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Review: My Fair Lady - Dundalk MS

Public Adjudication Society name: Dundalk Musical Society Show name: My Fair Lady Date of attendance: 16 th  October 2025 I was reminded, when attending Dundalk Musical Society’s production of ‘My Fair Lady’, just how popular the golden-age musicals still are with today’s audiences. Almost seventy years on from its premiere on Broadway, Tony Finnegan’s pacy production underlined the enduring relevance of such ‘classics’, balancing nostalgic warmth with a creative flair that kept us engaged...

Public Adjudication Society name: Dundalk Musical Society Show name: My Fair Lady Date of attendance: 16 th  October 2025 I was reminded, when attending Dundalk Musical Society’s production of ‘My Fair Lady’, just how popular the golden-age musicals still are with today’s audiences. Almost seventy years on from its premiere on Broadway, Tony Finnegan’s pacy production underlined the enduring relevance of such ‘classics’, balancing nostalgic warmth with a creative flair that kept us engaged and entertained from start to finish. A keen eye for storytelling, comedy and an acute awareness of the importance of pace, meant that this was a most engaging production of Lerner and Loewe’s classic musical tale based on George Bernard Shaw’s ‘Pygmalion’. The front of house team in An Táin Arts Centre, did a fine job in creating a very welcoming atmosphere as the capacity audience arrived. Their cheerful tone was evident throughout the building as we took our seats in anticipation of being transported back in time to Edwardian London. There was an exceptionally prompt start to proceedings as the announcements began almost on the stroke of 7:30pm. I could count on one hand how many times I’ve experienced that over the years! A super job from all involved. In the programme, director, Tony Finnegan, lists ‘My Fair Lady’ as one of his favourite shows and this was no surprise as we witnessed his care, clarity and attention to narrative detail at every turn. Pace was a key part of the success of this production and Mr. Finnegan handled this element so well, ensuring that each scene was delivered with vitality and fluidity, yet never compromising on thoughtfulness. The seamless flow between dialogue, song, and scene transitions demonstrated great familiarity with the material and a keen understanding of its challenges. There were so many impressive directorial touches which elevated the storytelling. I loved the clever use of the gauze which revealed the cast at the top of the show and finished Act 1 with a lovely picture as Higgins observed from downstage. Dialogue was beautifully pointed and nuanced throughout. Sometimes it’s the simplest of details that impress the most. There were many of these. Eliza listened intently when Higgins mentioned his address in Covent Garden. It is an ‘obvious’ detail that can often be missed. Act 2 scenes between Eliza and Higgins were as good as I’ve seen. These scenes had it all; comedy, exceptional pace, thought and genuine, heartfelt emotion. Their relationship was believable and avoided melodrama in favour of what felt like truth and sincerity. A most confidently directed production which was funny, poignant and full of energy, as required. Musical Director, Elizabeth Freeburn, led an excellent 12-piece orchestra from her keyboard, bringing Lerner and Loewe’s classic score to life with great energy and polish. From the opening notes of the shortened overture, we knew that we were in for a musical treat. Tempi were well judged throughout, from the enthusiastic merriment of ‘Get Me to the Church on Time’ to the beautifully lyrical ‘I Could Have Danced All Night’. Ms. Freeburn’s connection with cast was noteworthy throughout. Entries were clean, cues were precise and there was very good attention to vocal dynamics. The only slight hiccup was in ‘Ascot Gavotte’ which was vocally strong but timing could have been tighter to achieve a more accurate, clipped delivery. There was excellent vitality and gusto in ensemble numbers such as ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’, which allowed cast to perform with great character.  It's not too often that I’ve come away from a production of ‘My Fair Lady’ in which choreography was a standout element of the show. Daniel Maguire’s choreography was exactly that. His cleverly devised routines would not have been out of place in a professional production. Every movement had purpose and, most importantly, was woven into the storytelling. Props were cleverly incorporated into Mr. Maguire’s choreography, which was always grounded in the narrative. Routines were character driven, bringing Edwardian London to life with great vibrancy, whether through exaggerated cockney swagger in Covent Garden or the stylised formality of the upper classes at Ascot. Cast were very well-rehearsed, sharp in their execution and their cheers and ad libs added wonderful energy and realism. Excellent work from start to finish. Anna Maria Boyle was a very strong Eliza, the cockney flower girl with aspirations to become a ‘lady’. Ms. Boyle delivered a very intelligent, heartfelt performance, which was vocally most impressive. She was very conscious of her physicality throughout. There was a marked contrast between how she carried herself as an unrefined street urchin to her beautifully poised movement at the Embassy Ball. And yet we still saw flashes of the old Eliza bubbling under the surface, thus maintaining her character’s authenticity. Her character was elevated to another level post-transformation, as she came alive with her over enunciated, clipped delivery, in what was a very commanding performance. Comedic timing and delivery were excellent throughout, with the ‘marbles’ scene being one of many comic highlights, as was her aunt’s unfortunate demise, due to influenza! Ms. Boyle delivered some outstanding vocal moments. ‘Wouldn’t It Be Loverly?’ was sung with genuine warmth that showed intelligent connection with the lyrics. ‘I Could Have Danced All Night’ had beautiful tone and impressive phrasing. Chemistry with Higgins was palpable and her timing, upon her return to Wimpole Street in the final scene, was just perfect. James McGinn gave a commanding and nuanced portrayal of Higgins. His excellent, natural delivery style demonstrated a wonderful understanding of text. Mr. McGinn had it all; presence, clarity of diction and very impressive timing. He skilfully balanced self-righteous arrogance with moments of confusion at his own feelings, avoiding the bombastic caricature that Higgins can often become. He had an expressive, baritone voice and was able to deliver his patter songs with great precision. ‘Why Can’t the English?’ was a perfect example of his exceptional diction, humour and expression. ‘I’ve Grown Accustomed to Her Face’ gave us a glimpse of tenderness beneath his pompous exterior, in what was a beautifully considered performance.  David Bradley was a solid Colonel Pickering. His warmth and integrity balanced nicely with Higgins’ gruffness. Mr. Bradley had good stage presence and his diction was generally strong. He really came into his own during his phone call scene, during which he demonstrated good pace, comic understanding and delivery. Vocally, his light baritone was nicely effective in the congratulatory ‘You Did It’. I really enjoyed Daniel Farrell’s sprightly Alfred P. Doolittle. His energetic exuberance, rich voice and sharp comic timing brought each of his scenes to life. He was quite the mover too. ‘With a Little Bit of Luck’ was great fun and the wonderful ‘Get Me to the Church on Time’ brought the house down. Mr. Farrell infused his character with an endearing, roguish charm, ensuring that he had the audience in the palm of his hand from his first entrance to his final bow.  