Review: Carrie - UCD Musical Soc

Society name: UCD Musical Society

Show name: Carrie

Adjudicator date of attendance: 25/02/2026

UCD Musical Society’s production of Carrie was an ambitious and emotionally charged undertaking, tackling a piece that demands both psychological depth and technical precision.

At its core, this was a production rooted in strong storytelling, clear character relationships, and a genuine commitment from its performers to honour the material. The company demonstrated a clear understanding of the narrative’s emotional arc, with many moments landing with sincerity and impact, allowing the darker themes of the show to resonate effectively with the audience.

Under the direction of Fionn O’Neill, assisted by Doireann McAuley, the production was assured and thoughtfully constructed. There was a strong emphasis on storytelling throughout, with character journeys clearly mapped and relationships grounded in emotional truth. The world of the piece felt believable, and the performers were given the space and structure to fully realise their roles. The pacing was well judged, with a clear sense of momentum driving the narrative forward, and transitions between scenes were handled smoothly. It was evident that the production had been very well rehearsed, with a high level of confidence across the cast. There was also a strong sense that the material had been carefully interrogated, with clear and considered directorial choices emerging throughout.

While the conceptual vision was clear, it did not always feel fully realised in the technical and design elements on stage. A greater level of communication and collaboration between the director and the technical teams would help ensure a more cohesive and unified final product. Accent work was another area that would benefit from further attention. While some performers maintained consistency, others occasionally slipped into Irish inflections, which detracted slightly from the setting. 

Musically, under the direction of Cuan Egan with vocal direction by Áine Kinch, the production was strong and confident. The vocal work across the company was particularly impressive, with a well-supported sound and excellent ensemble blend. Harmonies were well balanced, and diction was clear, allowing the storytelling within the music to come through effectively. The front line delivered a particularly strong sound, contributing significantly to the emotional impact of the piece. The band itself appeared tight and well directed, with solid tempo choices that supported the drama. However, the overall musical experience was somewhat impacted by sound balance issues within the auditorium. The drum kit, positioned to one side, created an uneven auditory experience, with much of the sound coming directly from the band’s location rather than through the sound system. This resulted in a prominence of hi-hats and cymbals, while bass and tom elements were less present in the overall mix.

Enclosing the drum kit and working more closely with the sound department would help create a more balanced and cohesive sound. This is less a reflection on the musical direction and more an indication of the importance of strong collaboration between departments.

Choreography by Doireann McAuley was a standout element of the production. The opening number was particularly effective, immediately establishing energy, tone, and style. Movement throughout was dynamic and purposeful, clearly rooted in both character and storytelling. There was a strong alignment between the choreography and the directorial vision, resulting in a cohesive physical language on stage. The use of space was thoughtful, with well-crafted stage pictures and strong visual composition. The choreography was executed with impressive precision, reflecting a high level of rehearsal and attention to detail. There were moments where the style shifted slightly into a more jazz-influenced vocabulary, which occasionally contrasted with the stronger hip-hop style that suited the piece so well. Maintaining a more consistent movement language would strengthen the overall aesthetic, but this did little to detract from what was an accomplished and impactful choreographic contribution.

In the leading roles, there were several standout performances. Aimee O’Neill as Carrie White delivered a compelling and emotionally rich portrayal. Vocally, she was excellent, demonstrating both power and control, with a strong belt and seamless transitions into her head voice. Her emotional journey was clearly defined, moving convincingly from vulnerability to devastation, and her interactions with others were authentic and grounded.

Lia Mullan as Margaret White provided a solid and engaging performance, with a strong vocal presence that blended beautifully with Carrie’s. There is potential to push further into the extremity of the character’s religious zeal, as a greater sense of rigidity and intensity would heighten the dramatic tension. Nonetheless, this was a committed and enjoyable portrayal.

Chloe Burke as Sue Snell delivered a very assured performance, particularly in her navigation of the show’s dual timelines. Her transitions between past and present were clear and emotionally distinct, and her warm vocal tone added depth to the character. Her performance felt natural and well grounded, with strong interactions throughout.

Brianna Kelly’s Chris Hargensen was sharply defined and highly effective. Fully embracing the “mean girl” archetype, she created a character that was both formidable and believable. Her confidence and stage presence ensured that her authority within the social hierarchy was always clear, and her vocal performance was equally strong.

