetic sound that supported the performers without ever overwhelming them. Balance across the instrumentation was carefully maintained, allowing the nuances of Elvis’s iconic music to shine through with clarity and punch.

The vocal direction deserves particular praise. The cast’s harmonies were exceptional, rich, confident, and precisely tuned. Chorus work was a consistent highlight of the production, offering a full-bodied, resonant sound that lifted the musical numbers with real polish and professionalism. Diction was impressively crisp, ensuring that lyrics were always intelligible, a crucial element in a narrative so reliant on its musical storytelling.

Barry’s leadership was clearly evident in the musical cohesion achieved on stage. The transitions between dialogue and song felt organic, with no awkward gear shifts. The entire cast demonstrated a solid grasp of rhythm and musicality, suggesting a rehearsal process that was both thorough and musically nurturing.

Choreographer- Choreography

Nicole McDonald’s choreography was a real triumph. The movement was clean, purposeful, and well-suited to both the era and the exuberant tone of the show. She displayed an excellent understanding of spatial awareness, utilising the stage effectively to accommodate large ensemble numbers without crowding or confusion.

Formations were thoughtful and ever-changing, giving the chorus dynamic visual appeal. Transitions between choreographic patterns were impressively smooth, creating a flow that mirrored the musical drive of the score. Importantly, there was no visible repetition, each routine brought something new to the table, keeping audience engagement high throughout.

Particularly praiseworthy was the ability of the entire ensemble to execute choreography with precision and enthusiasm. There was an infectious energy in the dance numbers, reflecting both strong direction and committed performance.

One minor note: “Let Yourself Go,” a number that lends itself to flirtatious interaction, could have benefited from a little more “cat and mouse” energy to heighten the tension and humour. A touch more narrative interplay within the movement could have elevated the moment from good to electric.

Leading Principals – Singing and Acting

Natalie / Ed - Ali Coyne: Ali’s performance was a standout in every sense. She inhabited both personas, the earnest grease-monkey Natalie and her male alter-ego Ed, with remarkable physical clarity and nuance. Her physicality, posture, and vocal adjustments between the two characters were expertly executed and never cartoonish. This dual-role performance could so easily become a gimmick, but Coyne brought sincerity and heart, making Natalie’s journey feel real and resonant. Vocally, she was superb, powerful and expressive, with a command of dynamics that allowed both vulnerability and strength to shine through. Her stage presence was undeniable, and she carried her central role with confidence and charisma.

Chad - Gavin Molony: Gavin brought just the right mix of swagger and self-awareness to the role of Chad. He avoided the trap of overdoing the Elvis impersonation, instead giving us a character who was both sexy and self-deprecating. His physical performance, particularly his restrained but well-placed pelvic moves, found just the right tone, eliciting smiles without slipping into pastiche. His voice was strong, smooth, and effortlessly projected. Moloney’s chemistry with Coyne was palpable, and his presence anchored the show beautifully.

Éanna O’Donaill - Dennis: A thoroughly endearing and detailed performance. Eanna captured Dennis’s nerdy awkwardness with both charm and depth, generating sympathy without slipping into caricature. His commitment to the characterisation was especially impressive in his vocal choices – maintaining the nerdy timbre even through sung passages, which added to the comic integrity of the role. There was real heart in his performance, and the audience clearly rooted for him.

Sylvia – Gail McGrath: Gail gave a grounded, emotionally resonant performance as Sylvia, bringing warmth, strength, and sincerity to the role. She portrayed Sylvia’s journey, from guarded independence to quiet vulnerability, with subtlety and truth, making her arc entirely believable. Gail’s stage presence was assured, and her comedic timing was dry and effective, offering a strong contrast to the broader humour elsewhere in the show.

Vocally, she was excellent. Her soulful tone had great depth and resonance, and her singing was filled with feeling as well as technical control. Her musical moments were confident and expressive, particularly in her scenes with Jim, where their chemistry added real emotional weight. A lovely, touching interpretation of the role.

Maria O’Loughlin - Miss Sandra: Maria delivered a vocally assured and technically strong performance. Her voice was rich, warm, and expressive, and her musical numbers were beautifully sung. However, her portrayal of Sandra felt a touch restrained in terms of sensuality. Miss Sandra is a character defined by her allure and aloofness – a stillness that suggests power and seduction. Some of the character's impact was lost due to overly fussy movement or choices in costuming that failed to support the character’s sultry mystique. While the vocal delivery was excellent, a little more stillness and sharper contrast in her physical performance would enhance the role’s impact.

