Review: The Witches of Eastwick - Athlone Musical Society

Society name: Athlone Musical Society

Show name: Witches of Eastwick

Adjudicator date of attendance: 06/03/2026

Athlone Musical Society presented an enjoyable and committed production of The Witches of Eastwick, a show that relies heavily on atmosphere, chemistry, and a careful balance between humour, sensuality, and darkness. There was much to admire across the production, particularly in the musical elements and several standout performances, and it was clear that a great deal of work and dedication had gone into bringing this ambitious piece to the stage.

Under the direction of Dominic Reed, the production demonstrated a solid understanding of both the narrative and tonal demands of the piece. The storytelling was clear and coherent throughout, allowing the audience to follow the progression of events with ease. The central relationships were well established, and the interactions between Darryl Van Horne and the three witches were particularly well judged. The tone in these moments was appropriately sensual and playful without ever straying into discomfort, which is no small achievement given the nature of the material.

While the direction was consistently competent, there was a sense that it remained somewhat within safe boundaries. At times, the blocking could have benefitted from closer attention, as some transitions lacked fluidity and felt slightly mechanical rather than fully motivated by character intention. These are relatively small adjustments, but ones that could greatly enhance the overall flow and polish of the production. A key aspect of The Witches of Eastwick lies in the relationship between the three central women, and while each character was individually well realised, the collective dynamic did not quite convey the depth of friendship that underpins the story. There was a clear connection between them, but not always the warmth or shared history that would make their bond feel fully lived in. With more focused work on ensemble chemistry, this relationship could become an even stronger emotional anchor for the piece.

The ensemble also plays a crucial role in creating the world of Eastwick, and while they brought energy and commitment to the stage, their presence sometimes felt more functional than fully developed. A greater emphasis on characterisation within the chorus would help to build a richer, more immersive environment and move beyond simply facilitating the musical numbers.

Musically, the production was in very safe hands under the direction of Ger Madden. This was arguably the strongest aspect of the show, providing a solid and dependable foundation throughout. Tempos were well judged, allowing the music to breathe where necessary while maintaining momentum. The balance between orchestra and cast was handled effectively, ensuring clarity of vocals without sacrificing the richness of the score. The chorus vocal work in particular deserves commendation. Harmonies were secure, diction was clear, and there was a strong sense of cohesion that reflected the work put in during rehearsal. The ensemble sang with confidence, contributing significantly to the overall quality and polish of the production. While there may not have been any particularly standout musical flourishes, the consistency and reliability of the musical direction ensured that the show was always well supported.

Choreography by Kori Kilduff presented a more mixed picture. There were moments of clear creativity and intent, but overall the work would benefit from further refinement and cleaning. “Dance with the Devil” stood out as one of the stronger numbers, with energy and purpose driving the movement and allowing the performers to fully engage with the moment. In contrast, the opening number lacked the impact one might hope for, missing an opportunity to immediately draw the audience into the world of the show. “Dirty Laundry” featured some pleasing formations and ideas, though it did not quite achieve the level of visual excitement that could elevate it further. Across the choreography, there was a sense of potential that had not yet been fully realised. Greater attention to precision and uniformity would help to create a more cohesive and polished visual effect.

In the leading roles, there were several strong performances that anchored the production effectively. Art McGauran delivered a confident and engaging portrayal of Darryl Van Horne, bringing both charisma and control to the role. Vocally secure and dramatically assured, he navigated the complexities of the character with ease. His interactions with each of the witches were distinct and well considered, avoiding a one-dimensional approach, and his Act Two meltdown provided a particularly entertaining highlight.

Linda Murray brought warmth and sincerity to Alexandra Spofford, grounding the character in a believable emotional reality. Her maternal qualities were evident and effective, particularly in her interactions with Michael, which felt natural and convincing. Vocally, she offered a rich and pleasing tone, delivered with confidence and control.

Cherise O’Moore stood out as Sukie Rougemont, offering a performance that was both endearing and fully realised. She captured the sweetness and vulnerability of the character with great sensitivity, and her interactions with Clyde were especially charming. Her voice was warm and melodious, adding further depth to an already engaging performance.

