Review: Pippin! - Galway Musical Society

Society name: Galway Musical Society

Show name: Pippin!

Adjudicator date of attendance: 15/04/2026

Galway Musical Society’s production of Pippin was a bold, imaginative, and highly theatrical undertaking that fully embraced the eccentricity and unpredictability of the piece. This is a notoriously difficult musical to stage successfully, with its “show within a show” structure, surreal circus atmosphere, and philosophical themes often proving difficult to balance. Here, though, the company managed to guide the audience clearly through the story while never losing sight of the emotional core at the centre of the production.

Director Taylor Dolan deserves enormous credit for delivering a production that felt visually cohesive, emotionally engaging, and consistently entertaining. There was a clear artistic vision from the outset, with every element of the show appearing to work toward the same goal. The circus aesthetic created a world of colour, spectacle, and heightened theatricality, but beneath all the chaos there remained genuine sincerity and emotional truth. One of the production’s greatest strengths was its storytelling clarity. Despite the often-abstract nature of the material, the audience was always able to follow Pippin’s emotional journey. The relationships on stage felt authentic and carefully developed, which gave real weight to the show’s more philosophical moments. Pippin’s progression from idealistic youth to someone searching for meaning and fulfilment was particularly well handled. The quieter, more reflective moments were given room to breathe amidst the spectacle, allowing the emotional beats to land effectively. The ensemble work was also excellent. Chorus members were never treated simply as background decoration; instead, they each contributed purposefully to the storytelling. The use of different circus-inspired groups helped create variety and strong visual images while reinforcing the themes of performance and manipulation running through the piece. The production maintained impressive momentum throughout. Transitions flowed smoothly, entrances and exits were dynamic, and the stage rarely felt static. There was a strong sense of confidence in the direction, with the company fully committing to the style and tone of the show.

Musically, the production was in capable hands under John Roe’s direction. Stephen Schwartz’s score is intricate and stylistically demanding, yet the band handled it with confidence and flair. They produced a rich, brassy sound that suited the material well and added greatly to the energy of the evening. Tempos were well judged, helping maintain pace and dramatic tension throughout the performance. Vocally, the company performed strongly. Harmonies were clear and well balanced, while diction across the cast remained crisp and understandable. This was especially important in a show so dependent on lyrical storytelling. The ensemble singing had fullness and strength without losing clarity, demonstrating careful musical preparation and discipline. There were a handful of occasions where soloists became slightly difficult to hear against fuller ensemble sections, but overall, the balance between stage and orchestra was very effective.

Declan Gardiner’s choreography, assisted by Sarah Tannian was another success of the production. The movement vocabulary created for the show suited the circus-inspired concept and brought constant energy and excitement to the stage. What was particularly impressive was the way the choreography catered for performers with a wide variety of movement abilities. Every cast member looked comfortable, purposeful, and fully integrated into the production, which is no small achievement in a movement-heavy show such as this. The use of stage space was excellent throughout, with movement patterns continually evolving and helping sustain visual interest. Entrances and exits all felt integrated into the choreography, contributing to the smooth flow. Importantly, the choreography also served the storytelling rather than existing purely for spectacle. This was especially evident in larger ensemble sections where movement reinforced the chaotic, performative world of the Players.

Edward Wilson delivered an excellent performance in the title role of Pippin. He captured the character’s youthful innocence and restless longing with sincerity and charm, making him immediately engaging for the audience. Most impressive was the emotional journey he created across the production. Pippin’s search for meaning can sometimes feel abstract, but Edward grounded the character beautifully, allowing the audience to invest emotionally in his development. Vocally, he handled the demanding score with ease. His singing was warm, clear, and emotionally connected, particularly during “Corner of the Sky,” which was delivered with honesty and simplicity rather than unnecessary embellishment. His chemistry with Hannah Cogan’s Catherine also felt natural and believable, helping anchor the production emotionally amidst the larger theatricality surrounding them. This was a mature and thoughtful performance from a very promising young performer.

