Review: The Prince of Egypt - Tralee Musical Society

Society name: Tralee Musical Society

Show name: The Prince of Egypt

Adjudicator date of attendance: 17/04/2026

Tralee Musical Society’s production of The Prince of Egypt was an ambitious, heartfelt and visually engaging interpretation of a demanding musical. This is a show that requires scale, precision and emotional depth, asking a society to balance spectacle with intimacy. Tralee Musical Society met that challenge with confidence, delivering a production full of strong storytelling, impressive ensemble work and a clear understanding of the emotional heart of the piece.

Oliver Hurley’s direction showed excellent theatrical instinct. The story was always clear, with each character’s physical and emotional journey carefully guided. The production maintained a lovely flow, and the momentum never faltered. Scene transitions were smooth and purposeful, allowing the narrative to move forward without losing important emotional detail. The chariot race was especially exciting, staged with real energy and imagination. It felt dynamic, dangerous and theatrical, and stood out as one of the most memorable moments of the evening. One of the most effective choices was the use of the chorus as part of the physical world of the production. The ensemble became water, sand dunes, buildings and different communities, creating a visual language that was both clever and deeply theatrical. This choice gave the show a constant sense of movement and life. The set pieces were also used very intelligently, shifting fluidly to create different locations and support the storytelling. Moses and Ramses had a particularly clear relationship arc, although Moses often felt like the older brother rather than the younger. Whether intentional or not, it created an interesting shift in their dynamic.

Musically, the production was extremely strong. Michael Young, alongside Chorus Masters Mick Lynch and Mairead Morales, achieved a beautiful sound from both orchestra and ensemble. The score’s driving rhythms and soaring melodies were captured very well, and the orchestra remained impressively secure, particularly given that the band was split on either side of the stage. The music consistently supported the emotion and scale of the story. The chorus singing was a major highlight. “Deliver Us” was a hair-raising opening, immediately establishing the emotional weight of the production. The Act Two finale was equally powerful. Harmonies were rich, full and well balanced, with excellent diction throughout. The ensemble sound filled the auditorium with warmth and resonance, and the musical team should be commended for achieving such a polished and emotionally charged choral standard.

Justin Walsh’s choreography was beautiful, precise and deeply connected to the world of the show. The movement language suited the piece wonderfully, and choreography flowed seamlessly in and out of the scene work. It never felt added on for effect; rather, it was part of the storytelling. The chorus were used extremely well, with choreography designed to suit varying levels of ability while still creating a cohesive and impressive whole. The movement had drive, energy and clarity, and the ensemble performed it with great discipline.

Gary Murphy gave a strong and centered performance as Moses. He brought calm authority to the role and acted as a steady presence at the centre of the production. His relationship with Ramses was particularly effective, both in the warmth of their brotherhood and in the pain of their later conflict. Vocally, he was very secure, and the material sat comfortably in his range. His voice blended especially well with Tracy O’Keeffe’s Tzipporah, creating lovely musical chemistry.

Michael Anthony Greene gave Ramses a youthful, emotionally conflicted quality. His performance captured the character’s struggle between love for his brother and the pressure of legacy, duty, Hotep, and his father’s memory. There was petulance at times, but also vulnerability, which made his journey engaging. Vocally, he was strong overall, with commitment and detail in his performance.

Tracy O’Keeffe created a strong Tzipporah, charting a believable emotional journey from anger and resistance to love and trust. She sang with warmth and blended beautifully with Moses. At times, the movement felt a little stiff, and the role would benefit from a more fluid, sinuous physicality, but her character work and emotional sincerity were clear throughout.

Michael Lynch brought real command to Seti, presenting a ruler who loved his sons but loved his kingdom more. He had excellent presence and a believable relationship with Tuya. Tim Landers gave a strong performance as Hotep, capturing the character’s ambition and underhand dealings, supported by a rich baritone voice. Anna Curtin was lovely as Queen Tuya, offering warmth, care and emotional resonance. Siobhan Burke’s Nefertari was stoic and dignified, and her grief over her son’s body was quietly heartbreaking because of the restraint she brought to the moment.

The supporting roles were also well handled. Amy Naughton was strong and energetic as Miriam, bringing conviction and passion to the role. Padraig Harrington’s Aaron provided a thoughtful contrast, more cautious and resistant, which balanced Miriam’s certainty well. Lloyd Fitzgibbon brought warmth and joviality to Jethro, creating a strong sense of community in the Midian scenes. Sharon Walsh was especially moving as Yocheved, releasing Moses into the river with beautiful restraint and emotional truth. Molly Casey and Aoibhin Commane were both lovely as Keturah and Leah, bringing innocence, sweetness and clear vocal confidence.

The ensemble were one of the production’s greatest strengths. They were fully invested at all times, whether singing, dancing, moving set pieces or creating the physical environment of the story. Vocally, they were outstanding, with lush harmonies, strong dynamics and a rich collective sound. Their acting commitment helped create a fully realised world, and their choreography was clean and confident across all ability levels. It was very clear that this company had been well rehearsed and that every member understood their role in the wider storytelling.

The set design was clever, versatile, and highly effective. Simple painted moving pieces created a variety of locations, and the integration of the ensemble into the visual design gave the staging real imagination. The projections were of a high quality and worked well with the physical set. Des Hurley’s stage management was fluid and well-coordinated. Much of the movement was carried out by the cast, allowing transitions to feel choreographed rather than interrupted. This helped maintain the production’s momentum beautifully.

Technically, the lighting created some attractive pictures and used a colour palette that complemented the costumes and sandy visual world. There were no major issues, but there were areas that could be strengthened. The most extreme downstage section was not fully covered by the front-of-house wash, meaning that principals occasionally dipped in and out of facial light during crowded scenes. The lighting supported the production well, though there were few real “wow” moments. Future productions might benefit from slightly bolder choices or greater contrast at key dramatic points. Sound was well balanced overall, with good cueing and no missed lines.

Visually, the production was excellent. The chorus costumes were particularly clever, allowing performers to represent multiple groups without requiring constant changes. The neutral palette suited the desert world beautifully, while texture and shaping added interest. The Egyptian and principal costumes were suitably opulent and decorative, giving strong contrast and status. Hair and makeup were also completed to a high standard, finishing the overall visual world very effectively.

Front of House created a warm and organised welcome for the audience. Patrons were greeted efficiently and pleasantly, and there was a lovely sense of occasion before the performance began. These details are important, as they shape the audience experience from the moment they arrive, and Tralee Musical Society should be commended for presenting such a welcoming and professional atmosphere.

Overall, this was a highly accomplished production of a challenging musical. Tralee Musical Society delivered strong storytelling, beautiful music, excellent ensemble work and a clear emotional connection to the material. While small technical refinements could enhance future productions, particularly in lighting coverage and dramatic visual impact, this was a production full of imagination, commitment and heart. Congratulations to all involved on a moving, ambitious and memorable Prince of Egypt.