Review: Carrie the musical - UCC Musical Theatre Society

Society name: UCC Musical Theatre Society

Show name: Carrie the Musical

Date of attendance: 4^th April 2026 

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‘Carrie the Musical’ has had quite the unusual history. When it first opened on Broadway in 1988, it closed very quickly and became known as a bit of a disaster at the time. But over the years, the show has been reworked and has found a new life, especially with student and youth groups. In its revised form, it connects much more clearly, with themes like isolation, bullying, identity and the need to belong coming to the fore. It’s easy to see why it has become such a popular choice for younger performers. UCC Musical Theatre Society’s production, performed in the Smurfit Theatre at Dance Cork Firkin Crane, felt very much in line with that. There’s something very natural about a student cast taking on ‘Carrie’. Friendships, pressures, feeling like you don’t fit in, are all things that resonate strongly at that stage of life. This gave the production a sense of honesty that really helped it to connect.

Front of house was a very positive experience. We were very well looked after from the moment we arrived, with a friendly and welcoming liaison person on hand, which always makes a difference. A particularly nice touch was the interactive element before the show, where audience members were invited to vote for the prom king and queen from a selection of headshots. The results were then announced at the interval. It was a simple idea, but a really effective one.

James O’Connor directed, with Róisín O’Callaghan as assistant director, and there was a lot to admire in how the piece was put together. There was a strong sense of movement throughout, with the cast used well to create some really striking stage pictures. The slow-motion sequences and ensemble freezes were particularly effective, creating some bold visual pictures during key moments. The flow of the show was well handled too. Furniture was often struck by the cast as part of the action, which kept things moving nicely and avoided interruption. The final scene between Carrie and Margaret was especially strong. It was unsettling, intense and didn’t hold back. It felt genuinely disturbing and left a real impact. There were times where background action could have been pulled back slightly. The ensemble were clearly very committed and full of energy but at times drew focus away from where the audience’s attention was meant to be. Overall though, this was very strong direction, especially given the demands of the piece. ‘

Emmeline Turley took on the role of musical director, working closely with conductor Alice Murray. Together they got a huge amount from a student band that was clearly very capable. The group, made up of drums, bass, two keyboards, two guitars and cello, played with confidence throughout and gave the show a very strong musical foundation. There were just some minor feedback issues with the bass at times which caused distraction. It wasn’t constant but it did stand out when it happened. Choral singing was excellent across the board. There were also some lovely musical touches throughout. The guitar underscoring leading into ‘You Shine’ was especially effective. Overall, this was very strong work musically, with a clear sense of care and attention from everyone involved.

Michael Healy was choreographer, assisted by Ava Gough and their work was a real highlight of the production. From the opening number, the tone was set clearly. It felt raw, full of energy, and rooted in that sense of teenage frustration and angst that runs through the piece. The movement had real bite to it and it was performed with great accuracy and commitment. ‘The World According to Chris’ stood out as a particularly strong number, tightly choreographed and full of attitude. ‘A Night We’ll Never Forget’ captured the excitement and anticipation of the prom beautifully. It had great energy, a real sense of build, and some impressive athleticism from the cast, all leading into a very effective final photo pose. Overall, choreography added hugely to the overall impact of the show.

Ciara Walsh Kilkenny took on the role of Carrie, the isolated and troubled teenager at the centre of the story and delivered a really impressive performance. She captured that sense of a young girl completely at odds with the world around her, a real tortured soul. There was a lovely honesty to her work. She showed a wide emotional range throughout the night, moving convincingly from vulnerability and confusion to moments of real strength. Vocally, she was excellent. ‘And Eve Was Weak’, her duet with Margaret, was particularly powerful, full of intensity and control, while ‘Why Not Me?’ was another standout, filled with raw emotion. Excellent work from a very talented performer and a central performance that held the production together.

