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UPCOMING EVENTS

Made in Dagenham

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28 Jan 2025

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Our House - the Madness Musical

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29 Apr 2025

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A Night of Music, Broadway & Beyond

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17 May 2025

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CINDERELLA

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28 Oct 2025

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HXT 2025 Production

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11 Nov 2025

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LATEST NEWS

Sweeney Todd as presented by Entr'acte

Entr’acte - Sweeney Todd  Wednesday 19th February 2025  During its relatively short existence, Entr’acte has gained a reputation for...

Entr’acte - Sweeney Todd  Wednesday 19th February 2025  During its relatively short existence, Entr’acte has gained a reputation for producing top quality musical theatre. It was quite the leap in genre from last year’s ‘Guys and Dolls’ to this year’s production of ‘Sweeney Todd’ but, with a stellar cast led by an exceptionally talented production team, this vibrant young group proved more than capable of taming Stephen Sondheim’s beast of a show.  The foyer of the O’Reilly Theatre in Belvedere College was packed to capacity as we waited to enter the auditorium.   Rarely have I experienced such a palpable atmosphere of excitement and expectation before opening night of a show. There was a real buzz in the air as we were led to our seats. Front of House personnel were helpful and efficient, ensuring that the large crowd moved along comfortably.  Niamh McGowan's direction was simply visionary from start to finish. She incorporated a highly original circus motif into the production, which was a very bold choice. But it was a choice that elevated the narrative in a refreshingly clever way, harnessing the show’s dark, twisted energy, as Sweeney’s eerie, shadowy tale played out against a darkly ethereal circus setting of late 18 th century London.   Direction was highly original, clever, and intuitive, with great understanding of pace and stagecraft. There was great smoothness between transitions thanks to a very talented ensemble, who were responsible for moving the set pieces. ‘ A Little Priest’ was a masterclass in direction, comedy, musicality, and characterisation.   The highly theatrical use of different coloured fabric as each of Sweeney's victims met their maker was a wonderful touch. A superb job all round.   Ms. McGowan also took on the role of choreographer. Choreography had a pivotal role in this show.   Movement was beautifully stylised. The ensemble's outstanding physicality brought an added dimension to many musical numbers. Everything was so sharp and flawlessly executed, always in tune with the sinister undertones of the narrative. ‘More Hot Pies’ was remarkable in the sharpness of its movement, with every syllable punctuated by a definite movement before moving into a very controlled and stylised slow-motion sequence.  Superb work!  Róisín Heenan did a remarkable job as musical director. The positioning of the onstage orchestra on two levels must have posed a challenge, but it did not affect what was an incredible orchestral performance. From the beautiful strings reflecting Anthony's longing in   ‘Johanna,’ to the frantic, dissonant accompaniment which mirrored Sweeney's descent into madness in ‘Epiphany,’ this was a tour de force orchestral presentation. There was very sympathetic underscoring throughout, adding greatly to highly emotional undertones. Principal singing was of a very high standard throughout. There are hardly enough superlatives to sum up the sound from an exceptional ensemble. There were so many choral highlights. From the powerful dynamics of ‘Ballad of Sweeney Todd,’ to the brilliantly performed ‘More Hot Pies’ with its rich harmonies, there was superb attention to detail in every aspect of the choral work. A fabulous job from all. Ciaran Mooney gave an excellent performance as Sweeney Todd, the wrongly convicted barber, intent on bloody revenge. His wonderfully sinister and commanding presence drew the audience in from the opening scene. He navigated the complexity of Todd’s tortured   character so skilfully, balancing both victim and villain, winning the audience over as they warmed to him, in spite of his murderous tendencies. Mr. Mooney had a gloriously lyrical vocal; a commanding baritone with incredible emotional range as he moved from moments of disturbing tenderness like ‘Pretty Women,’ to hellbent fury in ‘Epiphany.’ ‘ Pretty Women’   was quite mesmerising, almost hypnotic in its delivery. ‘ Epiphany’ was a powerful, maniacal   rage as he descended into madness, intimidating audience members and building to a raging crescendo.  Grace Kinirons was quite astounding as Mrs. Lovett. Ms. Kinirons had the most incredible   talent for nuanced storytelling. Her deep understanding of the show’s macabre humour was evident in her exceptional timing. Her brilliantly timed “That's all very well” after Todd's raging ‘Epiphany’ was indicative of such comic brilliance. A nd yet there was an underlying darkness. She was so manipulative, pulling at Sweeney's strings in a very nuanced subtle way. Ms. Kinirons had a gloriously timed ‘lightbulb moment’ leading into ‘A Little Priest,’ a   number which was brilliantly performed with layers of intelligent subtext and opportunistic glee. Manipulative, playful, yet deliciously dark. ‘ By the Sea’ was a stunning declaration of unrequited love with exceptional articulation and heart.  Joe Jennings was yet another standout in the role of Anthony Hope.   Mr. Jennings was a beautiful singer, pure and expressive, especially in ‘Johanna.’   He was naive yet passionate. An excellent actor with superb diction and understanding of script,   Mr. Jennings' performance was one of many highlights in a very strong show.   Joanna Yusuf played the role of Johanna. She gave a beautiful performance, her ethereal   soprano voice balancing the romantic yet tragic elements of her character. ‘ Green Finch and   Linnet Bird’ was hauntingly good. Ms. Yusuf had a lovely presence right through the show and worked very well with Mr. Jennings in particular.  Caoimhe Tyndall as Tobias Ragg was an unusual piece of casting.   But, my goodness, it was a perfect choice.   Ms. Tyndall was simply wonderful in the role.  She was a highly theatrical performer, extremely skilled in her movement and physicality. ‘ Not While I'm Around’   showcased her most stunning, musical theatre vocal. It was acted beautifully, with   heartbreaking layers of loyalty and vulnerability. A deeply moving performance.  Andrew Docherty had a formidable presence and brought menacing gravitas to the role of the lustful and controlling Judge Turpin. This was a most sleazy portrayal. His chilling ‘Johanna - Mea Culpa,’ an absolute beast of a song musically and dramatically, was   brilliantly performed, a most disturbing spectacle. An excellent acting performance.  