Cry Baby as presented by Athlone Musical Society

Athlone Musical Society 

Cry Baby – The Musical 

Saturday 8th March 2025 

If ‘Grease’ and ‘The Book of Mormon’ were to have a love child, it could quite possibly look like ‘Cry Baby - The Musical.’ The ‘Girl from the right side of the tracks falls for boy from the wrong side of the tracks’ show pits 1950s, post-war conservatism against rockabilly rebelliousness through a lens of irreverent humour and razor-sharp parody. With an opening number about an ‘Anti-Polio Picnic’ and an amusingly titled showstopper (Girl, Can I Kiss You With Tongue?) shining a satirical light on the consent conversation, ‘Cry Baby - The Musical’ is quite bonkers. In order to succeed, the tone of its delivery must be just right. The audience needs to connect with its absurd style of comedy from the off. Thankfully, Athlone Musical Society pitched the absurdity at just the right level to produce a highly entertaining, very funny production. 

The 400 plus seater Dean Crowe Theatre was packed to capacity on the night that I attended. I received an exceptionally warm welcome and was delighted to hear all about the history of the society. Sincere thanks for the reserved car parking spot outside the theatre. It was much needed and most appreciated! 

Director, Alfie Kilduff, produced a wonderful show full of energy and comedic business. From the very outset, as cast entered through the audience, encouraging us to take our seats and switch off our cell phones, there was great buy-in from the audience. Mr. Kilduff elicited fabulously exaggerated characterisations from his cast, which were perfectly in tune with this type of show. Pace was exceptionally good and there was good use of the available stage space. There was clever use of well chosen projections to complement the scenery. Delivery and style of performance is so important in a show like this and well done to Mr. Kilduff for recognising that and for instilling the tone in his cast. One small thing was that cast did need to wait for applause to subside, on occasion, after musical numbers before continuing with dialogue. This is a small thing but some lines were lost and that's simply because the audience were enjoying the show so much. 

Musical director, Ger Madden, presided over a superb orchestra which delivered the pastiche score with multiple styles of music from rockabilly to barbershop. There was excellent work with the Whiffles, whose close harmony work was stunning. Whilst written for four, using five was a great call. There was a superb choral sound right through this show. Both the on-stage and off-stage vocals were excellent, with great attention to balance and dynamic detail. Offstage vocals in ‘Girl, Can I Kiss You With Tongue?’ and the ‘song with the exceptionally long title in the prison scene at the top of Act 2’ were top class. A fine job from Mr. Madden.

Jay Molyneux did excellent work on the choreography. What was most impressive overall about the choreography was the manner in which Mr. Molyneux was in tune with the comedic style of the show. This was reflected in the myriad dance numbers, which were a huge part of the visual comedy. The drapes were introduced with a bang, encouraging one and all to ‘Watch Your Ass.’ This was a fantastic, high energy, brilliantly performed routine which set the irreverent tone for what was to come. There was excellent work too in Dupree’s ‘Jukebox Jamboree.’ The ladies were stunning in ‘A Whole Lot Worse’ and I loved the simple but wonderfully precise movement of the ensemble and Whiffles in ‘You Can't Beat the System’.

‘All In My Head’ was a standout number with Wade and Allison as bridal shop mannequins. When the chorus joined, complete with masks, the number really took off. The perfect blend of choreography and visual comedy. There was delicious irony and highly energetic performance levels in the tongue-in-cheek titled ‘Nothing Bad’s Ever Gonna Happen Again’, clearly poking fun at musical theatre's tendency to favour happy ever after endings. 

Nathan Canning played the titular role of Wade ‘Cry-Baby’ Walker with great charisma and vulnerability. He was wonderful as the romantic, yet rebellious protagonist. Mr. Canning had excellent comedic timing and a superb voice, which made him a most likeable character. ‘I'm Infected’ highlighted his wonderful vocals and his comedic timing was superb in numbers such as ‘Baby Baby Baby’ and the hilarious ‘Girl, Can I Kiss You With Tongue?’ He perfectly encapsulated Wade’s teenage angst with his great body language and wonderful understanding of the comedic style of the show. 

Izzy Tuohy, only 18 years of age, was a revelation as Allison Vernon-Williams. Her comedic timing was excellent, as was her physical comedy. Her chemistry with Mr. Canning was very strong. Allison’s stifled upbringing and her inner turmoil as she longed to cross over to the dark side inhabited by the drapes, were superbly played by Ms. Tuohy. She had a big voice that belied her years, with excellent range and impressive control in her upper register. This was showcased superbly in ‘Nobody Gets Me.’ Her comedic understanding was so sharp and this was particularly evident when she joined Wade in ‘Baby Baby Baby.’ 

