Review: Michael Collins – A Musical Drama - Limerick Musical Society

Society name: Limerick Musical Society

Show name: Michael Collins – A Musical Drama

Date of attendance: 21^st March 2026

Limerick Musical Society presented the epic ‘Michael Collins – A Musical Drama’, a gripping dramatisation of a crucial period in Irish history, in University Concert Hall, Limerick. It is a powerful story, filled with political tension, violence, and an intriguing love triangle, charting both the political and personal life of one of Ireland’s most iconic figures, Michael Collins, the Big Fella. This is a very special piece of theatre and those who are lucky enough to work on it always know what a privilege it is to bring it to the stage. That sense of responsibility was clearly understood by both cast and crew throughout the production. The show is a wonderful legacy to the late Bryan Flynn, whose work reflects a deep understanding of both the man at the centre of the story and the important historical context. Like Collins himself, Bryan Flynn was taken far too soon, and there is always something particularly poignant in seeing his work brought to life. There was much to admire in Limerick Musical Society’s production, with moments that captured both the scale and emotional weight of the story. While some elements could have benefited from greater polish, the overall impression was one of commitment, ambition, and a strong sense of pride in the story. With a little more attention to detail, it could have been a truly outstanding production.

This was my first visit to this wonderful space and what an impressive venue it is. The large, open foyer was full of energy on arrival, with a real sense of anticipation building ahead of the performance. Front of house was handled very well, with theatre staff who were both friendly and efficient, ensuring that everything ran smoothly. A particularly nice touch was the tribute to Bryan Flynn included in the front of house announcements, setting a tone that was celebratory and poignant as well as reminding the audience of the significance of the work they were about to experience.

Des Henn took on the dual role of director and movement coordinator, bringing a number of thoughtful and imaginative ideas to the production. The opening sequence of projections, featuring moments of Irish historical, political, cultural and sporting significance, was certainly striking, though it did feel slightly disconnected from the context of the story being told. The use of the extended apron was a particularly strong directorial choice, allowing action to flow continuously while new scenes were prepared on the main stage. Attention to detail was occasionally an issue. The misspelling of Eaomon (sic) de Valera on screen was an unfortunate oversight and small moments such as Harry Boland offering a toast without a drink in hand stood out more than they should have. Movement was used very effectively in places, particularly in ‘Prison Song’ which was very strong from the male ensemble, while ‘Fly the Flag of Freedom’, though vocally strong, would have benefited from more dramatic intent and connection. The Treaty debates and Civil War sequences were particularly effective, creating a great sense of drama. Some moments, however, lacked clarity, particularly in transitions of time, and sightlines were not always ideal in busier scenes. Overall, this was a solid piece of direction from Mr. Henn, with many strong ideas and moments of quality. With some tightening of detail and greater consistency in execution, it had the potential to become an excellent production.

Michael Young did an excellent job as both musical director and choral director. Integrating the show’s pre-recorded tracks with a live band is no small task, presenting both technical and musical challenges. However, Mr. Young’s experience was evident throughout and he handled this balance with confidence and skill. The standard of principal singing was very high. Solos and duets were delivered with control and sensitivity and all principal performers gave strong vocal performances. Choral work was very strong throughout. The male ensemble in ‘Prison Song’ and ‘Fly the Flag of Freedom’ sounded most impressive, while numbers such as ‘Listen to the Voice of Reason’ and ‘Every Heart Awaken’ were excellent from a choral perspective. 

Barry Danaher took on the iconic role of Michael Collins, the Big Fella. Vocally, he was very well able for the demands of the role, with his fine tenor voice, impressive range, and a strong, confident delivery throughout. Dramatically, however, the performance took a little time to fully settle. In the earlier stages of the show, there were moments where more fire and passion were needed to capture the charismatic and commanding presence associated with Collins. That said, there were glimpses throughout of what the performance could become. There was a noticeable shift in Act Two. The scene leading into ‘Stepping Stone’, and the song itself, showed Mr. Danaher at his strongest, delivering with conviction, emotion and power. This showed his clear potential in the role. His speech in the Dáil was another highlight, full of sincerity and authority. With greater consistency and more focused collaboration with Mr. Henn this could have been elevated from a very good portrayal to an excellent one. 

