top of page

UPCOMING EVENTS

Come From Away

​

10 Sept 2025

More...
The Hits

​

4 Oct 2025

More...
Come From Away

​

15 Feb 2026

More...
Jesus Christ Superstar

​

23 Oct 2025

More...
All Shook Up

​

3 Sept 2025

More...

LATEST NEWS

Evita as presented by St. Mary’s Musical Society, Navan.

St. Mary’s Musical Society, Navan - Evita Saturday 12 th  April 2025 Andrew Lloyd Webber and Tim Rice's biographical musical ‘Evita’...

St. Mary’s Musical Society, Navan - Evita Saturday 12 th  April 2025 Andrew Lloyd Webber and Tim Rice's biographical musical ‘Evita’ chronicles the meteoric rise of Eva Duarte, under rather questionable circumstances, through society during one of the most tumultuous periods of Argentinian history.   St. Mary's Musical Society, Navan presented a wonderful production of this very challenging show, which is fast approaching its half-century anniversary.   With exceptional principal performers, a hugely committed ensemble, and a very talented production team, this was always going to be a special show.I received the warmest welcome from the society chairperson in the foyer of the Solstice Arts Centre. With lots of personnel in place, things moved along very smoothly as the sold out audience took their seats. Much of the front of house operation is looked after by in-house staff. And it was disappointing that latecomers were being admitted throughout the early stages of the show. Director Sharon McNamara did a great job pulling together the myriad elements required visually and dramatically to stage such a mammoth production.   There was great attention to detail in principal characterisation.   The ensemble was very well prepared and very much a part of the action as they supported the principal cast brilliantly in driving the narrative. Ms. McNamara did a wonderful job in clearly defining the social status of the aristocrats who carried themselves with pomp and grandeur, contrasting with the raw energy of the lower classes. She brought the audience right into the story. Che's cleverly delivered narration and Eva's movement downstage towards the audience during ‘Don't Cry for Me Argentina,’ as the balcony came forward, made this a very immersive experience for the audience. She captured the emotion and tension of the piece quite perfectly.   Santa Eva was a beautifully poignant moment and I loved the flying of Eva's iconic white dress at the end of the show.  Musical director Dylan Browne presided over a magnificent orchestra, which was powerful but never overpowering.  T hey brought out the intensity of Lloyd Webber's eclectic score perfectly.   Chorus mistress Helen McHugh did exceptional work with the ensemble in particular.   There was a stunning choral sound in ‘Requiem for Evita,’ which sent shivers down my spine.   Equally impressive were the male harmonies in ‘I'd Be Surprisingly Good for You.’ The gentlemen did extremely well also in ‘Peron's Latest Flame’ and there was a an incredibly strong choral sound from the ensemble at the top of Act 2 for ‘On The Balcony of the Casa Rosada’.   Excellent work all around from Mr. Browne and Ms. McHugh. Laura Douglas's exciting choreography was always embedded in the narrative, driving the story at all times. ‘Buenos Aires’ was full of raw energy, in contrast to the mourning at the top of the show. The brilliant timing of the musical chairs routine in ‘The Art of the Possible’ was most impressive. I loved the tango section of ‘I'd Be Surprisingly Good for You’, which was so sensual and brimming over with sexual tension between Peron and Eva.There was excellent movement from the various different groups in ‘Peron's Latest Flame’ and even if the soldiers were slightly out of sync on occasion, the overall picture was very impressive. ‘A New Argentina’ was hugely powerful, very precise and synchronised from the large ensemble and there was exceptionally sharp, exhilarating movement in ‘And the Money Kept Rolling In (and Out),’ which was a brilliantly clever and unique routine. I particularly liked Che popping up from the crowd, which was a very nice touch. Jenny McCabe played the iconic role of Eva Peron and brought so many layers and nuance to her well-studied performance.   It is no secret that the role is a punishing sing but Ms. McCabe did an incredible job with magnificent power and control in her crystal clear voice, which was so well supported in the extremely challenging upper register. The iconic ‘Don't Cry for Me Argentina’ showcased Ms. McCabe's stunning vocal capabilities and ‘You Must Love Me’ was utterly gorgeous.   One of Ms. McCabe's great strengths as a singer was that every word had weight and meaning. As challenging as the vocal requirements were, the narrative was always clear and storytelling was the priority.   Eva’s demise as her health failed, was heartbreaking and beautifully played by Ms. McCabe. We felt every laboured breath as she faded before our eyes. A top notch, professional performance. Ciarán Mooney was a very strong Juan Peron.   He played the role with great dignity and poise and his utter devotion to Eva was very clear.   Mr. Mooney had a most authoritative presence, bringing great gravitas to his portrayal of the powerful, influential statesman.  W hilst he was stern at times, there were some lovely tender moments too, particularly as Eva's health failed.   Mr. Mooney displayed a wonderfully rich baritone voice with exceptional tone and this was particularly strong in ‘I'd Be Surprisingly Good for You.’   But it was ‘She Is a Diamond’ which really showed Mr. Mooney's wonderful vocal at its best, in what was one of the many musical highlights of the show. Peter Manning was a very charismatic, thought-provoking Che.   He drove the narrative brilliantly, giving us a masterclass in blending sublime vocals with a very clever, nuanced characterisation.   Every word he sang was loaded with understanding and meaning.   Mr. Manning was an incredibly generous performer, never competing for attention as he observed and commented on the world around him. His effortless vocals were a joy. ‘High Flying, Adored’ was an outstanding musical highlight from Mr. Manning and his soaring tenor in ‘Waltz for Eva and Che’ was simply beautiful. Craig Regan was a very theatrical Magaldi with great flair and good comic understanding.   He was very strong as Eva's first lover, who gets ditched as soon as she has no more use for him.   