Marc Byrne and David McArdle were a perfectly cast duo as Alfred’s sidekicks, Harry and Jamie. Their energy was infectious and they played wonderfully off one another, with plenty of comic interplay and cheeky physicality. Their animated movement and expressive faces brought great fun to numbers such as ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’. They had an excellent rapport with Mr. Farrell and led from the front in setting the dynamic tone of their ensemble scenes. Max Valentine (surely the coolest stage name ever!) displayed a lovely blend of earnestness and charm in the role of Freddy. This was a very impressive performance. Mr. Valentine had excellent presence, good comic timing and his delivery of dialogue showed a really keen understanding of the narrative. ‘On the Street Where You Live’ was joyful, showcasing his expressive tenor voice. This was a very assured and emotionally sincere performance, filled with a genuine sense of romantic hope.  Patricia Savage brought all the necessary pomposity to the role of Henry’s mother, Mrs. Higgins. She balanced her quiet, no-nonsense authority very nicely with her evolving warmth towards Eliza. Her dry wit and well-timed reactions were subtly delivered and understated. Ms. Savage’s withering glances of disapproval left us in no doubt as to who was actually in charge in the Higgins family.  Treasa Ní Chuinleabháin gave a well-judged performance as Higgins’ pragmatic yet compassionate housekeeper, Mrs. Pearce. Her initial exchanges with Eliza were quite sharp and dismissive but her stern exterior melted as she too warmed to her. Her interactions with Higgins were humorous, as she brought realism and warmth to the chaos around her. Ashley Copas-McCormack impressed in the role of the sharp-tongued Mrs. Hopkins, proving the adage that there is no such thing as a small part. She was delightfully expressive and had excellent diction and projection. Her characterisation was full of energy and she was a standout member of the ensemble. We really needed to see more of Mrs. Hopkins. A spin-off, perhaps?  The myriad supporting roles were given good attention to detail also, adding great depth to production in general. The ensemble work was consistently strong. From the Covent Garden crowd, to the Ascot elite, to the embassy revellers, they all had the commitment and energy required. Ensemble members were in tune with the narrative throughout, always acting and interacting appropriately. There was great work from the maids in their harmonies and storytelling during ‘The Servants’ Chorus’, giving us some standout moments. Each ensemble member contributed to building the atmosphere of the piece, maintaining wonderful energy and focus throughout. A minimalist set design, deriving inspiration from the Art Nouveau movement, allowed the story to flow seamlessly. The imposing portrait of Eliza, a replica of the iconic cover of Shaw’s ‘Pygmalion’, served as a backdrop of sorts. For me, it was a symbolic reminder that, despite the transformation at the centre of the story, Eliza’s true identity never changes. Multifunctional doorways were used well to suggest different locations, providing entrances and exits to Covent Garden, the pub, Higgins’ study, Ascot and the Embassy ballroom. The raised upstage area provided interesting staging opportunities. This excellent, minimalist design allowed for speed and efficiency in transitions, never disrupting the rhythm of the performance. This simplicity ensured that the focus remained exactly where it belonged; on the performers and the storytelling.  Stage manager Niall McCooey and his crew deserve much praise for their smooth coordination. Scene changes were executed silently and swiftly, with every crew member with purpose and great efficiency. The transitions in and out of Higgins’ study, in particular, were very well choreographed, maintaining a brisk momentum throughout and allowing the show to move with great pace and fluidity. An excellent team effort. Lighting was a standout feature of this production. From the atmospheric preset alone, it was clear that this element of the production was in safe hands. A minimalist set requires clever lighting design and that was exactly what we got, with subtle changes indicating various changes of location. Dappled floor lighting suggested cobblestoned streets of Covent Garden and the window gobo on the study floor was a lovely effect. Back light pouring through the upstage left doorway as patrons exited the pub, added a depth of realism to the set. I loved the subtle lighting changes within musical numbers, particularly during dance breaks, which served to heighten the atmosphere and complement the mood.  Sound was of a very high standard. The orchestra was perfectly balanced and the balance between pit and stage was very well handles. Cues were accurate and sound effects were well chosen and highly effective, when needed. The recording of Eliza’s voice was wonderfully authentic, complete with static interference. The only issue noted was an imbalance between vocal parts in ‘Get Me to the Church on Time’, a tricky one to get right with so much choreography and energetic movement on stage. A super job overall. ‘My Fair Lady’ is a real ‘prop heavy’ show. Full credit to the props team, who demonstrated an eye for authenticity and period accuracy. The flower baskets, phonographs and phonetic equipment all looked appropriate to the Edwardian era. There were some very impressive pieces, including the chamber pot, the carpet beater, and the fabulous icepack. The furnishings and prop dressing in Higgins’ study were perfectly suitable, as were the garden furniture pieces. The Royal Opera sign advertising Verdi’s ‘Aida’, amended to Wagner’s ‘Gotterdammerung’, was a musical nerd’s delight, demonstrating great attention to the narrative detail. Excellent work from all. There was, generally, good attention to detail in the costume plot, which clearly reflected the class divide. Covent Garden costumes were suitably grubby, creating a believable picture of the working class of the day. Eliza’s transformation was very well handled, with her glamourous reveal adding greatly to the theatricality of the show.  Higgins’ suits clearly communicated intellect and status. I was particularly impressed by the attention to detail given to his frequent change of footwear. Doolittle’s cockney swagger was well captured and Mrs. Higgins’ outfits were suitably pompous. Freddy looked every bit the romantic dreamer in his suit, however, the decision not to wear a hat outdoors in his opening scene would have gone against the social etiquette of the time. The Ascot scene was a triumph. The gentlemen were meticulously turned out in their grey tails and top hats. The ladies were equally stunning in monochrome attire and a fine array of delightfully over-the-top millinery.  Hair and make up were generally well handled, with good attention to detail in recreating the hairstyles of the day and some interesting wigs on display. I did feel that Doolittle needed to be aged and that some greying of his hair and beard would have complemented his character. The ladies of Ascot were pristinely presented, adding greatly to the stuffiness of their characterisation. Overall, very good work in capturing the looks of the era. This was a most entertaining production of Lerner and Loewe’s classic musical. From the thoughtful direction to the fine musical presentation, to the excellent choreography, no stone was left unturned in maximising all available resources to present a thoroughly engaging production to be very proud of. Storytelling was front and centre at all times; exactly as it should be. Simply loverly!  Pat McElwain Sullivan Adjudicator 2025/2026