Daniel Ryan played the pompous Beadle Bamford with a darkly comic touch and a wonderful singing voice. ‘ Ladies in Their Sensitivities’ was excellently performed, including lovely falsetto. His stint at the harmonium was both hilarious and disturbing in equal measure. Mr. Ryan  worked very well with Mr. Docherty. A very clever actor, he had wonderful diction and was always in tune with the narrative. Anna Bergin delivered an excellent performance as the Beggar Woman. She had wonderful   physicality and presence, moving around the stage with agonising intent. Her fantastic mezzo-soprano was clear and haunting all through. Her skilful movement between glorious vocals and tortured wails throughout the show made for a most memorable, emotional   performance.   Aidan Byrne gave a very strong performance as the larger-than-life charlatan swindler Adolfo   Pirelli. It was a most theatrical performance. H is faux Italian accent was a delight. Mr. Byrne had a great voice and super comedic timing. He got a great reaction as his accent melted back into an Irish brogue. He sang ‘The Contest’ with a soaring voice, excellent range, and   wonderful understanding of its humour.  Damian Sweeney gave a dark, eerie portrayal of asylum owner Jonas Fogg. Mr. Sweeney had great presence and played the role with sombre intent. A very strong performer, Mr. Sweeney was a standout member of the ensemble in other scenes.  One of the most outstanding elements of this production was the strength in depth of its ensemble. Their stylised movement was incredibly precise and in tune with Ms. McGowan's vision for the show.   Everything was so sharp.   Performance levels were exceptional with wonderful use of face, body, and sound.   I loved their grotesque movement, physicality, and   animalistic outbursts in Fogg's asylum. This was a very cohesive and talented group whose performances were central to the creation of the show's unsettling atmosphere. ‘The Ballad   of Sweeney Todd’ was an incredible start to the show and we knew from that opening number how good things were going to be, largely because of the ensemble's exceptional work.   The set was a visual triumph, incorporating circus elements with the grim atmosphere of 18th century London. The barbershop on the upper level was ingenious in its design and the chair and chute, so central to the show’s macabre premise, worked their theatrical magic perfectly. This set was incredibly detailed with a wonderful finish to its highly impressive scenic artistry. T he multi-functional trucks were big, but they were moved and spun so well by the very talented ensemble cast. There was a very impressive and imposing oven in the bakehouse. Every single location was so well thought through and brilliantly realised. The circus tents, distressed, off-white with blood red finish were a wonderful touch.  Stage management, by SM Dee Ní Chloscaí, was excellent, with very clever use of cast to perform set changes. And yes, it was a performance. Ensemble were featured rather than hidden, as they moved sets with purpose and control, never once dropping character. Each   transition was meticulously choreographed as part of the performance itself. Everything was swift and seamless, maintaining a wonderful momentum throughout the show.  The exceptional lighting plot in this show was a huge part of the creation of an exceptionally theatrical mood and atmosphere throughout. There were wonderfully dramatic contrasts from shadowy, ominous tones to some incredibly dramatic lighting from the pit, which was   particularly striking during ‘Epiphany.’  T he brilliantly timed use of spotlights in ‘Epiphany,’   picking out audience members as Sweeney targeted them directly, gave us an even more   immersive experience as we became part of his descension into madness. Timing of the myriad lighting cues was sublime. Colours were well chosen. There was red. Lots and lots of red, as murderous intensity increased unabated. Haze was used to great effect to create an   ethereal space caught somewhere between this darkly mysterious circus and Todd’s tortured state of mind. A brilliantly designed lighting plot with exceptionally good operation.  Sound was exceptionally good throughout this production. Every word of dialogue was crisp and clear.   The choral sound was simply sublime, the balance incredible. The mixing of the orchestra was wonderful with clever featuring of individual instruments when required. I loved the very effective sound effects. Birds chirping, the excellently timed sharpening of the razor for the challenge, the bell upon entering the barbershop and the seagulls in ‘By the Sea.’ It was an exceptional sound design and operation which perfectly complemented the   professional standards set in all other areas.  There was very good work in the props department from Lovett's pastry baking bowl to Sweeney's case and razors. Attention to detail was generally very good. The bird cages were very authentic, the red and white crates were perfectly in keeping with the circus theme   and Judge Turpin's gavel and cane added to his character. The use of the rolling pin and   meat cleaver at the end of Act One was wonderfully theatrical. Mrs. Lovett's knitting was, of   course, RED. Beadle's harmonium was most impressive looking.   My only small quibble was   that the pistol given to Anthony was not authentic to the era as it was more of a Colt style weapon. This was a pity but a very small point in what was a wonderfully strong props plot in   general.   Hair and makeup were wonderfully creative. Wigs, when used, were excellent.   I loved the ensemble clown makeup at the top of Act Two and how their clown looks became more grotesque as the show continued and Todd became more maniacal. The exaggerated, Joker-esque look of the ensemble from the asylum scene onwards, greatly enhanced the   sinister personae of the ensemble, creating a captivating visual which was beautifully in sync with the circus motif and Ms. McGowan's overall vision.  Costumes were a visual feast, from the dark, sombre tones of Sweeney himself, to the fabulously flamboyant gold detail of Pirelli's costume. Ensemble were excellently dressed, perfectly evoking the 18 th century look. I loved little bits of detail like Lovett's red and black dress and Todd's red waistcoat; red creeping in as the show progressed and became   bloodier. Todd, dressed as a grotesque ringmaster at the end of the show, with Lovett bedecked in showgirl feathers, was such a creative touch and a perfect way to finish proceedings. An excellent costume plot overall.  This was innovative theatre at its very best.   Every single element from direction, to makeup, to costuming, worked harmoniously to create a darkly humorous, often sombre, but utterly captivating theatrical experience. The creative choices were bold, adding layers of depth and intrigue in moulding a most thought-provoking and memorable interpretation of Sondheim's classic tale.   Congratulations and thanks to all.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photos kindly shared by the society Photographer - Darragh C Photography +

