Cry Baby as presented by Roscrea Musical Society

Society Name: Roscrea Musical Society

Show Name: Cry Baby

Adjudicator Date of Attendance: 06.05.2035

Brief Overview of Show and Evaluation of Front of House

Roscrea Musical Society’s Cry Baby was a bold, brash, and unapologetically energetic production, brimming with character, colour, and cleverness. The show’s playful irreverence was embraced wholeheartedly by the creative team and cast, resulting in a high-octane performance that was as chaotic as it was charming. It was clear that the society approached this piece with a deep understanding of its kitschy, tongue-in-cheek nature, leaning into the absurdity and delivering a fast-paced, laughter-filled evening that never lost momentum.

Front of House provided a warm, welcoming environment. Staff were attentive, friendly, and efficient, helping to create a relaxed atmosphere and set the tone for what was a thoroughly enjoyable night of theatre. The space was well managed, with audience members guided with ease and courtesy, enhancing the overall sense of professionalism and community spirit within the company.

Director – Direction and Production

Paul Norton’s direction gave us a true theatrical romp, relentless in energy, deeply detailed, and packed with laugh-out-loud moments. The commitment to humour and storytelling was evident in every scene. Paul displayed a strong grasp of the genre’s requirements and delivered a production that felt fast, full, and fun. The characters were thoughtfully developed, and while some moments may have pushed the boundary of “too far,” they rarely strayed from the tone of the piece.

The storytelling was clear, coherent, and cleverly paced. Paul demonstrated excellent visual staging and knew exactly how to get the best out of his principal performers, building strong character arcs and ensuring key relationships were felt. That said, a deeper integration of the chorus into the storytelling world could elevate the production further. Beyond the surface-level portrayal of “typical American teens,” more defined individual characterisations in the ensemble would have helped build a more immersive and believable world. Nevertheless, the direction was confident, ambitious, and undeniably entertaining.

Musical Director – Direction and Orchestra

Mary Rose McNally led a tight, efficient, and dynamic musical performance. The band, though small, delivered a punchy and compelling sound that matched the show’s electric energy. The musical drive remained consistent from start to finish, adding to the show’s pace and cohesion. Cues were handled with great attention, and the cast were well supported vocally throughout.

Vocals across the board were strong, and while some of the harmony work occasionally felt light, it was generally well managed. The standout musical cohesion came from the male vocal quartet, who offered strong harmonies with only a handful of minor slips. Their sound was tight and stylistically appropriate. Overall, this was a musically rich production under Mary Rose’s sensitive and skillful leadership.

Choreographer – Choreography

Stephanie Browne delivered choreography that was infectiously energetic and era-appropriate, capturing the show's quirky, rebellious spirit. The opening numbers set a high bar for physicality and presence, and the work throughout was full of inventive staging and movement. A true highlight was the tap number involving license plates, clever, percussive, and delightfully in character.

There was a noticeable divide between the more confident dancers and those less experienced. While this is often a practical necessity, it did create a slightly uneven visual impact in ensemble numbers. That said, the material suited the strengths of each group well, and with some additional choreography or movement workshops, there’s a real opportunity to bridge that gap. Overall, Stephanie’s choreography injected the show with pulse and panache.

Leading Principals – Singing and Acting

Wade "Cry Baby" Walker – Adam Skeffington: Adam brought charm and confidence to his portrayal of Cry Baby, embodying the role of misunderstood heartthrob with ease. He was a strong mover and a solid vocalist, though his performance would benefit from slightly more emotional depth to fully realise the arc of the character. Nonetheless, a charismatic and likeable turn.

Allison Vernon-Williams – Valene Greer: Allison gave an endearing and sincere performance. She maintained a believable character journey, blending naivety with growing independence. Her vocals were clear and tuneful, and she partnered nicely with Adam throughout.

Baldwin Blandish – Colm Hogan: Colm’s Baldwin was delightfully uptight, with a comedic performance that was well-judged. There was space to push the clingy neuroses of the character even further, but the portrayal landed successfully without tipping into discomfort. A good voice, expressive movement, and sharp timing marked this out as a polished performance.

Lenora Frigid – Aoife Digan: Aoife was a comedic revelation. Her Lenora was outrageous, captivating, and laugh-out-loud funny. Digan’s commitment to facial expressions, vocal inflection, and body language made for a genuinely standout performance. Her solo number was a riotous triumph, and she exhibited both excellent comic instincts and vocal power. A highlight of the show.

