Review: West Side Story - Roscrea Musical Society

Society name: Roscrea Musical Society

Show name: West Side Story

Adjudicator date of attendance: 28/04/2026

One of the things that has struck me most over the past season has been the standard of productions being staged in every type of venue imaginable. I've sat in purpose-built theatres, arts centres, school halls and parish halls and I've come away from many of them thinking exactly the same thing. Great theatre isn't about the building, it's about the people. Roscrea Musical Society's production of 'West Side Story' in the Abbey Hall was a perfect example of that. Taking on one of the most iconic and demanding musicals ever written is a challenge in any venue but, from the outset, it was clear that this cast and crew knew exactly what they wanted to achieve. Through excellent direction, impressive musical standards, exhilarating choreography and excellent collaboration across every department, they created a production that never felt limited by its humble surroundings. It was everything that is good about amateur musical theatre in this country.

I was greeted with a very warm welcome at the Abbey Hall. The front of house team set a very positive tone for the evening from the moment people arrived. The atmosphere was friendly, efficient and well organised. A very minor seating issue arose on arrival but it was handled with great discretion, professionalism and good humour. I was particularly appreciative of this. Nothing was a problem and the team ensured that everything ran smoothly and without fuss. There was a real sense of excitement in the hall ahead of the performance and a feeling that something special was about to happen. As it transpired, that feeling proved to be entirely justified.

Stephanie Browne directed with a clear understanding of the shows themes and dramatic demands. The standard of acting across the cast was excellent throughout. The relationship between Tony and Maria was beautifully developed. Simple moments such as a gentle touch, Tony fixing Maria's hair, a kiss on the head or a lingering look helped to create a most believable relationship. The build-up to the rumble was superbly handled. Performance levels during the ‘Tonight (Quintet)’ were exceptional, particularly amongst the gang members whose energy drove the sequence forward. This intensity and commitment made the number so thrilling. The rumble itself was one of the strongest scenes in the production. It was raw, dangerous and believable. There were so many clever storytelling decisions throughout. Most powerful of all was the final stage picture. Maria left alone with the gun. Nothing was overplayed. Nothing was forced. This image simply posed a question and trusted us, the audience, with it. Storytelling of the highest quality from Ms. Browne and intelligent direction that played a big part in making this such a successful production.

Mary Rose McNally brought a wealth of experience to her role as musical director, taking on a score which is still one of the greatest in musical theatre. The music is demanding but under Ms. McNally’s leadership, things were consistently strong. The standard of principal singing was excellent, with Maria and Tony leading from the front. Ensemble singing was also of a very high standard throughout. Their work in 'Somewhere' was particularly beautiful. The sound was warm, balanced and full of feeling. The ‘Tonight (Quintet)’ was exceptional. It is one of the most challenging numbers in musical theatre but the blend and balance between the vocal lines was quite stunning. The orchestra produced an excellent overall sound. Balance was generally very good and there was some particularly lovely violin playing throughout. Excellent work all round from Ms. McNally.

Strong collaboration between director and choreographer is always essential in musical theatre. Having Stephanie Browne overseeing both aspects had a huge impact on the production. The integration of dance and conflict was excellent. The fight sequences were raw and aggressive but perfectly controlled. The dance at the gym was another highlight, full of exhilarating energy. ‘America’ brought a different flavour altogether, with great vibrancy and athleticism. Energy was off the charts, with the cast fully embracing the Latin influences. ‘Cool’ was another great sequence, with excellent use of the furniture in what was a very explosive number, sharply focused on storytelling. ‘Gee, Officer Krupke’ was full of comedy and very inventive. I particularly enjoyed the moment where a gang member was rolled in a barrel while the others jumped over it. A simple idea that added greatly to the raw energy of the sequence.

Eva McNally gave an outstanding performance as Maria. There was a warmth and sincerity to the portrayal that made it impossible not to invest in her journey. Her relationship with Tony was beautifully played and it felt completely believable that Maria had fallen deeply in love with someone from the other side. Ms. McNally’s singing was wonderful. Her glorious clear soprano was quite stunning. 'Tonight' was captivating, thanks to her pure tone and what felt like effortless control. Technically and emotionally, this was a vocal performance of a very high standard throughout. Her character arc was quite impressive too. The contrast between her initial shyness and the Maria we see by the end of the show was handled with great skill.

