top of page

UPCOMING EVENTS

EVITA

​

24 Mar 2026

More...
We Will Rock You

​

15 Apr 2026

More...
Beauty and the Beast presented by Inish Theatre Group

​

1 Mar 2026

More...
SHREK

​

25 Mar 2026

More...
All Shook Up

​

10 Feb 2026

More...

LATEST NEWS

Review: Curtains - Clane Musical & Dramatic Society

Society name: Clane Musical & Dramatic Society Show name: Curtains Adjudicator date of attendance: 07/11/2025 Clane Musical & Dramatic Society’s production of Curtains  offered an evening filled with humour, colour, and affectionate storytelling, all delivered with the kind of energy and communal spirit that makes amateur musical theatre so rewarding to watch. Curtains  is a deceptively complex show. Beneath its playful murder-mystery conceit lies a piece that demands sharp comedic timing,...

Society name: Clane Musical & Dramatic Society Show name: Curtains Adjudicator date of attendance: 07/11/2025 Clane Musical & Dramatic Society’s production of Curtains  offered an evening filled with humour, colour, and affectionate storytelling, all delivered with the kind of energy and communal spirit that makes amateur musical theatre so rewarding to watch. Curtains  is a deceptively complex show. Beneath its playful murder-mystery conceit lies a piece that demands sharp comedic timing, clear vocal storytelling, and an ensemble capable of shifting swiftly between backstage realism and exaggerated theatricality. Clane approached these challenges with obvious enthusiasm and a sincere love for the material, resulting in a performance that, while not without its inconsistencies, ultimately proved warm, vibrant, and thoroughly enjoyable. The production’s aesthetic was quickly and confidently established: evocative lighting, a thoughtfully designed set, and a lively preshow atmosphere all communicated a company ready to tell its story with flair. Although technical issues and vocal clarity occasionally interrupted the experience, the underlying commitment from cast and crew was unmistakable, and the audience responded with appreciation for both the humour and heart on display. Jennifer O’Brien’s direction shaped the production with care and inventiveness. She demonstrated an acute sense of Curtains’  unique comedic rhythm, crafting moments that landed cleanly and steering her cast toward characterisations that embraced the show’s playful, heightened tone. Many scenes exhibited strong structure and dynamic interplay, with emotional beats, whether sincere or satirical, expressed clearly. While a handful of transitions sagged slightly, and some actors had a habit of drifting upstage, these moments were exceptions in an otherwise confidently paced and well-organised staging. Jennifer’s eye for character relationships was particularly strong, allowing meaningful interactions to surface even in the midst of comedic chaos. Diction proved to be a recurring challenge, especially in the opening number and early dialogue, where articulation issues obscured some important set-up information. Fortunately, this improved notably as the production continued. Accents, while generally well-maintained, fluctuated at times. Even with these inconsistencies, Jennifer’s overall vision remained clear: she used the set imaginatively, employed the walkway purposefully, and staged the hanging sequence with impressive theatricality and control. With a little more focus on clarity and consistency, her already confident direction could reach an even higher level of polish. Musically, the production benefited from Barry Power’s steady and assured direction. The band performed with strength, creating a sound that was lively, stylistically appropriate, and well-paced. Barry’s chosen tempos kept the show buoyant and prevented scenes from dragging, while the balance between cast and orchestra, after some early teething issues, settled into a comfortable and supportive mix. The ensemble harmonies were strong and clearly well-rehearsed, though diction again caused some losses in clarity, particularly during “He Did It”. Nevertheless, Barry’s musical leadership provided a solid, confident backbone for the performance. Áine Foley’s choreography was neat, achievable, and inclusive, giving performers of varying abilities a chance to shine. The routines were performed cleanly and with conviction, contributing significantly to the show’s energy. The opening number felt stylistically muddled. Wide Open Spaces  benefits from a clearer “Western” movement vocabulary to support the musical’s framing device, but the blend of contemporary and mixed-style choreography made the number feel less cohesive. By contrast, A Tough Act to Follow  was pitch-perfect: warm, theatrical, well-structured, and perfectly aligned with the humour of the scene. The deliberate awkwardness in Cioffi’s dancing was handled with charm, and the formations and transitions were elegant and effective. With a more unified stylistic approach to the bigger ensemble pieces, Áine’s choreography could become even more impactful. The leading performers carried the story with confidence and individuality. Cormac Malone, as Frank Cioffi, delivered an outstanding performance, effortless in humour, full of charm, and vocally rich. His ability to switch between comedy, romance, and detective-like intensity made his portrayal endlessly engaging, and his warm, resonant baritone was a delight. His comedic dancing in A Tough Act to Follow  was executed with just the right blend of bumbling character and technical control, creating one of the evening’s most memorable moments. Alanna Keane brought sincerity and vocal warmth to Nicki Harris, blending beautifully with Cormac in their duet passages. She moved gracefully and delivered a gentle, pleasant performance. The role of Nicki is rooted in the archetype of the 1940s ingénue, and more commitment to