Urinetown as presented by Malahide Musical & Dramatic Society

Malahide Musical and Dramatic Society  Urinetown – The Musical  Tuesday 18th February 2025  PUBLIC REVIEW  “What kind of musical is...

Malahide Musical and Dramatic Society  Urinetown – The Musical  Tuesday 18th February 2025  PUBLIC REVIEW  “What kind of musical is this?!” exclaimed Little Sally as ‘Urinetown - The Musical’… (not the place)…allowed its audience a rare moment of much-needed calm as they sat in the intimate surroundings of the Malahide Community School hall, contemplating that very same question. The answer, of course, is that it was an utterly bonkers and beautifully bizarre musical, dripping with delicious satire, which had us laughing until we burst. Needless to say, there wasn’t a dry seat in the house as the cast and crew of Malahide Musical Society brought us on quite the dystopian journey to a place where corporate greed, leading to regulation of urination, is a perfectly plausible premise. It was a thoroughly entertaining rollercoaster of a show with a very talented cast led by an excellent production team.  Front of house personnel were most friendly and efficient, looking after myself and the mammy very well. The delicious irony of the toilets being some distance away in a different building made me giggle at the interval but I did feel that a fundraising trick had been missed in not charging patrons for the privilege to pee!  Emma Jane Reilly’s considerable talents could be seen all over this production. She directed with considerable flair and a wonderful eye for comedic detail, balancing outrageous humour with the more thought-provoking messages of the show. Attention to visual detail was very strong and it was no surprise to see that Ms. Reilly was involved in the clever design of the very effective set. There was great use of this multi-level set, giving many options for staging. I loved all of the clever touches throughout the show, particularly the visual comedy. Miss Reilly had a great understanding of the absurd, which really added to the style of comedy in this show. Her work with the ensemble was exceptional, drawing out superb individual characterisations from all.  Musical director Dave McGauran really entered into the spirit of things in his ‘costume.’ He had assembled a five-piece band of some of the top musicians in the country and they brought the eclectic score of varying musical styles to life with wonderful balance and top notch musicianship. The opening ‘Urinetown’ number had a superb ensemble choral sound and that continued to be a highlight right through the show. ‘Act One Finale’ was outstanding chorally and t here were exceptional ensemble vocals, including an incredible a cappella section, in ‘Run Freedom Run.’ Principal singing was of a really high standard across the board. Underscored dialogue was sensitively handled, with every word being heard clearly.   Julianne McNamara's choreography was an absolute joy and completely in keeping with the crazy tone of the show. Routines were very slick, precise, and excellently performed by a very committed ensemble. ‘Cop Song’ was excellent and I loved the torch sequence which was so cleverly creative and effective. ‘Look At the Sky’ was a fantastic number, so precise, so energetic and again with such great performance levels. ‘Don't Be the Bunny’ was quite insane, but totally in tune with the madcap humour of the piece. I loved ‘ What Is Urinetown?’ with its quirky ‘Fiddleresque’ sequence and brilliant frozen pictures. ‘ Snuff That Girl’ was everything that choreography should be in a musical. It was precise, brilliantly performed and had wonderful individual characterisation from all of the ensemble. ‘Run Freedom Run’ was another brilliant number performed with such great precision and wonderful performance levels. A superb job by Ms. McNamara.   Gavin Molony gave an excellent performance in the role of Bobby Strong, the charismatic assistant custodian of Public Amenity no. 9. He was a fabulously natural performer and a very clever actor who so in tune with the narrative and tone of the show. His rebellious characterisation was underpinned by an idealism and charisma that was most uplifting. He played Bobby's internal struggle so well. His vocal performance was stunning, delivering powerful, rousing renditions of the anthemic ‘Run, Freedom, Run’ and the powerful ‘Look at the Sky’ with effortless ease.  Hope Cladwell, the ingenue and Bobby's love interest, was played by the very talented Nicole Kennedy. Ms. Kennedy got the gig. Her performance was so knowing and in tune with the show’s comedic style and crazy premise. Her innocence and optimism endeared her to the audience and her very cleverly judged transformation to rebellious heroine was beautifully depicted. ‘Follow Your Heart’ was a vocal highlight, beautifully expressive, and I loved her duet with Bobby, ‘Tell Her I Love Her.’  Kevin Hartnett was very strong as Officer Lockstock, the narrator and primary enforcer of the law in Urinetown. He had excellent presence and was well able to handle the difficult task of balancing authority with hilarity. A very skilled comedian, Mr. Hartnett had impeccable timing  and a wonderful range of comical facial expressions. Comic timing was particularly sharp in scenes with Little Sally and there was great chemistry too with his sidekick Barrel. Mr. Hartnett is an excellent singer but I felt that he needed additional support from the sound department in the lower register of ‘Urinetown’ as he competed against the band. T he very wordy and challenging ‘Cop Song’ was brilliantly performed.   The tyrannical CEO of ‘Urine Good Company,’Caldwell B. Cladwell, was played with great flair by Brian O’Gorman, who brought an almost comic book villainy to the role without being overly menacing. Mr. O’Gorman’s greed, manipulation and arrogance were balanced with a quirky, comedic touch that ensured he had just a touch of redeeming quality. His vocal performance was strong, adding to his malevolent charm. He was wonderful in the bizarrely surreal ‘Don't Be the Bunny,’ commanding the stage with such gleeful energy. A very strong performance.  Rebecca Gamble gave a very funny performance as Penelope Pennywise, the tough as nails custodian of Public Amenity no. 9. This was a very gritty and determined portrayal, balancing the struggle between loyalty to her employers and her more compassionate instincts in a cleverly nuanced way. Ms. Gamble was an excellent comedienne with razor sharp timing. Her vocal performance was very strong, particularly in ‘Privilege to Pee’ and the superb ‘Why Did I Listen to That Man?’  Yasmine Missaoui delivered an incredibly knowing and hilarious performance as Little Sally. She played the role with an incredible awareness of self and the audience, skilfully navigating tongue-in-cheek references to the style of show and sharing just the right amount of exposition with a darkly humorous touch. There was an hilarious balance between childlike curiosity and intelligent self-awareness. She knew exactly what her function was in the show and boy did she fulfil it. Focus and intent were always so strong and we could see every thought process. Every movement and every facial expression was meaningful, as Ms. Missaoui lived every moment on stage. She didn’t have too many opportunities to show her vocal prowess but, when she did, she grabbed it with both hands. ‘Tell Her I Love Her’ was brilliantly sung and masterful in its subtle, comedic delivery.   