From the moment Aoife Digan introduced her character, Lenora Frigid (!), as “Cry Baby's destiny” and proceeded to suck his finger, we knew that this was going to be a very funny portrayal. Ms. Diggin's characterisation was hilariously psychotic and she played her unhealthy infatuation with Wade so well. Her performance of ‘Screw Loose,’ in which she told one and all how unhinged she was, due to her love for Cr Baby, left us in no doubt as to her psychotic tendencies. It quite literally stole the show, with Ms. Digan’s powerhouse vocals and brilliant comedic timing almost bringing the show to a standstill. 

Nicola O'Sullivan played pillar of society, Mrs. Cordelia Vernon Williams. Ms. O’Sullivan was an excellent actress. She was very funny as the conservative leader of the community, obsessed with keeping up appearances. Her ‘I Did Something Wrong Once’ was superbly performed as she wrestled with her conscience. It really was a powerful rendition. I also loved her very funny monologue about the burning of the factory. You really could have heard a pin drop. It was both dramatic and hilarious at the same time.

Girl gang ‘The Teardrops’ were a formidable trio with their powerhouse vocals, excellent stage presence and comedic timing to die for. Teenage pregnancy in the 1950s probably wasn't the source of much amusement. However, in the hands of Eva Glynn, it was quite hilarious. Ms. Glynn played teenage mother-to-be Pepper Walker with great comic flair and excellent physicality. Not only was she a great comedienne, but she was also a super singer, shining particularly in ‘A Whole Lot Worse.’ A very funny characterisation. Anna Doherty was a fabulously energetic Wanda, the final member of the troublesome trio. She was flirtatious and in your face, with excellent comic timing and presence. She too was excellent in ‘A Whole Lot Worse.’

Hannah Darling played the less than subtle Hatchet-Face, who had an unhealthy penchant for knives, with a great range of facial expressions and hilarious comedic timing. Kudos to Ms. Dowling for her very impressive miming of the bass in ‘Baby Baby Baby.’ Her ‘post-op’ reveal in the prison was very funny indeed. A superb performance all round. 

Richard Brown was a very funny leader of the Whiffles, Baldwin Blandish. He was delightfully smarmy, but highly manipulative under it all. Mr. Brown was one of those characters that we should really hate, but we just couldn't help but finding him so funny. He had great physicality and wonderful comedic timing. Mr. Brown shone in all of his songs, whether solo or with the Whiffles. A very funny characterisation. 

In an interesting departure from the usual ‘boy band,’ Baldwin's fellow Whiffles were more gender balanced. Two boys, two girls and Baldwin. These were played by Eoghan Rogers, Jonathan Kilduff, Kori Kilduff and Cherise O'Moore. This was an inspired piece of casting by the director, Mr. Kilduff. As the nerdy Squares, they were so cheesy and saccharine, with hilarious facial expressions and physicality. They had excellent vocals, which blended so well, their voices complementing each other’s perfectly. Each and every one was a very strong comedian in their own right, shining in all of their musical numbers with their close harmonies, wonderfully synchronised movement, and razor-sharp understanding of the tone of the show. Had one been weak, they would have stood out like a sore thumb, but they were universally excellent, with everyone on the same page. Exceptional work from all. 

Eoin McGlynn was a very charming Dupree in a characterisation that was full of flair and energy. His ‘Jukebox Jamboree’ was a fabulously funny number with its false endings adding great hilarity. Mr. McGlynn had a superb voice and an infectious energy that made this character very memorable. 

Joe Steiner played Judge Stone, looking every inch like he should be selling fried chicken. This was an excellent portrayal, with wonderful comedic timing, facial expressions and understanding of the narrative detail and quirky style of delivery required. What a great mover he was too in the fabulous finale ‘Nothing Bad’s Ever Gonna Happen Again.’ 

There were some nicely played cameo roles too. Paul Holloway was a very funny Father Officer O'Brien, bringing all of his considerable experience to bear with very strong stage presence and natural comedic timing. His tongue in cheek ‘Oirishness’ was very well played. You always know you have a good show on your hands when a cameo role like this can be played by somebody as strong as Mr. Holloway. John McGlynn, no stranger to the Dean Crowe Theatre, also provided great support as Mr. Woodward. 