He was quite the crooner too and his ‘On This Night of a Thousand Stars’ was well sung and great fun. Mr. Regan also shone throughout the show as he frequently popped up in the ensemble and was a particularly strong dancer throughout.  Tracy Armstrong gave a very mature performance in the role of Peron’s mistress.   Her ‘Another Suitcase in Another Hall’ was beautifully sung, so thoughtful and considered.   Her character's vulnerability was clear but she never overplayed it, ensuring a very honest portrayal, firmly rooted in reality.   This was a wonderful example of acting through song as every word that Ms. Armstrong sang had thought and nuance behind it. The ensemble was exceptionally strong. Vocally, they were wonderful with a superb choral sound in numbers such as the spine-tingling ‘Requiem for Evita,’ and the high energy ‘Buenos Aires.’ The ensemble was always in tune with what was going on around them and very disciplined in their carefully devised background business.   Their excellent cast freezes were very effective, complemented by stunning lighting states.   The aristocrats were superb throughout.   There was excellent work from all in numbers like ‘And the Money Kept Rolling In (and Out),’ with their raucous cheers adding layers of authenticity and realism to the number. Throughout the show, there were outstanding energy levels and excellent command of the complex vocal harmonies, so well drilled by Ms. McHugh.   Bravo to all. Brian O'Neill did excellent work as stage manager.   Mr. O'Neill and his crew ensured that transitions were extremely fluid, which is very important for a fully sung show that needs to keep moving without interruption.   The fly system in the Solstice Arts Centre, although motorised, takes quite some time to bring in and out and can be very challenging for a stage manager.  However,  Mr. O'Neill ensured that everything was timed to perfection.   Most impressive was the movement of the balcony, which travelled forward so smoothly during ‘Don't Cry for Me Argentina’ before returning upstage again by the end of the song.  The impressive multi-level set was beautifully finished, transporting us to Argentina of the 1930s and 1940s. The arches were evocative of the era’s architecture and offered some very effective staging and lighting opportunities.   Magaldi's retractable stage and backdrop were cleverly designed and the door piece for ‘Goodnight and Thank You’ looked very well, as did the large Argentinian flag which flew in at the end of Act One. All of the flying pieces were very well constructed and scenic artistry was extremely professional. Of course, the centrepiece was the highly impressive balcony for the iconic staging of the show’s signature number. This was superb in its design and was operated seamlessly by crew. An exceptional lighting design enhanced the atmosphere beautifully.   Timing of operation was incredibly good.   There was great use of haze to accentuate dramatic beams and there were brilliantly positioned beams shining through the arches, which were most effective. The musical chairs routine for ‘The Art of the Possible was brilliantly lit, with each chair lit, showing that lighting was very much a part of the storytelling in this show. There was wonderful use of colour to reflect the different locations in ‘Rainbow Tour’ and I loved the side lighting which often picked up Che as he observed the action, adding to an ethereal atmosphere with its shadowy effects. Any show that is entirely sung through requires exceptional work from the sound department, especially a show with such a dynamic score as ‘Evita’.   Thankfully, the sound was in excellent hands for this production and nothing was missed throughout the course of the night. The orchestra was exceptionally well balanced, and vocals were always very clear, full, and warm.   Eva's speech after ‘Don't Cry for Me Argentina’ might have benefited from an effect to give a sense of addressing a large crowd over a microphone but this is a tiny point in what was an exceptional job overall.  Graphics were used to good effect at the top of the show and the opening montage of pictures of Eva, after the announcement of her death, used some very striking images from her life. However, the snap changes from image to image were very sudden and slightly jarring.   A  slow fade in and out of these might have worked better and been more subtle and in keeping with the funereal mood. Generally, there was good attention to detail with props. There was good use of parasols, cigarette holders and fans for the aristocrats.  My one big concern was the  Argentinian flag, which should have been cloth rather than the polyester-type material, which was too modern, creased, and cheap looking. The ballot box looked very well. Cases, trunk, and luggage were all very authentic and hats off to whoever managed to source what looked like an antique wheelchair for Eva. A standout piece, which can't have been easy to find. All other props appeared authentic and appropriate to the era. There was great work in the costume department with meticulous attention to detail across the board. The lower classes’ social status was reflected in their earthy costuming and at the other end we had the aristocrats who were sharply attired to reflect their standing.   Magaldi's pinstripe suit, spats, and ruffled pink sleeves were wonderfully theatrical and I really liked the foreboding of Eva's red dress as she met Peron.   It was never going to end well.   The generals in ‘The Art of the Possible’ were very sharply turned out. However, the soldiers in ‘Peron's Latest Flame’ were less successful, as one or two gentlemen were wearing white trousers which were a little ill-fitting. Eva’s iconic white dress was a beautiful creation. An excellent job from all involved. There was great attention to detail with the ladies' hairstyles for Buenos Aires and superbly authentic wigs for Eva, which greatly added to the show's realism. I loved the detail of Eva becoming paler as the second act progressed and her health began to fade more and more.  This was a highly entertaining production of ‘Evita’ and one which the society should be very proud of.  It is a hugely challenging show to produce but St. Mary’s Musical Society was more than equal to the task, thanks to a highly talented production team, cast and crew. It was a privilege to attend.  Pat McElwain Gilbert Adjudicator 2024/2025