Supporting Roles – Singing and Acting

Eloise Broderick - Lorraine: A delightfully energetic and authentic portrayal. Eloise captured the essence of teenage infatuation with wide-eyed enthusiasm and boundless energy. Her voice sparkled, particularly in the ensemble numbers, and she delivered her scenes with genuine charm and humour.

Alan Lao - Dean: Alan matched Eloise’s energy beautifully, and their chemistry together was touching and believable. His portrayal of Dean was sweetly awkward and well judged. Their relationship arc was engaging and earned, and Alan’s understated comedic timing added depth to his performance.

Mary-Beth Jennings - Matilda Hyde: A memorable comedic performance. Mary-Beth was delightfully overbearing as Matilda, she embodied the character’s rigid moralism with relish, generating genuine laughter. Her confidence and timing were strong throughout, and she provided a satisfying foil to the more free-spirited characters around her.

Cathal Butler - Earl: This role is ripe for comedy, and unfortunately, some of its potential went unrealised. Earl’s character requires subtle timing and a clear understanding of why he is being told to “shut up”, his attempt at dialogue should come just before Matilda silences him, not in response to it. These moments were often mistimed, missing comedic beats and weakening the impact of his character’s journey. A stronger sense of Earl’s inner world, and perhaps a little more “Sheriff swagger” could lift this role.

Peter O’Brien - Jim: A warm and grounded performance. Peter gave Jim a gently comic quality that was both believable and endearing. His interactions with his daughter and other townsfolk were sincere and well-observed. Vocally, Peter had a lovely mellow tone, providing a nice contrast to some of the show’s more belting numbers.

Chorus/Ensemble- Singing, Acting and Choreography

This ensemble was an absolute force. From the opening number to the final bows, they performed with professionalism, polish, and palpable joy. Vocally, the chorus offered a rich, balanced sound that filled the space without ever overpowering. Every member was visibly engaged, no weak links, no passive background performances.

In terms of movement, the ensemble was cohesive and well-rehearsed. Their confidence in the choreography and commitment to the storytelling made every group number a visual and auditory highlight. It is clear that this was a well-drilled and motivated group of performers, and they elevated the entire production through their energy and unity.

Stage Management and Set Design

The set was simple but highly effective, making excellent use of the available space. Visuals were clearly considered, from the town signage to the playful use of props. The choice to keep the set flexible and manageable allowed for seamless transitions, which, when executed by the cast, felt like an extension of the action rather than a pause.

A minor detail that detracted slightly from the overall polish was the quality of some of the signage, particularly sticker applications, which appeared slightly unfinished or less durable under stage lights. These are small aesthetic elements, but worth attention in future for an even more professional finish.

Stage management was superb. The show moved at a brisk pace, with not a single lull. Scene changes were swift and silent, and there was an overarching sense of order and preparation that supported the production from behind the scenes.

Technical – Lighting and Sound

Lighting design created some beautiful pictures, particularly in musical moments where colour and contrast helped heighten emotional beats. However, cue execution was sometimes mistimed like buttons on the end of numbers not being sharp to the beat. Specials occasionally missed their mark, and the front-of-house lighting appeared too warm (verging on orange). An uneven focus created dark patches in facial coverage and some distracting visual inconsistencies.

Sound was strong overall, with clear amplification and good vocal-instrument balance. The audio mix did feel a little top-heavy, lacking some bass warmth, particularly in vocal numbers.

This occasionally diminished the depth of the sound, though clarity remained excellent throughout.

Visual – Costumes, Hair and Make-Up

Costuming was vibrant and well fitted, with strong visual appeal, and very pleasing, coordinated colour palette. The storytelling opportunity to move from drab colours at the show’s beginning to more vibrant tones as Chad’s influence spreads wasn’t fully capitalised on. This kind of colour progression can help visually underline the show’s central transformation. 

Hair design was excellent, with era-appropriate styles worn confidently by the cast and consistent application across the board. Make-up was also strong, with well-applied character looks. The only minor suggestion is to refine the makeup for the statue characters – ensuring necks, wrists, and other exposed areas match the costumes to complete the illusion.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

Glencullen Dundrum MDS produced a polished, engaging, and thoroughly entertaining production of All Shook Up. With a confident directorial hand, strong musical foundation, clean and creative choreography, and a committed cast, the company delivered a show that delighted from start to finish.

To elevate future productions even further, consider:

• Fine-tuning technical cues, especially lighting transitions and special spots.

• Paying close attention to small set and costuming details that enhance polish.

• Further exploring character dynamics in roles with comic potential that felt slightly underdeveloped.

• Embracing visual storytelling opportunities through costume colour progression.

Overall, this was a joyful, polished, and impressively cohesive evening of theatre. The cast’s passion and hard work were evident in every number, and the audience responded with genuine enthusiasm.