Review: Fame The Musical - Leixlip Musical & Variety Group

Society name: Leixlip Musical & Variety Group

Show name: Fame The Musical

Adjudicator date of attendance: 22/04/2026

Leixlip Musical & Variety Group delivered a vibrant, energetic and emotionally engaging production of Fame The Musical that captured both the exhilaration and vulnerability at the heart of the piece. From the opening moments, the audience was immersed in the pulsating atmosphere of New York’s High School for Performing Arts, and that momentum rarely faltered throughout the evening. While Fame naturally lends itself to spectacle, high-energy choreography and powerhouse vocals, this production also ensured that the emotional journeys of the characters remained grounded and authentic. Themes of ambition, identity, pressure, addiction, love and self-discovery emerged clearly throughout, creating a production that felt as emotionally honest as it was entertaining.

Director Claire Tighe delivered an excellently crafted production with a strong sense of style and storytelling. The blocking was clever and dynamic, making full use of the space to create multiple locations fluidly and effectively. Transitions flowed seamlessly, maintaining momentum and energy throughout the evening. Particularly impressive was the level of attention paid to character development. Every principal role felt fully realised, with believable arcs and carefully developed relationships. The interactions between characters felt natural and nuanced, allowing the audience to invest emotionally in their journeys. Comedy was handled especially well, with humorous moments given the time and space they needed to land effectively without ever feeling overplayed. Equally, quieter emotional scenes were allowed to breathe, creating strong contrasts in tone that kept the production engaging from beginning to end. There was also a lovely nod to the original 1980s aesthetic of Fame, while still ensuring the production felt fresh and modern. Striking this balance can be difficult, but it was achieved here with confidence and clarity.

Musically, the production was extremely strong. Dermot O’Callaghan led an excellent band that fully embraced the iconic 1980s sound world of the musical. The band created a rich and energetic musical landscape that drove the production forward with excitement and vitality. Ensemble numbers in particular burst with life, filling the auditorium with sound and energy. Vocally, the standard across the company was exceptionally high. Harmonies were tight, diction was crystal clear, and the ensemble sound was impressively balanced throughout. Particularly commendable was the consistency of the vocals during demanding choreography. Maintaining such strong vocal clarity while dancing full-out is no small feat, and it reflected the level of preparation and rehearsal undertaken by the company. Solo vocals across the principals were equally polished and stylistically appropriate, contributing to an overall musical sound that felt cohesive and professional.

The choreography by Claire Tighe and Jen Dawson was absolutely stunning. Blending traditional 1980s jazz influences with contemporary movement styles, the choreography felt authentic while still appearing fresh and exciting. Ensemble work was particularly impressive, with clean lines, ever-changing formations and exceptional synchronisation throughout. The opening number exploded with infectious energy that continued right through to the final curtain call. The opening of Act Two stood out as one of the highlights of the evening. It had its own distinctive movement style and atmosphere, creating a memorable and visually exciting sequence. Importantly, the choreography throughout never felt inserted simply for spectacle. Every movement sequence contributed to storytelling and characterisation, demonstrating thoughtful and intelligent choreographic choices.

Brian Dalton gave a strong and believable performance as Schlomo, capturing both the pressure imposed upon him by his parents and his desire to break free from the expectations surrounding classical music. There was sincerity and honesty in the performance that made the character engaging and relatable. Aoibh Tully delivered a compelling and emotionally layered Carmen. Her portrayal following Carmen’s addiction struggles was particularly effective, revealing a deeply troubled and vulnerable young woman beneath the confident exterior. “There She Goes” was performed with excellent sass and energy, showcasing a powerful and assured vocal performance. Aoibh also proved herself to be an excellent dancer, displaying strong technique and performance quality throughout.

Cian Egan brought a calm and self-assured presence to Nick, providing a lovely contrast to Serena’s chaos and unpredictability. His gradual emotional awakening and growing feelings for Serena were portrayed with warmth and subtlety. Vocally, he possessed a smooth and controlled tenor tone that suited the role beautifully. Lauren Dooley gave a charming and engaging performance as Serena. Her journey of self-discovery was quirky, heartfelt and thoroughly entertaining. Her interactions with Nick were consistently funny and believable, while “Think of Meryl Streep” was delivered with wonderful comic abandon. Vocally, Lauren combined strong power with sensitivity and emotional nuance, capturing both Serena’s eccentricity and vulnerability.

