Cry Baby as presented by Shannon Musical Society

Shannon Musical Society 

Cry Baby – The Musical 

Thursday 20th February 2025 

‘Cry Baby - The Musical’ is based on the cult classic John Waters movie, which starred Johnny Depp in the titular role. It is a show packed with delicious satire and irony, with a book that is sharp and witty from start to finish. I mean, who couldn't love a show with a song called ‘Girl, Can I Kiss You With Tongue?’ which earnestly declares “It's moist and it's pink, it's a muscle, I think!”?? Shannon Musical Society pulled out all the stops to present a vibrant, hugely entertaining, and hilarious romp of a production, with perfectly pitched comic delivery across a very talented, young cast. 

Front of house was an experience in itself, as we entered St. Patrick's Comprehensive School. There were fantastic displays, with a treasure trove of programmes from previously performed shows to a tongue-in-cheek polio eradication themed display and many more quirky nods to the show's material. Heck, they were only short of injecting patrons as they entered! Front of house announcements were delivered by Ethan Cassley, who played the role of Baldwin. The announcements were delivered in his character’s nerdy style, ably assisted by a nervous usherette and an hilarious box of popcorn. Yes, it was that kind of show! 

Director Tony Finnegan clearly understood the delightfully ironic tone of the book, giving us an exceptionally colourful display of campness, heart and hilariously biting satire. This was a very polished production, lampooning ‘Grease,’ ‘Romeo and Juliet,’ ‘West Side Story’ and every other forbidden love story you could possibly imagine. Mr. Finnegan knew exactly how to get the most out of his young but highly talented cast, expertly pitching the comic delivery, whilst acknowledging the show's absurdity at every turn. Over-the-top performances were perfectly in tune with this absurdity. There were so many comic highlights. Pepper's childbirth scene was side-splittingly funny if a tad disturbing. ‘Girl, Can I Kiss You With Tongue?’ was an hilarious look at the awkwardness of first-time teenage romance. There was fantastic pace throughout, with slick transitions adding greatly to the flow of the show. 

Musical Director, Carmel Griffin, balanced an eclectic mix of musical styles, ranging from rockabilly to doo-wop, to musical theatre ballads, to barbershop. Her six-piece band played well, although I did feel that, on occasion, they overpowered the cast. This was unfortunate, as much of the show's humour is contained in the very witty lyrics, which were missed from time to time. There was a lovely choral sound throughout and principal vocals were of a very high standard. There were excellent harmonies in numbers like ‘A Whole Lot Worse’ and ‘A Little Upset.’ Overall, a very good job by Ms. Griffin. 

Stephen O’Ríain, choreographer, brought the dance styles of the 1950s to life from the very cheesy opening number, ‘The Anti-Polio Picnic’, to the high-energy dance sequence of ‘Watch Your Ass’, performed with great gusto by the Drapes. Mr. O’Ríain really nailed the style required to bring this show to life. ‘All in My Head,’ with Allison and Cry Baby as bridal 

mannequins, was a very funny dance routine. The five couples, dressed and masked as Allison and Cry Baby ‘doubles,’ provided hilarious visual impact and their movement was excellent. ‘A Little Upset,’ incorporating license plates manufactured in the jailhouse, was very cleverly devised and performed. 

Eoghan Mann was a standout performer as a leather-clad Wade ‘Cry Baby’ Walker. From his very first entrance, bursting through the anti-polio sign, we knew that this was going to be a special performance. Mr. Mann was extremely charismatic in all his hip-swivelling glory. Comic timing was exceptionally sharp in what was an excellent all-round comic characterisation. Mr. Mann was able to back this up with a serious singing performance too. His hilarious ‘I'm Infected’ was a standout number in the show. His performance in ‘Girl, Can I Kiss You With Tongue?’ was comedy gold, working so well with Allison, with whom he was extremely comfortable. 

Julita Fox played the role of Allison with a very heartfelt and humorous touch. It was an extremely quirky characterisation, as we saw how torn she was between the stifling conformity of the Squares and her longing to be a bad girl like the Drapes. Ms. Fox had a wonderful voice, with a superbly impressive range. ‘I'm Infected’ was a brilliantly performed, exceptionally funny number and her ‘Nobody Gets Me (reprise)’ was excellent, vocally, and comedically. But her standout number, ‘Misery, Agony, Hopelessness, Heartache and Woe,’ brought the house down with its exceptional delivery and innate comic understanding. 

Ethan Cassley was delightfully nerdy and a preppy kind of villain as Baldwin, the squeaky clean (or was he?!) leader of the Whiffles. This was an excellent performance by Mr. Cassley, who led from the front, with great confidence, exceptional presence, and considerable comic flair, in what was a superb all-round portrayal. A very talented singer, with superb tone and range, Mr. Cassley was excellent as part of the Whiffle quartet and also shone during his wonderful solo moments. 

The remaining three Whiffles, were played by Feidhlim Cotter, James Cullinan and Shane O'Donnell. Make note of their names because this trio of exceptionally talented teenagers will be doing great things on musical stages for many years to come. Alongside Mr. Cassley, they were a hilariously smarmy, clean-cut group. Singing was excellent with fabulous harmonies which were so impressive for boys of their age. 

