Review: Follies - GUMS

Society name: Galway University Musical Society

Show name: Follies

Date of attendance: 7^th February 2026

Galway University Musical Society’s decision to stage Follies in Galway’s Black Box Theatre was, on paper, a bold, maybe even audacious, undertaking. Follies is one of Sondheim’s most intricate works, reflecting on memory, regret and romantic disillusionment. It is a piece steeped in middle age and regrets around roads not taken. Confession time…When I heard that it would be tackled by a cast comprised largely of performers in their late teens and early twenties, my initial reaction was one of trepidation rather than anticipation. I spent my drive to Galway asking myself how I might best frame such reservations. I arrived prepared to admire the group’s ambition and to forgive their limitations. However, what unfolded was something altogether different. I was mistaken and I am delighted to admit it. Thanks to Keith Hanley’s strikingly clear and intelligent direction, I became oblivious to the fact that I was watching ‘students performing Sondheim’ and found myself fully absorbed in characters navigating the challenging emotional landscape. 

Front of house on the evening was competently overseen by the Black Box Theatre’s in-house team, who ensured that patrons were admitted and seated efficiently. There was a relaxed atmosphere in the foyer, with a real cross-section of attendees, from enthusiastic student supporters to proud parents who, judging by the mix of car registrations in the car park, had travelled from the four corners of Ireland to see this ambitious production. There wasn’t much in the way of displays but some effort had been made to acknowledge the rehearsal process, with photographic displays visible in the foyer. With a little more thought, this could have further heightened the sense of event surrounding the performance. 

Making your directorial debut with ‘Follies’ might be considered brave. To do so with assurance and flair is something most directors can only aspire to. Keith Hanley ripped up the rule book, taking on Sondheim’s beast of a show for his first outing at the helm and from the beautifully staged opening prologue, it was clear that this was a production in very good hands. Character work was exceptional. The performers’ grasp of text, subtext and tone indicated detailed work on the rehearsal room floor. Nothing was thrown away. The narrative of ‘Follies’ is notoriously challenging for audiences unfamiliar with the piece to absorb, as it constantly drifts back and forth between present reality and ghostly reflection. It relies heavily on atmosphere and, in particular, on lighting states that need to suggest past memories bleeding into the present. Mr. Hanley’s collaborative work with the lighting department was a high point of this production. Without his theatrical understanding and the designer’s technical expertise, this would have been a very different production. 

Under the guidance of musical director Abbie Flannery, assisted by Ben Donohoe, the notoriously intricate score was delivered with great clarity and confidence. From the opening bars, it was clear that much work had been done by Ms. Flannery and her team to ensure that everything was musically secure. She conducted her thirteen-piece orchestra, an impressive blend of talented student musicians alongside seasoned professionals, with flair. They produced a sound that was full and controlled, never overwhelming the vocals. Particular attention had been paid to dynamics, with superb balance throughout, whether in sensitive accompaniment or more climactic moments. Chorally, the production was exceptional. The balance and clarity of each line was an indication of much hard graft in rehearsals. Principal vocal performances were strong throughout. A wonderful job from Ms. Flannery and a huge contributary factor to the overall success of the production.

Choreography was in the capable hands of Emily Smith, assisted by Mary Roe and there were many moments of flair and imagination that contributed to the overall polished presentation of this challenging show. There were many nods to golden-age Broadway and good focus on storytelling which tied in with Mr. Hanley’s clear vision. There were several standout sequences. The umbrella tap sequence was visually charming and the kick line within the montage sequence captured expectations of a Follies reunion. “Who’s That Woman?” was particularly memorable. It was sharp and cleverly staged as the ‘older’ performers were joined by their younger, ghostly counterparts. Overall, I did feel that bigger production numbers were not as precise. At times, more uniform sharpness in arms and footwork would have elevated some ensemble routines from good to excellent. That said, what the movement occasionally lacked in polish it more than compensated for in wholehearted investment. 

Jonathan Newman delivered an exceptional performance as Ben Stone. He exuded authority and restraint, with the confidence of a man accustomed to being in control. And yet it was such a cleverly masked front. Vocally, Mr. Newman was very assured. His richly resonant baritone lent warmth and gravitas to the role. Despite playing a character significantly older than himself, Mr. Newman captured Ben’s nuances with impressive maturity. There was no hint of caricature. Instead, his portrayal felt deeply truthful and thoughtful. In ‘Live, Laugh, Love’ he revealed a more unsettling dimension, delivered with sound theatrical instinct. Cane in hand, he became the consummate, charismatic showman before allowing the facade to disintegrate as he descended into panic and anger. A wonderful performance all round.

