The Sound of Music as presented by Dunmore Musical Society

Society Name: Dunmore Musical Society

Show Name: The Sound of Music

Adjudicator Date of Attendance: 24/04/2025

Brief Overview of Show and Evaluation of Front of House

Dunmore Musical Society’s The Sound of Music was a heartfelt and genuine presentation of this beloved classic, filled with warmth, community spirit, and a clear love for musical theatre. There was something truly touching about the way this story was brought to life by a group of performers who clearly cared about their characters and the world they were creating. It is always a brave undertaking to present such a well-known musical, and this group rose to the challenge with energy and enthusiasm.

The welcome from Front of House was lovely, polite, and filled with positive energy. It’s always encouraging to see a team that is proud of their show. It was clear that the community supported the group and the production, so much so that that extra chairs had to be put out.

Director – Direction and Production

Joan MacDonnell’s overall direction provided a clear sense of pace and rhythm that kept the show moving fluidly from scene to scene, which is no small feat in a show with as many moving parts as The Sound of Music. The transitions were smooth, and the company maintained an engaging flow throughout.

That said, there is an exciting opportunity for development in character work. Many of the relationships on stage could have been explored in more depth to enhance emotional connection and narrative progression. Offering the cast more individual guidance, especially on backstories, dynamics between characters, and how scenes evolve emotionally, would elevate future productions even further. With more attention to detail in this area, the group’s natural energy and warmth could become even more compelling.

Musical Director – Direction and Orchestra

Under Eoghan Connolly’s musical direction, the band produced a solid and enjoyable sound that served the show well. There was a confident foundation beneath the singing, and the accompaniment was steady and consistent. The mix leaned a little too heavily into the bass range at times, occasionally overpowering lighter voices and instrumental colours. A slight rebalancing would bring a much richer blend and clarity to the overall sound.

Vocally, there were moments where harmonies wandered slightly off-pitch in ensemble numbers. This is an area that could easily be improved with targeted vocal workshops focusing on tuning, breath support, and blend. That said, the von Trapp children were particularly strong, each voice distinct, yet beautifully balanced with the group. Their vocal work was a standout feature and reflects some lovely foundational teaching.

Choreographer – Choreography

Choreography in The Sound of Music is often subtle and naturalistic, so it was refreshing to see some creative input from Aoife McClafferty. The decision to incorporate movement in the opening number showed ambition but did feel slightly at odds with both the tone of the convent setting and the comfort level of the chorus. In such cases, simpler formations and well-rehearsed stage pictures may have conveyed the same energy more effectively.

However, there were several moments where the choreography served the piece beautifully. Both versions of “So Long, Farewell” were charming and well-structured, and “Sixteen Going on Seventeen” played beautifully to the strengths of Liesl and Rolf. The decision to involve the chorus in the Laendler was a unique choice, though it did slightly dilute the intimacy of this pivotal romantic moment. Holding back here would let Maria and the Captain’s chemistry shine more clearly.

Leading Principals – Singing and Acting

Maria Rainer – Kate MacDonnell: Kate was a real joy as Maria. Her voice was vibrant and agile, with lovely transitions between registers and a natural brightness that suited the character perfectly. Her stage energy was infectious, and she brought a lovely duality to Maria’s nature: playful and cheeky, yet nurturing and sincere. A very engaging performance.

Captain von Trapp – Conor Walsh: Conor brought strength and presence to the role. He portrayed the Captain’s stern exterior well, while gradually revealing the character’s softer side. The vocal quality was mellow and controlled, and his scenes with Maria were tender and believable. The romantic arc might benefit from a more gradual emotional build, to fully embrace the transformation from grieving father to loving partner.

Liesl – Ciara Farrell: Ciara gave a poised and graceful performance as Liesl. Her vocal tone was rich and mature, and her dancing was confident and expressive. She presented the eldest child with assurance and charm, bringing a strong sense of character throughout.

Friederich – Ben Cheevers: A wonderfully mature performance from Ben, who carried himself with pride and authority. He captured the character’s position as the eldest son effectively and delivered his lines with clarity and confidence.

Louisa – Ella Dowling: Ella was a sweet and understated presence. With time and experience, she has the potential to bring even more personality to the role.

Kurt – Michael Farrell: Michael’s portrayal added greatly to the family dynamic. An assured performance, with some lovely softer moments. 