Ben Cole’s gormlessly comical Officer Barrel was very different to any interpretation I have ever seen. He made it his own and it really worked as Mr. Cole squeezed every last ounce of comedy out of the role. Mr. Cole’s eyes, brilliantly expressive and occasionally psychotic, were worthy of their own standing ovation! Mr. Cole was very physically aware and his solo dance and impressive splits in ‘What is Urinetown?’ were executed with hilarity.   Colin Graham did very well in the role of Senator Fipp, the unscrupulous, corrupt politician who aids and abets Cladwell in his draconian efforts. Mr. Graham handled the duplicitous nature of Fipp very well. I did feel that a sleazier demeanour in his dealings with Hope might have gotten more comic nuance out of the role. He had a great voice, which was showcased perfectly in ‘Why Did I Listen to That Man?’   Darren O’Reilly was a very camp and flamboyant McQueen, Cladwell’s subordinate, consumed with self-interest. Mr. O’Reilly’s focus and excellent stagecraft were notable as he never once dropped character. Comic timing was very strong and his ‘bunny business’ during ‘Don’t Be the Bunny’ was quite hilarious.  Kirstin Smith was very impressive as Little Becky Two Shoes. Hilarious at times, psychotic at others, her top notch, bonkers performance was a highlight of this top notch, bonkers show. Her water breaking moment was…well…disturbingly entertaining, as was her plunger induced childbirth (you had to be there…). Her performance in all musical numbers, whether she was the focus or not, was excellent but she really came into her own during the superbly performed ‘Snuff That Girl,’ embracing every last second of dark humour she could muster.  Nathan Durkin was equally strong as a gravelly voiced Hot Blades Harry. This was another super characterisation and Mr. Durkin showed great commitment and understanding of the piece. He was also excellent in ‘Snuff That Girl’ and was a standout member of the very strong ensemble.  I loved Orla Connolly’s superb characterisation as Soupy Sue. Another standout ensemble member, Ms. Connolly was very funny, was an excellent mover and had great comedic physical awareness. Her dramatic collapse was timed to absolute perfection.   Jen McGuire Noirant and Matt Jenkins were both very funny as Old Ma Strong and Old Man Strong. They both shone in their ensemble scenes. Initially, I wasn’t entirely sure about Mr. Jenkins’ wig, which was a rather bizarre creation, but it grew on me as quickly as the absurdity of the show did.  There was great support too from Susan Talbot Towell as Roberta the Stockfish, Sean Lonergan as Tiny Tom, Lesley Nugent as Mrs. Millenium, Luke Watson as Dr. Billeaux and Andre Bukowski, who had a handy number as Bunny.  The ensemble in this show was excellent. They had a superb choral sound and their commitment and energy in the choreography was excellent also. Staff in the UGC were superb and the Monty crew of down and outs most impressive in their individual characterization. They were incredibly disciplined executing some wonderfully effective freezes and their fantastic reactions lifted the show to another level. There was a wonderful set, full of exquisite detail with archways and various nooks and crannies and numerous levels to allow for very interesting staging options. The upstage skyscraper cityscape looked very well. The vent in the floor with smoke rising through was a lovely authentic touch. The very well-designed UGC branding and signage really added to the very professional visual.   I absolutely loved the ‘Secret Hideout’ sign in lights which was an hilarious touch.   Stage manager Lynda O’Neill, ably assisted by ASM Jenna Thompson, ran a very tight ship, ensuring slick and efficient changes which, no doubt, tightened up even further as the week went on.  Sound was generally well operated.   Mic levels were excellent, with dialogue being warm and full throughout. Most vocals could be heard clearly and, for the most part, the balance between pit and stage was very well judged, although I felt that more gain was needed on Lockstock at the beginning of the show. All other numbers being brilliantly mixed and vocals, both solo and choral, were very well balanced. Sound effects were well chosen. I particularly liked the hilarious toilet flush which heralded the end of Act One and the beginning of Act Two.  Lighting was excellent throughout the show.   From the opening, hazy preset with its dramatic beams and wonderful set bathed in greens and blues, we knew that this was going to be a very well-lit production. This was a superb design and operation was top notch with well-timed cues and a clear familiarity with scenes and musical numbers as atmospheric and evocative pictures were created time and time again, enhancing the mood and tone of each scene. There was clearly great collaboration between the designer and Ms. Reilly.  Props were generally well chosen. It wasn't a huge prop show, but what was there was very   appropriate and in tune with the piece. The only thing which jarred was the black and white photocopied money which needed more attention to detail.   Hair and makeup were well presented. This was a visually interesting, madcap show. Hair and makeup design reflected that perfectly. Some of the wigs were quite bizarre looking, but they were in keeping with the outlandish tone of the piece. I loved the UGC staff's hairstyles which were beautifully finished and coordinated.   Cladwell's towering red wig was a very strange creation indeed, as was Old Man Strong’s.  There was great attention to detail in the costumes. It was clear that a lot of work had been put into the overall look of the show. There was great effort to reflect the socio-economic divide and the personalities of each character. Distressed fabrics for the great unwashed contrasted with the more polished costumes of the elite, perfectly reflecting the show’s themes. I loved the green and white palette used for the UGC staff. Police uniforms were sharp and slick. Soupy Sue's pilot hat and steampunk goggles were excellent. Super work from all involved.   This was an excellent production of a deceptively difficult show to get right. It was a thought provoking production combining sharp satire with some hilariously comic performances. Satire is tricky. It has to be knowingly delivered and every cast member needs to be on the same page of knowingness. Emma Jane Reilly and her talented production team got the tone of this one exactly right. It was a fabulous production and deserved the spontaneous standing ovation from a hugely appreciative audience. Pat McElwain   Gilbert Adjudicator 2024/2025 Photos kindly provided by the society; Photography by Darragh Carroll