Robert Cosgrove delivered an outstanding performance as Buddy Plummer, likable, insecure and clearly hiding something under his upbeat demeanour. It was a performance loaded with subtext as Mr. Cosgrove presented a man who knew he was never really first choice. Vocally, he impressed throughout. ‘The Right Girl’ was particularly impressive, both musically and dramatically. However, it was the emotional undercurrent that really sold this number. His physicality and his suppressed anger added so much to the tension. In the ‘Loveland’ sequence, Mr. Cosgrove unveiled Buddy’s vaudevillian side, with sharp comic timing, but the underlying sadness was always there. The tension between showmanship and desperation was beautifully played. Overall, a highly confident and intelligent portrayal that balanced humour with pathos in what was a standout performance of the evening. 

Ella Conneff gave a superbly judged performance as Phyllis Rogers Stone, the sophisticated former showgirl who becomes Ben’s emotionally bruised wife. Ms. Conneff had impeccable timing and an instinctive understanding of Sondheim’s wit. Her delivery was measured and precise, always thoughtful. What impressed me most was the sincerity she brought to the role. She avoided the caricature of sophistication, giving us a very human portrayal underpinned by intelligence and self-awareness. She had a wonderfully expressive singing voice. ‘Could I Leave You?’ was, quite simply, a highlight of the production. Acting through song at its best, Ms. Conneff ensured that every lyric had intention and clarity. 

Kate Timothy was an exceptional Sally, the romantic dreamer whose heart is stuck in a past that no longer exists. Ms. Timothy captured Sally’s fragile fixation on Ben with great sensitivity. She too avoided caricature. The longing behind her optimism was skilfully played. Vocally, she was superb. ‘Don’t Look at Me’ was delivered with great clarity and control. ‘In Buddy’s Eyes’ showed the complexity of Sally’s existence as we were slowly drawn into her emotional journey in what was a truly beautiful performance. But it was in ‘Losing My Mind’ that Ms. Timothy truly excelled. Her connection to the lyric was deeply affecting as we witnessed the slow, emotional unravelling of a woman trapped in romantic delusion. 

The four younger counterparts are such a key part of the challenging narrative of ‘Follies’. They are the living representations of memory and regret. Edward Wilson (Young Ben), Liam Farren (Young Buddy), Erin Doyle (Young Phyllis) and Holly Prestage (Young Sally) were a haunting, ever-present reminder of choices made by our four protagonists. Mr. Wilson brought a lovely warmth to Young Ben, his vocal in ‘You’re Gonna Love Tomorrow’ was particularly impressive. Mr. Farren was very convincing as Young Buddy, aided not only by an uncanny physical resemblance to Mr. Cosgrove but by well-studied similarities in tone and delivery. Ms. Doyle delivered a confident and vocally assured performance as Young Phyllis, shining especially in ‘You’re Gonna Love Tomorrow’. Holly Prestage was an outstanding Young Sally, utterly believable as Ms. Timothy’s younger self. Her wonderful physicality and vocal quality made this another strong pairing. 

Esther Moore brought great vitality to the role of Hattie Walker, the optimist who refuses to let go of her youth and her place in the spotlight. Her performance of ‘Broadway Baby’ was a genuine highlight of the evening, delivered with energy and a wonderful belt, the number was brassy and thoroughly entertaining.

Mark Regan undertook the dual roles of Dimitri Weissmann and Roscoe with impressive versatility. As Weissmann, he was fabulously flamboyant, commanding the stage with authority and theatrical flourish. His performance of ‘Beautiful Girls’ was delivered with energy and expressive clarity. In contrast, his Roscoe was more controlled and assured. 

Ciara Doherty brought poise and dignity to the role of former opera singer Heidi Schiller. There was such grace in her portrayal, perfectly suited to a character confronting the fading of what was a glorious career now confined to memory. Her performance of ‘One More Kiss’ was quite stunning. Joined by Sarah O’Dowd as her younger self, the duet became one of the production’s most haunting moments. 

Clodagh O’Sullivan delivered a commanding performance as Carlotta Campion, lifting the roof of the Black Box Theatre with a rousing rendition of ‘I’m Still Here’. Ms. O’Sullivan’s voice was powerful yet controlled, with a belt that soared effortlessly. 

Aela Daly delivered a strong and assured performance as Stella. She relished her featured moment in ‘Who’s That Woman?’, leading from the front with great confidence and poise. 

Eimear Gormally portrayed Solange with great charm, wisely avoiding the temptation to play the role as a caricature of age. Instead, she allowed Solange’s personality to emerge through nuance rather than exaggeration. 

There was also solid support from Mike O’Sullivan as Theodore and Caitlyn Coyne as Emily. Mr. O’Sullivan brought a gentle warmth to Theodore and Ms. Coyne’s Emily was engagingly portrayed.