Our House as presented by LMVG

Leixlip Musical and Variety Group Our House – The Madness Musical Tuesday 29 th  April 2025 It is to Leixlip Musical and Variety Group’s eternal credit that, year after year, they produce top quality, highly professional and innovative productions in a GAA hall which, let's face it, is not built for large scale theatrical productions. The seating, the queue for the ladies, the lack of comfort afforded in most theatre spaces around the country, matter not to those who are lucky enough to...

Leixlip Musical and Variety Group Our House – The Madness Musical Tuesday 29 th  April 2025 It is to Leixlip Musical and Variety Group’s eternal credit that, year after year, they produce top quality, highly professional and innovative productions in a GAA hall which, let's face it, is not built for large scale theatrical productions. The seating, the queue for the ladies, the lack of comfort afforded in most theatre spaces around the country, matter not to those who are lucky enough to attend a Leixlip show, because they know that what they are guaranteed is an outstanding piece of theatre. And that is exactly what was served up when I attended ‘Our House – The Madness Musical’ in St. Mary’s GAA Hall.   Front of house was warm, friendly, and highly efficient. The air of excitement and expectation was palpable. The facilities may have been limited, but it was, after all, a Leixlip show and people knew that they were about to witness something special. The driving force behind that something special was director Claire Tighe and her exceptional team of creatives.‘Our House’ is a show that requires a very clear vision, as two parallel storylines intertwine in a narrative which, in the wrong hands, could descend into chaos and confusion.   Thankfully, the group had just the right director at the helm; a director who knew the venue and the show inside out. And it showed.   Ms. Tighe ensured that there was an incredibly fluid pace to this fast-moving show. There was a wonderful balance between frivolity and poignancy.   I loved the sliding doors motif, reflecting the pivotal, seemingly insignificant moments in our lives that can hugely impact future events.   The brilliantly slick use of doors as a clever theatrical device to cover scene changes, costume changes, and to create distractions, was military-like in its precision and so cleverly executed.   There were superb characterisations throughout, with very real relationships between the central characters. The central character Joe has the most costume changes that I have ever seen in a show and his lightning quick transformations were a potential banana skin. However, in typical Ms. Tighe style, nothing was left to chance and the audience was left scratching heads and picking jaws off the floor as we tried to figure out what sorcery was at play as Joe walked through one door in one costume and came out another door, changed. The use of the ensemble was quite stunning throughout from their superb dancing and singing to their committed performances of a myriad cameo roles.   Dermot O'Callaghan did a superb job as musical director, bringing the iconic songs from the Madness back catalogue, (as well as Labi Siffre's ‘It Must Be Love’), to life with an exceptionally talented band. I was truly in my element listening to the soundtrack of my youth and its impressively revamped vocal and orchestral arrangements. It was both nostalgic and fresh and, unusually for a jukebox musical, the songs slotted cleverly into the narrative. The music of Madness is, by its nature, very brassy and how wonderful it was to hear the iconic saxophone riffs that were so well featured throughout. Principal singing was top-notch across the board, with some standout vocal performances from both Sarah and Kath in particular. Chorally, there were some very interesting arrangements, and Mr. O'Callaghan had done meticulous work with a very talented principal cast and ensemble. The energy and attack in numbers like ‘Baggy Trousers’ was off the scale and the attention to detail in some beautiful harmony work was very impressive, particularly in the wonderful ‘NW5’ and ‘The Sun and the Rain’.   A wonderful job by Mr. O’Callaghan. It is difficult to find enough superlatives to describe the choreography by Claire Tighe and Jen Dawson which was so brilliantly conceived and executed from start to finish.   There was energy, vibrancy, precision, creativity, and technical accuracy that one rarely sees on the amateur stage.   Most importantly, the choreography always supported and drove the narrative in a clever, creative way.   One by one, each number outdid the one before. ‘ Our House’ captured the chaotic party atmosphere, brilliantly full of life and carefree abandon.  ‘ Baggy Trousers’ was an absolutely phenomenal routine, channelling teenage, hormone-fuelled exuberance with unbelievable energy and astonishing performance levels.Think ‘Revolting Children’ on drugs.   There were so many highlights in the choreography.  ‘ Tomorrow's Just Another Day’ was fabulously sharp with marching prisoners, incredible formations, and wonderful synchronicity.  ‘ Wings of a Dove’ was a powerful opening to Act 2, a blast of colour, exceptional energy, and precision of movement. ‘The Sun and the Rain’ was a brilliantly devised, hilarious take on ‘Who Will Buy,’ with clever use of props, a super kick line and the obligatory, quick change for Joe, cleverly executed.  A simply stunning job from Ms. Dawson and Ms. Tighe. Brian Dalton was hugely impressive as the central protagonist, Joe Casey.   This was a superb performance on so many levels.   Mr. Dalton's ability to seamlessly morph from law-abiding Joe to lawbreaker Joe was quite astonishing. Add to that his never-ending, insanely fast costume changes and this was quite a remarkable portrayal. There was much complexity to Joe and Mr. Dalton really captured his inner turmoil as he struggled with moral dilemma. Vocally, he was very strong with a superbly expressive delivery and his physicality, which changed depending on which version of Joe he was playing, was excellent throughout. A truly wonderful all-round performance. Lauren Dooley played Joe's love interest Sarah in a most beautiful and engaging performance.   Ms. Dooley is a superb actress, with an exceptional emotional range, and she brought so much depth to this role as she skilfully played Sarah’s journey from working class, love-struck innocence to trainee lawyer in what was a most compelling and captivating portrayal.   Her chemistry with Mr. Dalton was exceptional and it was clear that a lot of work had been put into getting this connection exactly right.   Ms. Dooley's singing was hugely impressive.  ‘ NW5’ was the musical highlight of the show for me, in what was a stunningly raw and heartfelt rendition.  A s uperb job from Ms. Dooley. Jenny McCabe was wonderful as Kath Casey, Joe's mother. This was a powerhouse performance from Ms. McCabe, who used her vast experience to create a multi-layered, utterly real character with razor-sharp wit and emotional depth. Kath has had a tough life but her inner strength was played brilliantly by Ms. McCabe. ‘One Better Day’ was a standout moment musically and dramatically as Ms. McCabe and Joe's Dad played a most beautifully pitched, emotional flashback.  Excellent work from a most skilful performer. Ian Tighe had a full circle moment in playing Joe's deceased father, referred to only as Joe's Dad. Mr. Tighe had previously played Joe with the society in 2011 and how fitting that he should return to the Leixlip stage, fourteen years later, to play this role. His understanding of Joe’s divergent realities added layers to what was a truly wonderful performance from Mr. Tighe. He brought amazing presence and gravitas to the role. Much of the show was spent observing others and that can often be difficult for a performer. However, Mr. Tighe's focus and subtle reactions as various scenes played out, underlined his skill as an actor as he willed Joe to make the right choices in life. ‘One Better Day’ with Ms. McCabe, was a beautifully emotional scene as Kath told him that she was pregnant with Joe. It is so difficult to separate Sam Lee and Cillian Hogan's performances as Joe’s best mates, Emmo and Lewis, as these two were an inextricably linked comedy duo that bounced off one other, quite literally.  