Charlie & The Chocolate Factory as presented by Limerick Musical Society

Society Name: Limerick Musical Society

Show Name: Charlie and the Chocolate Factory

Adjudicator Date of Attendance: 03/04/2025

Brief Overview of Show and Evaluation of Front of House

Limerick Musical Society’s production of Charlie and the Chocolate Factory brought this colourful and whimsical tale to the stage with clear effort and a spirit of community collaboration. While the production faced a number of significant challenges, it still succeeded in capturing the imagination of its audience through flashes of strong performances, vibrant costuming, and enthusiastic ensemble work.

The Front of House team were warm and accommodating, greeting guests with smiles and a clear sense of hospitality. Patrons were guided efficiently to their seats and well looked after throughout the evening. 

Director – Direction and Production

Des Henn’s direction embraced the broad, cartoonish quality of Dahl’s world and attempted to structure the show around that style. The overall narrative was clear and accessible to the audience, which is no small task given the episodic nature of the script. While the production lacked finesse in blocking and struggled with momentum at times, it was evident that the director worked hard to shepherd a large cast through a complex and layered script.

A more developed focus on character arcs and dynamics would have deepened the experience. Many characters remained on the surface emotionally, and some potentially rich comic moments went underplayed. That said, the show moved from scene to scene, and some strong directorial choices—especially in the handling of group numbers like the Oompa Loompa sequences—offered bright sparks of success.

Musical Director – Direction and Orchestra

Niall Kelly did commendable work with a challenging and often divisive score. The band, when audible, created a pleasing soundscape that supported the performers well. Although Act 1 experienced major sound issues which meant the orchestra was not coming through the PA system, the tempos and cueing throughout both acts were tight and responsive.

Despite the sound imbalance, the vocal direction was focused, and harmonies were generally well delivered by both the principals and the ensemble. The musical structure held strong, even when the technical elements faltered around it.

Choreographer – Choreography

Amanda Pierce brought some real magic to the production through her choreography, particularly in the cleverly crafted Oompa Loompa numbers. These sequences were dynamic, well-rehearsed, and visually compelling. The incorporation of stylised movement created entertaining tableaux that elevated the storytelling.

While some other musical numbers lacked the same spark, and choreography at times seemed simplified, the final tap number during the bows was a joyous highlight, full of energy and polish. With more consistent staging across all songs, this area could have shone even brighter, but Amanda’s choreographic choices showed clear vision and understanding of the tone required.

Leading Principles – Singing and Acting

Charlie – Aibhín McMullen: Aibhín approached the role of Charlie with sincerity. Her voice was well-suited to the material, and she remained within her comfortable vocal range. While the emotional delivery in the songs felt somewhat restrained and the performance a bit static, the character’s heart was present throughout. With greater direction, Aibhín could certainly grow into future roles further.

Wonka – Barry Danaher: Barry’s vocals were a real asset to the production, rich, smooth, and confident. His portrayal of Wonka leaned toward the flamboyant, though at times lacked the underlying mystery and edge that gives the character weight. With a touch more nuance, his strong vocal talent could have been matched by a more layered character portrayal.

Grandpa Joe – Brian Henry: Brian was a standout, lighting up the stage with infectious joy and enthusiasm. His characterisation felt honest and heartwarming, offering the audience a compelling anchor in the Bucket household. While some vocal moments stretched his comfort zone, the energy and commitment in his performance more than compensated.

Violet Beauregarde – Holly Purtill: Holly was an energetic force on stage. She delivered her role with impressive confidence, strong vocals, and punchy physicality. Her solo number was one of the production’s highlights, and she embodied the brash, fast-talking energy of her character with great success.

Veruca Salt – Jane Henry: Jane struck a lovely balance between spoiled petulance and theatrical charm. Her performance of “When Veruca Says” was sharp and well-acted, and the stylised ballet movements were delightfully tongue-in-cheek. A consistent accent and clear commitment to character made Jane’s portrayal one of the stronger elements in the principal cast.

Mike Teevee – Luke Sweeney Crehan: Luke’s portrayal brought a controlled chaos to Mike Teevee that was entertaining and believable. His physicality was especially strong, and he maintained just the right level of energy throughout. His contribution to the duet “That Little Man of Mine” was confidently handled and well supported vocally.

