All Shook Up as presented by Baldoyle Musical Society

Society Name: Baldoyle Musical Society

Show Name: All Shook Up

Adjudicator Date of Attendance: 26.05.2025

Brief Overview of Show and Evaluation of Front of House

Baldoyle Musical Society’s production of All Shook Up was a vibrant, well-paced, and energetically performed show that demonstrated a strong sense of fun, community, and musicality. Tackling a jukebox musical like this requires a careful blend of nostalgic charm, character commitment, and storytelling precision, and the company delivered an enjoyable evening full of heart and high-energy performances. The production captured the playful, romantic tone of the piece while managing to present some nicely nuanced character moments amidst the big dance breaks and familiar songs. There were flashes of real theatrical flair throughout, and a clear vision that connected all departments well.

The Front of House team were polite, professional, and welcoming. Patrons were guided into the venue with ease, and the overall sense was one of good organisation and a community proud of its work. The space was managed efficiently, and all interactions with staff were courteous. The audience felt relaxed and at ease, which helped create a receptive atmosphere from the outset.

Director – Direction and Production

Yvette Cuffe did a commendable job in directing this production. The overall shape of the show was thoughtfully constructed, and scenes transitioned smoothly with strong forward momentum. There was a clear eye for staging that allowed both central and background characters to be active participants in storytelling, which gave the production a nice sense of depth. The character work was particularly strong in places, with some lovely interactions and genuine emotional moments.

In a few cases, character development could have been pushed further. Some arcs felt a little underexplored and would benefit from clearer growth or emotional peaks, particularly in a show that relies on larger-than-life characters to help drive the plot. There were some clever staging choices, especially with set pieces being used to suggest different locations and scenarios, and these enhanced the storytelling effectively. The balance between realism and stylised fun was well judged. Overall, a nicely directed piece that reflected a cohesive vision and a good sense of ensemble storytelling.

Musical Director – Direction and Orchestra

Under the musical direction of Gay Kirwan, the production achieved a rich, full sound that served the show well. The band performed with energy and flair, and their connection to the cast onstage was evident. The vocal work from the cast was especially strong, with harmonies that were tight, well-balanced, and confidently delivered. There was a clear sense of musical cohesion, and the cast handled the varied vocal styles of the Elvis Presley songbook with great skill.

That said, the band did overpower the singers at times. This is a common challenge with brass-heavy ensembles, particularly in intimate venues where the proximity of musicians to the audience can magnify their presence. Continued attention to dynamic control and sensitivity to vocal lines would help further elevate the overall sound balance. Nonetheless, the musical backbone of the show was a real highlight, with enthusiastic playing and a cast who clearly felt well-supported.

Choreographer – Choreography

Amy White-Lamb opened the show with an absolute knockout number, a thrilling blend of choreography that was vibrant, fresh, and full of clever formation changes and visual impact. This opening set the bar high and instantly immersed the audience in the high-octane world of the show. It was a fantastic start and gave a strong indication of the choreographer’s creativity and ability to harness ensemble energy.

As the show progressed, the choreography remained energetic and characterful, but some later numbers did not quite match the inventive brilliance of the opener. The use of space and cast was effective throughout, although it was noted that a few ensemble members were primarily involved in “stand and sing” moments rather than fully incorporated into choreographed sequences. It would have been lovely to see them more actively integrated to keep the energy evenly distributed. Overall, a strong choreographic vision that added flair and fun to the piece.

Leading Principals – Singing and Acting

Chad – Josh Winters: A truly standout performance. Josh delivered a portrayal of Chad that had both swagger and depth, avoiding the trap of turning the character into a caricature. His physicality, comic timing, and command of the stage were consistently excellent. Each expression, movement, and vocal inflection was carefully timed and polished. He brought unexpected emotional nuance to a character that is often played solely for laughs, and his dancing was fantastic. While there were some slight vocal slips when transitioning into the more lyrical sections, these were minor and quickly corrected.

Natalie – Sinead McMullen: Sinead gave a beautifully natural and sincere performance. Her portrayal of Natalie was grounded, emotionally engaging, and full of inner strength. She struck a great balance between vulnerability and resilience, and her physical transformation when in disguise was cleverly executed. Vocally, she impressed across her range, with power, control, and clear diction. A genuinely endearing performance with heart and clarity.

Dennis – Adam Kelly: Adam was a comic delight. He embraced the quirky, awkward charm of Dennis with ease, delivering his lines with perfect comedic rhythm while also showing real pathos in his unrequited affection for Natalie. His voice was clear and strong, and he maintained the “geeky” physicality of his character throughout. A thoroughly enjoyable and consistent performance.