They brought  tremendous energy and a superb on-stage rapport to their portrayals, looking like something from ‘The Inbetweeners.’  C omic timing was exceptionally good from both and dancing was strong and always in character.   Superb work from both. Likewise, Clíona Nic Shuibhne and Ella Coughlan were an outstanding duo as Billie and Angie, Sarah's best friends.   They were sneery, sassy and full of teenage, rebellious attitude, in complete contrast to the sweet demeanour of Sarah.   These two worked so brilliantly together.   The banter between the two of them was quick-fire, seamless, and so natural. The perfect duo. Vocals were strong but it was their incredible dancing, always in character, that really impressed the most. Jamie Hennessy looked like he had just stepped off the set of ‘Love/Hate’ as the manipulative Reecey, who was the catalyst for the ill-fated trajectory of law-breaking Joe's narrative.   Mr. Hennessy was suitably edgy and looked quite intimidating but I felt that he could have developed the more menacing side of Reecey’s character.  Mr. Hennessy sang with a most expressive vocal and very impressive upper register. Ciarán Tighe, yet another member of the ‘Tighe Dynasty,’ fulfilled the role of antagonist Mr. Pressman, the dodgy property developer. Mr. Tighe played the role with just the right amount of sinisterness, without ever drifting into caricature and he balanced this with an understated comic touch that made him difficult to hate outright.   His strong presence and solid vocal made this a very well-rounded portrayal. What can I say about this ensemble?   They were incredible, to a person. They were insanely committed and energetic.   There were simply no passengers in this production.   Not only did they sing and dance brilliantly, with performance levels that were off the charts, but they also played multiple cameo roles, underlining the incredible strength in depth of the company.   There really was exceptional work from all.   It is almost impossible to single anybody out as performances across the board were exceptional.  However,  Fionn O’Dwyer, Ben Cole and receptionist Julie were standout ensemble performers. Stage manager Mary Purcell did a very good job on this opening night's performance.   One of the great strengths of the show was how smooth the transitions and the coordination between cast and crew were. The clever set design allowed for great fluidity and the crew capitalised on this to bring the designers’ and director's vision to life in a very pacey, fast-moving show.  The fabulous framing of a tube station was a wonderful set design concept, bringing to life the urban working-class setting of 1980s London.   Simplicity was key in creating an open, fluid performance space with its generously extended apron providing much depth, particularly for the large dance numbers.   The upstage raised level and the downstage right upper level provided great staging opportunities. The screen, set behind the centrally positioned broken wall, provided excellent scope for interesting visual elements throughout. The literal sliding doors, both trucked and tracked, were a wonderful theatrical device.   There was clever use of the steps to form the courtroom scene. Equally clever was the exterior of the Casey Street house, which provided cover for striking the car. Overall, a very clever, visually appealing set, perfectly conceived and finished for the style of show.Lighting was simply stunning from start to finish, brilliantly atmospheric. This was evident from the get go, with brilliant lighting transitions heralding each section of the overture. Lighting is crucial in driving the narrative of ‘Our House.’   There was great use of colour to emphasise Joe's dual realities.   Specials were cleverly used to focus attention during pivotal moments.   There were wonderfully clever effects used as reality split into the parallel timelines.   I loved the concept of Joe's Dad being lit in blue to create a ghostly, otherworldly atmosphere.   However, I did feel, at times, that we lost Mr. Tighe’s expression as things were occasionally too dark.   There were far too many lighting highlights to mention here, but ‘NW5’ was stunningly atmospheric and the final cue and picture were beautifully timed. Sound was very impressive throughout. Cueing was remarkably good. And the band was mixed to perfection. Balance between stage and pit was, for the most part, really well handled and, I have no doubt, will have improved as things bedded in during the run. Sound effects were excellently chosen and cued, adding greatly to the atmosphere and authenticity of the show. The courtroom voiceovers were wonderful with just the right amount of effect.   A super job overall.A large part of the technical success of the show was the on-screen graphics which added so much depth to the stage. The ‘Our House’ logo in the pre-set was vivid and bold. ‘Driving in My Car’ featured a brilliant animated sequence, as Joe and co. were transported from road, to rollercoaster, to the sky, to a delightfully absurd Star Wars sequence.   Other images included a glitter ball and of course flames added much to the drama in the latter stages of the show.   The missing apostrophe in ‘Rays Car Wash’ was unfortunate. When everything else is so good, it is often the small things that stand out.  There was great attention to detail in the props department, with everything appearing appropriate to the era and the context of the show. The fabulous car was an obvious highlight and there was great fun had with lightsabres, umbrellas, fans, etc.   The coffin brought a layer of authenticity and poignancy in the closing stages of the show.  Attention to detail was also written all over the costume plot for this show, which reflected the cultural backdrop of working-class Camden in the 1980s. Nothing was left to chance. From the school uniforms to the red and black showgirls, to the quirky prison uniforms, to the clever colour scheme at the end of the show, this was a costume team on top of its game.   Mr. Pressman was sharply suited and booted and Reecey was edgy and menacing by contrast.   Joe's dual costuming worked so well.   The amount of thought and meticulous attention to detail that went into this alone, deserved a standing ovation. The work, the timing and, let's face it, the stress that must have gone into getting these changes exactly right was phenomenal.   Take a bow all involved.There was excellent attention to detail also in the hair and makeup department. Granddad was well aged and I enjoyed the subtle differences in grooming between law-abiding Joe and law-breaking Joe.   The ensemble styling complemented the working-class setting perfectly and there was equally appropriate styling for ‘Wings of a Dove’ at the top of Act 2.This was one of those shows where a brilliantly harmonious blend of many elements combined to create something very special indeed.   It was a wonderful night’s entertainment, a compelling look at choices and their consequences. The production team made some very bold and creative choices themselves, which were executed with military precision by a very talented cast and crew.  It  was a joy to watch and to listen to the nostalgic soundtrack of my youth. Could that day have gotten any better?  No. No it couldn’t. Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Elaine Brunton