the era’s mannerisms, softened gestures, coy charm, wide-eyed optimism, would have given her character a stronger, more distinct presence onstage. Emma Stack gave Georgia Hendricks an elegant and understated portrayal. Her vocal tone was lovely, and her acting carried a quiet emotional truth. Her dancing seemed less confident, not due to lack of ability but hesitancy. With greater physical assurance, her performance could have landed with even more depth. Gavin Molony offered a grounded and natural Aaron Fox. His voice was expressive and resonant, particularly in “I Miss the Music,” which became a highlight of the production. His physicality was relaxed and authentic, and although a fuller exploration of chemistry between Aaron and Georgia would strengthen the story arc, his overall performance was both nuanced and compelling. As Carmen Bernstein, Gráinne Uí Lúing commanded the stage with unapologetic force. Her confidence, vocal power, and comic instinct lit up every scene she entered. Her performance occasionally veered into a broader comedic style, but Carmen’s bold personality allowed room for this larger-than-life interpretation. “It’s a Business” was delivered with intensity, humour, and vocal assurance, one of the evening’s stand-out moments. Aaron Stone brought exceptional comedic flair to Christopher Belling. His meticulously timed reactions, expressive face, and sharp vocal work made his portrayal polished and consistently entertaining. His presence lifted every scene he was part of, adding significant comedic polish. Among the supporting roles, Bronwyn Goulding’s Bambi was delivered with charm, clear commitment, and impressively consistent accent work. Though her solo choreography didn’t fully flatter her strengths, she remained engaging throughout. Eric Nolan’s Oscar Shapiro had moments of sincerity but often appeared self-conscious, a reminder of the importance of grounding character choices. Patricia Voon shone as Jessica Cranshaw, capturing the comedic awkwardness of a bad performer with skill and confidence. Eamonn O’Callaghan’s youth and limited dance maturity made him less suited to Bobby Pepper, a role that demands both authority and dance precision, though he sang well. Sean Lennon’s Sid would benefit from greater menace and definition, while Cian Dowling gave a warm and unobtrusively strong performance as Harv. Alan Lau brought energy to Randy but struggled with diction, and Brian Patrick Gallagher’s weary Johnny Harmon was well judged. Paddy Munds, as Daryl Grady, could strengthen his performance with improved relaxation, accent consistency, and line security. The ensemble proved a lively and essential backbone to the production. Their harmonies were confidently delivered, and their energy throughout each group number kept scenes engaging. Some lacked clarity in diction, particularly during “He Did It,” where uncertainty around lyrics occasionally surfaced. Character work within the ensemble varied; while some performers crafted fully realised backstage personas, others fell into neutral behaviour, missing opportunities to enrich the onstage world. That said, Thataway  was an ensemble triumph, smartly performed, cleanly layered, and genuinely entertaining. Stage management, led by Tom Kavanagh, was excellent. Scene changes were swift, smooth, and disciplined, maintaining momentum throughout the show. The set design was attractive, functional, and detailed, with thoughtful touches that created a convincing backstage environment. The timber stage door and cleat and rope systems added authenticity, and the curtain mechanism was visually striking. Only the colour clash between purple and red brick felt unusual, but this did not detract significantly from a highly effective design. Technically, lighting created many striking and atmospheric visuals, using bold colour choices and theatrical framing to great effect. A few cues felt out of sync with the action, and the persistently flickering festoon bulbs became a distracting issue that ideally should be addressed. Sound faced early difficulties, with missed cues and unbalanced levels impacting dialogue clarity. As the show progressed, the audio mix settled into a far stronger balance, allowing both cast and orchestra to shine. Costume, hair, and make-up represented the production’s least consistent area. Some costumes were wrinkled or ill-fitting, and certain styling choices, such as opera gloves with day dresses or overly tight men’s trousers, felt mismatched to the period or tone. “Show within a show” costumes lacked a cohesive aesthetic. In contrast, Carmen’s costumes were consistently superb, stylish, flattering, and entirely fitting for the character. Hair styling varied significantly, with some beautifully crafted looks contrasted by others that appeared untidy for the era. The wigs for Bambi and Nikki, were visibly ill-fitted, drawing attention when they should have blended seamlessly. Make-up too was often light, and not fully period-appropriate; stronger eyeliner and bolder definition would have enhanced visibility and authenticity.  The evening began with a welcoming and professional Front of House experience. Patrons were greeted warmly, guided clearly, and made to feel immediately at ease. That sense of friendly organisation set a positive tone before the curtain even rose.  Clane Musical & Dramatic Society’s Curtains  was a joyful, lively production full of humour, commitment, and genuine theatrical affection. It showcased strong musical and comedic instincts, highlighted several excellent performances, and possessed an infectious sense of ensemble spirit. With additional attention to vocal clarity, stylistic cohesion, technical consistency, and visual detailing, the society is well placed to continue building on this already enjoyable and engaging standard of performance.