Julie Bowell as Ms. Gardner delivered a confident and authoritative performance, balancing care and discipline effectively. Her accent work was notably consistent, and her strong vocal control added to the overall impact of her scenes. She brought a clear sense of presence to the role, anchoring many of the school-based interactions.

Fionn McGrath as Tommy Ross gave a warm and likeable performance, with a bright and appealing vocal tone. He captured the charm of the character well, though there is an opportunity to further develop Tommy’s emotional journey, particularly in building towards his relationship with Carrie. A clearer sense of when he truly begins to see her would strengthen the emotional payoff of their key moments.

The supporting cast brought strong energy and commitment to their roles. Colm Fagan as Billy Nolan delivered a highly physical and engaging performance, fully embracing the character’s impulsive and brash nature. His energy and commitment added a sense of unpredictability to his scenes, and his interactions with others were particularly effective. Amy Van Eekeren (Norma), Sophie Byrne (Frieda), and Alanna Kane (Helen) worked cohesively as Chris’s supporting trio, clearly establishing the social dynamics at play. Their performances were consistent and well defined, adding depth to the high school environment. Dylan Anderson (Freddy), Robert Hogan (George), and Colm Nicholl (Stokes) formed a lively and convincing group, capturing the chaotic energy of teenage boys with enthusiasm. Their camaraderie felt natural, contributing to a strong sense of ensemble throughout.

The ensemble as a whole were excellent, both vocally and physically. Their harmonies were strong, diction clear, and their commitment to the performance was evident throughout. As dancers, they executed the choreography with precision and confidence, with featured dancers adding further visual interest and texture to the production.

The set design was functional and supported the staging well, making effective use of levels and entrances. The conceptual approach was clear, and the minimal use of additional elements allowed the story to remain the focus. However, the execution would benefit from greater attention to detail, as the set appeared somewhat flat and lacking in texture. Exploring more varied materials and finishes would help create a richer and more immersive visual environment.

Stage management, led by Daniel Coolahan and Rosa Liege, was generally efficient, with scene changes handled competently. There is scope to refine cueing, particularly in aligning transitions more closely with lighting states to create smoother scene changes. From a presentation perspective, adopting standard all-black attire would help maintain the visual integrity of the performance.

The technical elements of the production presented the greatest challenges. Lighting, in particular, requires significant development. The focus of the face lighting was inconsistent, resulting in uneven stage coverage and performers moving in and out of visibility. Greater attention to beam overlap would address this issue. The lack of backlighting in many scenes reduced depth and visual interest, and the colour palette was somewhat limited, relying heavily on red and open white. Expanding and refining the use of colour would enhance the overall visual storytelling. Specials were often too large and overly bright, and were not positioned accurately, while cueing was inconsistent, with several missed or mistimed cues. Additional technical rehearsal time and more precise programming would greatly improve the overall execution. There was, however, a promising use of colour and composition in the opening of Act Two, suggesting a strong potential for further development.

Sound design was serviceable but would benefit from further refinement. Missed cues and occasional microphone issues disrupted the flow at times, and the balance between soloists and ensemble needs adjustment to ensure clarity of text. The band mix, as previously noted, was uneven, and addressing this through closer collaboration between departments will be key. Enclosing the drum kit and refining sound reinforcement would help create a more cohesive auditory experience.

Visually, the costumes were generally effective, with a clear attempt to capture the 1990s aesthetic. Fit was largely good, though some garments would have benefited from ironing. Carrie’s prom dress did not fully align with the character’s established modesty, and a more appropriate design choice would strengthen this pivotal moment. Hair design was particularly strong, with excellent period detail, and make-up was effective, though it could be pushed further into the 90s aesthetic. Additional work on Margaret White’s overall look would help to better convey her age and character.

From a Front of House perspective, there were some particularly engaging and creative touches. The inclusion of a pre-show preamble delivered by the adult characters was an excellent choice, helping to establish tone and immerse the audience in the world of the play before the action began. It created a strong initial connection with the audience and is certainly something worth continuing and developing. The performance began approximately 15 minutes late, without explanation. An announcement would have helped to manage expectations and preserve the goodwill established by the pre-show experience.

Overall, this was a thoughtful and well-performed production with many notable strengths, particularly in its performances, choreography, and musical execution. The company demonstrated a clear commitment to the material and a strong work ethic, resulting in a production that was often emotionally engaging and impactful. There is a great deal of talent within this society, and with continued refinement and a focus on cohesion, their work has the potential to reach an exceptionally high standard.