Colm Hogan gave a wonderful performance as Tony, bringing warmth, sincerity and a lovely sense of optimism to the role. There was a lovely honesty to his performance that made him a very real and authentic character. Mr. Hogan sang so well throughout. ‘Something's Coming’ was particularly impressive, full of energy and excitement for what lay ahead. His performance of ‘Maria’ was another highlight. His beautiful tenor voice was so impressive in ‘Tonight’ and the blend between himself and Ms. McNally was just lovely. Indeed, their chemistry was one of the show’s great strengths. Simple gestures such as fixing Maria's hair said so much. Whether planned or instinctive, it made their love story all the more convincing. Overall, a very strong portrayal of one of musical theatre's most iconic leading men.

Ciara Finlay was excellent as Anita, bringing wonderful energy and attitude to the role. Ms. Finlay captured Anita’s strong personality wonderfully. She had superb stage presence throughout and was more than capable of handling gang leader Bernardo. She was a very strong singer. ‘America’ was excellent and Ms. Finlay led the number brilliantly, with plenty of fire and humour while also showing off her impressive vocal ability. For me, her best work came later in the show in 'A Boy Like That/I Have a Love'. Her anger and heartbreak were so believable and this was one of the show’s most moving moments as a result. Her acting was top-notch and one of the most powerful scenes of the show was Anita's encounter with the Jets in Doc’s drugstore. Her performance in this scene was truly powerful.

Adam Skeffington gave one of the standout performances of the show as Riff. He was completely believable as the leader of the Jets. Mr. Skeffington made excellent use of dialogue and movement throughout. Everything he said or did felt considered. He carried himself like someone who had spent his life on the streets. Vocally, he was also very strong. His work in 'Jet Song' was very impressive, driving the energy of the number and establishing Riff's authority and leadership.

Helen Nolan was excellent as Anybody's. Ms. Nolan captured Anybody’s need to belong and to be accepted by the Jets while constantly on the outside looking in. That struggle was beautifully played. No matter how often she was dismissed or pushed away, Ms. Nolan showed how determined Anybody’s was to prove herself. She was more than just a comic character. We cared about her and wanted her to succeed. This made the disturbing scene in Doc's drugstore all the more poignant, as Anybody's emotional reaction to Anita being set upon was genuinely heartbreaking.

Jason Fitzgerald had great presence in the role of Bernardo and gave a very convincing performance throughout. He carried himself with great confidence and authority. His aggressive nature and willingness to resort to violence were always there but never overplayed. He moved with confidence and purpose and always looked very comfortable on stage. Bernardo may not have large amounts of dialogue but Mr. Fitzgerald used his physicality and intelligence as a performer to flesh out his characterisation.

Paul Browne gave an exceptional performance as Action, creating one of the most believable and fully rounded characters on stage. Mr. Browne was most convincing as a young man dealing with years of frustration and resentment and we knew that Action was always on the cusp of exploding. That unpredictability made him fascinating to watch. What impressed me most, however, was the character's journey. There was a subtle maturity and understanding that came with being forced into leadership. A thoughtful, intelligent performance which explored the anger and humanity of Action so well.

Harry Moriarty was wonderful as Chino. In his first scene in the bridal shop, he was shy and slightly nervous, creating a strong contrast with the man we would eventually see by the end of the show.. His reaction upon learning about Maria and Tony was very well played and it was easy to understand how he found himself driven towards such a tragic act. His entrance through the audience carrying the gun was very unsettling. The sight of his hand shaking as he gripped the gun told us everything we needed to know about Chino's state of mind.

Paul Spencer gave an excellent performance as Doc, with a warmth and kindness that was most endearing. He had a very believable relationship with Tony and there was a lovely ease between the two characters. The contrast between the gentle, unassuming Doc in the early scenes and the man consumed by frustration and anger after Anita's attack in the drugstore, underlined Mr. Spencer’s great strength as an actor. A very skilled and thoughtful portrayal.

Gráinne Scullane was impressive as the soloist in ‘Somewhere’, which was one of the most beautiful moments in the show. Her singing was gorgeous, bringing a beautiful expressive quality to the very effective dream sequence.

Mick Kilheeney made a strong contribution in the dual roles of Gladhand and Officer Krupke. As Gladhand, he was funny and excitable trying desperately to keep order at the dance. He also did well as Officer Krupke, the unfortunate target of the Jets' mockery. A very enjoyable performance in both roles.

Proinnsias Loughnane was excellent as Lieutenant Schrank, mixing authority and menace in a very strong performance. Mr. Loughnane played Schrank as a most intimidating figure whose presence immediately changed the atmosphere whenever he appeared. In his scene in the bridal shop following the deaths of Riff and Bernardo, there was a real sense of unease as he questioned Maria, and his intimidating presence cast a shadow over the entire scene.