The ensemble in this show performed with power, passion and precision throughout. There was a fabulous energy and focus right through the show, testament to a lot of input from the production team as well as the individual and collective talents within the ensemble.

Occasionally, they needed to be careful not to be overly exuberant as there was a tendency, now and then, to distract from what should have been the main focus with their background business. This was purely a case of trying too hard sometimes and, whilst the show does require a certain level of exaggeration, it should never distract from the point of intended focus. The overriding take home was that the ensemble was very in tune with the tone of the show. 

Stage manager, Jonathan O’Brien, also credited with set design, ran a tight ship. Front tabs were moving quite a bit before the show commenced but, once we were up and running, things settled. The well-rehearsed cast set and struck furniture and were very sharp and slick in doing so. There was excellent work from crew turning the centre truck when needed and all changes were very slick and efficient. 

I really liked the clever cartoon-like set with its bold colours. The angled flats were interesting. Signs for ‘Safety Awareness Day’ and ‘Maidenhead Country Club’ were perfectly in keeping with the cartoon-like vision for the show. The raised area upstage allowed for the ‘shows within a show’ at the Country Club. The flown fairy lights were a nice touch and the fabulous upper level provided for some very interesting staging options. Overall, I was very impressed with the wonderful scenic artistry. The bunks and bars looked very well in the prison and little details like the ‘On Air’ sign flown on stage left were a nice touch, as was the Statue of Liberty flown in for the ‘Star-Spangled Funland.’ 

Lighting was excellent throughout, perfectly complementing the director’s vision and the show’s colour scheme, set and costumes. Cues were exceptionally well-timed, always a sign of great musicality in a lighting operator. Lighting was cleverly realised and suitably ‘showy’ for the Whiffles’ ‘Squeaky Clean’ performance within a performance. ‘A Little Upset’ was a huge number with superb lighting as it built. The moving ‘prison bars’ were a lovely touch. I did feel that the slow-motion sequence in ‘A Little Upset’ could have benefited from a more dramatic lighting change or effect though. There were great blues and reds as the sirens went off and the finale, ‘Nothing Bad’s Ever Gonna Happen Again,’ was a feast of colour with everything but the kitchen sink thrown at it. A superb job overall, perfectly in tune with the style of show. 

Sound was very strong throughout. There was a very impressive balance within the orchestra and a superb stage pit balance also. Choral singing was excellently mixed both off stage and on stage. Cueing was excellent and dialogue could be heard clearly throughout. There were excellent sound effects like the air raid siren, car horn and crickets. A super job. 

As would be expected, the props list for a show like this is quite quirky. I mean, where do you go to find an iron lung for one fleeting appearance? But it's a great gag, so it needs to be there! The gas masks looked great, as did the air raid siren and the Wurlitzer jukebox. The two license plate machines in the prison looked authentic and the myriad license plates used for percussive purposes were an excellent touch. Overall, a superb props plot which added great authenticity to the show. 

Hair and makeup was very well handled. Hatchet-Face had suitably over-the-top makeup. The 1950s styles shone through and everything appeared to be era appropriate. Hair was nicely slicked back for the boys and perfectly chosen makeup palettes for the girls. 

Costumes were excellent throughout from the fabulously colourful pastels of the Squares to the bold, adventurous, even raunchy, reds and blacks of the Drapes. Everything was 1950s era appropriate with great attention to detail.

The Whiffles were always fabulously uniform with their waistcoats, perfectly pressed skirts, and trousers. My only little quibble was that I wasn't sure about what looked like green and white football socks on the female Whiffle members. I felt that a little white sock might have worked better. The Whiffles' blue sparkly waistcoats, red bows and ribbons were perfect, as was Baldwin's red jacket. I loved Judge Stone's white suit and white cowboy hat. Uncle Sam, the Statue of Liberty, Abe Lincoln, and the Camel cigarettes were all brilliantly turned out. 

The storyline of ‘Cry Baby - The Musical’ is as convoluted and contrived as you might find anywhere in the musical theatre canon. Its satirical, tongue-in-cheek humour may not appeal to everyone. However, hundreds of patrons thronged the Dean Crowe, embracing the absurdity and enjoying every single minute. Pure escapism and fun was the hallmark of Athlone Musical Society’s very funny production and I have no doubt that ‘Cry Baby’ will become a popular choice for many more societies going forward. Continued success to you all. 

Pat McElwain 

Gilbert Adjudicator 2024/2025