Review: Rodger & Hammerstein's Cinderella - KIMS

Society name: Kilmainham-Inchicore Musical Society Show name: Cinderella Adjudicator date of attendance: 29/10/2025 Kilmainham–Inchicore Musical Society’s production of Cinderella  offered an evening of musical theatre filled with warmth, sincerity and a genuine sense of community spirit. Rodgers and Hammerstein’s beloved version of the fairytale is a show that demands equal parts heart and humour, and this company clearly approached it with affection and enthusiasm. From the outset, there...

Society name: Kilmainham-Inchicore Musical Society Show name: Cinderella Adjudicator date of attendance: 29/10/2025 Kilmainham–Inchicore Musical Society’s production of Cinderella  offered an evening of musical theatre filled with warmth, sincerity and a genuine sense of community spirit. Rodgers and Hammerstein’s beloved version of the fairytale is a show that demands equal parts heart and humour, and this company clearly approached it with affection and enthusiasm. From the outset, there was an unmistakable feeling of togetherness among the cast, a sense that everyone involved was committed to creating a magical world for the audience to step into. Even when the production encountered moments that needed further polish, the collective sincerity and energy of the performers ensured the show remained uplifting, engaging and enjoyable throughout. At the heart of the production was director Sharon McNamara’s clear and thoughtful vision. Her approach demonstrated a deep understanding of the show’s charm and gentle humour, and she guided her cast with a firm sense of story and emotional purpose. The narrative moved fluidly from scene to scene, and many character interactions were shaped with nuance and genuine intention. Sharon showed a particular strength in bringing out the comedic elements of the piece. The show’s humour landed confidently, and she encouraged her cast to embrace the playful absurdity that sits at the core of this fairytale. As a result, the lighter moments had a lovely buoyancy, providing the audience with many smiles and moments of amusement. Not every detail in the production received the same degree of refinement, and some moments would benefit from more attention in future performances. Small but noticeable missteps, such as Cinderella placing the ring on the wrong hand, momentarily disrupted the illusion. Larger moments, too, occasionally lacked clarity. For instance, the Prince’s pursuit of Cinderella as she fled the ball felt visually sparse and underdeveloped. While the intention was clear, the staging did not generate the urgency or energy the scene required. The Transformation sequence, one of the story’s most iconic moments, also did not fully achieve its potential. Cinderella’s costume change was executed well, delivering the moment of surprise expected; however, the accompanying staging, introducing the carriage, footmen and horses, was somewhat prolonged and lacked the theatrical flair needed to elevate the scene into something truly magical. These are areas where additional attention to pacing, transitions and creative staging could strengthen future productions. Musically, the show benefitted from the strong leadership of musical director Amy Penston-Hendley. The orchestra delivered a warm and melodically rich performance, honouring the elegance of Rodgers and Hammerstein’s score. The musicians provided a stable and atmospheric foundation, and there were many moments when their playing added depth and emotional resonance to the scenes. However, the musical execution was not without challenges. Some timing inconsistencies emerged, particularly with entrances and mid-song returns, which disrupted the flow of certain numbers. More significantly, the balance between the cast and the orchestra proved problematic. The band often overpowered the singers, making it difficult for the audience to hear harmonies, and sometimes even lyrics, clearly. Given that the musicians were positioned in a separate room, close coordination with the sound engineer becomes essential. A more collaborative mixing approach would help ensure that the cast’s vocals can shine through without being overshadowed by the instrumental sound. Choreographer Bernadette O’Rourke contributed lively, well-considered movement that supported the show’s tone and made effective use of the stage. Her formations were clean and visually appealing, providing dynamic stage pictures that enhanced the overall production. “The Prince is Giving a Ball” was a standout moment in terms of choreography, bursting with energy and offering the ensemble a chance to shine. The waltz, too, brought an elegant atmosphere, even if the execution varied among performers due to differing levels of dance experience. Some choreography did not land as strongly as intended, but the designs themselves were clever, accessible and well-suited to the abilities of the cast. What resonated most in these sequences was the unity and enthusiasm displayed by the performers, who brought a sense of collective joy to their movement even when technical precision wavered. Among the principal cast, several performances stood out for their sincerity, charm and vocal quality. Aimee O’Neill, in the role of