Review: Rodger & Hammerstein's Cinderella - KIMS

Society name: Kilmainham-Inchicore Musical Society

Show name: Cinderella

Adjudicator date of attendance: 29/10/2025

Kilmainham–Inchicore Musical Society’s production of Cinderella offered an evening of musical theatre filled with warmth, sincerity and a genuine sense of community spirit. Rodgers and Hammerstein’s beloved version of the fairytale is a show that demands equal parts heart and humour, and this company clearly approached it with affection and enthusiasm. From the outset, there was an unmistakable feeling of togetherness among the cast, a sense that everyone involved was committed to creating a magical world for the audience to step into. Even when the production encountered moments that needed further polish, the collective sincerity and energy of the performers ensured the show remained uplifting, engaging and enjoyable throughout.

At the heart of the production was director Sharon McNamara’s clear and thoughtful vision. Her approach demonstrated a deep understanding of the show’s charm and gentle humour, and she guided her cast with a firm sense of story and emotional purpose. The narrative moved fluidly from scene to scene, and many character interactions were shaped with nuance and genuine intention. Sharon showed a particular strength in bringing out the comedic elements of the piece. The show’s humour landed confidently, and she encouraged her cast to embrace the playful absurdity that sits at the core of this fairytale. As a result, the lighter moments had a lovely buoyancy, providing the audience with many smiles and moments of amusement.

Not every detail in the production received the same degree of refinement, and some moments would benefit from more attention in future performances. Small but noticeable missteps, such as Cinderella placing the ring on the wrong hand, momentarily disrupted the illusion. Larger moments, too, occasionally lacked clarity. For instance, the Prince’s pursuit of Cinderella as she fled the ball felt visually sparse and underdeveloped. While the intention was clear, the staging did not generate the urgency or energy the scene required. The Transformation sequence, one of the story’s most iconic moments, also did not fully achieve its potential. Cinderella’s costume change was executed well, delivering the moment of surprise expected; however, the accompanying staging, introducing the carriage, footmen and horses, was somewhat prolonged and lacked the theatrical flair needed to elevate the scene into something truly magical. These are areas where additional attention to pacing, transitions and creative staging could strengthen future productions.

Musically, the show benefitted from the strong leadership of musical director Amy Penston-Hendley. The orchestra delivered a warm and melodically rich performance, honouring the elegance of Rodgers and Hammerstein’s score. The musicians provided a stable and atmospheric foundation, and there were many moments when their playing added depth and emotional resonance to the scenes. However, the musical execution was not without challenges. Some timing inconsistencies emerged, particularly with entrances and mid-song returns, which disrupted the flow of certain numbers. More significantly, the balance between the cast and the orchestra proved problematic. The band often overpowered the singers, making it difficult for the audience to hear harmonies, and sometimes even lyrics, clearly. Given that the musicians were positioned in a separate room, close coordination with the sound engineer becomes essential. A more collaborative mixing approach would help ensure that the cast’s vocals can shine through without being overshadowed by the instrumental sound.

Choreographer Bernadette O’Rourke contributed lively, well-considered movement that supported the show’s tone and made effective use of the stage. Her formations were clean and visually appealing, providing dynamic stage pictures that enhanced the overall production. “The Prince is Giving a Ball” was a standout moment in terms of choreography, bursting with energy and offering the ensemble a chance to shine. The waltz, too, brought an elegant atmosphere, even if the execution varied among performers due to differing levels of dance experience. Some choreography did not land as strongly as intended, but the designs themselves were clever, accessible and well-suited to the abilities of the cast. What resonated most in these sequences was the unity and enthusiasm displayed by the performers, who brought a sense of collective joy to their movement even when technical precision wavered.

Among the principal cast, several performances stood out for their sincerity, charm and vocal quality. Aimee O’Neill, in the role of Ella, delivered a portrayal that was authentic, warm and wonderfully grounded. She avoided the trap of presenting Cinderella as an overly sweet caricature, instead offering a relatable young woman with emotional depth. Her vocals were consistently lovely, with “In My Own Little Corner” emerging as one of the production’s highlights due to her clear tone and heartfelt expression. Aimee interacted naturally with the cast around her, providing a dependable emotional centre for the production.

