Review: Annie - SONG

Public Adjudication

Society name: SONG

Show name: Annie

Date of attendance: 23^rd November 2025

There is something in the water in and around Dundalk and that ‘something’ could be seen in abundance on the Táin Arts Centre stage as a most appreciative audience watched in awe whilst an incredibly talented group of young performers sang, danced and acted up a storm in SONG’s production of ‘Annie’. It was a production full of confidence and heart, which radiated a warmth which was balanced with meticulous preparation. Exceptionally good vision and leadership was in evidence at every turn and there was a remarkable level of commitment from everyone on stage, particularly the younger cast members. The result was an exceptionally well-performed show which was entertaining and heartwarming from start to finish. There was always a focus on telling the story clearly and intelligently. The production team knew the material and knew how to get the very best out of the talented cast.

The foyer of the Táin Arts Centre was busy but never chaotic, creating an atmosphere of excitement and anticipation from the outset. There was a most welcoming atmosphere and a very palpable positive energy as the audience arrived. The display of photographs of red and white kids’ troupes was a nice touch, giving the talented youngsters deserved recognition before the show even began. Programmes and raffle tickets were in high demand, adding to the buzz in the foyer. Things appeared to run very smoothly, thanks to the efficiency of the volunteers.

Terese Dunne and Moya Hodgers direction was a real strength of the production. Direction was clear and confident throughout. Storytelling was always front and centre and there was great attention to the narrative detail. ‘Annie’ can be deceptively difficult to stage, due to its episodic structure. However, both directors ensured that the story unfolded with great clarity and momentum, never allowing things to become disjointed. The direction work with the younger members of cast was exceptional. The orphans were consistently focused and engaged in every scene. Comedy was played cleanly and was never forced. There was great sensitivity in more emotional scenes, without ever resorting to sentimentality. Excellent work from two directors who knew the material, the tone and how to harness the superb talent at their disposal.

Patrick Dunne’s musical direction was strong throughout, with the vocal standard of the cast standing out as a major achievement. The children, in particular, sang exceptionally well thanks to great work from Mr. Dunne. The ensemble was full and impressively balanced, producing a really strong sound in their numbers. Mr. Dunne led a three-piece band supported by tracks. While this was clearly a practical decision, it was the one area where the musical presentation felt slightly constrained. Underscoring was handled with good care and it was refreshing to see an MD who was sensitive to this crucial performance element. Tempos were well-judged, if occasionally restricted a little by using tracks. Overall, the musical direction was secure and supportive, allowing cast to perform with confidence throughout.

There were no less than four choreographers working behind the scenes on this production. The choreography, created by Sarah Dunne, EJ Dunne, Tara Gill and Terese Dunne, was exceptional and contributed enormously to the show’s success. Routines were dynamic and very well-rehearsed. Larger ensemble numbers were very clean, with great synchronicity and excellent performance levels. ‘It’s the Hard Knock Life’ was a standout moment, right at the top of the show. The energetic movement captured the orphans’ frustrations and resilience in what was a brilliantly performed number which set the bar very high at the top of the show. The Hooverville sequence was equally effective, with the excellent ensemble conveying hardship and solidarity through a very sharply moved routine. ‘NYC’ was vibrant and full of life, with strong pictures and clear focus points. ‘Never Fully Dressed Without a Smile’, performed by the orphans, was the highlight of the performance, bar none. It was joyful and confident, delivered with exceptional polish and performance levels that would give most of us a good dose of impostor syndrome. Outstanding work from all.

Tess Kierans gave an outstanding performance as Annie and was, without a doubt, the centre of this production. From her first appearance, she held the stage with confidence and ease, projecting warmth and sincerity in what was an exceptionally clever performance for one so young. Vocally, Tess sang with confidence and clarity, handling the score comfortably and with strong emotional connection. Dramatically, she listened well, reacted honestly and was always in tune with the narrative as it unfolded around her. A wonderful portrayal which showcased Tess’s talents perfectly. Sources tell me that Liadan Corry’s performances during the week had been equally impressive. 

Tony Markey gave a strong and dignified performance as Daddy Warbucks. His portrayal avoided caricature, instead presenting Warbucks as a controlled, private man whose emotional development unfolded gradually, giving us glimpses of vulnerability and emotional softness as the story progressed. Mr. Markey’s acting was confident and measured. He was strong vocally. ‘Something Missing’ was sung with a full, warm tone and infused with heartfelt emotional intent. He worked very well with Tess but I did feel that a deeper emotional connection could have been explored. All of that said, this was a very impressive portrayal all round from a very skilled actor.

Fiona Mullen was excellent as Grace Farrell, bringing much warmth and elegance to the role. Grace is the emotional bridge between Annie and Warbucks and Ms. Mullen played this with sensitivity and intelligence. Her characterisation was caring and engaged throughout and she was always involved, whether she was merely observing or the audience’s direct focus. Vocally, she was a strong and confident singer. Her musical numbers were delivered with polish and control and this was particularly true in ‘I Think I’m Gonna Like It Here’. Her impressive soprano contributed significantly to the show. Ms. Mullen’s interactions with Annie were particularly warm, establishing trust and affection in a way that felt very natural. 

Lucie Lynch delivered a very funny and well-controlled Miss Hannigan. Her performance balanced strong comic business with dramatic intent, ensuring that her character was always entertaining without ever overplaying, which can undermine a comedic role so easily. Timing was sharp throughout, and comic moments landed cleanly. ‘Little Girls’ was a standout comedy moment of the show, performed with confidence, clear characterisation and impressive vocal control. Dialogue was energetic and clear and Ms. Lynch was very in tune with the narrative. A super portrayal which contributed greatly to the overall success of the show.