Ella, delivered a portrayal that was authentic, warm and wonderfully grounded. She avoided the trap of presenting Cinderella as an overly sweet caricature, instead offering a relatable young woman with emotional depth. Her vocals were consistently lovely, with “In My Own Little Corner” emerging as one of the production’s highlights due to her clear tone and heartfelt expression. Aimee interacted naturally with the cast around her, providing a dependable emotional centre for the production. As Prince Topher, Rory Dignam brought a gentle, slightly naïve charm to the role. His interpretation leaned into the character’s softer qualities, presenting him as harmless and endearing rather than dashing or traditionally princely. This choice, while refreshing, sometimes lacked the spark needed to fully command attention. Vocally, however, Rory’s performance was steady and pleasing, and his duets with Aimee blended beautifully. Sophia Daly was a standout as Madame, delivering a commanding performance that balanced villainy with humour. Her strong stage presence and expressive vocals made her portrayal both compelling and entertaining. She embraced the character’s domineering qualities with gusto, creating one of the production’s most memorable performances. As Marie, Niamh Parkes gave a gentle and effective performance, successfully navigating the dual identity of the unassuming woman and the magical Fairy Godmother. Her transformation was believable, and her calm stage presence contributed nicely to the show’s more mystical moments. Louise O’Connor offered a heartfelt performance as Gabrielle, capturing the character’s internal struggle with sensitivity. Her relationship with Jean-Michel felt genuine, and she brought a quiet emotional weight to her scenes. Nadine Conlon, by contrast, provided much of the show’s comedic sparkle. Her portrayal of Charlotte was vibrant, expressive and wonderfully timed, with “Stepsisters’ Lament” proving particularly memorable. Her facial expressions and spontaneous reactions added consistent humour and ensured she commanded attention whenever she appeared. The supporting cast contributed greatly to the overall success of the production. David Supple, as Sebastian, was a particular delight. His expressive physicality and comedic instincts created a highly engaging performance. Andrew Roche offered a grounded, principled Jean-Michel whose warmth and sincerity complemented Gabrielle beautifully. Meanwhile, Kevin Macken Tierney brought refinement and poise to Lord Pinkleton, enhanced by an excellent accent and a surprising emotional twist that added depth to his character’s role in the story. The ensemble served as the backbone of the production, providing energy, musicality and support throughout. Their vocal blend was strong, and although sound issues occasionally obscured harmonies, their effort and commitment were evident. Dance abilities varied within the group, but what they shared was enthusiasm and a willingness to engage fully in every moment. Their presence added vibrancy to the stage, and they performed with a sense of unity that enhanced the storytelling. Behind the scenes, stage management led by Colum McDaid kept the production running smoothly. Scene changes were handled efficiently, allowing the story to progress without interruption. Set design was particularly well executed, using opening panels and painted backdrop to create an imaginative and visually pleasing environment. The design made the most of the space available and supported the storytelling in thoughtful ways. Technically, the production offered attractive lighting that enhanced the fairytale atmosphere without overcomplicating the visual landscape. Sound was more uneven, with the band often overpowering the vocals, but this is an area that can be improved with stronger coordination. Visually, the costumes were appealing overall, though there were occasional inconsistencies in palette and style. Cinderella’s transformation dress, however, was an undoubted success. Hair and make-up were neat and understated, allowing performers’ expressions to remain clear. Audience members were greeted before the performance by a Front of House team who brought friendliness, organisation and warmth to their duties. Their confident and welcoming manner contributed significantly to the atmosphere as patrons arrived, creating a sense of ease that helped set the tone for the evening. Operations ran smoothly as the audience filtered in, and their professionalism never distracted from the performance; instead, it supported the overall impression of a well-run, community-centred event. In its entirety, Kilmainham–Inchicore Musical Society’s Cinderella  delivered a charming and heartfelt evening of theatre. The production succeeded in capturing the warmth and optimism of this timeless story, buoyed by committed performances and an overarching sense of community. With more attention to technical balance, finer staging details and visual cohesion, the group has the potential to elevate their already enjoyable work to an even higher level. What they achieved here was a show full of joy, sincerity and genuine love for the art form, a reflection of the dedication and passion that define community musical theatre at its best.