Supporting Roles – Singing and Acting

Mrs. Cordelia Vernon-Williams – Siobhan Bowe: Siobhan's portrayal showed potential, but the characterisation felt inconsistent. The switches between stern matriarch and supportive elder were unclear, which affected the audience's connection to her arc. In her musical moments, a more natural, emotionally driven stillness would enhance the performance. Less movement, more intention.

Dupree W. Dupree – Paul Browne: Paul delivered a strong supporting performance, bringing warmth, charisma, and comic timing to his role. A solid singer and engaging mover, he was a fantastic match for Cry Baby and added zest to every scene he appeared in.

Mona Malnorowski – Helen Flynn: Helen’s Mona was a fabulous mix of menace and hilarity. With great command of the stage and character voice, she struck a strong balance between caricature and credibility. Excellent vocals and a commitment to physicality made her a force onstage.

Pepper Walker – Aisling Kelly: A bubbly and confident performer, Aisling impressed with her strong vocals and natural stage presence. She brought a great energy to the trio and maintained her character effectively throughout.

Wanda Woodward – Saoirse Lalor: Saoirse gave a performance full of vitality and attitude. Her movement was sharp and confident, her vocals clean and bold. She blended beautifully with her fellow performers while also bringing a unique edge to her role.

The Whiffles – Eimhin O’Meara, Aidan McColgan, Jason Fitzgerald: The Whiffles were cohesive, charismatic, and vocally secure, despite a few minor errors. Their ability to blend harmonies while retaining individual characters added dimension to Baldwin’s world and gave the show a strong musical backbone.

Judge Stone – Paul Spencer: Paul’s Judge was played with a well-judged mix of authority and softness. He offered good contrast to the louder characters and developed a believable rapport with Cordelia.

Father Officer O'Brien – John Lynch: John brought sharp comic instincts and created two clearly defined characters in his duality. A subtle but valuable contributor to the texture of the production.

Chorus/Ensemble – Singing, Acting and Choreography

The ensemble gave a high-energy performance, with strong vocal commitment and visible enjoyment throughout. Their investment in the world of the show helped maintain its momentum. The split between “dancers” and “non-dancers” was quite marked, and more could be done to make all members feel more integrated in physical terms. Workshops or more unified movement design might help in closing this gap.

Vocally, the chorus showed promise, though lightness in harmonies was occasionally noticeable. A bit of focused ensemble work in both vocal and movement would help bring the group to the next level. Nonetheless, the enthusiasm and spirit of the ensemble were never in doubt.

Stage Management and Set Design

The set was cleverly designed, with levels and flexible elements that supported storytelling and allowed for smooth transitions. The use of pop-art visuals gave the show a stylistic flair that was very appropriate. The projections, while visually appealing, were a little too dominant at times, both in brightness and in narrative exposition. Trusting the script and the cast more might reduce this reliance.

Stage management was well-executed, with efficient scene changes and minimal interruption to pacing. A smooth, clean technical execution supported the show throughout.

Technical – Lighting and Sound

Lighting was a mixed bag. While colour choices and moving light work were effective, a significant portion of mid stage remained underlit. Taller cast members were particularly affected, with faces in shadow, which disrupted some key moments. FOH focus may need adjustment for future productions. The disparity in colour temperature between upstage and downstage was noticeable and should be addressed.

Sound was better balanced, with cast and band sitting well together. A number of missed entrances were evident and should be a focus for future rehearsal processes. However, the overall sound design contributed positively to the storytelling.

Visual – Costumes, Hair and Make-Up

Costumes were bright, era-appropriate, and thoughtfully designed to distinguish between social groups in the narrative. The pastel vs. red/black divide was clever and visually striking. However, the overall polish was let down by a lack of ironing, creases were noticeable and slightly undermined the slickness of the visual storytelling.

Hair and make-up were strong across the board. Styles were consistent, tidy, and in keeping with the time period and the heightened tone of the production. Mona’s scar, and exaggerated lipstick was particularly well done.

Adjudicator’s Comments and Suggestions

Roscrea Musical Society’s Cry Baby was a riotous, high-energy production that embraced the show’s absurdity with flair and full-hearted commitment. The creative team led with strong vision, and the principal cast delivered memorable, often hilarious performances. With a few adjustments, particularly in integrating the chorus more fully, refining technical execution, and trusting the script’s simplicity over additional projections, this production could have achieved even greater coherence and impact.

Continued investment in ensemble training and technical fine-tuning will serve this society well in future. The passion, talent, and commitment on display are undeniable. A night of laughter, bold choices, and joyous theatricality.