Made in Dagenham as presented by Kill Musical & Dramatic Society

Society Name:  Kill Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  28/01/2025 Brief Overview of...

Society Name:  Kill Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  28/01/2025 Brief Overview of the Show and Evaluation of Front of House Made in Dagenham  was staged in a charming church that artfully blended tradition with a modern twist. The venue’s natural character—evident in the quaint pew seating enhanced with provided cushions—transformed an otherwise austere space into a warm and inviting environment. Although initial concerns about comfort were valid, the energy and commitment of the performance quickly elevated the atmosphere. The front of house staff performed efficiently, ensuring a welcoming entrance and setting a positive tone for the evening. The innovative choice of a church, a space normally associated with solemnity, provided a striking contrast to the vibrant and occasionally irreverent content of the show. This juxtaposition created an engaging backdrop that both surprised and delighted the audience. Nonetheless, minor adjustments in seating logistics and flow could further enhance the overall comfort for future performances. Director – Direction and Production Tom McCarthy’s direction was central to the production’s overall impact. Drawing on his extensive theatrical experience, Tom brought a confident yet nuanced approach to the narrative. His direction was punctuated by several “meaty” moments where the intensity and passion of the story were clearly communicated, balancing the dramatic weight with lighter, humorous touches, maintaining the show’s pacing. The blocking was generally well executed, although there were moments when less experienced cast members upstaged one another. Simple refinements—such as maintaining proper eyelines, employing subtle facial expressions during mistakes, and being mindful of spatial boundaries—could enhance stage fluidity. Notably, the tender exchanges between Rita and Eddie were executed with genuine emotion, contrasting with the less successful comedic attempts around Clare’s character, where timing fell short. Overall, McCarthy’s ambitious and inspiring vision shone through, even as certain elements of stage craft remain areas for further development. Musical Director – Direction and Orchestra Emer Hartnett led the musical elements with palpable energy and enthusiasm. The band’s performance was impressively tight, and the musical numbers were delivered with a blend of precision and passion that significantly enriched the production’s emotional impact. Hartnett’s leadership helped underscore the narrative, providing a solid sonic foundation throughout the performance. However, there was an overreliance on cueing from the cast, suggesting a need for the performers to develop greater confidence in their own timing. While cueing is a useful tool, it should not overshadow the natural flow of live performance. Additionally, there were moments when non-singing actors were inadvertently mic’ed, causing their voices to slip into the mix and detract from the clarity of the musical numbers. Instances of soloists being overpowered by the band also indicated that a more collaborative dialogue between Hartnett and the sound engineer would be beneficial. In future shows, a clearer division of roles—where the Musical Director enhances the performance without becoming a visible distraction—could help elevate the overall musical balance. Choreographer – Choreography Imelda Winters’ approach to choreography leaned toward musical staging rather than intricate dance routines—a deliberate choice that largely suited the production’s narrative pace. Winters demonstrated an innovative understanding of how movement can support vocal performances. However, the choreography sometimes stretched the comfort zone of the male cast members, leading to occasional awkward transitions and a slight loss of momentum. Simplifying the movements to emphasize clarity and rhythm over complexity would allow the performers to express themselves more naturally and with greater confidence. Dedicating additional rehearsal time to breaking down each sequence and internalizing the moves could transform the routines into more polished, expressive components of the show. Overall, Winters’ vision was strong, and with further refinement to accommodate varying skill levels, the choreography can evolve to more fully support the narrative. Leading Principles – Singing and Acting Rita O’Grady – Rossagh Cusack Rossagh delivered a performance as Rita O’Grady that was both vocally robust and emotionally complex. She captured Rita’s internal conflict—a battle between personal desire and external pressures—with authenticity. Her clear, resonant vocal delivery carried the emotional weight of Rita’s journey, while her stage presence drew the audience into every moment of vulnerability and strength. A deeper exploration of the quieter internal moments could further enhance the impact of her portrayal. Eddie O’Grady – Aaron Stone Aaron’s interpretation of Eddie O’Grady was marked by warmth and vulnerability. His smooth vocal delivery and approachable stage presence made Eddie immediately endearing. He effectively communicated the character’s internal struggles and stubbornness, inviting both empathy and a touch of exasperation from the audience. His performance was sincere, though refining the balance between the dramatic and the lighter aspects of the role could bring even