Sandra – Karen McCourt: A commanding and confident portrayal. Karen embodied Sandra with glamour and poise, delivering a performance that was both sensual and tongue-in-cheek. Her comedic timing was excellent, and her vocal performance was polished and assured. Every gesture was deliberate and character-driven, creating a bold and memorable stage presence.

Supporting Roles – Singing and Acting

Lorraine – Aine Murray: A bubbly and enthusiastic presence onstage. Aine brought energy and charm to the role of Lorraine, and her vocal work was very strong. The characterisation was bright and youthful, although a reluctance to make eye contact with her scene partner did slightly affect the believability of the relationship with Dean. A bit more connection would lift this even further.

Dean – Eoin O’Connor: Eoin portrayed Dean as a sweet and understated character. His calm presence was a nice contrast to Lorraine’s vivacity, and he held his own vocally with confidence. He has a lovely tone and a quiet sincerity that suited the role well.

Sylvia – Ceri McEvoy: While Ceri possessed a strong vocal instrument, her portrayal of Sylvia lacked emotional depth. The performance felt a little underdeveloped. There’s real potential here, and with further character exploration, Sylvia could be a much more compelling role.

Jim – Robin Murray: Robin brought a warm, gentle quality to Jim, creating a likable and grounded presence. His scenes with Chad were enjoyable, and their duet was well matched vocally. The relationship with Sylvia didn’t quite come across as authentic, which could be strengthened with deeper emotional engagement.

Mathilda – Kate Headon: Kate gave a humorous and highly watchable performance. Her portrayal of the officious and moralistic Mathilda had a clear arc, and her eventual softening was played with both surprise and delight. Her comic timing, particularly in her reaction to the Sheriff’s declaration, was spot on.

Sheriff – Peter Fitzsimons: Peter gave a steady performance as the Sheriff. While the eventual comedic payoff landed well, the lead-up to that emotional release would have benefited from more visible frustration and tension building throughout the show. A few more tonal shifts would have given the final reveal even more punch.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble were a fantastic asset to the production, providing energy, atmosphere, and vocal strength throughout. Their harmonies were robust and well blended, with each section contributing equally to the full company numbers. In terms of movement, the cast showed a high level of commitment and precision, with good musicality and spacing. Each member brought a distinct character to the stage, helping populate the world of the show convincingly. They reacted well in scenes and showed consistent focus, a vital part of creating a believable stage environment.

Stage Management & Set Design

The set design was simple but effective, using versatile elements to suggest different locations without overcomplication. Projections added a useful layer of visual storytelling, and the overall aesthetic was well judged for the venue and resources. However, the height of the back platform occasionally caused performers’ faces to be lost in back lighting, which could be addressed by lowering the platform slightly.

The stage management team were clearly efficient and prepared. Costume-clad crew made for seamless transitions that didn’t disrupt the world of the play. Given the use of costumes, blue-outs might have helped maintain energy and continuity during scene changes.

Technical – Lighting and Sound

Lighting design included some beautifully crafted moments, with clever use of movers to highlight emotional shifts and choreography. There were a few instances where lighting cues felt unnecessary or poorly timed, and certain specials missed their mark. A closer collaboration between the lighting designer and director, along with clearer spiking, could improve accuracy.

Sound overall was well balanced. Dialogue was consistently audible, and vocal blends were strong. The band’s volume was overpowering at points, but given the layout of the venue and instrumentation, this was understandable. Continued focus on dynamic control would help ensure the vocals remain front and centre.

Visual – Costumes, Hair and Make Up

Costumes were a real strength of the production. The opening number jackets created immediate visual interest, and the shift from muted tones to vibrant colours with Chad’s arrival was true to the storytelling. The styling was appropriate to the era, and character choices felt specific and well thought through. Hair and makeup also reflected the time period with flair and were consistently applied across the cast. Attention to detail in these areas enhanced the overall aesthetic.

Adjudicator’s Suggestions / Overall Comments

This was a bright, confident, and thoroughly enjoyable production of All Shook Up that demonstrated a clear directorial vision, strong musicality, and committed performances from leads and ensemble alike. With some attention to character development, particularly in supporting roles, as well as tighter integration of technical cues and choreography for all performers, this society can continue to grow from strength to strength. The creative team are clearly collaborative, and the show reflected a company that takes pride in its work and delivers with heart.