Made in Dagenham as presented by Dun Laoghaire Musical & Dramatic Society

Society Name:  Dun Laoghaire Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  09/04/2025 Brief...

Society Name:  Dun Laoghaire Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  09/04/2025 Brief Overview of Show and Evaluation of Front of House Dun Laoghaire Musical & Dramatic Society’s production of Made in Dagenham  was an exceptional and emotionally compelling staging of this powerful British musical. Drawing on the real-life events of the 1968 strike at the Ford Dagenham plant, the show blends humour, heart, and social commentary. This company rose admirably to the challenge of delivering a piece that requires both individual nuance and a strong collective identity. From the outset, the atmosphere in the venue was upbeat and welcoming. Front of House staff were efficient and courteous, managing audience flow with clarity and professionalism. The energy in the auditorium before curtain-up was one of anticipation and support, and it was clear that the audience was eager to champion the performers. Director – Direction and Production Stephen Fagan’s direction was intelligent, detailed, and deeply respectful of the material. What stood out most clearly was the strength of the storytelling, from the larger arcs down to the smallest interactions. Every moment, scripted or not, was purposeful and character-driven, from background gestures to emotional crescendos. Each cast member was given space to create a believable, individual character, yet the group dynamic remained tight and unified. That balance is difficult to achieve, but this ensemble clearly trusted each other and their director. Stephen’s handling of dialect was also superb, the accent work was not only accurate but consistent, which added authenticity and depth to the production. Visually, the use of levels on the set was strategic and effective, allowing for dynamic stage pictures and smooth transitions between scenes. The inclusion of real video footage from the 1960s was a masterstroke, connecting the fictionalised version to the factual roots of the story. This added emotional gravity, particularly in moments of confrontation or reflection. Notably, the decision not to resolve Rita and Eddie’s conflict at the end was bold and gut-wrenching. It served as a poignant reminder of the cost of activism and the emotional toll of standing firm for one’s beliefs. This final note left a lasting impression, underscoring the weight of the story. Musical Director – Direction and Orchestra Barry Power led a tight and spirited orchestra that brought the score to life with vibrancy and style. The tempos throughout were perfectly judged, providing drive and urgency without rushing the singers. The band’s energy underpinned the show’s flow, giving it a constant forward motion. Vocally, the cast was extremely well prepared. The harmonies were crisp, clear, and confidently delivered, with each line in the choral arrangements distinct yet balanced. The only critique lies in the sound mix, there were moments when the brass overpowered the keyboards, and some dialogue mid-song was difficult to hear. A bit more collaboration between MD and sound operator could enhance balance in future productions. Nevertheless, the musical direction brought out the full colour of David Arnold’s score, ensuring the emotional highs and lows were well supported. Choreographer –  Choreography Lauren Dooley’s choreography was a triumph in tone and utility. Rather than imposing generic dance routines, the movement was deeply rooted in character and era. The choreography supported the show’s working-class aesthetic while adding texture and energy to the storytelling. The use of changing formations and continuous motion kept the stage visually interesting without overwhelming the performers or straying from the narrative. Importantly, the movement never felt out of place, it retained a grounded, natural quality that suited the world of the piece. Lauren made excellent use of the full cast, incorporating all ability levels while ensuring consistency. The dance numbers were expressive and never gratuitous, enhancing rather than distracting from the storytelling. Leading Principles – Singing and Acting Rita O’Grady – Meg Whyte:  Meg delivered an outstanding performance, anchoring the production with sincerity, warmth, and inner strength. She captured the journey of an ordinary woman rising to an extraordinary challenge with emotional intelligence and vocal beauty. Her maternal side was evident from the start, and her chemistry with Eddie was believable and textured. The vocal work was consistently strong, and her performance never felt forced or theatrical, just honest and deeply human. Eddie O’Grady – David Hynes:  David brought charm and complexity to the role of Eddie. He convincingly embodied a working man trying to do his best while failing to see the bigger picture. His interactions with Rita were nuanced, and his vocal performance was smooth, well-placed, and emotionally connected. His accent work was spot-on, and he brought just enough vulnerability to balance Eddie’s more thoughtless moments. Connie Riley – Joanne Keeling:  Joanne’s portrayal of Connie was a highlight of the evening. Her off-script acting was profoundly moving, small details like her faltering gait and subtle coughing into a tissue spoke volumes. Her vocal delivery was rich and sensitive, perfectly aligning with Connie’s emotional arc. Joanne managed to portray both the steel and the fragility of her character with grace and subtlety. Monty – Dale Ayers:  Dale’s Monty was warm-hearted, slightly cheeky, and provided a lovely sense of continuity between the women and the factory. Vocally secure and emotionally open, he added gravitas to the production. Clare – Máirín Hayes:  Máirín was a comedic delight as Clare. Her comic timing was sharp, and her conviction in the role never wavered. She fully embraced the quirks of her character, delivering each moment with energy and confidence. A strong vocal performance and well-shaped physicality completed a thoroughly enjoyable portrayal. Beryl – Hannah Sheehy:  Hannah was a standout. Her Beryl was laugh-out-loud funny, with excellent comic delivery and superb physical choices. The throughline of liking a drink added flavour without ever becoming excessive, and her cursing was authentic and well-motivated. She also demonstrated a powerful vocal presence. Cass – Kate Canavan:  Kate brought heart to the ensemble as Cass, gently portraying the more passive, easily swayed member of the group. Her performance was understated and effective, complementing the bolder personalities around her. Sandra Beaumont – Lyndsey McKiernan:  Lyndsey offered a strong portrayal of Sandra, blending assertiveness and vulnerability with poise. Her movement was confident and natural, and her performance elicited real sympathy as someone caught in a difficult position. Supporting Roles –  Singing and Acting Barbara Castle – Kate Canning:  Kate was magnetic as Barbara Castle. Her accent was flawless, and her stage presence commanding. She skillfully walked the line between political authority and personal frustration. Vocally strong, her only minor challenge was transitioning smoothly between vocal registers, but this never detracted from an otherwise excellent performance. Harold Wilson – John Paul Coakley:  John Paul was hysterical as Harold Wilson. His portrayal captured the bumbling, out-of-touch nature of the character without straying into caricature. His song was a comedic highlight of the evening. Mr. Tooley – John May:  John played Tooley with relish, smug, arrogant, and entirely unlikeable. His accent was strong and sustained, though maintaining a stronger forward focus and eye line would have helped land some of the text. Nonetheless, he made a lasting impression. Cortina Man / Chubby Chuff – Gavin Molony:  Gavin displayed impressive range in these contrasting roles. As Cortina Man, he exuded charm and charisma with a velvety smooth voice, and as Chubby Chuff, he leaned into the awkward geeky humour  with skill rather than placing it more towards the ignorant buffoon.  Mr. Hopkins - Kevin Johnston: Kevin gave a sharp, well-crafted performance as Mr. Hopkins. His accent was spot-on, and he perfectly captured the clueless arrogance of a self-serving British toff. His scenes with his wife were especially effective, adding depth and humour. Lisa Hopkins – Hannah O’Dwyer:  Hannah brought empathy and elegance to Lisa, navigating the emotional depth of a woman trapped in a patronising marriage. She gave a restrained yet deeply felt performance. Gregory Hubble - Mikey Deasy, Ron Macer / Barry - Eoghan Funge, Sid - John Higgins, Ruairi Boland - Mr. Buckton: All delivered solid supporting work, fleshing out the world of the factory and its political landscape.  Sharon O’Grady - Bridget Cloonan, Graham O’Grady - Max Molins: Both were perfectly cast, endearingly annoying, just as they should be. Chorus/Ensemble –  Singing, Acting and Choreography This ensemble was the beating heart of the production. Every member contributed meaningfully to the world of the show, with no weak links or passive presences. The character work extended beyond the leads, with each ensemble member creating a clear persona. Vocally, they were powerful and unified. Harmonies were well-blended and tonally rich. Their energy never faltered, and their movement was sharp, expressive, and always in service of the story. Attention to formation spacing will be beneficial in future performances to ensure cleaner visual pictures. Stage Management & Set Design The set design was wonderfully evocative of the 1960s. The colour palette was carefully curated, and the use of upper levels and rolling trucks created a versatile space. The layered design allowed for fluid scene changes and a visually appealing backdrop. The inclusion of video footage added powerful historical resonance. The cut-out cars, changing facades, and detailed set dressing enriched the world.  The flow of the show was maintained by the cast and costumes crew managing all of the transitions. Scene changes started strong but became slightly untidy toward the end. Continued rehearsal on these transitions would maintain the show’s slickness. Technical – Lighting and Sound Lighting design was tasteful and atmospheric. The use of specials created clear and dramatic visual moods. The FOH focus was clean with no dark patches or hotspots and evenly spread between US and DS. Slightly more front and backlighting on the cut-out back wall would have helped highlight this beautiful feature. Sound was generally good, but dialogue during musical underscoring occasionally got lost. The keyboards were slightly light in the mix. A distracting phone sound effect in the hospital scene undercut the poignancy of the moment. Visual – Costumes, Hair and Make-Up Costumes were very era-appropriate and character-specific. The palette was cohesive and visually appealing. Hair and make-up were similarly well-matched to the period and characters. A small note: Mr. Hopkins’ jacket appeared ill-fitting, which seemed at odds with his character’s polished appearance. Cortina dancers might have benefitted from more stylised make-up to match their showy choreography. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. This was a truly stirring and dynamic production of Made in Dagenham . The direction was thoughtful and bold, the cast performances were nuanced and compelling, and the technical and design aspects served the show with creativity and professionalism. To further elevate future productions: Continue refining sound balances between band and vocals. Ensure scene transitions stay tight throughout. Push ensemble formations for even cleaner visuals. This production was a celebration of ensemble spirit, storytelling, and the power of amateur theatre. Photos by Darragh Carroll

