Review: Charlie and the Chocolate Factory - Claremorris Musical Society

Society name: Claremorris Musical Society

Show name: Charlie and the Chocolate Factory

Date of attendance: 31^st January 2026

There are very few pieces of music that can transport me back to my childhood in the same way that the opening notes of ‘Pure Imagination’ do. Every time I hear those unmistakable strains, something deep and nostalgic is stirred within me as I recall the anticipation of my siblings and I waiting for our favourite film to come on our rented television set, many moons ago. And so, making my way to Claremorris Musical Society’s production of ‘Charlie and the Chocolate Factory’, I was so excited to see how this story would unfold on stage. My excitement was rewarded with a most vibrant, often exhilarating piece of theatre. It would have been easy, perhaps, to dismiss Roald Dahl’s beloved tale as lightweight entertainment with little substance beneath the surface. But nothing could have been further from the truth. Claremorris Musical Society invited its audience to suspend cynicism and to embrace ‘pure imagination’. The result was a truly memorable theatrical experience.

From the moment we arrived in Claremorris Town Hall Theatre, the front of house experience was warm and genuinely welcoming. The tone was set by colourful décor that reflected the vibrant look of the show itself. Bright colours and playful touches created an atmosphere of anticipation, suggesting that something magical awaited us. There was a notable buzz in the foyer, with a large number of children present. The front of house crew was exceptionally friendly and efficient, managing the lively crowd with ease and warmth. 

Donna Ruane’s direction was excellent throughout. Her vision was clear and she had a real understanding for the spectacle required and, importantly, the heart of the show. Her work with the children, in particular, was outstanding, as they each delivered exceptionally clever performances. Her work with the ensemble was equally impressive. Pace was slick throughout, with scenes flowing seamlessly into one another, ensuring that the story’s momentum was always the priority. Comedy was handled extremely well. Lovely directorial touches raised the bar throughout. Charlie throwing his letter into the audience as a paper aeroplane was delightfully theatrical. The image of Willy Wonka placing the top hat on Charlie’s head was beautifully symbolic, a simple yet powerful gesture that bookended Charlie’s magical journey. 

Deirdre Lee did a superb job as musical director, conducting eight very talented musicians from her keyboard with great assurance and precision. The orchestra produced an excellent sound throughout, at times creating an almost cinematic soundscape that complemented the storytelling perfectly. The balance between pit and stage was carefully managed, never overwhelming the performers. Principal vocals were consistently strong. The children’s singing was particularly impressive, with every younger member of the cast singing with remarkable confidence and musicality. Ensemble vocals were excellent, exactly as one would expect from a musical director with such extensive choral experience. ‘The Candy Man’ set a high bar, with a gorgeous, full-bodied sound that drew us in from the very start. The decision to have the full company reprise ‘Pure Imagination’ after the bows proved to be the perfect musical conclusion. It was sung with such warmth and was so chorally impressive, that we left on a tidal wave of nostalgia.

The very talented Jay Molyneux devised choreography that was clever, engaging and perfectly tailored to the abilities of his cast. Preparation, creativity and careful rehearsal were evident throughout, ensuring that routines were confidently executed whilst always supporting and driving the narrative. ‘The Candy Man’ was a lovely opening number, with choreography that was simple in structure yet sharp and highly effective in execution. ‘The Queen of Pop’ was brilliantly moved, with the Beauregardes and the fabulous troupe of dancers performing a number bursting with personality and flair. The celebratory excitement of ‘I’ve Got a Golden Ticket/Grandpa Joe’ radiated pure joy and ‘It Must Be Believed to Be Seen’ stood out as a very strong ensemble piece. 

Niall Conway gave a standout performance in the iconic role of Willy Wonka. Mr. Conway’s portrayal was eccentric, intelligent and very funny indeed. From his very first appearance, there was a glint in his eye and an unmistakable undercurrent of mayhem. His comic timing was wonderful, never overplayed. His dual portrayal as both eccentric chocolatier and sweet shop owner was cleverly differentiated. Vocally, Mr. Conway brought a fine baritone voice to the role which was warm, resonant and wonderfully expressive. His interactions with Charlie were beautifully pitched. A memorable portrayal which captured the complexity and fun of Dahl’s iconic character with great nuance and charisma.