Kellie Murphy, who appeared as a child in the original 2009 production, stepped into the role of Kitty Kiernan, the woman at the centre of the love triangle. It is not an easy role to fully realise, as despite its importance, it offers limited opportunities to navigate a clear character arc. However, Ms. Murphy proved more than equal to the challenge. A skilled and thoughtful performer, she brought depth to the role through subtle but clear character choices. Her thought processes were always visible, making Kitty feel very real. Vocally, she was excellent. Her clear soprano voice was controlled and appeared quite effortless. ‘For Nothing Else I Cared’ was performed with strong dramatic intent, while her duet with Michael, ‘Our Love Will Never End’, was a musical highlight of the evening, sung with great warmth and connection.

Stephen O’Ríaín delivered a very strong performance in the role of Harry Boland. He understood the complexity of the character, capturing the inner conflict between his loyalty to Michael and his love for Kitty with wonderful sensitivity and control. Vocally, he was consistently excellent. ‘Not That Man’ stood out as a particularly memorable moment, showcasing his excellent voice, while also conveying the character’s internal struggle. 

Brian Curtin brought a strong sense of authority to the role of Éamon de Valera, delivering a suitably statesmanlike figure throughout. His letter scene was nicely delivered, although it felt slightly rushed at times and might have benefited from better pacing. Vocally, he was impressive, particularly in ‘Confrontation’, where he was both powerful and controlled. Mr. Curtin kept a consistently authoritative demeanour throughout, with just the right amount of political formality. 

Eoghan Cantillon-Mann was a standout performer in the role of Joe Emmett. This was a performance full of warmth, honesty, and emotional depth. He brought a natural ease to the stage, creating a character who felt genuine and sincere throughout. In a story filled with tension and conflict, Mr. Cantillon-Mann provided welcome moments of lightness, driven by Joe’s loyalty, good nature, and quiet strength. His heartbreaking ‘Ár nAthair’ prayer as Collins lay dying was deeply moving. 

One of the most distinctive features of ‘Michael Collins - A Musical Drama’ is its use of the play-within-a-play device, drawing on characters from Yeats’s ‘Cathleen Ní Houlihan’ to help narrate Collins’s story. It is a highly clever and effective theatrical idea and a key part of what gives the piece its unique performance style. In this production, however, that concept was adapted, with the roles divided between five actors in the Yeats play and four separate narrators. The four narrators, Emma Culhane, Aidan O’Connell, Hilary Phayer, and Thomas Coneran, gave excellent performances. Collectively, they worked beautifully, with a well-balanced blend of voices and a strong sense of shared purpose. Dramatically and musically, they were consistently superb, drawing the audience into the story with great clarity. 

Mary Claire Ryan delivered a truly memorable performance as Mother Ireland in the play-within-a-play. She brought a strong presence to the role, embodying the weight and turmoil of Irish history with great assurance. Her sean-nós style vocals were hauntingly delivered. Dramatically, she embraced the heightened style required, creating a character that felt otherworldly and deeply rooted in Ireland’s past. 

The four actors in the ‘Cathleen Ní Houlihan’ play delivered strong performances and contributed well to this important element of the production. Ber Hickey was a thoughtful Bridget, bringing a nice sense of detail and understanding to the role. Brian Quinlivan’s delivery as Peter was clear and assured, giving the character a strong presence. Josh Lyons showed good potential as Michael, with good stage presence that will no doubt continue to grow. Holly Purtill was excellent as Delia, giving a brief but confident performance in the closing stages of the show. Her final emotional release was heart-wrenching.

Glen Carr brought strong presence and conviction to the role of Arthur Griffith, giving the character a clear sense of political authority. The Treaty Debates section is a particularly demanding one, and while there were a few slight slips in timing, he handled things well overall. Similarly, Garry Murphy impressed as Cathal Brugha in the same scene, carrying himself with confidence and stature. His performance was full of power and conviction, and he had a strong stage presence throughout. 

There was a strong supporting cast who contributed positively to the overall standard of the production. Kitty’s three sisters, Sinéad Quinn, Meadhbh O’Hara and Holly Purtill brought good energy to ‘Toast to the Host’, with their well-coordinated movement and confident vocals. Aoife Henn did well as Sinéad de Valera in the letter scene and Brendan Coleman made a strong impression as the Viceroy.