Brigitta – Saoirse Shanks: A confident and articulate young actor, Saoirse had a clear sense of character and delivered her lines with wonderful clarity and conviction. Her strong stage presence and self-assuredness are commendable.

Marta – Saoirse Mullins: A shy but promising performance. With time and encouragement, Saoirse will grow in confidence. Keeping focus forward and remaining engaged in the action will help her blossom on stage.

Gretl – Julianna Oleiviera: A delightful Gretl with a cheeky edge! Julianna’s performance had charm and boldness, offering a fresh take on this iconic role. She lit up the stage with her smile.

Supporting Roles – Singing and Acting

Mother Abbess – Theresa Turner: Theresa delivered a quiet strength in her portrayal of the Mother Abbess. Her vocal performance showed promise, with a solid lower range. With some more training in the classical style required for numbers like “Climb Ev’ry Mountain,” there’s no doubt she could develop this role further. There’s untapped potential here.

Frau Schraeder – Aine Sheridan: Aine gave a confident and stylish performance, capturing Elsa’s aloof charm and social elegance. Her accent work and physical characterisation were well-conceived.

Max – Oisín Foye: Oisín put in a good effort as Max. With stronger direction and attention to comic timing, his performance could really lift the humour of the role. Continued work on accent consistency would also help him refine his delivery.

Rolf – Hugh Reddington: Hugh gave a thoughtful and capable performance, with a pleasing singing voice. He handled the emotional shift in Rolf’s arc sensitively. This is a young performer with a lot of promise.

Frau Schmidt – Sinéad Shanks, Franz – Ray McGrath: Both portrayed their roles with clarity. Sinéad brought authority and warmth, while Ray’s inner conflict was subtly communicated. These performances added important texture to the von Trapp household.

Sr. Bertha - Margaret Gerrard, St. Margaretta - Aoibhinn Ralph, Sr. Sophia - Jessica Gleeson: This trio supported the Mother Abbess well. Their harmonies would benefit from some additional blending work, but their individual character choices gave life to the convent scenes.

Admiral van Schreiber - Martin Silke, Herr Zeller - Pat Walsh, Baron Elberfield - Ignatius Mitchell:  These supporting roles helped create a fuller world. Their accent work was commendable, and their presence gave the final scenes appropriate tension.

Chorus / Ensemble – Singing, Acting and Choreography

The ensemble brought great energy and commitment. While some musical and movement moments needed further polish, there is a clear spirit of togetherness and enthusiasm that underpins this group. A few movement workshops and choral training sessions would go a long way toward tightening timing and harmonies. The passion is there; it just needs a bit more structure and finesse.

Stage Management and Set Design

The set design was charming, simple, tasteful, and highly effective. The backdrop of the mountains was particularly impressive and helped transport the audience into the world of the show. The smoothness of scene transitions reflected well-coordinated stage management. A small tip: covering the glowing comms lights would eliminate any unnecessary distraction during scene changes.

Technical – Lighting and Sound

Lighting had some inconsistencies, particularly with front-of-house focus and colour temperature between upstage and downstage. The use of parcan movers caused a few hot spots, and there were occasional odd colour choices and cue timings. These issues can easily be addressed with further tech rehearsal and focus refinement.

The sound design was solid. The balance was mostly effective, though the lowest bass notes were occasionally overpowering and could benefit from EQ adjustments. There were a few near-feedback moments, especially on the children's microphones, so continuing to monitor mic gain and placement will help ensure clarity.

Visual – Costumes, Hair and Make-Up

Costumes were mostly appropriate and attractive, though some choices could be refined for period accuracy. The nun costumes could benefit from upgrading to more realistic habits, and Frau Schraeder’s outfits might be revisited with a historical lens. Hair was well-suited, though veils on the nuns occasionally revealed hairlines, which detracted slightly from the overall appearance. Neutral makeup tones for children would also be more fitting.

Adjudicator’s Suggestions / Overall Comments

This was a warm, sincere and heartfelt production of The Sound of Music. Dunmore Musical Society should be very proud of what they’ve achieved. The sense of community and joy was evident throughout the performance, and while there are areas to develop, particularly in character work, ensemble cohesion, and technical consistency, these are all manageable and exciting areas of growth.

With continued rehearsal support, vocal and movement training, and a bit more time spent on character relationships and period details, this company has the potential to grow into something truly special. Thank you for a delightful evening and for your clear commitment to storytelling and performance. Keep going—you are absolutely on the right path.