David Alexander turned in a superb performance as Grandpa Joe, creating a character that was warm, believable and very funny. He embodied the frailty of a man who had been confined to bed for decades. His physicality was excellent. Every small movement had thought behind it and Mr. Alexander, not an elderly man himself by any means, was entirely believable as the aging grandfather. His gradual move from doddery infirmity to celebratory glee was brilliantly judged. His connection with Charlie was heartfelt and sincere. There was genuine warmth and affection in his performance, and the bond between the two felt so authentic. 

Ronan Egan as Grandpa George, Mairéad McDonnell as Grandma Josephine and Josie Gallagher as Grandma Georgina were a wonderfully cast trio as Charlie’s other three bedbound grandparents. The strength in depth of this cast was highlighted by these three performers who brought great individuality and comic intelligence to what could easily have been throwaway characters. Confined physically to the bed in the loft of the Bucket household, they nevertheless created a dynamic and highly entertaining presence whenever they appeared. 

Mary Dempsey’s performance as Mrs. Bucket was, for me, a highlight of the show. Ms. Dempsey radiated a natural sincerity that made every moment utterly believable. Her maternal instinct was palpable, with every glance towards Charlie, every protective gesture showing a depth of feeling that was never exaggerated. In ‘If Your Father Were Here’, she delivered one of the most heartfelt moments of the evening. It was sung with longing for her absent husband, for a better life, and for Charlie’s happiness. Vocally, she had a beautifully expressive singing voice. Her delight when Charlie found the Golden Ticket was heartwarming. A most memorable portrayal.

Nicole Scott was hilarious as Mrs. Gloop, enjoying every moment of outrageousness whilst keeping control of the comedy at all times. She commanded attention with her very funny physical choices and wonderfully exaggerated presence. She understood the tone and style required and leaned into it with confidence, with a larger than life, hilarious portrayal. Ms. Scott’s facial expressions were a masterclass in comic characterisation and she milked each comedy moment without ever overcooking things.

Vivienne Lee gave a highly entertaining performance as Mrs. Teavee, fully embracing the frazzled intensity of a mother at the end of her tether. It came as no surprise that she was frequently swigging from her hipflask. Each discreet (and sometimes not so discreet) sip spoke volumes about her coping mechanisms! Ms. Lee’s interactions with Mike were a believable mix of frustration and denial. Her wonderful comic timing and expressive reactions were so sharp. 

Paul Singleton’s incredibly elastic physicality in the role of Mr. Beauregarde was hilarious. It was clear from the outset that his body was going to be as expressive as any line of dialogue. He didn’t so much walk as slink and slide across the stage, his limbs seemingly made of rubber, bending and stretching with gloriously exaggerated control. Mr. Singleton was particularly brilliant in ‘The Queen of Pop’. What an amazing mover he proved to be in this number. His sharpness, rhythm and style was superb throughout. 

Joff Manning cut an imposing figure as the Russian Mr. Salt, bringing a commanding stage presence to the role. He was every inch the self-made magnate, accustomed to getting his own way. His Russian accent was wonderfully sustained and added both colour and comedy to the character. Vocally, he impressed greatly in ‘When Veruca Says’. It was an excellent portrayal overall, confidently delivered with superb presence and control throughout.

Rose Murphy and Ailbhe Gallagher were an hilarious duo as roving reporters Cherry Sundae and Geri Jubilee, injecting sharp bursts of comedy every time they appeared. Their gleeful sensationalism and animated delivery gave us a perfectly pitched parody of media hysteria. To have two such skilled comediennes in these roles underlined the remarkable strength in depth of this cast. 