Elliot Kelly excelled as Jack, delivering an emotionally layered performance filled with defiance, pain and vulnerability. As a dancer, he was outstanding, displaying excellent control, beautiful lines and strong technical ability throughout. His relationship with Iris was particularly touching, while vocally he demonstrated impressive consistency and confidence. Neasa Nic Shuibhne gave a poised and graceful performance as Iris. Her posture and physicality perfectly suited the disciplined dancer, and there was elegance in her movement throughout. Her quieter scenes were handled with sincerity and emotional honesty, particularly in her interactions with Jack.

Sean Cronin was an absolute comic highlight as Joe. Bold, brash and wonderfully over-the-top, he commanded attention every time he appeared on stage. His comic timing was excellent, and his interactions with Carmen struck exactly the right balance between awkwardness and humour. “Can’t Keep It Down” was hilariously performed, pushing boundaries while remaining cleverly judged. Eabha Brennan delivered a thoroughly entertaining Mabel, leaning fully into the character’s obsession with food while still maintaining warmth and relatability. “Mabel’s Prayer” was particularly enjoyable, combining humour with strong vocals.

Among the supporting performances, Naoimh Penston stood out vocally as Miss Sherman. “These Are My Children” was genuinely hair-raising, filled with warmth, heartbreak and emotional honesty. Her care for her students was evident throughout every scene. Gillian Purcell brought warmth and humanity to Miss Bell, creating a believable relationship dynamic with Miss Sherman that balanced tension with mutual respect. Max Rochford and Ella Coughlan were highly enjoyable as Goody and Lambchops, creating an entertaining love-hate dynamic that added humour and texture to the production. Dave Miller and Ciaran Tighe also gave solid supporting performances as Mr. Sheinkopf and Mr. Myers respectively, bringing warmth and personality to their scenes with the students.

The ensemble as a whole were exceptional. This was a company full of genuine triple threats, with consistently high standards across singing, acting and dancing. Energy levels remained impressive throughout, and every ensemble member appeared fully invested in the storytelling. Importantly, nobody faded into the background. Every performer contributed individual characterisation and commitment, which significantly enhanced the realism and vibrancy of the production.

Visually, the production was equally strong. The set design utilised moving platforms and steps to create multiple locations quickly and fluidly, maintaining pace and momentum throughout. The New York brick aesthetic was highly effective, while the additional scenic details reinforced the style and period of the show beautifully. Projections integrated seamlessly with the static set and were cued accurately throughout. Emer Nic Chonchradha handled stage management excellently, ensuring that scene changes were smoothly choreographed into the general movement of the production so that momentum was never interrupted.

Lighting design effectively supported the energetic 1980s aesthetic, with strong use of backlighting and movers helping to create atmosphere and visual excitement. One small issue was a slightly uneven front wash across the extreme downstage edges, but this was a relatively minor concern within an otherwise very effective lighting design. Sound was also very well balanced throughout, successfully managing the large orchestral sound alongside a vocally powerful ensemble.

Costumes captured the spirit of the modern take on 1980s perfectly while still feeling polished and cohesive. Each character appeared individually styled, helping to reinforce identity and storytelling. The costumes for the opening of Act Two were particularly striking and added significantly to the visual impact of that sequence. Hair and make-up were neat, appropriate and well suited to the performing arts school setting.

Front of house operations were welcoming, organised and efficient, helping to create a warm and professional atmosphere before the performance even began. Audience members were greeted warmly and guided smoothly to their seats, contributing positively to the overall theatre-going experience.

Overall, this was an immensely enjoyable and highly accomplished production of Fame The Musical. Leixlip Musical & Variety Group demonstrated tremendous talent across all departments, creating a show that combined technical excellence with genuine emotional heart. The production succeeded not only because of its high-energy spectacle and impressive choreography, but because it remained firmly rooted in storytelling and character throughout. The company should be extremely proud of what they achieved here.