All Shook Up as presented by Baldoyle Musical Society

Society Name:  Baldoyle Musical Society Show Name:   All Shook Up Adjudicator Date of Attendance:  26.05.2025 Brief Overview of Show and Evaluation of Front of House Baldoyle Musical Society’s production of All Shook Up  was a vibrant, well-paced, and energetically performed show that demonstrated a strong sense of fun, community, and musicality. Tackling a jukebox musical like this requires a careful blend of nostalgic charm, character commitment, and storytelling precision, and the company...

Society Name:  Baldoyle Musical Society Show Name:   All Shook Up Adjudicator Date of Attendance:  26.05.2025 Brief Overview of Show and Evaluation of Front of House Baldoyle Musical Society’s production of All Shook Up  was a vibrant, well-paced, and energetically performed show that demonstrated a strong sense of fun, community, and musicality. Tackling a jukebox musical like this requires a careful blend of nostalgic charm, character commitment, and storytelling precision, and the company delivered an enjoyable evening full of heart and high-energy performances. The production captured the playful, romantic tone of the piece while managing to present some nicely nuanced character moments amidst the big dance breaks and familiar songs. There were flashes of real theatrical flair throughout, and a clear vision that connected all departments well. The Front of House team were polite, professional, and welcoming. Patrons were guided into the venue with ease, and the overall sense was one of good organisation and a community proud of its work. The space was managed efficiently, and all interactions with staff were courteous. The audience felt relaxed and at ease, which helped create a receptive atmosphere from the outset. Director – Direction and Production Yvette Cuffe did a commendable job in directing this production. The overall shape of the show was thoughtfully constructed, and scenes transitioned smoothly with strong forward momentum. There was a clear eye for staging that allowed both central and background characters to be active participants in storytelling, which gave the production a nice sense of depth. The character work was particularly strong in places, with some lovely interactions and genuine emotional moments. In a few cases, character development could have been pushed further. Some arcs felt a little underexplored and would benefit from clearer growth or emotional peaks, particularly in a show that relies on larger-than-life characters to help drive the plot. There were some clever staging choices, especially with set pieces being used to suggest different locations and scenarios, and these enhanced the storytelling effectively. The balance between realism and stylised fun was well judged. Overall, a nicely directed piece that reflected a cohesive vision and a good sense of ensemble storytelling. Musical Director – Direction and Orchestra Under the musical direction of Gay Kirwan, the production achieved a rich, full sound that served the show well. The band performed with energy and flair, and their connection to the cast onstage was evident. The vocal work from the cast was especially strong, with harmonies that were tight, well-balanced, and confidently delivered. There was a clear sense of musical cohesion, and the cast handled the varied vocal styles of the Elvis Presley songbook with great skill. That said, the band did overpower the singers at times. This is a common challenge with brass-heavy ensembles, particularly in intimate venues where the proximity of musicians to the audience can magnify their presence. Continued attention to dynamic control and sensitivity to vocal lines would help further elevate the overall sound balance. Nonetheless, the musical backbone of the show was a real highlight, with enthusiastic playing and a cast who clearly felt well-supported. Choreographer – Choreography Amy White-Lamb opened the show with an absolute knockout number, a thrilling blend of choreography that was vibrant, fresh, and full of clever formation changes and visual impact. This opening set the bar high and instantly immersed the audience in the high-octane world of the show. It was a fantastic start and gave a strong indication of the choreographer’s creativity and ability to harness ensemble energy. As the show progressed, the choreography remained energetic and characterful, but some later numbers did not quite match the inventive brilliance of the opener. The use of space and cast was effective throughout, although it was noted that a few ensemble members were primarily involved in “stand and sing” moments rather than fully incorporated into choreographed sequences. It would have been lovely to see them more actively integrated to keep the energy evenly distributed. Overall, a strong choreographic vision that added flair and fun to the piece. Leading Principals – Singing and Acting Chad – Josh Winters:  A truly standout performance. Josh delivered a portrayal of Chad that had both swagger and depth, avoiding the trap of turning the character into a caricature. His physicality, comic timing, and command of the stage were consistently excellent. Each expression, movement, and vocal inflection was carefully timed and polished. He brought unexpected emotional nuance to a character that is often played solely for laughs, and his dancing was fantastic. While there were some slight vocal slips when transitioning into the more lyrical sections, these were minor and quickly corrected. Natalie – Sinead McMullen:  Sinead gave a beautifully natural and sincere performance. Her portrayal of Natalie was grounded, emotionally engaging, and full of inner strength. She struck a great balance between vulnerability and resilience, and her physical transformation when in disguise was cleverly executed. Vocally, she impressed across her range, with power, control, and clear diction. A genuinely endearing performance with heart and clarity. Dennis – Adam Kelly:  Adam was a comic delight. He embraced the quirky, awkward charm of Dennis with ease, delivering his lines with perfect comedic rhythm while also showing real pathos in his unrequited affection for Natalie. His voice was clear and strong, and he maintained the “geeky” physicality of his character throughout. A thoroughly enjoyable and consistent performance. Sandra – Karen McCourt:  A commanding and confident portrayal. Karen embodied Sandra with glamour and poise, delivering a performance that was both sensual and tongue-in-cheek. Her comedic timing was excellent, and her vocal performance was polished and assured. Every gesture was deliberate and character-driven, creating a bold and memorable stage presence. Supporting Roles – Singing and Acting Lorraine – Aine Murray:  A bubbly and enthusiastic presence onstage. Aine brought energy and charm to the role of Lorraine, and her vocal work was very strong. The characterisation was bright and youthful, although a reluctance to make eye contact with her scene partner did slightly affect the believability of the relationship with Dean. A bit more connection would lift this even further. Dean – Eoin O’Connor:  Eoin portrayed Dean as a sweet and understated character. His calm presence was a nice contrast to Lorraine’s vivacity, and he held his own vocally with confidence. He has a lovely tone and a quiet sincerity that suited the role well. Sylvia – Ceri McEvoy:  While Ceri possessed a strong vocal instrument, her portrayal of Sylvia lacked emotional depth. The performance felt a little underdeveloped. There’s real potential here, and with further character exploration, Sylvia could be a much more compelling role. Jim – Robin Murray:  Robin brought a warm, gentle quality to Jim, creating a likable and grounded presence. His scenes with Chad were enjoyable, and their duet was well matched vocally. The relationship with Sylvia didn’t quite come across as authentic, which could be strengthened with deeper emotional engagement. Mathilda – Kate Headon:  Kate gave a humorous and highly watchable performance. Her portrayal of the officious and moralistic Mathilda had a clear arc, and her eventual softening was played with both surprise and delight. Her comic timing, particularly in her reaction to the Sheriff’s declaration, was spot on. Sheriff – Peter Fitzsimons:  Peter gave a steady performance as the Sheriff. While the eventual comedic payoff landed well, the lead-up to that emotional release would have benefited from more visible frustration and tension building throughout the show. A few more tonal shifts would have given the final reveal even more punch. Chorus/Ensemble – Singing, Acting and Choreography The ensemble were a fantastic asset to the production, providing energy, atmosphere, and vocal strength throughout. Their harmonies were robust and well blended, with each section contributing equally to the full company numbers. In terms of movement, the cast showed a high level of commitment and precision, with good musicality and spacing. Each member brought a distinct character to the stage, helping populate the world of the show convincingly. They reacted well in scenes and showed consistent focus, a vital part of creating a believable stage environment. Stage Management & Set Design The set design was simple but effective, using versatile elements to suggest different locations without overcomplication. Projections added a useful layer of visual storytelling, and the overall aesthetic was well judged for the venue and resources. However, the height of the back platform occasionally caused performers’ faces to be lost in back lighting, which could be addressed by lowering the platform slightly. The stage management team were clearly efficient and prepared. Costume-clad crew made for seamless transitions that didn’t disrupt the world of the play. Given the use of costumes, blue-outs might have helped maintain energy and continuity during scene changes. Technical – Lighting and Sound Lighting design included some beautifully crafted moments, with clever use of movers to highlight emotional shifts and choreography. There were a few instances where lighting cues felt unnecessary or poorly timed, and certain specials missed their mark. A closer collaboration between the lighting designer and director, along with clearer spiking, could improve accuracy. Sound overall was well balanced. Dialogue was consistently audible, and vocal blends were strong. The band’s volume was overpowering at points, but given the layout of the venue and instrumentation, this was understandable. Continued focus on dynamic control would help ensure the vocals remain front and centre. Visual – Costumes, Hair and Make Up Costumes were a real strength of the production. The opening number jackets created immediate visual interest, and the shift from muted tones to vibrant colours with Chad’s arrival was true to the storytelling. The styling was appropriate to the era, and character choices felt specific and well thought through. Hair and makeup also reflected the time period with flair and were consistently applied across the cast. Attention to detail in these areas enhanced the overall aesthetic. Adjudicator’s Suggestions / Overall Comments This was a bright, confident, and thoroughly enjoyable production of All Shook Up  that demonstrated a clear directorial vision, strong musicality, and committed performances from leads and ensemble alike. With some attention to character development, particularly in supporting roles, as well as tighter integration of technical cues and choreography for all performers, this society can continue to grow from strength to strength. The creative team are clearly collaborative, and the show reflected a company that takes pride in its work and delivers with heart.

The Wedding Singer as presented by Dunboyne Musical Society

Dunboyne Musical Society The Wedding Singer Wednesday 23rd April 2025 ‘The Wedding Singer,’ an upbeat love story based on the 1998 movie of the same name, has been a very popular choice this season. With its hilarious book and catchy 80s style tunes that sound like familiar hits of yesteryear, what’s not to love? Dunboyne Musical Society took on this totally awesome show which parodies the excesses of the 1980s, with many side-splitting moments, lots of exhilarating choreography and nods...