Another standout performance came from Hazel McGlynn in her delightful portrayal of Mrs. Green, the mouldy vegetable peddler whose entrepreneurial instincts kicked into overdrive during the chocolate ‘boom’. Though very much a cameo role, it was played with such flair that it became one of the most memorable character turns of the evening. It was the work of a skilled actress, proving that, in the right hands, even the briefest appearances can leave a lasting impression.

Perhaps the most remarkable aspect of this production was the extraordinary calibre of the children who were cast in principal roles. At the centre of it all stood Ryan McDonnell as Charlie Bucket, delivering an exceptional performance that held the show together. What a talented young man he proved to be. He brought sincerity, warmth and emotional intelligence to the role, capturing Charlie’s optimism and resilience so well. Musically, Ryan was very impressive. He had a beautiful singing voice with great expression and control. In ‘Willy Wonka! Willy Wonka!’ he shone as he expertly guided us through Wonka’s origin story with confidence beyond his years. Ryan also had a lovely comic touch, handling lighter moments with impressive timing.  

Ódhran Morley Manning delivered a very funny and confident performance as Augustus Gloop. Complete with padding and traditional lederhosen, he was wonderfully exaggerated from the outset. Ódhran looked like he was enjoying every minute on stage with gluttonous enthusiasm. He had a lovely singing voice too that balanced nicely with his comic characterisation. 

Hazel Cheevers gave a brilliant performance as the Russian ballerina and thoroughly spoiled Veruca Salt. Hazel radiated entitlement and was every inch the over-indulged daughter accustomed to getting everything she wanted. In ‘When Veruca Says’, Hazel showcased her brilliantly expressive singing voice to tremendous comic effect. Her accent was strong and consistent, complementing the excellent physicality she brought to the role. Every gesture was carefully judged. 

Abbie Flatley was quite fabulous in the role of Violet Beauregarde. From the outset, she captured Violet’s fierce competitiveness and larger-than-life confidence with conviction. There was a boldness to her performance that suited the character perfectly. Abbie gave a fully committed portrayal that never dipped in intensity. ‘The Queen of Pop’ was brilliantly performed and showcased what a tremendous voice she had. A superb all-round performance from another wonderful young talent. 

Just when it seemed that the well of young talent couldn’t possibly run any deeper, along came eleven-year-old Michael Farrell in the role of Mike Teavee. What followed was an astonishingly good performance. He captured the over-indulged, screen-obsessed youth with such great skill and intelligence that we couldn’t help but warm to him. Michael showed impressive musicality, excellent phrasing and a confidence well beyond his years. He even managed to get in a moonwalk! 

The ensemble, made up of a talented bunch of adults and children, showed excellent acting and reacting throughout the production. They were fully engaged in each scene, listening and responding at all times. The dancers in ‘The Queen of Pop’ were wonderfully sassy and brimming with confidence. The ensemble was particularly outstanding in the brilliant Act One finale, ‘It Must Be Believed to Be Seen’, where their exceptional vocals combined with fantastically sharp and precise movement to create a show-stopping moment. Special mention must also go to the Oompa Loompas, whose wonderful vocals and suitably quirky movement brought smiles to our faces as they rounded out an ensemble performance of the highest standard.

David Keane’s stage management was brilliantly slick, ensuring that the storytelling never faltered for a moment. In a show as episodic and visually demanding as ‘Charlie and the Chocolate Factory’, seamless transitions are key and Mr. Keane achieved these with great consistency. Scene changes flowed effortlessly, allowing the story to move along at a superb pace. An excellent crew did truly Trojan work thanks to careful coordination and disciplined execution. Using well-rehearsed cast to assist with certain transitions, notably in moving the sweet shop, was very effective and often felt like an extension of the staging rather than standalone scene changes. 