There was solid work from the ensemble throughout, particularly vocally, with choral singing proving to be one of the standout strengths of the production. There was good energy in many of the larger crowd scenes, such as ‘My Grand Design’. ‘Fly the Flag of Freedom’, while musically impressive, would have benefited from greater conviction to fully match the intensity and rousing patriotic intent of the number. Ensemble members really came into their own during the Treaty Debates, bringing excellent energy, focus, and discipline. 

Ray Burke and his stage management team did good work in keeping the production running smoothly. The use of both the extended apron and the main stage was handled effectively, allowing for a good flow between scenes and helping to maintain momentum throughout most of the show. 

The physical set design was clear and thoughtful, capturing the feel of early 20th-century Dublin. The brick and stone structures created a strong sense of place and gave good historical context through Georgian-style elements, which added nicely to the overall atmosphere. It was a very practical design given the need for fluidity in this show. The space was well laid out, with the extended apron and main stage working together to allow for continuous action. This helped the flow of the production and gave the cast plenty of room, particularly in the larger ensemble scenes. The use of the upstage screen played a big role in the visual storytelling. Historical images and settings helped to place the action within a wider context and, at times, added real depth to the production. However, there were moments where the projections became too dominant, drawing focus away from the performers rather than supporting them. In ‘My Grand Design’, the use of historical footage of the real Michael Collins addressing crowds felt overly busy. The audience was being asked to invest in Mr. Danaher’s portrayal while being presented with footage of the actual Michael Collins at the same time. This risked overshadowing his performance. More jarring still were the AI-generated images used in certain sequences. One example, showing a crowd celebrating outside the GPO during ‘Every Heart Awaken’, felt out of keeping with the overall aesthetic and stood out for the wrong reasons. Overall, while there were many effective and appropriate images which complemented the set, the use of projections lacked consistency. 

Lighting was the technical area that required the most attention in this production. In a show like ‘Michael Collins - A Musical Drama’, where shifts in time, place, and mood are so central to the storytelling, lighting plays a crucial role in guiding the audience. At times, it felt as though insufficient technical rehearsal time had impacted the overall finish, as the lighting lacked the consistency, timing and atmosphere needed. There were, however, some effective moments. The use of green, white, and orange lighting at the end of Act One created a strong and striking image, adding a welcome sense of colour and symbolism. While there were some glimpses of effective design, lighting lacked consistency and polish overall. With more technical time and a greater focus on atmosphere and coordination, lighting could make a significant contribution to future productions.

Sound was generally well handled throughout. There was effective use of sound effects, with sirens, gunshots, and explosions adding to the atmosphere and supporting the action on stage. For the most part, these were well timed, though one gunshot in ‘Dublin Killings’ wasn’t timed with the onstage action. The choral sound was a particular strength, with an excellent balance and blend across the ensemble. Cueing for dialogue and singing was always secure. At times, however, the band lacked some impact, particularly given the size of the auditorium. Some of the bigger musical moments would have benefited from a fuller, more powerful sound to really fill the space and match the scale of the production. 

There was good work from the costume department, with a clear effort made to reflect the period accurately. Michael’s military attire was particularly effective, capturing the look and authority of the character very well. The daywear across the ensemble also helped to establish the early 20th-century setting. There was a nice visual contrast in the more formal scenes, particularly with the tailored suits of the politicians in Dáil Éireann, which added to the sense of status and occasion. The only minor issue noted was with the Viceroy’s costume, where the trousers appeared ill-fitting and slightly distracted from an otherwise well-presented look. 

There was very good attention to detail in the props department that added greatly to the authenticity of the show. The weaponry in particular was very convincing. Michael Collins’ Luger was a standout detail, a small but impressive touch that did not go unnoticed. One small issue was during ‘Toast to the Host’, where cast members were ‘drinking’ from glasses and bottles that were clearly empty. This was a small detail but moments like this can stand out and break the illusion.

Hair and makeup were well handled throughout, with styles that were appropriate to the period and consistent with the overall look of the production. Wigs were used effectively where required. Nothing felt out of place throughout in what was very solid work from the hair and makeup department.

‘Michael Collins - A Musical Drama’ is an ambitious piece of theatre and Limerick Musical Society approached it with the respect and commitment it deserves. There was much to admire in this production. While there were areas that would have benefited from greater consistency and attention to detail, particularly on the technical side, the foundations of a very strong production were always there. What stood out most was the immense sense of pride and dedication from all involved as they flew the flag whilst telling this hugely important story.

Pat McElwain

Sullivan Adjudicator 2025/2026