Dunboyne Musical Society The Wedding Singer Wednesday 23rd April 2025 ‘The Wedding Singer,’ an upbeat love story based on the 1998 movie of the same name, has been a very popular choice this season. With its hilarious book and catchy 80s style tunes that sound like familiar hits of yesteryear, what’s not to love? Dunboyne Musical Society took on this totally awesome show which parodies the excesses of the 1980s, with many side-splitting moments, lots of exhilarating choreography and nods galore to 80s pop culture. For anyone who lived through the era of big hair, legwarmers, and Rubik’s cubes, it was a highly nostalgic romp. Even if you never heard of MC Hammer or Mr. T, you couldn’t but be swept along on a wave of positivity, by what was a thoroughly entertaining show which leapt off the stage. I was met with a very warm welcome at Dunboyne Community Centre and the spacious entrance area at the back of the hall ensured that things moved quickly and efficiently as the audience arrived for the show’s opening performance. It had been a few years since I last saw a show at this venue and I was delighted to see that the installation of tiered seating has made a significant difference to the layout, providing a much more pleasurable theatrical experience. Director Orla Mulreid Deane brought great energy, pace and attention to detail to this show. Her hard work was evident at every turn. She had a great eye for casting with some exceptional performers in the principal roles who gave us well-rounded, believable characters who were very in tune with the comedic style of the material. There were some lovely touches throughout, including the clever throwing of the bouquet and the swapping of Rosie for her ‘’body double, which was hilariously executed. Pace was slick throughout and great attention was given to the myriad comedic moments. Very strong work from Ms. Mulreid. Musical Director Caitríona Ní Threasaigh had assembled a band to die for, which brought the catchy score of 1980s style, synth-driven pop to life. There was great attention to detail in the harmony work, particularly amongst the ensemble, with great precision and accuracy in evidence. Choral vocals were very well balanced. Ensemble singing in ‘It's Your Wedding Day’ was excellent, getting the show off to a rocking start. ‘All About the Green’ was a standout number, which exquisite harmonies from the ensemble. There was great sensitivity to underscored dialogue, with every word being heard. A super job overall from Ms. Ní Threasaigh. Gráinne Kennedy choreographed with great flair and a dynamic touch. Ms. Kennedy was in tune with the era's style and her choreography added greatly to the comedy of the show. ‘It's Your Wedding Day’ was a high energy, joyous and exhilarating opening. ‘Casualty of Love’ was another great number, full of great energy and precision, and I loved the Thriller-esque moves, firmly rooted in 1980s pop culture. ‘Saturday Night’ was a huge number, very impressive in its energy and synchronicity, culminating in Holly getting soaked in what was a technical triumph. ‘All About the Green’ was excellent, brilliantly devised and performed by a very capable troupe of dancers. The euphoric finale was full of unbridled joy. A great job overall by Ms. Kennedy. Daniel Whelan gave an outstanding performance in the titular role of wedding singer Robbie Hart. He brought great energy and many layers to the role. A natural comedian with excellent timing, Mr. Whelan was hilarious throughout. This was a most engaging performance winning over the audience from the get-go. His singing was excellent with a superb range, from the full-on rock numbers to the gentler ballads. ‘Somebody Kill Me’ was hilarious in its over-the-top performance. ‘If I Told You’ was a musical highlight for me, a most beautiful duet with Julia. Not content to just sing, dance and act up a storm, Mr. Whelan was also a dab hand at playing the guitar, a quadruple threat if you will. Emmagene Cooke was a sweet, goofy and sometimes feisty Julia. This was an exceptional comedic portrayal, the standout performance of the show. Comic timing was exceptionally good throughout and diction was impeccable. Ms. Cooke was a most clever actress, with a great capacity for storytelling, finding layers within the songs and dialogue that are not always picked up on. ‘Come Out of the Dumpster’ showcased a fabulous musical theatre voice as well as her sharp comedic touch. She made Julia both likeable and hilarious in equal measure. An excellent all-round performance. Nicole Lamb was very strong as Holly, bringing great comic understanding to the role of Julia’s “fairy godmother, only slutty!” Ms. Lamb was uncharacteristically brash and in your face, in a performance which was underpinned by clever interpretation of script and deft comic timing. Her fabulous vocal in ‘Saturday Night’ was a tour-de-force and a fitting high-octane ending to Act One. She worked very well with Ms. Cooke and timing between the two was particularly impressive. A wonderful all-round performance. Multi-instrumentalist Eoin Kenny, bass player and guitar player extraordinaire, rocked his mullet with panache as Robbie’s fellow band member Sammy. This was a portrayal which was quite different to what we might be used to, less of the lovable loser, with a more no-nonsense, stern demeanour. However, it was an interesting take that really worked. Sammy has some of the funniest lines in the show, and Mr. Kenny relished in his delivery. Taylor Hynes was a vivacious, delightfully camp George. The beauty of this performance was that he never fell into the trap of overplaying things. It was all very contained yet hilariously funny. His Spandau Ballet-esque ‘George's Prayer’ was hilarious and wonderfully pitched with his over-the-top riffing at the end of the song. He was quite brilliant in ‘Move That Thang’ with Rosie, a comic highlight of the show. Cormac Dredge gave a great performance as the materialistic, sleazy, and money-obsessed antagonist Glen. His vocal performance in ‘All About the Green’ was excellent and his presence and comic timing were top-notch. I never thought I'd write the words ‘Gladys Coyle’ and ‘sex-obsessed granny’ in the one sentence, but there you go. Ms. Coyle was excellent as Robbie's grandmother, Rosie, really buying into the absurdity of the character and nailing some of the best, cheeky one-liners in the show. ‘Move That Thang’ was brilliantly performed with boundless energy (I want whatever she’s drinking!) and Ms. Coyle's rapping and movement were top drawer, even if my knees were screaming at me as she did her thing. Her body double, perfectly chosen, provided one of the most unexpected comic highlights of the show. A really superb all-round performance. Robbie's ex-girlfriend, Linda, was played by a scene-stealing Aoife Joy Keogh. Ms. Keogh enjoyed every single second of her time on stage. ‘A Note From Linda’ was quite hilarious and ‘Let Me Come Home’ was brilliantly performed with uninhibited glee. A top-notch performance from Ms. Keogh. Lisa Farrell was very manipulative as Julia's mother, Angie, who goes so far as to suggest that she fake a pregnancy for monetary gain. Her preoccupation with materialism underlined just how shallow she was. A really strong cameo performance. There was wonderful energy from the ensemble from the outset. The brilliantly performed ‘It's Your Wedding Day’ was sung and danced so well but the cheering and shouting in the dance breaks elevated things to another level of energy. Shout out to the drunken best man who rocked the house with his rock-the-boat. There was excellent work from the gents in ‘Single,’ with their wonderful performance levels. The ensemble was very strong throughout, whether as wedding guests, office workers, or the myriad background characters in the show. Stage manager Simon Deane did very good work in ensuring that the show moved along at a brisk pace. There needed to be better coordination between crew and LX when the bed was being slid in and out, as hands could be seen behind the set. There was great use of both crew and cast to set and strike items. The keyboard being set during ‘Come Out of the Dumpster’ was a little distracting and might have been better handled by using crew as ‘roadies,’ setting the band up at the top of the next scene. There was great work from crew in the perfect timing of Holly's water drop at the end of Act One. The set was quite minimalistic but it was visually very pleasing. The Rubik's Cube flats were perfectly evocative of the 1980s and provided a wonderful backdrop for this very colourful show. The slide out bed worked well as did the very effective restroom set which was trucked on and off. I loved the very clever steps which converted into the dumpster. It was a most effective design with upper levels that provided great options for Ms. Mulreid’s staging and allowed for a very fluid playing space with plenty of room for the large cast. I felt that there was room for improvement in the lighting plot. Snap cues were often sudden and jarring where fades in and out of transitions might have worked better. Blinding the audience in the chorus of ‘A Note from Linda’ felt unnecessary and, for some, uncomfortable. There was nice use of dramatic, red light in ‘Somebody Killed Me,’ which was very effective. ‘Saturday Night’ was very well lit, with superbly appropriate colour and movement which was perfectly suited to the number. There was great work too in ‘All About the Green.’ Sound design and operation were generally very good. Cueing was excellent and there was very good balance both in the band and between the band and vocalists. There was good use of appropriate sound effects and clever use of reverb when the on-stage band made their announcements. There were a few minor glitches with interference but, in general, for an opening night, this was a very smooth technical presentation from the sound department. Props were generally very good. I loved Glen's hilarious cardboard cutout car and George's fabulous keytar. Both added to the authenticity and visual humour of the show. A few things required further attention to detail. Tables at the weddings were very bare and needed dressing. The empty paper shopping bags in the department store needed something in them to make them look full and weighted. There was great authenticity in the costume plot which accurately reflected the era of questionable fashion choices. The band's blue sparkly jackets were suitably garish and I loved Linda's over-the-top wedding dress. ‘All About the Green’ was very slick with black trousers, braces, and a mix of blue and white shirts. Sammy's red leather trousers were a delightful fashion faux pas, as was Rosie's shell suit and her pink headband. Overall, costumes perfectly reflected the era. Hair and makeup were strong. Crimpers were in high demand backstage, creating some very authentic 80s hairdos. Mr. Kenny's mullet was a delight and there was great attention to detail in the makeup with some very colourful 80s eyeshadow in evidence. George was suitably over-the-top and, generally, it was evident that thought and care had gone into replicating the era’s flamboyant hair and makeup choices. Overall, this was a very well-presented production, with some standout performances, particularly from Ms. Cooke and Mr. Whelan, who both elevated the production to a professional standard every time they stepped on stage. It was a wonderfully fun evening’s entertainment from start to finish. Pat McElwain Gilbert Adjudicator 2024/2025 Photos by AKW Media