Joseph and his Amazing Technicolor Dreamcoat as presented by Kilmacud Musical Society

Society Name:  Kilmacud Musical Society Show Name:   Joseph and the Amazing Technicolour Dreamcoat Adjudicator Date of Attendance:...

Society Name:  Kilmacud Musical Society Show Name:   Joseph and the Amazing Technicolour Dreamcoat Adjudicator Date of Attendance:  08/04/2025 Brief Overview of Show and Evaluation of Front of House Kilmacud Musical Society’s production of Joseph and the Amazing Technicolour Dreamcoat  was a vibrant and earnest interpretation of this beloved Andrew Lloyd Webber classic. With its rich musical numbers, colourful characters, and continuous storytelling, Joseph  presents both exciting opportunities and complex challenges for any amateur company. The society embraced the show’s playful spirit and inclusive energy with clear commitment, community spirit, and affection for the material. Director – Direction and Production Steven Halion took a gentle and straightforward approach to direction, crafting a production that prioritised clarity and inclusivity. The narrative was easy to follow, and the introduction of the narrator “trainees” was a clever concept that brought a fresh angle to the traditional storytelling device. While this subplot offered humorous and engaging moments, particularly in the interactions among the narrators, there was a sense that the 'exam' gag was extended a bit too far, occasionally stalling momentum and becoming somewhat repetitive. Some fundamental aspects of stagecraft would benefit from greater attention in future productions. For instance, eye lines often dropped too low, an especially noticeable issue in a raked auditorium. Additionally, transitions between scenes were not always fluid, with some missed opportunities to use the set’s platforms more dynamically to help express the physical journey of the characters. Greater coordination between the direction and stage management teams could improve pacing, particularly in the handling of crossovers and key exits. That said, Steven fostered a positive, ensemble-focused spirit that permeated the production. His inclusive direction allowed performers of all ages and experience levels to contribute meaningfully, which is no small achievement and one that was clearly appreciated by the audience. Choreographer – Choreography Rachel Sheahan’s choreography was one of the production’s strongest assets. Though it leaned towards the simpler side, the routines were thoughtful and clearly tailored to the wide age and ability range of the performers. This resulted in choreography that felt inclusive, accessible, and joyful. Every movement sequence was performed cleanly, demonstrating that substantial rehearsal had taken place. While there were certainly a few cast members with the ability to take on more complex steps, the overall choice to level the choreography served the production well in terms of unity and clarity. The real success lay in the way everyone looked comfortable and happy on stage. The Pharaoh’s number stood out as a particular highlight. Full of inventive and stylised movement, it struck a delightful balance between humour and precision. The choreography here complemented the characterisation perfectly, and the audience’s response suggested that this number hit the intended mark. Rachel’s contribution brought cohesion and vitality to the show, and her choreography undoubtedly helped bring energy to scenes. Leading Principles – Singing and Acting Joseph – Liam Mackessy:  Liam delivered a calm and centered performance in the titular role. While his portrayal was on the safer side emotionally, there was a quiet strength to his stage presence. His voice had a raspy tone that gave Joseph a slightly more mature and grounded feel, suiting the character’s evolving emotional journey. Greater dynamic variation and risk-taking in his vocal phrasing and character arc would have added depth, but Liam’s consistent performance provided a stable core to the production. Narrator 1 –Narrator 3 plus 2 more narrators– The dynamic between all three narrators was a delight to watch. Their blend, both vocally and in performance style, was well-matched and carried the story with clarity and humour. The concept of “trainee narrators” trying to join the action was amusing and often effective. Susan Kane committed fully to the role of the unsure trainee narrator. Her performance was sweetly comedic without becoming overplayed. Her voice blended well with the others, and her body language was effective in communicating her character’s learning curve. The Brothers  The ensemble of brothers (Ruben - Ray Bissett, Simeon - Daniel Seery, Levi - Finbarr O’Leary, Napthali - Anna Conroy, Issachar - Gary Graham, Asher - Rachel Brady, Dan / Potiphar - Alan Early, Zebulon - Carl Mageean, Gad - Lillian Foley, Benjamin - Jackie Drew, Judah - Mary B Dunphy) worked superbly as a unit. Their camaraderie was evident, and their vocals were generally well blended. The choice to include female voices among the brothers was unusual but handled with ease, it in no way detracted from the ensemble’s cohesion or believability. Ray (Ruben) gave a strong rendition of “One More Angel in Heaven,” with a pleasant mellow tone and assured delivery. Daniel (Simeon) was expressive and humorous, especially in his “French” number, his characterisation was clear and well developed. Alan (Dan/Potiphar) gave a wonderfully comic performance as the jealous businessman, and handled his double duty with flair. Mary (Judah) was particularly touching in scenes with Benjamin, showing a genuine care and concern that added depth. Supporting Roles – Singing and Acting Jacob – Billy Andrews:  Billy brought a warm, gently humorous energy to the role of the father. He convincingly portrayed Jacob’s frailty while also showing genuine delight in his many wives. A lovely character performance. Pharaoh – David Supple:  One of the show’s highlights. David fully embraced the Elvis parody, with an excellent accent, confident vocals, and commanding stage presence. This scene always earns a big reaction, and his portrayal delivered. Mrs. Potiphar – Sue Neary: Sue embodied the sultry wife with confidence and cheekiness, though the staging could have allowed more space for her to shine in the seduction scene. Butler – Zarah Doyle & Baker – Joyce Neary:  Both gave lively and committed performances in these small but important roles. Their vocals were clear, and they each brought character and energy to the prison scene. Chorus/Ensemble – Singing, Acting and Choreography This was a committed and spirited ensemble. Their energy and enthusiasm were apparent throughout, and it was lovely to see such a range of ages and experience levels represented. The society clearly fosters a welcoming and inclusive environment. Vocally, the chorus sounded somewhat sparse in places, which may be down to mic issues or balance problems in the mix. Entrance cues and cut-offs were occasionally ragged, and with such a well-known score, these small inaccuracies were noticeable. Acting from the ensemble also veered into the exaggerated at times; background acting sometimes felt a little forced. Some drama workshops focusing on subtlety and realism could be valuable to raise the overall standard. Nonetheless, their heart was never in question, and the joy they exuded made for an engaging experience. Stage Management & Set Design The static set was an excellent choice for this production. Its simplicity allowed for imaginative staging, and the beautiful projections added flair without becoming intrusive. Each location was clearly and creatively rendered, this element was one of the production’s great successes. Small scenic pieces were well built and generally painted with care. For future productions, attention to detail, such as painting the bases or finishing joins, could elevate the overall aesthetic.  The stage management team were visible, though this appeared to be a deliberate choice. They moved a bit slowly at times, which interrupted momentum. Closer collaboration with the director would help ensure important exits or entrances (such as Potiphar’s) are not lost during transitions. Technical – Lighting and Sound Lighting was among the production’s greater achievements. Special cues were precise, and visual compositions were often stunning. “Close Every Door” was particularly well-lit, with a striking decision to light Joseph only from behind and sides, creating an atmosphere of isolation and vulnerability. Sound, however, was a weaker point. Issues included absent microphones during key introductions, questionable balance in the mix, and what felt like missing instrumental elements. This improved slightly in the second half, but several numbers suffered from a lack of vocal clarity or blend. Ensuring that all microphones are active, and that the full score is audibly represented, should be a top priority in future productions. Visual – Costumes, Hair and Makeup Costumes were bright, fun, and appropriate to the style of the show. The technicolour coat was particularly effective, especially under UV lighting. The use of embroidery reminiscent of Irish dancing costumes gave a unique and memorable visual flair. One minor criticism was the anachronistic choice to costume the Potiphar’s in 1950s rather than 1920s attire, which visually jarred with the rest of the production’s aesthetic. Hair and makeup were well executed, simple, clean, and effective across the board.  Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. This was a warm and joyful production that celebrated inclusivity and community spirit. While there were several technical and musical issues that impacted the smoothness and polish of the performance, the heart and humour of the piece shone through. Future productions would benefit from deeper musical preparation, sharper stagecraft, and enhanced backstage coordination. Nevertheless, Kilmacud Musical Society should be proud of their work. They created an evening full of colour, laughter, and enthusiasm, values that lie at the very heart of Joseph and the Amazing Technicolour Dreamcoat .

The Rocky Horror Show as presented by Maynooth University MS

Maynooth University MS  The Rocky Horror Show  Friday 11th April 2025  Although I never ventured there myself…(honest!)…I'm old enough to...