Review: The Addams Family - HXT

Society name: Harold’s Cross Tallaght Musical Society Show name: The Addams Family Date of attendance: 12 th  of November 2025 It was a night worthy of any horror story as I set out to visit one of my favourite families, the Adamses’, at Tallaght’s Civic Theatre. Driving rain, flooded roads and bumper-to-bumper shenanigans on the M50 added to the fun. How lovely it was to reach my destination in one piece, for what was a brave reimagining of one of the most popular modern musicals on the...

Society name: Harold’s Cross Tallaght Musical Society Show name: The Addams Family Date of attendance: 12 th  of November 2025 It was a night worthy of any horror story as I set out to visit one of my favourite families, the Adamses’, at Tallaght’s Civic Theatre. Driving rain, flooded roads and bumper-to-bumper shenanigans on the M50 added to the fun. How lovely it was to reach my destination in one piece, for what was a brave reimagining of one of the most popular modern musicals on the circuit. Over the past decade, ‘The Addams Family’ has firmly established itself as a society favourite. With its hilarious book and catchy numbers, it has always been a real crowd-pleaser. For societies, it ticks other important boxes, with lots of great comic roles for members, creative visual opportunities and, of course, a familiar brand which has enjoyed a Netflix resurgence in recent years. I always admire those who take artistic risks and there was no denying that Harold’s Cross Tallaght Musical Society’s vision was very different to other interpretations of the show. Avoiding the more familiar gothic aesthetic, this production transported Gomez Addams and his “normal” family into a world inspired by ‘Día de los Muertos’, the Mexican ‘Day of the Dead’. It was a courageous and creative choice that guided every aspect of the production.  I was delighted with the warm welcome when I arrived in the foyer of the Civic Theatre. Volunteers sold programmes and raffle tickets with a friendly enthusiasm and their colourful, marigold headbands tied in nicely with the ‘Día de los Muertos’ theme. The foyer display of cast photographs was nicely presented, with the frames around each being another nice detail. The overall experience was very positive, with a lovely welcome and sense of occasion. The very talented Niamh McGowan directed with what was a bold artistic vision and we knew as soon as the curtains parted that we were not going to see a conventional interpretation of ‘The Addams Family’. Setting the show within the world of the ‘Día de los Muertos’, gave us a production which evoked celebration rather than the more familiar gothic undertones. Ms. McGowan and her design team had put a lot of thought into the visual presentation. The bold colour choices, the marigolds, the Papel picado, the altar table, all contributed to the strong sense of culture and celebration. ‘Día de los Muertos’ is a festival that celebrates the living and the dead, aligning well with the show’s theme of ancestry. Yet, despite the thematic connections, the reframing didn’t always work for me. Whilst visually very pleasing, I felt that the vibrancy of the design meant that we lost much of the macabre, visual humour which underpins the show. The ensemble’s commitment to this idea was excellent. Unfortunately, however, I felt that they needed to be ‘reined in’ at times, as their background activity often distracted from principal scenes. That said, Ms. McGowan’s wonderful directorial touches were always to the fore. The clever use of ivy garlands “pulled” by ancestors to form Pugsley’s torture device was inventive and visually strong. Comic interplay between principals was very funny, with a very good sense of timing. Overall, Ms. McGowan’s direction was highly ambitious and there was no taking away from the intelligence and conviction behind her vision. Musical Director Dermot O’Callaghan presided over a very polished and well-balanced orchestra. You could sense the excitement in the auditorium during the overture and we just knew that Andrew Lippa’s score was in excellent hands. The band, positioned cleverly beneath the central staircase, produced a wonderfully full sound. Ensemble vocals were a highlight throughout. ‘One Normal Night’ was stunning chorally.  