As Prince Topher, Rory Dignam brought a gentle, slightly naïve charm to the role. His interpretation leaned into the character’s softer qualities, presenting him as harmless and endearing rather than dashing or traditionally princely. This choice, while refreshing, sometimes lacked the spark needed to fully command attention. Vocally, however, Rory’s performance was steady and pleasing, and his duets with Aimee blended beautifully.

Sophia Daly was a standout as Madame, delivering a commanding performance that balanced villainy with humour. Her strong stage presence and expressive vocals made her portrayal both compelling and entertaining. She embraced the character’s domineering qualities with gusto, creating one of the production’s most memorable performances.

As Marie, Niamh Parkes gave a gentle and effective performance, successfully navigating the dual identity of the unassuming woman and the magical Fairy Godmother. Her transformation was believable, and her calm stage presence contributed nicely to the show’s more mystical moments.

Louise O’Connor offered a heartfelt performance as Gabrielle, capturing the character’s internal struggle with sensitivity. Her relationship with Jean-Michel felt genuine, and she brought a quiet emotional weight to her scenes. Nadine Conlon, by contrast, provided much of the show’s comedic sparkle. Her portrayal of Charlotte was vibrant, expressive and wonderfully timed, with “Stepsisters’ Lament” proving particularly memorable. Her facial expressions and spontaneous reactions added consistent humour and ensured she commanded attention whenever she appeared.

The supporting cast contributed greatly to the overall success of the production. David Supple, as Sebastian, was a particular delight. His expressive physicality and comedic instincts created a highly engaging performance. Andrew Roche offered a grounded, principled Jean-Michel whose warmth and sincerity complemented Gabrielle beautifully. Meanwhile, Kevin Macken Tierney brought refinement and poise to Lord Pinkleton, enhanced by an excellent accent and a surprising emotional twist that added depth to his character’s role in the story.

The ensemble served as the backbone of the production, providing energy, musicality and support throughout. Their vocal blend was strong, and although sound issues occasionally obscured harmonies, their effort and commitment were evident. Dance abilities varied within the group, but what they shared was enthusiasm and a willingness to engage fully in every moment. Their presence added vibrancy to the stage, and they performed with a sense of unity that enhanced the storytelling.

Behind the scenes, stage management led by Colum McDaid kept the production running smoothly. Scene changes were handled efficiently, allowing the story to progress without interruption. Set design was particularly well executed, using opening panels and painted backdrop to create an imaginative and visually pleasing environment. The design made the most of the space available and supported the storytelling in thoughtful ways.

Technically, the production offered attractive lighting that enhanced the fairytale atmosphere without overcomplicating the visual landscape. Sound was more uneven, with the band often overpowering the vocals, but this is an area that can be improved with stronger coordination.

Visually, the costumes were appealing overall, though there were occasional inconsistencies in palette and style. Cinderella’s transformation dress, however, was an undoubted success. Hair and make-up were neat and understated, allowing performers’ expressions to remain clear.

Audience members were greeted before the performance by a Front of House team who brought friendliness, organisation and warmth to their duties. Their confident and welcoming manner contributed significantly to the atmosphere as patrons arrived, creating a sense of ease that helped set the tone for the evening. Operations ran smoothly as the audience filtered in, and their professionalism never distracted from the performance; instead, it supported the overall impression of a well-run, community-centred event.

In its entirety, Kilmainham–Inchicore Musical Society’s Cinderella delivered a charming and heartfelt evening of theatre. The production succeeded in capturing the warmth and optimism of this timeless story, buoyed by committed performances and an overarching sense of community. With more attention to technical balance, finer staging details and visual cohesion, the group has the potential to elevate their already enjoyable work to an even higher level. What they achieved here was a show full of joy, sincerity and genuine love for the art form, a reflection of the dedication and passion that define community musical theatre at its best.