Sofia Tinné gave a very mature and assured performance as Margaret, Carrie’s deeply troubled mother. It was a strong portrayal of a woman completely blind to her daughter’s needs, driven by a rigid and extreme belief system. From the outset, there was a sense of control and authority about her but also something far more unstable simmering underneath. Vocally, she was very impressive. ‘And Eve Was Weak’, her duet with Carrie, was a real standout, intense, unsettling and at times almost unhinged, as she grappled with the reality of Carrie becoming a woman. It gave a clear glimpse into her fractured state of mind. There were some very dark moments in her performance, none more so than the physical violence towards Carrie. This was a very powerful portrayal, very unsettling and fully committed to from start to finish. 

Zoe Gibson was another standout performer in the role of Sue Snell, a character who plays a key role in guiding us through the story. From her first appearance being interrogated by police, there was a visible sense of guilt and pain etched on her face. She looked like someone deeply affected by what had happened. She was a very strong actress throughout. We saw her inner conflict clearly, as she struggled between wanting to fit in with her peers and her growing sense that something isn’t right. Vocally, she was excellent. ‘Once You See’ was a real highlight, thoughtful, controlled and beautifully delivered. A very accomplished performance overall which was well judged, emotionally aware, and consistently strong throughout.

Éanna Marren gave a really lovely performance as Tommy Ross. There was a sincerity to the portrayal that made the character feel completely genuine. Mr Marren gave us a real, thoughtful young man simply trying to do the right thing. His kindness towards Carrie felt so natural, which made their interactions all the more believable. You could clearly see his growing understanding of her, and the development of that connection was handled very nicely. His singing was also very impressive. ‘Dreamer in Disguise’ was beautifully delivered, with a warmth and ease that really suited the character. ‘You Shine’, his duet with Sue, was another standout moment, full of sincerity.

Ellen Jacob was very impressive in the role of Chris, delivering a performance full of attitude and sharp, cutting energy. She set the tone for the group and expected others to follow suit. Her portrayal captured her own idea that it was “better to whip than to be whipped”. A very skilled actress, Ms Jacob was always in control, always a step ahead. There was a strong sense of scheming running through the performance, particularly in how she manipulated those around her and pushed events in a darker direction. She also brought great energy to the role. In ‘The World According to Chris’, she drove the number with great confidence. 

Oisín Smith took on the role of Billy Nolan, Chris’s boyfriend and partner in crime, and delivered a strong and convincing performance. Mr Smith maintained a dark presence within the group. There was an edge to the performance that made him feel genuinely intimidating. He played the role with a sense of quiet menace, particularly in the lead-up to the prom. He carried himself with a confidence that suited the character and the dangerous dynamic between himself and Chris was so well played. 

Ciara O’Brien was excellent as Ms. Gardner, the teacher who shows genuine kindness and care towards Carrie. In a story where so much of what we see is harsh and unforgiving, her presence brought a real sense of warmth and humanity. She was a very strong actress and that came through in the quiet, supportive way she interacted with Carrie throughout. ‘Unsuspecting Hearts’ was a standout musical moment. She had a stunning voice and told the story through the song beautifully. There was a real connection to the lyrics and she delivered the number with excellent control. 

Seán Casey brought a lovely lightness to the role of Mr. Stevens, playing him with a gentle comic touch that was so well suited to the role. As the slightly awkward, nerdy teacher, he provided some welcome moments of humour amidst the trauma. He had strong stage presence and made the most of every appearance. The comedy felt natural, adding some balance to some of the darker elements of the show.

There was great strength right across the ensemble, with a number of performers making strong individual contributions while still working well within the group. Jessica Moloney stood out as Norma, bringing great presence to the role. Her flirtation with Mr. Stevens was particularly funny and full of character. There was also solid work from Amy Wallace as Frieda, Emma Coakley as Helen, Cian Sprague as George, Colm Gleeson as Freddy and Mikey Lane as Stokes. Each played their part in contributing to the wonderful energy on stage. The wider ensemble was particularly strong throughout. Choreography was tight and precise and the performance levels were excellent. The female ensemble fully embraced the ‘mean girls’ dynamic, led by Chris, and that mob mentality came across very clearly. Vocally, the group was very strong, with a lovely choral sound. There was also some very effective background work at the prom, helping to build the atmosphere of the scene. At times, however, the movement became a little too busy and more control would have helped to keep the focus where it needed to be. The epilogue was a real highlight, with a stunning choral sound that brought the show to a powerful conclusion.