Priscilla Queen of the Desert as presented by KMDS

Kilcock Musical and Dramatic Society Priscilla Queen of the Desert Tuesday 22nd April 2025 Arriving far too early at Kilcock GAA Hall for...

Kilcock Musical and Dramatic Society Priscilla Queen of the Desert Tuesday 22nd April 2025 Arriving far too early at Kilcock GAA Hall for ‘Priscilla Queen of the Desert,’ I couldn't help but notice some gentlemen entering one door carrying hurleys and some others entering another carrying heels. As any self-respecting musical theatre fan might do, I chose the heels door. The show follows two drag queens and a transgender woman on a road trip across the Australian Outback, as they follow their individual dreams and goals. It is a show packed with a myriad retro tunes, disco, and classic anthems that, unlike most jukebox musicals, fit surprisingly well into the narrative. It's as cheesy as a roll of camembert but, ultimately, it is a celebration of individuality, identity, and self-expression in the face of adversity. Packed full of bitchiness and more innuendo than you can shake a sausage at, it is also a show full of heart and Kilcock Musical and Dramatic Society spread its heartwarming message in what was a most entertaining, colourful and flamboyant ‘dragfest’. There was a great buzz around front of house and, truth be told, I felt somewhat underdressed without a boa. There were plenty of personnel selling raffle tickets and everything appeared very well organised and efficient. I was ushered to my place in the very comfortable tiered seating, which had transformed the GAA Hall into a wonderful theatre space. Director Dominic Reid's vision was very much character-driven, focusing on the personal journeys of the three protagonists. Pace was snappy and there was plenty of comedic business. There was also very sensitive handling of weighty themes of homophobia, transphobia, and prejudice, all balanced very well with the joyful celebration of individuality. There was a good balance between the show’s outrageousness and its heart. There was clever use of graphics projected onto the upstage screen, particularly during Priscilla’s journey as we tracked the trio's progress. Mr. Reid made no apologies for the show’s crudeness, hitting the innuendo-filled gags full on. Absurdity was nicely juxtaposed with more naturalistic elements and every last ounce of humour was wrung from the script. There were highly effective freezes between dialogue in ‘Boogie Wonderland’ but I did wonder about the choice to have the pulsing LED lights during the dialogue as it was quite distracting and felt unnecessary. All very fixable points in what was a very good job overall. Mairéad McKenna did a wonderful job bringing the colourful score of camp classics to life with her highly accomplished orchestra. The brilliantly layered orchestrations and vocal arrangements were given great care and detail in a most nostalgic and invigorating presentation. Principal vocals were very strong but it was the harmony work of the three Divas and the large ensemble which impressed the most, infusing new life into classic, nostalgic tunes that we all know and love. Choral singing was excellent throughout. There was a superb ensemble sound in ‘Colour My World’ and excellent offstage vocals in ‘Pop Muzik.’ For me though, as a lifelong Pat Benatar fan, the highlight was the incredible chorus sound in the brilliantly arranged ‘We Belong,’ which was perfectly balanced with great attention to dynamics. Deirdre Browne captured the euphoric energy of such feel-good hits as ‘It's Raining Men,’ ‘Hot Stuff’ and ‘I Will Survive’ in what has to be a choreographer's dream show. Routines were slick and outrageous in equal measure and completely in tune with the absurdity of the show. ‘Colour My World’ was a fabulous routine and we were treated to well-rehearsed production number after production number, each one bigger and camper than the other. How lucky Ms. Browne was with the talent at her disposal, particularly the gentlemen who shone again and again in what was an excellently choreographed show. Kevin Hartnett brought great tenderness to the role of Tick/Mitzi, the tired drag queen eager to meet his young son. Mr. Hartnett's gorgeous voice impressed greatly in numbers such as ‘You Were Always on My Mind,’ which was beautifully poignant. He played the role with great charisma and vulnerability and we were very aware of his internal struggle with his identity and his personal journey to reconcile his past with his present. ‘I Say a Little Prayer’ was one of the musical highlights of the show. It was just beautiful and an amazing example of how context can change a song utterly. I loved Mr. Hartnett's sensitive performance in his heartwarming reunion with Benji. It was a beautifully played scene which underlined the show's key message of tolerance and love. Kevin Hynes, as the lonely transgender woman, Bernadette, delivered a breathtaking performance that, for me, held the show together. This was such an honest and believable portrayal. Mr. Hynes was the emotional core of the show. He balanced dignity and wit throughout, in what was a very important performance with a very important message. It was beautifully played and the greatest compliment I can pay Mr. Hynes is that I can't imagine this role being played by anybody else. Vocally, Mr. Hynes was strong, delivering the classic tunes with great conviction and heart. Cian McKeon brought a vibrant energy to his portrayal of Adam/Felicia. This was a very sassy, bitchy portrayal full of exuberance and confidence. However, there was a vulnerability there too, as shown after the disturbing homophobic attack. Felicia's miming of ‘Sempre Libera’ from ‘La Traviata,’ perched upon a giant high heel, mounted on top of a tour bus christened Priscilla, was high camp and utter flamboyance. ‘Forever Free’ was the message and Mr. McKeon sold that unconditionally. Mr. McKeon's flamboyant physicality made him the most convincing drag queen. His vocal performance was wonderful, particularly in ‘Go West’ and the fabulous ‘Colour My World.’ Charlene Masterson, Amanda Cunningham and Alanna Keane were a formidable Motown-like Greek chorus as the trio of Divas. Their powerful vocals, amazing harmonies, and excellent presence, along with their boundless energy, made their stunning musical interludes a much-welcomed feature of the show. Popping up time after time in the most glamorous costumes and wigs, these three performed brilliantly, and quite seamlessly, together. Ronan Walsh made Bob the mechanic the most relatable character in the show. This was a very kind-hearted, honest portrayal. A most unlikely ally for our three colourful protagonists on their road trip across Australia, he was a salt of the earth Aussie and there was a genuine warmth about his performance which made him most endearing. Of course, this was all in complete contrast to the crazy flamboyance and absurdity around him. His interactions with Bernadette were most heartwarming and played so honestly. Mr. Walsh's beautifully sung ‘A Fine Romance,’ was one of the musical highlights of the show, relaxed, honest and sincere. Sharon Murphy gave a very natural performance as Tick's estranged wife, Marion. She, of course, was the catalyst for the trio's journey across the Outback. Ms. Murphy found great authenticity and warmth in her acceptance of Tick’s drag persona and life choices. I loved Lorraine Murphy's boisterous and feisty performance as Shirley, the bar worker. She had excellent comic timing and was not to be trifled with. Mary Buckley gave a very over-the-top performance as Cynthia, Bob's wife. In another life, I played table tennis competitively, and I could do all sorts of impressive tricks with a small celluloid ball. However, Ms. Buckley's ping pong skills certainly left me in the shade as she took things to a whole new level in ‘Pop Musik,’ which was brilliantly performed, with suitably over-the-top, high-pitched vocals. Ms. Buckley’s unpredictable energy and eccentricity made this a most entertaining, memorable portrayal. The inimitable Chris Corroon opened proceedings as an outrageous drag host, Miss Understanding. There was hilarious audience banter. "Can I get you anything? Maybe a new hip?" was one of many cutting and hilarious quips. His performance of ‘What's Love Got to Do With It?’ was suitably over-the-top and brilliantly performed. My only regret was that we didn't see more of Miss Understanding’ throughout the show. The very talented Seán O'Callaghan played Benji, Tick and Marion's son. Seán was at the centre of the very important father-son relationship in the show, playing the role with such honesty and innocence, which added so much to the heart of the story. I'm not afraid to admit that there was ‘something in my eye’ during his most heartwarming scene with Tick. Barry Dunne and Aaron Stone offered wonderful support in their roles as Young Bernadette and Frank respectively, both showing excellent stage presence. There was very good work from the ensemble who were well utilised, be it as dancers, bar clientele, roadkill (!) or any of the myriad supporting roles that were required. The ensemble was particularly strong in the very funny ‘I Love the Nightlife.’ They were full of energy and commitment and it was clear that Mr. Reid had instilled a great sense of the show’s comedic tone in his sizable cast. How busy it must have been for them backstage, with quick costume change after costume change. Eilís Browne, as stage manager, ensured that things ran well, and the changes were generally slick and efficient. A table was left on stage after the bar scene but was struck by Mr. Hynes with such camp conviction that it might well have been part of the plan! Strip lighting on the stage left flat got detached during one change, but that was rectified as soon as possible. Reveals during ‘Casino Floor Show Montage’ went smoothly for the most part. The movement of ‘Priscilla’ was probably the most challenging aspect of stage management and this was very well handled. The set was quite minimalistic apart from ‘Priscilla’ herself, the iconic tour bus, which is an essential, central feature. It was viewed from the outside, the inside, and front on, and very clever strip lighting was used to give it its glow-up. There was good use of projected graphics, which were visually interesting and added good depth to the set. The silver slash curtain was effective, providing good cover for the bus, when hidden. The Priscilla scrim that was tracked on at the end of Act 1 looked wonderful. The tracked barn cloth worked well too. The half-closed tabs for the casino weren't as successful, in my opinion, as, apart from the partly obscured projection, there was little else to suggest location. Lighting is such a key component in setting the mood and tone for a show as colourful and exuberant as ‘Priscilla.’ There were areas for improvement in the lighting design. It was competent and basic but, in my opinion, needed to be much more adventurous for a show of this nature. There were many missed opportunities to create the illusion of ‘movement’ for the bus and these scenes, in particular, felt very flat. It was difficult to light inside the bus. Lighting from above created shadows across faces of those inside and, in spite of clever blocking by the director, this was hard to offset. With so many scenes played inside ‘Priscilla,’ I felt that a lower source of light was needed to front light her interior. There was very good use of follow spot throughout and the disco ball was extremely effective, when used. Sound was excellent overall, with great balance within the orchestra and an impressive vocal mix. Offstage vocals, in particular, were very well mixed, and there was great work in achieving balance between the three Divas, accentuating the lead vocal as required. There were very appropriate sound effects and great timing of same. Operation was very slick with strong cueing and no noticeable glitches. This was all the more impressive given that it was the opening night of an unfamiliar show and things were still bedding in. There was good attention to detail in the props department with most items being appropriate to the setting. Many props were quirky and camp like the pink wheelie cases and pink furniture. Dressing inside ‘Priscilla’ was wonderful. Not everything was this successful. Cast drank from empty bottles in the bar, there were empty champagne glasses for the toast and there was nothing in Adam/Felicia's paint tin. Bob had the smallest toolbox in Oz. (if this was a veiled nod to something else, I do apologise to Bob!). One of the greatest challenges in producing ‘Priscilla Queen of the Desert’ is the elaborate costume plot. How lucky this society was to source a dazzling array of outrageous costumes from the UK. It is impossible to do justice to the magnificent costumes and headdresses, which were often wacky and over-the-top, with sequins, glitter, and feathers aplenty. They were extravagant and outrageous, reflecting the diverse and flamboyant world of drag to which were transported. Hair and makeup were very well looked after. The transformations of the various drag personae were dramatic and suitably over-the-top. Bold makeup designs captured the flamboyance of the characters perfectly. There was a never-ending parade of wigs, my particular favourite being the pom-poms, and the Divas' Marge Simpson-esque barnets. Huge congrats to the hair and makeup team for what must have been an incredibly busy show. It was no surprise to see the audience on their feet at the end of this show. It was a feel-good romp from start to finish, at times utterly bonkers, at times utterly heartwarming. Not for the first time this season, the importance of visibility was shown on an Irish musical theatre stage and themes of tolerance and love shone through. It was a wonderfully entertaining production with an important message and Kilcock MDS delivered said message with a beautiful mix of sincerity and sequins. Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Conway Photography

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