EJ Dunne brought huge energy and presence to the role of Rooster. He was an excellent singer and a particularly strong dancer, using physicality to give the character swagger and confidence. Rooster needs to be played with both charm and ‘divilment’. Mr. Dunne delivered both very convincingly, giving us an antagonist that was both despicable and likable in equal measure. This was a performance that showcased enormous potential for the future. Mr. Dunne’s technical skill and his instinctive style augurs very well for future roles. A superb interpretation all round.

Freya Walsh’s portrayal of Lily was very well characterised and very comically effective. The high-pitched vocal delivery worked well for the role, giving Lily a comic identity that stood out every time we saw her. Timing was always excellent and her expressive reactions were very funny indeed. Vocally, Ms. Walsh did very well in the brilliant ‘Easy Street’, which also showcased her excellent movement skills. Overall, a very intelligent, funny performance.

James Brennan gave a poised and assured performance as Drake. His delivery was clean and confident, and his resonant voice added to his quietly authoritative air in the mansion scenes. Mr. Brennan fulfilled this role with ease, in what was a strong, reliable performance with great credibility.

Tony Dolan impressed as Bert Healy with a very good vocal performance. His singing was perfectly suited and appropriate to the required showmanship of the role. His performance style suited the character well, capturing the sense of a media personality without becoming exaggerated. It was a polished performance that supported the overall energy of the show.

The adult ensemble work throughout the production was of a very high standard. The Hooverville sequence was particularly effective, both visually and vocally. The ensemble sang superbly in this number, creating a strong sense of hardship and community. Movement was excellent and the ensemble was clearly on the same page as the production team in terms of the show’s overall vision.  The city scenes were lively and energetic, supported by strong choreography and lighting. The ensemble brought character and variety to all of their moments on stage, adding great clarity, life and pace to the show overall. The Red Troupe of orphans, were outstanding from start to finish. Their performance levels were exceptionally high in their acting, singing and movement. They were always focused and engaged throughout, even in quieter moments. Their ensemble sound was exceptionally strong. Singing was confident, well balanced and full of energy. Numbers such as ‘It’s the Hard Knock Life’ and ‘Never Fully Dressed Without a Smile’ were exceptionally well performed by all. The energy, confidence and commitment of the orphans lifted the entire production and there really aren’t enough superlatives to describe the standard of their work. 

The set was practical and flexible, supporting the fast pace and frequent scene changes required by the show. The design allowed the production to move smoothly between the orphanage, Warbucks’ mansion, Hooverville, New York City and the political scenes without interrupting the flow of the story. The stage never felt cluttered, and there was always enough space for movement, choreography and clear sightlines. The use of projections on the upstage screen was key to the design concept, allowing for changes in location and mood very quickly, without having to overly rely on large, physical set changes. Projections were excellent, adding so much texture and realism to the various settings. With the addition of just beds or a desk, locations were allowed to change fluidly, maintaining excellent momentum throughout.  

Stage management by Moya Hodgers was excellent and played an important role in the success of the production. The show ran smoothly and confidently, indicating strong organisation and clear communication backstage, which must have been a very busy environment, with so many performers involved. Scene changes were efficient and well timed, ensuring that the pace of the show was never disrupted. Transitions between locations were handled very well. 

Lighting was one of the most impressive technical aspects of the production, both in design and execution. The lighting designer showed a clear understanding of the story and knew exactly how to use colour, intensity and movement to tell this story. Cueing was sharp and precise throughout. Lighting changes were well timed to musical and choreographic moments, adding wonderful energy and clarity to the staging. The use of haze was particularly effective, giving depth and texture to the lighting  and enhancing the show’s overall theatricality. 

Sound was of a very high standard throughout the production and added much to the show’s polished feel. Balance across principals, ensemble and orchestra was well judged, allowing lyrics to be clearly heard at all times. This was especially important in a show with a large number of children, where amplification can easily become challenging if not carefully controlled. The orphans’ singing was particularly impressive. Their sound was full, confident and well blended. 

Props were used with great care and attention to detail, adding authenticity to the production. The use of mops, buckets and rags in ‘Hard Knock Life’ was particularly effective. These items were fully integrated into the choreography, requiring careful coordination between performers, choreographers and stage management. Other props were equally well chosen. The laundry basket, Miss Hannigan’s antique radio, wooden tennis racquets and the Mona Lisa all contributed to a clear sense of time and place. This kind of detail helped to reinforce the contrast between Annie’s orphanage life and the wealth of Warbucks’ world. 

Costume design was excellent across the production and played a key role in defining character and social contrast. The orphans’ costumes were a carefully judged mish-mash of dresses, suggesting poverty and wear while still allowing each child a sense of individuality. This balance was handled with skill, ensuring that the group looked coherent without appearing uniform. The adult characters were equally well dressed. Staff at Warbucks’ mansion were dressed with formality, reinforcing the contrast with the orphanage and Hooverville scenes. Annie’s red coat was beautiful and suggested a transformational moment. Overall an excellent costume plot which contributed greatly to the visual impact of the show.

Hair and make-up were also of a very high standard. Annie’s wig was particularly effective, sitting naturally and supporting the performance rather than drawing attention to itself. Across the cast, styling was consistent and appropriate, contributing to a very polished overall visual.

This was a top-tier production of ‘Annie’ from start to finish. Clear, confident direction, strong musical direction, exceptional choreography and high-quality technical presentation, combined to create a superbly paced, funny and often emotional

presentation. Extraordinary work from the children and a very strong ensemble, added significantly to the show’s polished feel. It was a show full of heart and optimism. And I certainly appreciated its warm message. Thank you all for such a superb production.

Pat McElwain

Sullivan Adjudicator 2025/2026