Backing vocals for ‘The Moon and Me’ were beautifully balanced, adding real emotional warmth to Fester’s gentle love song. ‘Move Towards the Darkness’ was, ironically, joyful and uplifting in its power and gloriously layered harmonies. Kudos in particular to the sopranos whose tone and accuracy were just wonderful. A sense of support for cast was always evident as Mr. O’Callaghan’s care with dynamics ensured that underscored dialogue was always heard, even in numbers with the fullest accompaniment.  An excellent job all round. Choreographer, Lauren Dooley, embraced Ms. McGowan’s vision, devising well-rehearsed routines that were thoughtful and theatrical. Her choreography was always full of purpose and told the story through its physicality and many humorous touches. Of course, she was blessed with a very skilled ensemble, which allowed her creativity to come to life in such a vibrant way. ‘When You’re an Addams’ was quirky and sharp, embracing the madness of the show’s premise from the outset. ‘Secrets’, which featured the ladies of the ensemble with fans, was a very polished and precise number, nicely synchronised and always keeping the focus on Morticia. I loved ‘Full Disclosure’, which was the perfect example of controlled chaos. For me, the absolute highlight was ‘Tango de Amor’ which was beautifully staged and performed by five couples, including Gomez and Morticia. It was intensely passionate and combined with stunning accompaniment and creative lighting to produce one of the evening’s highlights.  Jamie Place’s portrayal of Gomez Addams was a riot of fun from start to finish. He played the role with a manic energy and a glint in his eye that endeared him to the audience from the get-go. What appeared like initial nerves and a glimmer of hesitancy, settled very quickly, allowing Mr. Place to find the confidence that let his obvious flair for comedy shine through. I was very impressed by how powerful and expressive his vocal was, whether delivering the frustration of ‘Trapped’ or the more thoughtful ‘Happy/Sad’. The latter was beautifully sincere. Comic timing was sharp and intelligent. Mr. Place’s absurd fox/box ‘disclosure’ was comedy gold, with the joke landing perfectly because of his ridiculously earnest delivery. His hilarious facial expressions and excellent physicality made this a very strong comedic performance all round.  Serena Salmon might well have been born to play Morticia Addams. This was a commanding performance full of precision, poise and intelligent understanding. Ms. Salmon had the audience in the palm of her hand, hanging on every cliché, as she held everyone’s attention with her quiet intensity. Her physicality was exceptionally good. Every movement appeared intentional and full of purpose as she radiated serenity and strangeness. She was vocally superb, always focused on character. ‘Death Is Just Around the Corner’ was a masterclass in understated comedy and characterisation. Focus was always on the words and telling her joyful story of impending doom. In short, it was a performance that wouldn’t have been out of place on a professional stage.  Ríona Keogh delivered a very strong performance as Wednesday Addams. Wednesday is a deceptively difficult role to play. However, Ms. Keogh managed to balance the deadpan intensity with her teenage angst and did so with clarity and confidence. ‘Pulled’ wasn’t just played for comedy. Ms. Keogh understood the nuances of Wednesday’s ‘horrific’ situation; falling in love but confused by how thrilling it actually is. Vocally, it was effortless, with great control, superb diction and clever phrasing.  Physicality was very strong and Ms. Keogh had a great physical awareness on stage. Her scenes with Lucas were deliciously awkward, yet believable.  Seán O’Callaghan may only be 12 years old but his bio would leave most of us in the shade. This very talented young man brought all of his experience to the role of Pugsley and what a performance it was. His composure, clarity and intelligence as a performer was well beyond his years. He was mischievous and delightfully odd, just as he should be, and he performed with a natural ease that made him an audience favourite from the start. ‘What If?’ was excellent, delivered beautifully with intelligent phrasing. Seán was so tuned into the narrative. He listened onstage, reacted truthfully, and never tuned out, even in busy ensemble scenes.  