Petrova Mulvey rounded out the trio as Jane Smart with a strong and complementary presence. Her voice blended well within the group, contributing to the overall vocal cohesion, and her performance of “Waiting for the Music to Begin” was particularly effective. Her interactions with Darryl were also well handled, adding nuance to their relationship. While each of the witches was individually strong, the trio as a whole would benefit from a deeper sense of connection. A more fully developed sense of shared history and camaraderie would elevate their collective impact and strengthen the emotional core of the production.

Among the supporting roles, Jay Origan delivered an excellent performance as Felicia Gabriel, showcasing superb comedic timing and a confident stage presence. Her handling of the magical elements was assured, and her performance of “Evil” stood out as a comedic highlight. Eva Glynn brought a sweet and engaging quality to Jennifer Gabriel, with believable interactions with Michael and a strong vocal blend in their duets. Her later transformation would benefit from further exploration to fully realise the shift in character.

Eoin McGlynn portrayed Michael Spofford with an appealing awkwardness that suited the role well. His performance captured the innocence of the character, though there is room to further develop his comic timing. Vocally, he offered a mellow tone that blended effectively, particularly in his scenes with Eva Glynn, and he was particularly engaging in “Dance with the Devil.”

Jim Maher brought humour and warmth to Clyde Gabriel, delivering a well-judged performance that balanced comedy with sincerity. His interactions with both Felicia and Sukie were highlights, demonstrating strong timing and an engaging presence. Jonathan Kilduff made a strong impression as Fidel, bringing clarity and purpose to the role throughout. His use of facial expression was particularly effective, communicating reaction and humour with ease and ensuring he remained an engaging presence on stage. His instinct for comedic timing enhanced key moments without drawing focus, resulting in a confident and well-executed performance.

Eva Bergin delivered a confident turn as the Little Girl, with a particularly striking scream that made a clear impact. Her vocal contributions to the interludes were well handled, adding to the overall atmosphere of the production. Featured ensemble members Caoimhe Croasdell, Lisa Holloway, Kasey McCormack, and Hannah Dowling all contributed positively, particularly in “Dirty Laundry,” helping to build the world of the show and adding texture to the ensemble work.

The chorus as a whole displayed great enthusiasm and commitment. While there was some variation in ability, the overall energy and effort were evident throughout. With further work on precision in movement and more detailed acting choices, the ensemble could develop into an even stronger component of the production. Vocally, however, they were consistently strong, reflecting the high standard set in the musical direction.

Stage management, led by Jonathan O’Brien, was efficient and effective, with smooth scene changes that maintained the pace and flow of the show. The set design was functional and served its purpose. The projected images were well constructed, though not always fully cohesive with the physical set elements, creating a slight visual disconnect at times. The brightness of the screen occasionally made it difficult to clearly see performers positioned in front of it. One particularly effective element was the staging of the witches’ flight, achieved through the use of tilting stairs and smoke effects. This was both inventive and visually engaging, adding a welcome sense of theatrical magic to the production.

Lighting design was generally adequate, though there were some inconsistencies in focus and balance. Variations in colour temperature and intensity between different areas of the stage were occasionally noticeable. However, there were also some strong visual moments, particularly in numbers such as “I Wish I May” and “Another Night at Darryl’s,” where the lighting contributed effectively to the mood.

Sound design was well managed overall, with a consistent balance between orchestra and performers and no significant issues with cueing. This ensured a smooth and uninterrupted auditory experience.

Costuming was well considered and largely effective, with the colour-coding of the three witches working particularly well in distinguishing their characters. Sukie’s earlier pale yellow costume appeared somewhat washed out under the lighting compared to the richer tones of the others, but overall the costumes were well fitted and suited the performers. Hair and make-up were also of a high standard, supporting the visual cohesion of the production.

Front of House interactions with the audience were, overall, handled well and contributed positively to the theatre-going experience, supporting the smooth running of the evening.

Athlone Musical Society should be commended for delivering a solid and enjoyable production of The Witches of Eastwick. There is a clear foundation of talent within the group, supported by strong musical direction and several standout performances.

With continued attention to detail, particularly in ensemble work, character relationships, and overall polish, future productions have the potential to reach an even higher standard. This was a production with much to admire and a great deal of promise for what lies ahead.