Augustus Gloop – Harry Moriarty: Harry’s comedic timing was a real treat. With a constant smile and consistent accent work, he delivered a very funny and charming performance. His presence on stage was full of character, making him one of the more memorable children in the tour group.

Supporting Roles – Singing and Acting

Mr. Salt – Aidan O’Connell: Aidan delivered a well-pitched portrayal of the indulgent father. His comic timing and chemistry with Veruca were excellent, and he was a highlight in their shared scenes.

Mrs. Gloop – Ber Hickey: Ber’s performance was vocally solid and thematically appropriate. While the comedic aspects didn’t fully land, this felt more a result of staging than acting. “More Of Him To Love” was well within her vocal range and nicely delivered.

Mr. Beauregarde – Martin Pierce: Martin’s performance fell a little short of the slick showman archetype the role demands. Some additional energy and exaggeration in character would have helped here, as the role can easily steal scenes when fully embraced.

Mrs. Teevee – Emma Culhane: Emma gave a nicely controlled performance of the Munchausen leaning character, offering a grounded version of a sometimes-overplayed role. Her vocal work in “That Little Man Of Mine” was well pitched and emotionally resonant.

Mrs. Bucket – Alison Kearney: Alison delivered a sincere performance. Her number, “If Your Father Were Here,” would have benefitted from greater physical and emotional variation, though she sang it competently and with good intention.

Grandma Josephina, Georgina & Grandpa George – Danni Farrell, Sue Sheridan & Brian Quinlivan: These three added light comic touches and were convincing as octogenarians. Their commitment to character detail was appreciated and added colour to the household scenes.

Mrs. Green – Gillian Hunt, Cherry Sundae – Aoife Henn, Jerry Jubilee – Thomas Coneran: All three made the most of their ensemble roles with good energy and clear characterisation. Their contributions helped create the larger world of the show and supported key scenes well.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble’s performance varied in consistency, but there were clear pockets of strength throughout. Vocally, the chorus sections were generally secure and well-rehearsed. The Oompa Loompa numbers were a definite high point, with strong commitment, tight movement, and creative visual execution. Other numbers required more polish, particularly in synchronisation and spatial awareness, but the enthusiasm and energy of the group were evident.

Stage Management & Set Design

The design carried some creative flourishes, such as the printed cog flats and colourful stage floor, which were effective in establishing the whimsical world of Wonka’s factory. However, some set elements presented practical challenges. The Buckets’ home, though finished attractively, restricted sightlines and interactions, often pulling key scenes upstage. The Great Glass Elevator, while visually striking, appeared unsafe due to the lack of guardrails or visible supports. The projections were a real highlight of the design. Stylistically they were consistent and really aided in the storytelling. A particular standout was the Mike Tevee section. 

Stage management was one of the weaker aspects of the evening. Scene transitions were slow and frequently exposed, with crew members often caught in the lights. A clearer system of backstage coordination and improved transition choreography would significantly enhance future performances.

Technical – Lighting and Sound

Lighting design struggled to support the action effectively. The front metre of the stage was unlit, placing much of the dialogue in shadow. Cue timing was often off, and special spotlights rarely landed as intended.

Sound issues were especially pronounced in Act 1, with the band entirely missing from the PA mix. This improved somewhat in Act 2, though mic cueing remained inconsistent. There were also moments when offstage conversations could be heard through the system, disrupting the performance.

Visual – Costumes, Hair and Make-Up

Costumes were a clear highlight of the production. The colour palette was vivid and playful, matching the larger-than-life tone of the piece. The Oompa Loompas, in particular, were visually striking, with clever choices in wardrobe and make-up that stood out in every scene. Hair and make-up were tidy and effective, helping to support character differentiation and stage presence throughout.

Adjudicator’s Suggestions / Comments – Overall Comments on the Production and Comments to Enhance the Standard for Future Performances

This was a production full of potential and commitment, with many individual performances standing tall amidst broader structural and technical challenges. The cast clearly cared about the material and brought a strong sense of teamwork to the stage. Stronger direction, more efficient stage management, and technical refinements would go a long way toward lifting the overall standard of the production.

With more attention to detail in lighting, sound balance, and blocking, and with a firmer hand guiding emotional storytelling, Limerick Musical Society has the capacity to grow this production style into something truly memorable. The passion is there, what’s needed now is cohesion, confidence, and craft.

Photos by Brendan Coleman