Shauna Byrne enjoyed every moment in her role as the unhinged stalker Lenora, consumed with obsessive desire and unhealthy infatuation for Cry Baby. Another exceptionally talented teen, her kooky, often maniacal characterisation and her wonderful comic timing made this a standout role. The hilarious ‘Screw Loose,’ in which she declared the craziness of her 

misguided love, was a show-stopping number with outstanding vocals, incredible control, and a wonderful upper register full of character. 

Jamie Callanan was very funny and highly energetic in a brilliantly judged portrayal as Dupree, Cry Baby’s best friend and confidante. His ‘Jukebox Jamboree’ and ‘Jailhouse Jamboree’ were superb vocally and he was a fantastic all-round performer – a real triple threat. Comic timing was very strong and Mr. Callanan had excellent stage presence. A most impressive performance. 

Clare McNelis showcased some impeccable comic timing as Mrs. Cordelia Vernon-Williams, Allison’s ultra-conservative, over-protective grandmother. This was a fabulous performance 

with excellent understanding of text, very natural delivery, and exceptional comic timing. Her fabulous ‘I Did Something Wrong…Once’ was a comic highlight of the show, as she skilfully went from admitting a minor falsehood to confessing to a full-on criminal offence. 

The wonderfully bonkers trio of Wanda Woodward, Pepper Walker, and Mona ‘Hatchet-Face’ Malnorowski was played by Lauren Barrett, Sally Fox, and Leanne Murphy respectively. Ms. Barrett had excellent stage presence, a wonderful voice and exceptionally good stagecraft. Her comic timing was very sharp too. Ms Fox delivered one of the funniest performances of the night as the rebellious, pregnant teen, declaring that she was drinking for two and asking what she would tell all the possible fathers. Ms Murphy was terrific with her hilarious facial expressions and one of the funniest, most irreverent lines in the show, “Upper class? Up her ass!.” In spite of her surgically enhanced transformation, she was quick to remind us at the end that she was still ugly on the inside. This trio was an exceptional group of comediennes, singers, and performers. Their harmonies and solo singing in ‘A Whole Lot Worse’ were superbly performed. Excellent work by all. 

Alex Toth played the aptly named Judge Ignatius Stone, who, fittingly, presided over the arson case. Mr. Toth was a fine actor with a nice comic touch, who brought gravitas and maturity to the role. 

There was a wonderful ensemble in this show, split between the rebellious Drapes and the straight-laced Squares. Everyone played their role to perfection with huge energy. ‘Baby Baby Baby Baby Baby’ was wonderful with its high energy levels and commitment from all. ‘You Can't Beat the System’ was superb in its precise movement and excellent vocals. Vocals were very strong with excellent harmony work throughout. 

The set was quite abstract, consisting of large boxes which were moved around into various configurations. There was an amazing visual element in the exquisite detail of the models which were displayed around the set, representing the show’s myriad locations. As we transitioned to a new location, its corresponding model was lit separately. It was a brilliantly original take, even if the onstage settings could have done with a little lift at times. The upper balcony on stage right allowed for some nice staging opportunities too. Excellent work all round. 

Stage management under the guidance of Brian Dowling was very strong with cast and crew moving boxes around to create the various locations. A small point was that I felt that having established the cast moving the boxes early in the show, perhaps it might have been an idea to costume the crew as well, as they were often quite conspicuous walking on in their blacks. All of that said, stage management was very slick overall. 

The lighting plot for this show was simple but effective. I loved the clever silhouettes of cast as they received their polio shots behind the screens. Gobos in the prison scene worked very well and Cordelia was nicely backlit at the end of ‘I Did Something Wrong…Once.’ Overall, I felt that this abstract set required more attention to detail in the lighting plot to really bring it up. 

Sound was generally good throughout the show. Although I did feel that the band was too loud in places which took away from the very funny lyrics which were occasionally drowned out in numbers with heavier orchestration. Dialogue was clear and warm and no cues were missed. Sound effects were all very appropriate and well-timed. 

There was very good attention to detail in the props plot, with some quirky touches along the way. I loved the air raid alarm system (in stereo, no less!) and obligatory gas masks. Shackles in the courtroom scene looked well and the license plates in the prison scene were very authentic. The hospital gurney used for Pepper’s childbirth sequence was perfect and the iron lung, (not something I've seen on a props list before!), looked fantastic. 

There was great attention to detail for hair and makeup with great authenticity in the period appropriate hairstyles. Cordelia's perfectly set red hair, in particular, was very well presented, as was the slicked back hair for gentlemen. Hatchet-Face’s make up was suitably bizarre, adding greatly to the visual humour 

There was a superbly cartoonish costume plot which was very appropriate to the 1950s era. A huge amount of work had gone into costumes in this show with incredible detail in evidence. Overall, there was great attention to detail all through the show from Cry Baby's red leather jacket to Allison's pastel dresses and Cordelia's costumes were perfectly in keeping with her conservative, 1950s look. The Whiffles’ outfits, in particular, were outstanding. 

This was a production full of fun and comedy, with a superb young cast guided by a production team who knew exactly where to pitch the show’s rambunctious, in-your-face humour. Good comedy is hard to pull off properly. Shannon MS got it just right with their thoroughly entertaining, side-splittingly funny production. It was one to be very proud of. 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photos by Jim Rocks