Review: Curtains - Clane Musical & Dramatic Society

Society name: Clane Musical & Dramatic Society

Show name: Curtains

Adjudicator date of attendance: 07/11/2025

Clane Musical & Dramatic Society’s production of Curtains offered an evening filled with humour, colour, and affectionate storytelling, all delivered with the kind of energy and communal spirit that makes amateur musical theatre so rewarding to watch. Curtains is a deceptively complex show. Beneath its playful murder-mystery conceit lies a piece that demands sharp comedic timing, clear vocal storytelling, and an ensemble capable of shifting swiftly between backstage realism and exaggerated theatricality. Clane approached these challenges with obvious enthusiasm and a sincere love for the material, resulting in a performance that, while not without its inconsistencies, ultimately proved warm, vibrant, and thoroughly enjoyable.

The production’s aesthetic was quickly and confidently established: evocative lighting, a thoughtfully designed set, and a lively preshow atmosphere all communicated a company ready to tell its story with flair. Although technical issues and vocal clarity occasionally interrupted the experience, the underlying commitment from cast and crew was unmistakable, and the audience responded with appreciation for both the humour and heart on display.

Jennifer O’Brien’s direction shaped the production with care and inventiveness. She demonstrated an acute sense of Curtains’ unique comedic rhythm, crafting moments that landed cleanly and steering her cast toward characterisations that embraced the show’s playful, heightened tone. Many scenes exhibited strong structure and dynamic interplay, with emotional beats, whether sincere or satirical, expressed clearly. While a handful of transitions sagged slightly, and some actors had a habit of drifting upstage, these moments were exceptions in an otherwise confidently paced and well-organised staging. Jennifer’s eye for character relationships was particularly strong, allowing meaningful interactions to surface even in the midst of comedic chaos.

Diction proved to be a recurring challenge, especially in the opening number and early dialogue, where articulation issues obscured some important set-up information. Fortunately, this improved notably as the production continued. Accents, while generally well-maintained, fluctuated at times. Even with these inconsistencies, Jennifer’s overall vision remained clear: she used the set imaginatively, employed the walkway purposefully, and staged the hanging sequence with impressive theatricality and control. With a little more focus on clarity and consistency, her already confident direction could reach an even higher level of polish.

Musically, the production benefited from Barry Power’s steady and assured direction. The band performed with strength, creating a sound that was lively, stylistically appropriate, and well-paced. Barry’s chosen tempos kept the show buoyant and prevented scenes from dragging, while the balance between cast and orchestra, after some early teething issues, settled into a comfortable and supportive mix. The ensemble harmonies were strong and clearly well-rehearsed, though diction again caused some losses in clarity, particularly during “He Did It”. Nevertheless, Barry’s musical leadership provided a solid, confident backbone for the performance.

Áine Foley’s choreography was neat, achievable, and inclusive, giving performers of varying abilities a chance to shine. The routines were performed cleanly and with conviction, contributing significantly to the show’s energy. The opening number felt stylistically muddled. Wide Open Spaces benefits from a clearer “Western” movement vocabulary to support the musical’s framing device, but the blend of contemporary and mixed-style choreography made the number feel less cohesive. By contrast, A Tough Act to Follow was pitch-perfect: warm, theatrical, well-structured, and perfectly aligned with the humour of the scene. The deliberate awkwardness in Cioffi’s dancing was handled with charm, and the formations and transitions were elegant and effective. With a more unified stylistic approach to the bigger ensemble pieces, Áine’s choreography could become even more impactful.

The leading performers carried the story with confidence and individuality. Cormac Malone, as Frank Cioffi, delivered an outstanding performance, effortless in humour, full of charm, and vocally rich. His ability to switch between comedy, romance, and detective-like intensity made his portrayal endlessly engaging, and his warm, resonant baritone was a delight. His comedic dancing in A Tough Act to Follow was executed with just the right blend of bumbling character and technical control, creating one of the evening’s most memorable moments.

Alanna Keane brought sincerity and vocal warmth to Nicki Harris, blending beautifully with Cormac in their duet passages. She moved gracefully and delivered a gentle, pleasant performance. The role of Nicki is rooted in the archetype of the 1940s ingénue, and more commitment to the era’s mannerisms, softened gestures, coy charm, wide-eyed optimism, would have given her character a stronger, more distinct presence onstage.

Emma Stack gave Georgia Hendricks an elegant and understated portrayal. Her vocal tone was lovely, and her acting carried a quiet emotional truth. Her dancing seemed less confident, not due to lack of ability but hesitancy. With greater physical assurance, her performance could have landed with even more depth.