Eoin Salley’s Fester was eccentric and whimsical and the audience loved him for it! He was the perfect blend of warmth and mischievous energy. Mr. Salley’s facial expressions were quite hilarious, ranging from childlike innocence to lovestruck yearning. ‘The Moon and Me’ was especially touching. His impressive vocal really suited the song, bringing out its absurdity without overegging the joke. Mr. Salley had a superb physicality which really added to his quirky characterisation.  Rosaleen Nolan gave a wildly chaotic and hilarious performance as Grandma Addams, stealing many scenes with her anarchic mischief and natural comedic flair. Her unexpected rendition of ‘Pink Pony Club’ was a joyfully absurd moment that underlined her eccentricity and lack of filter. It’s a part that can often be overplayed for laughs but it was in safe hands with a skilful comedienne of Ms. Nolan’s calibre. Her physicality and stooped movement were excellent.  Julie Donnelly delivered a very funny performance as the tightly-wound, Alice Beineke, with a penchant for rhyming. She never slipped into caricature but was quirky without becoming cartoonish. Her performance of ‘Waiting’ was a comic highlight. Her breakdown, as she unravelled spectacularly across the dinner table was hilarious. Her scenes with Mal were very well played and their dysfunctional marriage provided much hilarity.  Paul Laycock was very strong as Alice’s uptight husband, Mal. Vocally, he had a clear, resonant tone that suited Mal’s stoic personality. Mr. Laycock’s strength lay in his ability to allow Mal’s rigid exterior to crumble gradually over the course of the evening; an emotional thawing of sorts. It was a well-judged, understated performance, nicely balanced against the manic, surreal world around him. The very talented Dan Whelan was charming and instinctively funny as Lucas Beineke. His performance was earnest and awkward in equal measure, making his character both goofy and sincere at the same time. Mr. Whelan is a natural comedian. His hilarious reaction to Morticia’s up close and personal greeting was a brilliant mix of panic and utter bewilderment. His facial expressions were pitched just perfectly. His vocal performance in ‘Crazier Than You’ was superb. His chemistry with Ms. Keogh was another strong point. They worked exceptionally well together, creating a refreshingly believable but awkward relationship.  As the vertically unchallenged Lurch, Eddie Brady’s movement was hilariously slow and overly considered. His consistently slow physicality throughout the show was most impressive and this became one of the production’s best visual gags. Facial expressions were quite hysterical at times. Mr. Brady’s extended ‘monologue’ explaining Lurch’s origin story to the Beinekes was a comedic highlight of the entire production. Vocally, he delivered one of the most memorable moments of the evening in ‘Move Toward the Darkness’. Just glorious!  The ensemble, a motley crew of ancestors, was a very central part of the show’s ‘Día de los Muertos’ vision. Their commitment to this idea was undeniable. Vocally, they were consistently strong with excellent choral work and attention to dynamics throughout.  Choreography was performed with wonderful energy and discipline. However, the choice to have the ancestors so animated during dialogue did present challenges. The ensemble’s ongoing background business, mimed conversations, jogging on the spot and continuous gesturing were carried out with commitment but often pulled focus during dialogue. That said, when the ensemble’s movement was more in tune with the narrative, the effect was powerful.  Marie Cusack’s steady hand as stage manager was always evident, even though crew were never seen and there were no set changes, as such. Furniture and other pieces were moved by cast in a very theatrical and highly efficient manner. The show’s clean momentum was clearly due to excellent coordination and collaboration between director and stage manager. It ran seamlessly from start to finish.  The set for this production was most striking with its ‘Día de los Muertos’ concept, embracing warmth, colour and cultural symbolism. The central wooden staircase, was very strong visually and provided many interesting staging opportunities. The terracotta walls gave a distinctly Mexican flavour, in keeping with the theme. The altar-style table was a nod to ofrenda traditions and fittingly doubled up as the Addams dinner table. I did feel that the vibrant colours,  whilst beautifully conceived and created, diluted the darker, comedic edge of the material. Overall, however, the set was beautifully presented and reflected the intended theme perfectly.  