Maynooth University MS  The Rocky Horror Show  Friday 11th April 2025  Although I never ventured there myself…(honest!)…I'm old enough to remember when the Classic Cinema in Harold's Cross, Dublin was thronged on Friday nights with crowds dressed in stilettos, fishnets and highly provocative, revealing attire. And that was just the men!   Of course, they were there to see ‘The Rocky Horror Picture Show,’ which ran at the southside Dublin venue every Friday night for over 20 years. One of the key elements of this cult classic was the audience participation, during which cinemagoers would roar the most inappropriate responses and interjections at the screen when prompted by one of the movie’s iconic lines. There was plenty of this kind of audience participation in evidence at Maynooth University Musical Society’s production of ‘The Rocky Horror Show.’ It was   outrageous, raunchy, occasionally indecent, and awash with innuendo. What’s not to love? It was deliciously self-aware and a whole lot of fun.   There was palpable excitement in the room as we entered the Aula Maxima at Maynooth University. This was partly due to the wonderfully immersive experience which had been created from the very start, with lots of interaction between the audience and front of house personnel, who greeted us in character and skilfully engaged in some improv, when prompted. Usherettes, clowns, and all sorts of weird and wacky characters set a really good tone in anticipation of one of the most absurd musicals I’ve ever had the pleasure to see.  Shane Dornan directed with considerable flair. He didn't so much lean into the show's absurdist tone as fling himself headfirst into the insanity. Mr. Dornan didn't shy away from the highly irreverent thrust of the show. Indeed he wrung every last drop of innuendo-laden   comedy from the book with little consideration for subtlety or fine edges. And this full-on, in your-face approach worked perfectly. H e worked hard at continuity, ensuring that there was a breakneck pace throughout. I was very impressed with Mr. Dornan's attention to narrative detail as he brought some semblance of clarity to what is a highly convoluted plot. He even managed to find heart underneath all of the raunch and filthiness. As mentioned, one of the unique features of the Rocky Horror Show is its audience participation, heckles, etc. Having audience ‘plants’ ensured that the lines were delivered but it felt overly rehearsed for something that should sound spontaneous. I loved the featuring of the circus podium being struck and the confetti being cleaned away during the entr’acte. This worked really well and was an experience in itself with the contortions and suggestive movements complementing the tone of the show perfectly. A really super job from Mr. Dornan.  Musical director Louise Gilmore was assisted by Enda Keating, who conducted with great control and dynamism. There was a very impressive sound from the  band, which was really well balanced. Underscored dialogue was handled very well and it was a joy to be able to hear every word.   Principal vocals were excellent right across the board. The opening number, ‘Science Fiction Double Feature,’ showcased excellent ensemble harmonies which were so well balanced. ‘ Once In a While’ was another song with superb choral sound. ‘I'm  Coming Home’ was one of the highlights of the night with its incredible choral vocals, perfectly balanced.  Choreographer Mark Lehane embraced the wild, irreverent spirit of the show, with great confidence and flamboyance, guiding his dancers incredibly well and creating fresh, dynamic routines which were original and fully in keeping with the outrageous tone of the show.  Mr. Lehane was assisted by dance captain Niamh Dempsey, who herself shone in the superbly devised numbers. There were so many highlights.  ‘ The Time Warp,’ which features early in the show, was energetic, synchronised, and brilliantly performed. The most notable aspect of the choreography was the manner in which every cast member was committed to the performance and used each routine as a way of telling the story. Faces were always in tune with the narrative and the outrageousness of Mr. Dornan’s vision. This was a superb job from Mr. Lehane, who complemented that vision perfectly.  Brad, the all-American, clean-cut ‘square’ was played with hilarious self-awareness by Taylor Dench. This was a very funny performance as one half of the hapless couple who find themselves stranded on a wet night, before making their way to Frank-N-Furter's castle in search of assistance. Mr. Dench's comic timing was excellent and he was always in tune with what was going on around him. He had an exceptionally good voice, with ‘Once in a While’ being a standout moment, during which he demonstrated excellent range and a fabulous falsetto.   Éabha Brennan delivered an exceptional performance as Janet, Brad's other half. Ms. Brennan’s character was a beacon of chastity and her journey from naive, wide-eyed   innocence to sexual liberation and the loss of all inhibitions, was brilliantly realised. This too was a superbly self-aware performance and Ms. Brennan clearly understood the style of humour and performance just right. ‘Touch-a, Touch-a, Touch Me’ was brilliantly performed by Ms. Brennan in one of the standout musical and comical moments of the show.  It's not every day someone gets to play a transsexual, mad scientist, space alien. Seán Mac   Mathúna was more than up to the task and took on the role of Dr. Frank-N-Furter in style, capturing his charisma, darkness, and sheer lunacy so well. Mr. Mac Mathúna embraced the hilarious characterisation, seducing everyone in sight, literally and metaphorically. His mesmerising presence dominated the show every time that he set a stilettoed foot on stage. He was daring, he was dynamic and he was exceptionally funny. His hilarious hairball moment was a delight and his timing of “Silly bitch!,” in response to Columbia sacrificing herself to save him, was comedy gold.  Cian Murray was an eerie and mysterious Riff Raff. His presence was dark and brooding and he had exceptionally good physicality in what was a very unsettling performance. Mr. Murray was perfectly unhinged as Frank-N-Furter's creepy minion, bringing a dark quirkiness to this role. His vocal work in ‘The Time Warp’ was excellent.  