greater nuance to the character. Connie O’Riley – Denise Gardiner Denise shone in the emotionally charged hospital scene, conveying deep sorrow and resilience. Her portrayal of Connie O’Riley was understated yet impactful, reflecting both the personal loss and the drive for change that defined the character. While her performance was moving, establishing Connie as a more dynamic force early on in the production would have provided a stronger narrative foundation for her character’s evolution throughout the show. Monty – Portrayed by Damien Donegan Damien Donegan’s portrayal of Monty effectively conveyed a character caught between frustration and a sense of entrapment. His vocal performance communicated the underlying tension and emotional release following key dramatic moments. A deeper exploration of Monty’s internal conflict would further connect the audience to his struggles, enhancing the overall dramatic impact. Harold Wilson – Portrayed by Tom Noone Tom Noone’s depiction of Harold Wilson presented a challenging balance. At times, his performance felt overly manic and unsettled, lacking the calm, authoritative presence necessary for the role of a Prime Minister. More controlled movements and a consistent tone could ground the character more effectively, transforming the portrayal into one that is both commanding and authentic. Barbara Castle – Portrayed by Aisling Burke Aisling Burke’s performance as Barbara Castle was a highlight of the evening. With strong vocals and a commanding stage presence, Burke brought dynamic energy to the role. Her layered portrayal captured the tension between a deep commitment to the working class and the pressures of the political landscape. Her convincing accent further reinforced the authenticity of her character’s internal struggle. Jeremy Hopkins – Portrayed by Stephen Fagan Stephen Fagan’s portrayal of Jeremy Hopkins was a study in self-importance and unlikability. His vocal delivery and haughty demeanor effectively encapsulated the character’s disconnect between public image and private reality. A slight infusion of vulnerability could add complexity, offering the audience a glimpse into the darker undertones beneath Hopkins’s confident façade. Lisa Hopkins – Portrayed by Grace McCarthy Grace McCarthy brought quiet dignity and palpable frustration to the role of Lisa Hopkins. Her gentle yet impactful vocal performance captured the internal conflict of a woman caught between societal expectations and personal ambition. McCarthy’s subtle gestures and controlled emotional expression made her character deeply sympathetic, though a touch more intensity in pivotal moments might further accentuate her inner turmoil. Mr. Tooley – Portrayed by Joey Smith Joey Smith’s portrayal of Mr. Tooley was purposefully crafted to evoke disdain. With a sleazy and morally dubious edge, his performance effectively conveyed the essence of the detested American businessman. Although his accent was mostly effective, occasional slips suggested that further vocal refinement would be beneficial to fully realize the character’s intended impact. Supporting Roles – Singing and Acting Beryl – Mary O’Byrne. Mary’s portrayal of Beryl was a burst of energy. Bubbly and well-cast, she commanded the stage with a strong presence, perfectly embodying the trouble stirrer rather than the maker. Her delight in the role—especially through the use of deliberately foul language—brought a mischievous charm to the production. Clare – Aisling Kelly. Aisling’s performance as Clare, though promising, did not fully hit the mark. The comedic timing needed further refinement, and while the role is notoriously difficult to perfect, her nice voice and contribution to the group of women were noted as strengths. Continued focus on timing and delivery in comedic scenes will benefit future portrayals. Sandra – Alanna Keane. Alanna brought a cheeky and watchable quality to Sandra. With strong characterisation and confident movement, Sandra emerged as a memorable part of the group of women, adding a spirited counterbalance to the ensemble’s overall dynamic. Cass – Lauren Kavanagh. Lauren’s portrayal of Cass provided a delightful touch of whimsy. Her character, delightfully delusional about her ambitions to be an airline pilot, added levity to the production while contributing to the ensemble’s varied texture. Cortina Man – Rory Dignam. Rory delivered a performance as Cortina Man that was well sung and assured. His solid vocal delivery and stage presence contributed effectively to the ensemble’s narrative, reinforcing his role with confidence. Mr. Buckton – Brian McCabe. Brian’s portrayal of Mr. Buckton was memorable for his great accent and strong scene work. Embodying the role of a dictatorial schoolmaster, his performance exuded a commanding presence that left a lasting impression on the audience. Ron Macer & Gregory Hubble – Paul Curran and Pat Lalor The duo of Ron Macer and Gregory Hubble, formed a robust pairing against Monty. Their performances, marked by strong character work and a genuine “boys club” vibe, added depth and dynamic contrast to the overall ensemble. Sid, Bill, Barry, and Stan – Kevin O’Leary, Paul Kiernan, Andrew White, and Paul Fogarty. This group of supporting roles brought an essential laddish energy to the production. Their camaraderie and robust stage presence provided a solid underpinning to the show’s more intense scenes, ensuring that even the lighter moments were delivered with verve. Adams – Joey Conlon. Joey’s portrayal of Adams, the suitably