Lighting played a huge role in creating a world that was brighter and more colourful than most versions of the show. Within the theme, it worked very well. Haze was used to good effect, enhancing beams from moving heads and creating depth, as required. Moving lights were used very well throughout. ‘Tango de Amor’ was particularly impressive, with moving lights complementing the choreography beautifully. Similarly, the brief but sharp ‘snap’ cues during Gomez’s “two things” moments were very well timed, adding to the visual humour.  The sound design for this production was impressive, for the most part. I loved the pre-show sound effects as dripping and spooky organ music contributed to the mood but never felt intrusive. The band was mixed particularly well, a difficult task, given their location under the set and out of sight. Sound effects throughout the show were excellent. The Addams doorbell, the ratchet during Wednesday’s torture sequence, the arrow’s shoot-and-twang were all timed with precision. These effects added great texture. The violin in ‘Happy/Sad’ and the beautiful introduction to ‘Tango de Amor’ were perfectly featured.  Props were a great blend of the show’s usual quirkiness, along with plenty of nods to the ‘Día de los Muertos’ theme. In a show like ‘The Addams Family’, props contribute very strongly to the visual humour and this production was no different.   I loved Grandma’s cobweb-covered pram with its mysterious bottles of ethically questionable concoctions. Wednesday’s crossbow looked great, as did Fester’s rocket. Alice’s guidebook looked delightfully out of place in the Addams world and Lurch’s phone looked like it fitted right in. The ofrenda, with its myriad items of personal value to the deceased, was a prop-laden centrepiece which was very visually striking.  Costumes were a blend of the traditional Addams aesthetic and the ‘ Día de los Muertos' reinterpretation and, in the context of the theme, worked very well, for the most part. The result was lots of colour where more muted, monochrome is typically more common. Principal characters were very well turned out. Morticia’s elegance was reflected perfectly in her costuming and I loved the matador take on Gomez in place of his iconic striped suit. Wednesday’s black dress, gloves and black boots were suitably gothic and Pugsley’s traditional stripes were in keeping with our expectations. I also loved his skeleton pyjamas which were a clever touch. The ancestor costumes were quite the departure from the norm and generally worked very well within the thematic shift.   Each ancestor represented a different historical figure. For the most part, there was good cohesion in the colourful reimagining of the costume plot. However, one neon, luminous outfit appeared to clash with the overall aesthetic and, I felt, could have been toned down.  Hair and makeup design were a visual treat throughout. From the more traditional looks to the reimagined ancestors, there was excellent work across the board in creating a rather spectacular world built around the production’s stylistic choices.   The ancestors’ sugar-skull makeup was a triumph and could have worked equally well in a more traditional Addams production. The marigold flower crowns, with their vivid colours, contrasted nicely with the black and white skeletal makeup, tying in perfectly with the theme. Principals were very well presented. Fester’s excellent bald cap and pale complexion blended perfectly. Lurch’s sunken features added to the visual comedy and Morticia’s sleek black wig complemented her dark elegance. Wednesday’s iconic, gothic look was perfectly captured, right down to her fingernails and Grandma’s wild hair reflected utter chaos.  There is no doubting that Harold’s Cross Tallaght’s production of ‘The Addams Family’ was a dramatic departure from the traditional. I cannot praise the creativity, intelligence and courage enough. Strong performances across a very talented cast contributed greatly to what was a most memorable, thought-provoking production, which fulfilled its primary purpose in providing great entertainment for its audience. Job done! Pat McElwain Sullivan Adjudicator 2025/2026

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

EASTERN SOCIETIES

Below is our comprehensive list of EASTERN societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

bottom of page