Annie Bolger was an equally impressive Magenta. She too had exceptional presence and an amazing energy which drove so many scenes. Ms. Bolger was also a superb mover, standing out in all of the dance routines.  She had a powerhouse vocal which was at its best in ‘The Time Warp’ and the fabulous ‘Touch-a, Touch-a, Touch Me.’ An exceptionally good performance overall.  Alison Kiernan Whelan gave a fabulous performance as the lovestruck Columbia. She had wonderful comedic timing and delivery of dialogue was very strong. I loved her emotional,  delirious outburst at Frank-N-Furter, which was so beautifully pitched and timed to perfection. She too was excellent in ‘Touch-a, Touch-a, Touch Me.’  Eddie was played by the very talented, hirsute David Swift. From his shady appearance through the trapdoor, we knew that this was going to be a very strong performance. He sang brilliantly in ‘Hot Patootie’ and made the most of every minute he had on stage.  John Doyle Peredo was the perfect choice for the role of the muscle-bound Rocky. Mr. Peredo’s impressive physique, made him ideal for the role of Frank-N-Furter's perfectly engineered specimen. But there was more to Mr. Peredo than muscle. He also had a wonderful vocal and a very clever comic touch. His reactions to Frank-N-Furter’s amorous advances were subtly hilarious and he never fell into the trap of over egging things. A fabulous portrayal from a performer that we will definitely be hearing about again.   Aaron Viera Kelly was a youthful Doctor Scott. This was a humorous portrayal but his heavily accented dialogue was in need of some attention, as diction was compromised on occasion.  Patrick Montgomery was very charismatic as the narrator. He played the role with great confidence, reacting to the audience’s heckles and responses in a very relaxed, natural, and funny way. He set the perfect tone when encouraging the audience to participate at the top of the show. H e was very funny in ‘Once in a While.’ A very strong performance of a role that literally holds the show together.   Becky Casley offered great support as Trixie. She had very good presence and shone in ensemble numbers in general.  The ensemble was exceptionally good, with excellent focus and commitment to the director's vision. Movement and dancing were extremely well rehearsed and infused with character at all times.   Vocals were also very strong. ‘ Once in a While’ was a memorable moment with some beautiful harmonies and ‘The Time Warp’, mostly known for its iconic dance moves, had an incredible sound and infectious energy from a very talented ensemble.  With a fixed set and very little movement of pieces throughout the show, Dan Lavelle's stage management utilised cast cleverly to move furniture and minimal set pieces as required. He   ensured that they were very well rehearsed and that everything was slick from the outset. A really good job overall.   The set was simple but innovative and very effective. It was visually interesting with the circus themed red and white. There were ramps either side of the stage. The band was upstage, underneath scaffolding. A key feature was the extended walkway downstage of the main stage leading to a circular playing space right in front of the audience. This worked really well in the context of the circus theme and meant that the audience surrounded this ‘circus ring’ playing space on three sides.   I loved the simplicity of the upstage curtain which was perfect for reveals of key characters and moments.  Lighting was very strong throughout, creating atmosphere through the use of bold colours, shadows, haze, and low fog. All of this added so much to the mystery and excitement of the show. Operation was very strong and cues were all timed very well. Overall, this was a very impressive lighting plot.   Sound was exceptionally good, with a clear, balanced mix of vocals and the band being at appropriate levels. Sound effects were very well timed throughout, which added a nice layer of authenticity to proceedings. There was superb vocal balance in the opening number and  that became a hallmark of this show as the ensemble shone brightly thanks to exceptionally good mixing. ‘I'm Coming Home’ was stunning in its vocal balance. A real highlight.  Props were generally well looked after with most things looking authentic and suiting the show. The fans, the narrator's book, ray guns all looked perfectly in place. One small thing was that one member of the ensemble had a copy of the Dublin Gazette during one of the dance routines. A small point but when everything else is so detailed, these are the things that jar.   Costumes were glamorous, outrageous, and full of flamboyant eccentricity. They were, of course, outrageously camp, with lots of lingerie, fishnets, and heels. The usherettes in their pink and black looked particularly well and Columbia's red hot pants, basque and red boa were perfectly chosen.  Hair and makeup were a huge part of the success of this wonderful show. The design was bold and theatrical and had an enormous visual impact overall. The clown-like makeup brought an eerie, unsettling aesthetic to the show. Frank-N-Furter's over the top makeup was perfect as was the very specific looks for Riff Raff and Magenta with both looked suitably ghoulish. A  great job overall from all involved.  This was quite the journey, with super pace and infectious energy that swept us along on a raucously raunchy rollercoaster ride. The world is a very different place today than it was over 50 years ago when ‘The Rocky Horror Show’ first took to the stage. As outrageous as the show might appear today, one can only imagine what the reaction was when it debuted in the early 70s. But one thing is for sure – things have changed for the better. We laughed. We laughed a lot. We laughed through every pelvic thrust, through every jump to the…ok…you get it. It was a very funny, outrageous show which was superbly performed by   a very strong group of principals and ensemble. Take a bow all! Photos by Paul Whelan and edited by ( Alison Kiernan Whelan ). Other photos were provided by the South Kildare Photography Club