There was excellent work throughout from the ensemble. Relationships felt genuine, reactions were natural and they worked together exceptionally well. James Kelly was exceptionally good as Baby John. He was a very strong actor and an impressive mover. Aidan McColgan was also excellent as A-Rab, bringing plenty of energy and commitment to the role. All of the other gang members were very strong throughout. Sophie Fitzgerald as Consuelo, Gráinne Scullane as Rosalia and Mai Marnell as Francisca all brought great personality to their roles and were particularly enjoyable during ‘I Feel Pretty’. The ensemble work in ‘Somewhere’ was excellent. This was one of the most moving moments of the evening thanks to great commitment from everyone involved. There was also excellent commitment shown during the ‘Tonight (Quintet)’.

Stage management was exceptional throughout. Ian Hanrahan and his team did outstanding work in keeping a demanding production moving seamlessly from one scene to the next. The show moves between numerous locations, often in quick succession, and this production never lost momentum. Scene changes were slick, efficient and very well organised. Whether handled by cast members or crew, every movement was carefully planned and well-rehearsed. The level of organisation behind the scenes was evident at every turn. This was a most impressive piece of work from Ian Hanrahan and his team.

Set design was very effective. Brickwork, fire escapes and graffiti added to a believable urban New York setting. The central playing area was largely open, which allowed space for the many choreographed sequences. Various levels were used brilliantly throughout the evening, with gang members climbing, sitting and hanging from the set as if it was a natural part of their environment. The design was also very clever from a practical point of view. Hinged sections allowed the set to transform quickly and effectively into a variety of locations, including the bridal shop and Doc’s drugstore. The mechanics of this worked beautifully and allowed scenes to flow naturally into one another without interrupting the pace of the storytelling.

The lighting design was outstanding and played a great role in creating the mood and atmosphere of the production. The first meeting between Tony and Maria was beautifully lit. The lighting helped to effectively isolate them from the world around them. There was also some excellent work during ‘America’, where the lighting transitions complemented the choreography perfectly. Cueing during ‘Cool’ was superb. The precision and coordination between lighting, music and movement really added to the tension. The aftermath of the rumble was another standout moment. The stark lighting used to reveal the bodies created a powerful image. There was equally good work in ‘Somewhere’, especially for the re-enactment of the rumble, in which dramatic lighting helped create a most unsettling atmosphere.

The sound design was equally strong throughout. The balance within the orchestra itself was very good, while the overall stage-pit balance was very strong throughout the evening. Dialogue was warm and clear at all times and both singing and dialogue benefited from well-judged EQ settings. The ‘Tonight (Quintet)’ was most impressive from a sound perspective. It is a hugely challenging number for any sound designer but it was handled superbly here and every vocal line was wonderfully clear. Cueing was flawless, with no missed cues or noticeable issues throughout the performance.

The costume department did a very good job giving context to the period and distinguishing the different groups. I really liked the distinction between the Jets and the Sharks. The Jets' costumes had subtle nods to red, white and blue and the Sharks were dressed in darker, richer colours, creating a contrast between the two groups. Maria’s iconic white dress with the red ribbon looked beautiful and suited her innocence. I felt that the top hat used by Tony in the bridal shop looked slightly less convincing than the rest of the costume plot from a size and quality perspective. This was, however, a very minor point in an otherwise excellent costume plot.

This wasn’t a show that relied heavily on props but those that were used were carefully chosen and looked authentic. One thing I particularly liked was how many of the props became part of the action. The green barrel, for example, was used to help create the street environment but also became a part of the choreography in ‘Gee, Officer Krupke’. The bridal shop was especially well dressed. Items such as the sewing machine, mirror, mannequins and wedding accessories created a convincing working environment.

Hair and makeup were very well looked after. The overall look was appropriate to the era. Hairstyles suited both the period and the individual personalities of the characters. Maria's styling complemented her youth and optimism, while Anita's look reflected her confidence. The male characters were equally convincing and the Jets and Sharks each had a distinct look. Great work from all involved.

‘West Side Story’ continues to be one of the greatest musicals ever written. More than sixty years after it first appeared on stage, its themes still resonate strongly. It is a very challenging show to stage, on so many levels and Roscrea Musical Society met those demands with great confidence and skill. Excellent acting, thoughtful direction, exciting choreography, strong technical work and wonderful ensemble performances made this a highly impressive production. Great theatre is about the people involved and their willingness to work together in pursuit of a shared vision. Roscrea Musical Society demonstrated that wonderfully with this production.

Pat McElwain

Sullivan Adjudicator 2025/2026

Photo credit: Roscrea Musical Society