Stage managers Conor Walsh and Katie Cashman ran a very tight ship, ensuring the show moved along at a strong and steady pace. With minimal set changes and much of the movement of furniture and smaller pieces handled by the cast, there was a real sense of flow throughout. Everything felt well organised and coordinated, with transitions handled smoothly and without fuss. 

The set design was simple but effective, making good use of the space without overcomplicating things. The brick-style backdrop gave a slightly cold, urban feel, which suited the show well. The use of furniture such as benches, tables and the sofa, helped to establish setting when needed, without slowing the pace. The upstage platforms were a particularly useful feature. They added levels to the stage, creating more interesting stage pictures and giving opportunities to separate action when needed. It was a thoughtful and practical design. It may have been quite minimal but it served the production well and allowed the performances and atmosphere to take centre stage.

Lighting did some very strong work in creating the mood throughout. In a show like ‘Carrie’, where emotions run high and the tone can shift quickly, that support is so important. Even before the action began, the red wash on the front of house tabs was a nice touch, subtly foreshadowing what was to come. There was excellent use of side lighting throughout, which, combined with generous use of haze, created an eerie, almost otherworldly feel at times. The snap cues into Sue’s interrogation sequences were well timed with sound effects, while slower fades into some blackouts allowed emotional moments to land properly without feeling rushed. 

For the most part, sound was handled well. There was a good balance within the band, with certain instruments brought forward when needed and a nice overall blend between pit and stage. Mic levels were generally well set, allowing vocals to come through clearly without being overwhelmed. The ensemble sound in the bigger choral moments was particularly strong, with a well-balanced overall sound. Sound effects were also used effectively. There were, however, some issues in the first half, with the bass guitar which produced a noticeable feedback that cut through the mix at times. It wasn’t constant but it did become distracting when it occurred. This settled as the show went on and it was much less of an issue in the second act. Apart from that minor issue, this was solid work, with very good balance and control across most elements. 

Costumes were well thought out overall and helped to define characters clearly. There was a strong sense of the school environment, with a fairly natural, everyday look for the students that felt appropriate. Carrie’s more conservative dress sense stood out in contrast to those around her, which worked very well in highlighting her isolation and difference. Chris’s Guns N’ Roses t-shirt was a nice touch, giving her an added edge and reinforcing her rebellious, dominant personality within the group. The prom sequence looked particularly strong, with dresses and suits creating a clear shift in tone and helping to mark that moment as something special within the story. At times, some of the darker costumes were slightly lost against the black background, particularly in lower lighting. Good work from the costume department overall, with clear thought given to character and setting, and some nice touches throughout.

Props were handled well throughout. It’s not a show that relies heavily on them, but what was used felt appropriate. The radio, for example, was a nice, authentic touch and the prominently displayed picture of Jesus was a clear nod to Margaret’s obsessive beliefs, helping to reinforce her character. There was just one small moment where an ensemble member ‘poured’ from a bottle that still had the cork in it. It was nothing major but this is the kind of detail that stands out when everything else is so good. 

Hair and makeup appeared to be in very good hands throughout. From what could be seen, everything was clean, consistent, and appropriate to the show. There was a clear contrast between characters where needed. Carrie’s more natural, understated look contrasted well against the more styled appearance of the other girls and that helped support the storytelling. Nothing jarred or felt out of place, which is always a good sign. 

‘Carrie’ is not an easy show to stage and it is certainly not the kind of piece you’d expect to see in a local church hall. It demands a lot, emotionally, technically, and stylistically and that’s exactly what made it so refreshing to see a student society embrace it so fully. There was a real sense of ambition running through the entire production. From the strength of the central performances to the energy of the ensemble, from the thoughtful direction to the atmosphere created through lighting and design, it was clear that this was a group willing to take risks and push themselves and that in itself is something to be celebrated. It is always encouraging to see student productions going where others might hesitate to go and this was a perfect example of that. A very strong piece of work from UCC Musical Theatre Society and a most thought-provoking night at the theatre.

Pat McElwain

Sullivan Adjudicator 2025/2026