The ensemble proved to be one of the production’s greatest strengths. What impressed me most was the palpable sense of collective focus, with every performer appearing fully tuned into the narrative. Vocally, the group was superb, as the ensemble navigated Sondheim’s challenging harmonies with confidence. Balance within choral numbers was particularly impressive. The ensemble brought energy and purpose each time they appeared. Movement was full of purpose and well woven into the storytelling. Excellent work overall from a highly committed and talented ensemble.

The set design was simple and functional. A series of red brick walls, framed by scaffolding, created a large, open playing space, with an upper level and staircase providing useful options for the director and choreographer. The upstage platform was used effectively throughout the show and offered various staging opportunities. Overall, I felt that the design served the practical mechanics of the show well. However, I did feel that it was perhaps too pristine for a show set within a theatre which was about to be demolished. I also felt that a more transformative design choice for the ‘Loveland’ sequence was required, as we were transported to a surreal fantasy world. Budgetary constraints can often be an obstacle, especially for student productions. However, some modest changes, adding colour to reflect the surreal shift of the sequence, could have made a big difference.

Stage management was in the capable hands of Anna Tracey, assisted by Caoimhe Rogers, and their work played a big part in maintaining the production’s impressive pace and fluidity. Scene transitions were efficient, ensuring that momentum never stalled. The use of cast members, and the ‘waiters’ in particular, to move furniture and other elements was very effective. Instead of concealing these changes with blackouts, the decision to incorporate them into the action was both practical and theatrically interesting, allowing the production to flow seamlessly. 

Lighting design and operation were excellent throughout. Establishing the boundaries between memory and reality in ‘Follies’ can be a significant challenge and lighting is one of the most important storytelling tools used to communicate this with clarity. The clear distinction between the warmer tones used to represent the present and the cooler tones that accompanied the ghostly figures of the past was beautifully effective. Batten lights embedded within the scaffolding were used to striking effect. The use of haze added to the otherworldliness of the ghostly sequences. Bold colour choices also worked well, with the vibrant reds and blues of ‘Buddy’s Blues’ being particularly effective. 

Sound design and operation were exemplary. It’s always a challenge trying to achieve the appropriate balance in a score as intricate as ‘Follies’ but, on this occasion, it was handled exceptionally well. The orchestra was beautifully balanced, never overwhelming the performers on stage. Microphone levels were set with great care, both in terms of overall volume and EQ. Soloists were consistently clear and well supported. Ensemble singing was particularly impressive. Underscoring was extremely well handled. Cueing throughout was consistently accurate, rounding out a superb piece of work that greatly complemented the overall polish of the production.

It was not an overly busy show props wise but those used were generally well chosen and appropriate to the period. There was good attention to detail in general. One small detail did momentarily break the otherwise convincing illusion. The glasses carried on the waiters’ trays were clearly empty, despite being distributed and subsequently ‘drunk’ from by various characters. It is often the smallest details that draw attention when the overall standard of a production is so strong. 

Costume design was thoughtful with good attention to detail and authenticity for the period. The past was subtly distinguished with creams, whites and greys, a choice that reflected careful attention to detail. The reunion guests themselves were suitably opulent in appearance. I loved the way Young Heidi’s green feather echoed the green dress worn by her older counterpart and the ballerinas’ green ribbons connected both worlds visually. Such details demonstrated a keen eye within the costume department. The ‘Loveland’ sequence introduced colour and accessories, including flowers and the somewhat unexpected but effective balloons, which contributed to the surreal atmosphere of the fantasy world. 

Hair and make-up were generally well handled, with careful attention paid to period authenticity and overall character presentation. Importantly, the design team resisted the temptation to over-emphasise ageing through heavy make-up, a decision which, in this context, proved both wise and effective. Hairstyles were thoughtfully chosen to reflect slightly more mature versions of the characters, while gentle greying of hair and the occasional soft facial line hinted at age without becoming distracting. The overall look felt authentic and appropriate.

As mentioned, I was initially sceptical when I heard that GUMS were staging ‘Follies’. By the final curtain at the Black Box Theatre, my doubts had long since evaporated. The production’s intelligent direction, exceptional musical standards and a remarkably talented cast put my reservations to rest and taught me a lesson about preconceived notions. This was a production team that understood ‘Follies’. The clear storytelling, the thoughtful characterisations and the collaboration between performers and production team combined to create a thoroughly entertaining production. The depth of talent on display was striking. Ambitious choices don’t always pay off. However, on this occasion, Galway University Musical Society’s bold decision was more than vindicated.

Pat McElwain

Sullivan Adjudicator 2025/2026