Laura Ní Cheallaigh gave a commanding and entertaining performance as the Leading Player. She maintained strong control of the stage throughout and fully embodied the manipulative charisma at the heart of the role. Her stage presence was confident and assured, and she moved through the production with authority and theatrical flair. Vocally, she handled the material extremely well, producing a mature and controlled sound that suited the role perfectly. Particularly effective was the darker emotional turn in the latter stages of the production. As the show’s carefully controlled narrative began to unravel, Laura introduced a greater sense of anger and desperation that added real dramatic tension to the final scenes.

Brandon Collier delivered a wonderfully energetic and larger-than-life performance as Charlemagne. He embraced the absurdity of the role completely, filling the stage with energy and comic bravado. “War is a Science” was especially entertaining, combining strong vocals with excellent comic timing and physicality. His exaggerated death and revival scenes perfectly captured the anarchic tone of the production. Hannah Cogan brought warmth and sincerity to Catherine, providing an important emotional grounding within the often-chaotic world of the Players. Her relationships with both Theo and Pippin felt genuine and heartfelt, helping create some of the show’s most touching moments. “Love Song” was particularly beautiful, delivered with tenderness and emotional honesty. Vocally, she sang with a soft but assured tone that suited the role extremely well.

Oisín Ó hÓgáin provided strong comic support as Lewis, fully embracing the character’s arrogance and ridiculousness. His physicality was especially effective, using posture and movement to create an entertainingly overconfident and foolish character.

Among the supporting performances, Róisín Lawless brought commanding theatricality to Fastrada. “Spread a Little Sunshine” was hugely entertaining and showcased both her vocal ability and her confident stage presence. Frieda McGrath was charming and engaging as Berthe, perfectly capturing the mischievous wisdom of the character and building an excellent rapport with the audience. Adam Carr gave a highly entertaining performance as Theo, displaying impressive confidence and focus throughout. The Manson Quartet, Petra Killeen, Sarah Tannian, Lorna Collins, and Saoirse McCarthy, were excellent throughout, executing the choreography with precision and contributing strongly to the musical quality of the production.

The ensemble as a whole were one of the greatest strengths of the evening. Every performer appeared fully committed to the world of the show, maintaining focus and character throughout. The performances never slipped into unfocused exaggeration; instead, there was a strong sense of intention and discipline behind the work being done on stage. Vocally, the ensemble created a wonderfully rich sound, while movement remained energetic and committed throughout.

Visually, the production was extremely impressive. The set design cleverly used relatively minimal scenic elements to create a constantly shifting theatrical environment. The banners were particularly effective, helping create a world that felt both regal and carnivalesque, almost like a fusion of a French court and a travelling circus. There was clear cohesion across all design departments, with scenic, costume, lighting, and choreography elements complementing one another successfully.

Stage management, led by Chontelle Kenny, was handled very smoothly. Scene transitions were efficient and cleverly integrated into the action, helping maintain momentum throughout the evening. Having cast members execute scene changes suited the theatrical style of the production and prevented unnecessary pauses.

Costumes, hair, and make-up were all completed to a very high standard. The colour palette was vibrant and visually exciting, while the division of chorus groups through style and costume design helped create clear visual storytelling. Attention to detail throughout was impressive, and the Manson Quartet costumes in particular stood out for their elegance and theatrical flair. Hair and make-up complemented the costumes beautifully, with each performer maintaining a clear individual identity while still fitting cohesively within the wider aesthetic of the production.

Lighting supported the production effectively overall, with some pleasing colour choices helping establish atmosphere and tone. There may be scope in future productions to push the lighting design even further, particularly in a show as visually adventurous as Pippin. More dramatic contrasts and stronger theatrical “wow” moments could add additional impact to key scenes. Sound was generally strong throughout the evening, with a good balance between orchestra and vocals, though some solo lines occasionally became slightly lost within fuller musical textures.

Front of House operations also contributed positively to the audience experience. The atmosphere in the venue before the performance was welcoming and efficient, with audiences seated promptly and professionally. There was a clear sense of excitement and pride surrounding the production, reflecting well on Galway Musical Society as an organisation.

Overall, this was a hugely entertaining and highly commendable production. Galway Musical Society tackled an ambitious and unconventional musical with confidence, creativity, and enormous commitment. The result was a visually striking, emotionally engaging, and thoroughly enjoyable evening of theatre that demonstrated both strong artistic vision and excellent company spirit.