Sister Act as presented by Clane Musical & Dramatic Society

Society Name:  Clane Musical & Dramatic Society Show Name:   Sister Act Adjudicator Date of Attendance:  02/04/2025 Brief Overview of...

Society Name:  Clane Musical & Dramatic Society Show Name:   Sister Act Adjudicator Date of Attendance:  02/04/2025 Brief Overview of Show and Evaluation of Front of House Clane Musical & Dramatic Society delivered a jubilant and vibrant production of Sister Act  that was rich in heart, energy, and polish. This production sparkled with professionalism, precision, and personality from the opening bars to the triumphant finale. The musical, based on the beloved 1992 film, follows the story of Deloris Van Cartier, a lounge singer forced to hide in a convent, where she finds unexpected sisterhood and purpose. It’s a story that blends humour with heart, and this production handled that balance beautifully. From the moment of arrival, the experience was warm and welcoming. Front of House operations were managed with great professionalism—patrons were greeted enthusiastically and directed smoothly. The atmosphere was celebratory, with an evident buzz of anticipation in the foyer. There was a tangible sense that this society took pride in their work both on and off the stage. Director – Direction and Production Jennifer O’Brien’s direction was nothing short of exceptional, quite simply, a triumph of direction. This was a production bursting with clarity, energy, and emotional depth. The storytelling was incredibly strong, and what elevated it even further was the attention paid to every  character on stage, no moment was wasted, and no performer felt underused. It was clear that character development had been a priority, each character, whether principal or ensemble, felt thoughtfully considered and three-dimensional. Her touch could be seen in every carefully constructed moment, from the broad comedy to the tender emotional beats. It was a joy to watch the character arcs unfold, particularly in how the convent gradually embraced Deloris and evolved as a group. The pacing throughout was expertly managed, moving the action forward with momentum while allowing space for reflective and emotional beats. Transitions between scenes were fluid, and moments of comedy were sharply timed. Even quieter moments-maintained energy and purpose, creating balance and contrast within the show’s rhythm. A stand-out aspect of the direction was the accent work—clear, consistent, and well maintained across the cast. Visual storytelling choices also supported characterisation well, such as how spaces were used to reflect inner states or group dynamics. Jennifer demonstrated an instinctive understanding of tone, and that made all the difference in a piece that shifts between the absurd and the profound. The result was a production that kept the audience both laughing and emotionally engaged. Musical Director – Direction and Orchestra Gráinne Uí Luing’s musical direction was another standout strength, vibrant, era-appropriate, and deeply satisfying. The score of Sister Act  is full of funky, 70s-inspired rhythms, gospel numbers, and rich harmonies, all handled with style and precision. The sound was filled with that trademark 70s synth texture, giving the show an unmistakable sense of time and place. Tempos were well judged, and cues were confidently delivered. Particular praise must be given to the ensemble’s vocal unity—harmonies were not only accurate but emotionally charged. The chorus had clearly been well-coached, with diction, phrasing, and musicality all working in service of character and story. There was a glorious blend in the group numbers that never overpowered, even in the most spirited ensemble scenes. Of note, the musical team were positioned behind the set, but this had no negative impact on the show. The sound was clear, balanced, and well-integrated into the action, speaking to strong communication between pit and stage. A truly accomplished musical direction that lifted every performance. Choreographer – Choreography Grace McGrath’s choreography was pitched beautifully. It struck that golden balance between being engaging, stylistically accurate, and within the capabilities of the performers. The result was a company who danced with confidence and purpose, fully in sync with the show’s infectious energy. What impressed most was the clarity of the choreography. Every performer knew what they were doing, and the routines were executed with cleanliness and enthusiasm. Numbers such as “Take Me to Heaven” and “Raise Your Voice” were standout examples of how movement was used to elevate both narrative and musicality. Each cast member had moments to shine, and it never felt like choreography was restricted to a few dancers. The ensemble was integrated wonderfully into the movement, creating a visual unity across the stage. This was choreography that enhanced the storytelling without ever overshadowing it—a sophisticated and thoughtful approach. Leading Principals – Singing and Acting Deloris Van Cartier – Emma Stack: Emma delivered a tour-de-force performance as Deloris. Her vocals were simply breathtaking, powerful, agile, and full of soul. She captured the character’s cheeky charm without veering into caricature, grounding Deloris in real emotional stakes. She handled the journey from nightclub diva to spiritual sisterhood with grace and power. “Sister Act” was particularly moving, showing a depth of emotion that resonated. Her comic timing, stage presence, and expressive face made her a joy to watch, and her emotional journey felt honest and moving. A knockout performance that anchored the entire show. Mother Superior – Ellen Stapleton: Ellen gave a nuanced and sophisticated performance. Her comic timing was razor-sharp, an absolute masterclass, but she layered her character with subtle vulnerability. Her portrayal leaned into a more emotionally restrained figure, someone who smiles to mask her conflict, bringing great poignancy to scenes of internal struggle. Vocally, Ellen was controlled and expressive, handling her demanding range with skill. Eddie Souther – Cian O’Dowd: Cian brought real warmth and sweetness to Eddie. His sincerity made him