The set design was ambitious, imaginative and quirky; exactly what is needed for a show of this nature. The side flats were beautifully realised with industrial cogs and a chocolatey colour palette framing the action perfectly and creating an immediate sense of Wonka’s mysterious world. The sweet shop truck, painted in vibrant reds and bursting with oversized confectionery, was a child’s dream. The use of giant lollipops and Wonka bars branding added great scale and colour. The Bucket household was wonderfully contrasted with the glorious colour of Wonka’s world. The stacked bed up in the loft, cluttered with blankets, patched quilts and hanging laundry, told a story of poverty. The integration of projection and lighting within the set worked so well. The glass elevator, outlined in glowing light, was both simple and theatrically effective. There was an audible gasp when it began to rise! Overall, a wonderfully strong design which added so much to the visual appeal of the show. 

The lighting design and operation were excellent throughout, always enhancing the mood and complementing the energy. There were countless highlights from a lighting perspective. ‘The Queen of Pop’ was particularly striking, with vibrant colour and dynamic movement. The use of moving lights reflected the energy and bravado of the number perfectly. In contrast, ‘If Your Father Were Here’ was beautifully lit, showing a sensitive understanding of mood and adding to the poignancy of the scene. The moving light that tracked Mrs. Bucket was perfectly timed, isolating her and providing us with emotional focus. The chasing light effect as the Golden Ticket winners fell onto the stage at the top of Act Two was a simple but clever inclusion. The use of blinders as the SS Wonka was set worked superbly. 

The sound design and operation were superb throughout. No obvious cues were missed. There was always a great balance within the orchestra. Vocals were beautifully balanced against the band, ensuring that lyrics were consistently heard. Sound effects were equally impressive and added great character to the production. From Augustus’s disturbingly funny burp, to the industrial warning sirens that heightened tension within the factory scenes, each effect was chosen and executed with care. Overall, an expertly managed sound design. 

The costume design was wonderfully detailed and contributed greatly to the storytelling. From the poverty of the Bucket family to the extravagance of the Golden Ticket winners, this was a most impressively costumed show. Each costume told us who these characters were before they even spoke. The Bavarian-inspired dresses were bright and playful. The Oompa Loompas’ did not disappoint those of us who grew up with the original movie. The squirrels’ soft grey costumes, complete with massive tails, were particularly effective. Wonka himself was a visual triumph. The plum coat, vibrant waistcoat, striped tie and top hat created that iconic image that we expected. 

There was excellent attention to detail in the props department, with each carefully chosen item helping to bring the story to life. The Bucket household, in particular, was richly authentic. The four newspapers spelling out the headline ‘Wonka Factory To Open At Last’ was inventive and playful. Mrs. Green’s vegetable cart was another triumph. Complete with ‘mouldy’ vegetables and perfectly branded signage, it was a nicely comedic visual. Augustus’s string of sausages added to the physical comedy of his character. Wonka’s oversized list of rules was used to comic effect; the scale of the prop adding to the absurdity. Overall, the props department did a wonderful job in adding to an already powerful visual spectacle. 

Hair, wigs and make-up were of a very high standard throughout. The ageing make-up and carefully chosen wigs for the four grandparents were particularly effective. The Oompa Loompas’ vivid green wigs and orange make-up were strikingly uniform and consistent, achieving a wonderfully ‘cloned’ visual. I loved Mrs. Teavee’s immaculate blonde wig, which perfectly matched her highly strung persona. Mrs. Bucket’s natural, understated look complemented her sincerity and characters such as Mrs. Gloop and the roving reporters were given more exaggerated looks to heighten comedy. 

This was a wonderful production by Claremorris Musical Society. It was genuinely difficult to identify a weak link anywhere, such were the consistently high levels of performance, technical execution and artistic vision. From principal roles to ensemble, from orchestra to backstage crew, every department worked at an impressively high standard. What was most heartening of all was the society’s extraordinary work with its young performers. The platform given to these talented children allowed them to shine with exceptional confidence and skill. Nurturing such talent is so important and I have no doubt that the seeds sown will result in a dazzlingly bright future for Claremorris Musical Society as this exceptional generation of young talent continues to entertain. Space this watch!...Strike that, reverse it!

Pat McElwain

Sullivan Adjudicator 2025/2026