Gavin Molony offered a grounded and natural Aaron Fox. His voice was expressive and resonant, particularly in “I Miss the Music,” which became a highlight of the production. His physicality was relaxed and authentic, and although a fuller exploration of chemistry between Aaron and Georgia would strengthen the story arc, his overall performance was both nuanced and compelling.

As Carmen Bernstein, Gráinne Uí Lúing commanded the stage with unapologetic force. Her confidence, vocal power, and comic instinct lit up every scene she entered. Her performance occasionally veered into a broader comedic style, but Carmen’s bold personality allowed room for this larger-than-life interpretation. “It’s a Business” was delivered with intensity, humour, and vocal assurance, one of the evening’s stand-out moments.

Aaron Stone brought exceptional comedic flair to Christopher Belling. His meticulously timed reactions, expressive face, and sharp vocal work made his portrayal polished and consistently entertaining. His presence lifted every scene he was part of, adding significant comedic polish.

Among the supporting roles, Bronwyn Goulding’s Bambi was delivered with charm, clear commitment, and impressively consistent accent work. Though her solo choreography didn’t fully flatter her strengths, she remained engaging throughout. Eric Nolan’s Oscar Shapiro had moments of sincerity but often appeared self-conscious, a reminder of the importance of grounding character choices. Patricia Voon shone as Jessica Cranshaw, capturing the comedic awkwardness of a bad performer with skill and confidence. Eamonn O’Callaghan’s youth and limited dance maturity made him less suited to Bobby Pepper, a role that demands both authority and dance precision, though he sang well. Sean Lennon’s Sid would benefit from greater menace and definition, while Cian Dowling gave a warm and unobtrusively strong performance as Harv. Alan Lau brought energy to Randy but struggled with diction, and Brian Patrick Gallagher’s weary Johnny Harmon was well judged. Paddy Munds, as Daryl Grady, could strengthen his performance with improved relaxation, accent consistency, and line security.

The ensemble proved a lively and essential backbone to the production. Their harmonies were confidently delivered, and their energy throughout each group number kept scenes engaging. Some lacked clarity in diction, particularly during “He Did It,” where uncertainty around lyrics occasionally surfaced. Character work within the ensemble varied; while some performers crafted fully realised backstage personas, others fell into neutral behaviour, missing opportunities to enrich the onstage world. That said, Thataway was an ensemble triumph, smartly performed, cleanly layered, and genuinely entertaining.

Stage management, led by Tom Kavanagh, was excellent. Scene changes were swift, smooth, and disciplined, maintaining momentum throughout the show. The set design was attractive, functional, and detailed, with thoughtful touches that created a convincing backstage environment. The timber stage door and cleat and rope systems added authenticity, and the curtain mechanism was visually striking. Only the colour clash between purple and red brick felt unusual, but this did not detract significantly from a highly effective design.

Technically, lighting created many striking and atmospheric visuals, using bold colour choices and theatrical framing to great effect. A few cues felt out of sync with the action, and the persistently flickering festoon bulbs became a distracting issue that ideally should be addressed. Sound faced early difficulties, with missed cues and unbalanced levels impacting dialogue clarity. As the show progressed, the audio mix settled into a far stronger balance, allowing both cast and orchestra to shine.

Costume, hair, and make-up represented the production’s least consistent area. Some costumes were wrinkled or ill-fitting, and certain styling choices, such as opera gloves with day dresses or overly tight men’s trousers, felt mismatched to the period or tone. “Show within a show” costumes lacked a cohesive aesthetic. In contrast, Carmen’s costumes were consistently superb, stylish, flattering, and entirely fitting for the character. Hair styling varied significantly, with some beautifully crafted looks contrasted by others that appeared untidy for the era. The wigs for Bambi and Nikki, were visibly ill-fitted, drawing attention when they should have blended seamlessly. Make-up too was often light, and not fully period-appropriate; stronger eyeliner and bolder definition would have enhanced visibility and authenticity. 

The evening began with a welcoming and professional Front of House experience. Patrons were greeted warmly, guided clearly, and made to feel immediately at ease. That sense of friendly organisation set a positive tone before the curtain even rose. 

Clane Musical & Dramatic Society’s Curtains was a joyful, lively production full of humour, commitment, and genuine theatrical affection. It showcased strong musical and comedic instincts, highlighted several excellent performances, and possessed an infectious sense of ensemble spirit. With additional attention to vocal clarity, stylistic cohesion, technical consistency, and visual detailing, the society is well placed to continue building on this already enjoyable and engaging standard of performance.