instantly endearing, and the chemistry with Deloris was charming and believable. His performance of “I Could Be That Guy” was filled with heart and vocal polish, showcasing smooth tone and solid control. His nervous energy and awkwardness were perfectly tuned to the role. Curtis Jackson – Sean Lennon: Sean’s Curtis was genuinely menacing, a character sometimes played for laughs, but here imbued with sinister charisma. He balanced a suave exterior with genuinely unsettling undertones, and “When I Find My Baby” was a chilling and memorable highlight. He owned the stage in every appearance, creating a credible and fearsome antagonist. Sister Mary Robert – Sarah O’Flaherty: Sarah was utterly captivating as Mary Robert. Her journey from timid novitiate to empowered young woman was beautifully paced. “The Life I Never Led” was heartfelt and stunningly sung—a standout moment of the evening. Sister Mary Patrick – Sarah McGauran: Sarah delivered a joyous, effervescent performance. Her bubbly presence lit up the stage, and she provided an excellent foil to the more reserved Mary Robert. She possessed a strong vocal command and brought great comedic energy to every scene. Supporting Roles – Singing and Acting Sister Mary Lazarus – Pauline Hoban: Pauline was riotously funny. She nailed the cantankerous charm of Lazarus and executed the shift into unlikely rap star with perfect comedic timing. Her vocals were brassy and full of character, and she clearly relished every moment. Joey, TJ, Pablo – Art McGauran, Aaron Stone, Alan Maleady: An uproariously funny trio. Their number “Lady in a Long Black Dress” was hilariously staged and confidently performed. Each brought something distinct, be it sleaze, dimwittedness, or exaggerated charm, but together, they formed an unforgettable comedic unit. Monsignor O’Hara – Rory Chadwick:  Rory’s Monsignor was a delightful surprise. Often written as a subdued presence, his portrayal had energy and gusto, adding sparkle to scenes that could otherwise feel static. His enthusiasm brought welcome lightness to the convent environment. Sister Mary Martin of Tours – Elaine Moore O’Donohoe:  Elaine’s performance was a comedic gem. She stayed entirely in character throughout, whether centre stage or in the background. Her consistency and facial expressions drew frequent laughter and added lovely texture to every group scene. Sister Mary Teresa – Sadie O’Reilly:  Sadie was a standout among the ensemble. Her performance was packed with energy and character specificity. She formed effective partnerships onstage and contributed meaningfully to the group dynamics. Michelle & Tina – Patricia Voon and Sinéad Byrne: This duo supported Deloris with confidence and flair. Their vocals were well matched, and their physicality in dance routines demonstrated real assurance. They brought a strong presence to the opening sequences and maintained great commitment throughout. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble in this production was a true powerhouse. Each performer had a defined character, and they maintained these personas throughout, even in transitions and background moments. Their facial expressions were animated, their energy unwavering, and their cohesion impressive. Vocally, the ensemble was a major asset to the production. Their harmonies were lush and beautifully balanced, especially in the larger group numbers. They moved as a unit, yet with individual flair, and executed choreography with confidence and joy. This was ensemble work of a very high standard. Stage Management & Set Design The set design was inventive and highly functional. The use of sliding doors, layered flats, and varied levels created a visually engaging experience that allowed for smooth scene changes. The backlit stained-glass window was a particularly beautiful feature, helping to evoke the sacred setting. A minor visual suggestion would be to unify the backdrop stonework with the building’s physical stone elements would enhance continuity. Stage management was generally strong, though there were moments where exits and prop removals felt slightly delayed or out of sequence. Reviewing the order of removals may improve flow in future performances. Technical – Light and Sound Lighting created some lovely stage pictures, and many cues were effectively chosen to complement mood and setting. However, a few live changes occurred mid-action that may have been better programmed out. Some transitions were sudden and slightly distracting. Adjusting cue timing could enhance fluidity. Sound quality was excellent. Cues were tight and well timed. There was clear spatial awareness, particularly when transitioning from interior to exterior of the bar, or when TV audio effects were used. The mix between band and vocals was well judged, ensuring lyrics remained clear. Visual – Costumes, Hair and Make-Up Costuming was superb, particularly the groovy 70s menswear, which brought humour and flair. Thoughtful touches, such as the nuns’ wedding rings and coordinated sleepwear, showed detailed design thinking. Hair and makeup choices were sensitive to period and character. The nuns appeared natural and unembellished, while the nightclub characters carried the glamour and polish of the disco era. Excellent visual cohesion throughout. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. This was a truly memorable production from Clane Musical & Dramatic Society. Every department was working in harmony to deliver a joyful, funny, and emotionally resonant show. The cast were clearly well-rehearsed and directed with a deep understanding of character and narrative, resulting in a performance filled with authenticity and heart. Future enhancements could include: Slight refinement of backstage and set change logistics for smoother flow. Minor adjustments to lighting cue execution to maintain scene immersion. Continued focus on the outstanding ensemble cohesion, which is a true hallmark of the society’s strength. Overall, this was an exemplary community theatre production—bursting with talent, guided by thoughtful direction, and performed with true spirit. Photos are by Aishling Conway, Conway photography.

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