sniveling aide to Mr. Tooley, rounded out the supporting cast. His performance, marked by a convincingly servile demeanor, effectively underscored the unsavory characteristics of his superior. Chorus/Ensemble – Singing, Acting and Choreography The chorus and ensemble provided the backbone of the production, delivering a performance that was vocally tight and energetically supportive of the lead roles. Their well-rehearsed harmonies created a solid musical foundation that resonated throughout the show. However, the physical aspect of the performance revealed mixed levels of confidence among ensemble members. While some performers moved with fluidity and assurance, others appeared hesitant when navigating the choreography. Implementing regular movement workshops focused on spatial awareness, body control, and synchronized timing would help address these disparities. With increased rehearsal time dedicated to stage craft and physical coordination, the ensemble has the potential to become a more dynamic and cohesive component of future productions. Stage Management & Set Design The set design was thoughtfully executed, making clever use of the available space within the church. A 1960s-inspired colour palette added a nostalgic touch, and although the flat walls served as a simple backdrop, they effectively highlighted the performers. Enhanced scenic artistry—such as textured backdrops or more dynamic set pieces—could add further depth and visual interest in future productions. Stage management was handled diligently, though scene changes occasionally felt sluggish. In particular, transitions—such as the move into the pub setting—were hampered by cumbersome furniture and limited cast involvement. Closer collaboration between the stage manager, lighting crew, and director, as well as involving the cast in scene transitions, would streamline the process and maintain the production’s momentum. Technical – Light and Sound The technical aspects of the production were generally solid. The lighting design provided balanced illumination and effectively highlighted key moments on stage. There remains room for improvement in programming out live moves and enhancing the front-of-house focus with additional lanterns to better isolate smaller scenes. Sound-wise, the mix was mostly clear, and the chorus was well supported. However, challenges arose when soloists were occasionally overpowered by the band, and non-singing actors were inadvertently mic’ed. A tighter collaboration between the sound engineer and the Musical Director is essential to ensure that the soloists are clearly heard and that extraneous noises do not disrupt the flow of the performance. Visual – Costumes, Hair and Make Up The visual presentation aimed to capture the essence of 1960s England through an eclectic mix of costumes, makeup, and hairstyles. While the costumes were full of character, a unified design concept was sometimes lacking, leading to noticeable disparities in quality and colour palettes. Some attire leaned toward nostalgic interpretations of the era rather than authentic representations of Dagenham’s period. Makeup was serviceable, though there was potential for greater expressiveness—particularly for the female cast during key segments where emphasis on the eyes could heighten emotional impact. Hair styling was a mixed success; while the varied styles attempted to reflect the era, some of the more ambitious “poof” styles did not fully achieve the desired effect. Greater consistency and consultation with period styling experts could further enhance the visual cohesion of future productions. Adjudicators’ Suggestions/Comments – Overall Comments on the Production and Recommendations for Future Performances Overall, Made in Dagenham  was an engaging and heartfelt production that successfully brought a beloved story to life in a unique setting. The performance was marked by moments of brilliance—particularly in the vocal and emotional portrayals of key characters—and by the enthusiastic energy of the ensemble. The production team has shown a commendable willingness to experiment and push boundaries, which is essential for ongoing artistic growth. The strengths of the production far outweigh its weaknesses. The cast delivered sincere, passionate performances, and the technical team provided a solid foundation that supported the overall narrative. However, there remain areas for improvement. Enhancing stage craft for less experienced performers, refining the balance between musical elements, and unifying the visual presentation will help elevate future productions. Investing in targeted workshops—focusing on vocal training, movement, and stage management—will not only improve individual skills but also promote a more cohesive ensemble performance. A more thoughtful approach to scene transitions and clearer communication among technical departments can further streamline the production process, ensuring that each performance flows seamlessly. In summary, while there are areas that warrant further development, Made in Dagenham  stands as a strong and promising effort by the Kill Musical Society. The production laid a solid foundation upon which future shows can build, consistently elevating the standard of theatre for both the society and its dedicated audience. With continued dedication to excellence and a commitment to refining their craft, the society is well poised to deliver even more dynamic and memorable performances in the seasons to come. Photos kindly provided by the society:

Footloose As Presented by Trinity Musical Theatre

Public Adjudication   Trinity Musical Theatre  Footloose  Thursday 28th November 2024  This season appears to be turning into a...

Public Adjudication   Trinity Musical Theatre  Footloose  Thursday 28th November 2024  This season appears to be turning into a celebration of the 80s, with shows such as ‘The Wedding Singer’ and ‘Rock of Ages’ getting plenty of outings. Trinity Musical Theatre continued the trend with their production of ‘Footloose’ at Griffith College. As a show, the script may lack substance and its premise may be a little far-fetched. However, the tale of one teenager’s crusade to overturn a smalltown ban on dancing is stuffed full of enough iconic 80s tunes, great dance numbers and comic opportunities, that it more than makes up for its lightness of plot. Trinity Musical Theatre capitalised on all these positive elements to produce a lively, exuberant production which was very entertaining but, unfortunately, let down quite a bit by its technical elements.  This was Trinity Musical Theatre’s first time to produce a show in Griffith College and they will have learned a lot from the experience. The venue is not a dedicated theatre space but more of a lecture hall facility. Access to the auditorium was through a door at the back of the stage and patrons had to walk across the stage area to get to their seats. Front of house personnel were welcoming and all seemed in order as the audience arrived for this opening night performance.  Conor Lawler made his directorial debut and he will have learned a huge amount to carry forward to his next theatrical venture. The simple set, with its open playing space and raised platform area, allowed for lots of options with the staging. This simplicity was used well by Mr. Lawler, allowing the show to flow without the intrusion of cumbersome set changes. Blocking was effective for the most part and there was good pace generally. Themes of grief and teenage rebellion were well played and the more sensitive, emotional scenes were beautifully realised.  Philip Walshe did a fine job as musical director, getting a good sound from his band which captured the driving energy of the show’s classic 80s numbers and their clever arrangements. There was great work done with harmonies. The church choir at the top of the show sounded superb. Unfortunately, the band was too loud in places and vocals were drowned out, particularly in the more upbeat numbers where bass and keys were too high in the mix. Principal vocals were of a very high standard.  Muireann Carey did well as choreographer, devising well-rehearsed and lively routines in a variety of different styles. From the exhilarating opening number to the energetic finale, every number was performed with gusto by a young, committed cast who were enjoying every moment on stage. ‘Holding Out For A Hero’ was an emotionally charged routine with great life and precision. ‘Let’s Hear It For The Boy’ was another standout sequence with great synchronisation from all involved. The energy that bounced off the stage in the ‘Footloose’ finale was simply infectious.  Senan McCloskey played the lead role of Chicago teen, Ren, who moves to bible-belt Bomont after his parents’ divorce and takes on the Town Council in an effort to have the local ban on dancing overturned. Mr. McCloskey was charming but with a defiant edge and attitude that balanced perfectly with his likeability. He was at his very best when acting and had a really strong understanding and delivery of text. Mr. McCloskey had a good voice but struggled with his upper register on the night that I attended. Ren’s big solo, ‘I’m Free’ had the required passion and angst but lacked the higher vocal range necessary. His confrontation with Reverend Shaw in Act 2 was brilliantly played, with emotion that was most believable.  Rachel Reid played Ariel, the rebellious preacher’s daughter who longs to escape Bomont and its overbearing restrictions. Ms. Reid was a fine actress with superb diction and a really good delivery of dialogue. She had a lovely emotional range, drawing us into her complex story of grief, rebellion and, ultimately, hope. She had an excellent voice, at her best in ‘Holding Out For A Hero.’ Her trio, ‘Learning To Be Silent,’ with Vi and Ethel, was one of the vocal highlights of the night.  Eoin Daly was one of the standout performers of the show, playing Reverend Shaw Moore. He was very believable as the overprotective, smalltown minister, his strict exterior hiding the deep hurt caused by the loss of his son. He displayed a fine baritone voice in ‘Heaven Help Me.’ His final sermon, full of humility, was moving and from the heart.  Juliet Hill delivered a beautifully sincere performance as Vi, the stifled preacher’s wife. We knew that she was broken-hearted at the loss of her son and struggling to support her remaining child without going against her husband. A skilled actress, Ms. Hill also had a most beautiful singing voice. Her ‘Can You Find It In Your Heart?’ was very moving, sung with a heartfelt vocal as she pleaded with Reverend Moore to reconsider.  Carla Moran was an exuberant Rusty, bringing levity and fun to proceedings. Her acting was solid and diction was strong. Where Ms. Moran really shone though was with her incredibly powerful singing voice which left many jaws on the floor. She had a super range and wonderful confidence. Her performance levels were off the charts as she sang. ‘Let’s Hear It For The Boy’ was a musical highlight of the show.  Isaac Casey was very funny as the slow-witted, socially awkward yokel with two left feet. His journey through ‘Let’s Hear It For The Boy’ was perfectly judged, as he transformed into quite the mover by the end of the number. I loved Mr. Casey’s fabulous country voice which was perfectly suited to the excellently performed ‘Mama Says.’ He had great comic timing but balanced this levity with the darker side of Willard’s character.  There was an incredible strength in depth amongst the female vocalists in this show. Connie Angela McGowan as Wendy Jo and Laura Cole as Urleen were two phenomenal singers in their own right. My only regret was that they didn’t have larger roles to showcase their undoubted talents. They were both excellent in their roles, providing great support for Ms. Moran as part of their trio.  Colm Lombard was a perfect choice for the role of Chuck Cranston, Bomont’s bad boy and overbearing boyfriend to Ariel. Mr. Lombard had great presence as the town bully. You just knew he wasn’t to be messed with. He sang so well too and was excellent in ‘The Girl Gets Around.’  Tomás Hartnett and Sean Treacy were suitably jockish sidekicks for Chuck in the roles of Travis and Lyle.  Willard’s entourage was completed very well by Luke Reid, Senan McGuinness, and Daniel O’Brien as Garvin, Bickle and Jeter, respectively.  Emma-Jane Nannetti played Ren’s mother, Ethel, with great sincerity and sensitivity. She was a devoted mother, trying to put her best foot forward. But the pain of being abandoned by Ren’s father was still there and Ms. Nannetti played this in a very subtle way. She shone in ‘Learning To Be Silent,’ a standout musical moment in the show.  Anthony Daly saw his own opportunity to shine in the role of Cowboy Bob and grabbed it with both hands. His ‘Still Rockin’ at the top of Act 2 was a great number, very well performed.  Channing Kehoe was a very stern Principal Clarke. They had great presence and they brought a great sense of authority to the role. There was strong support too from Megan Bolger and Niall Grogan as Lulu and Wes Warnicker, Emma Murray and Paddy Treacy as Eleanor and Roger Dunbar and Patrick Nyhan as the cop.  A youthful, energetic ensemble showed great commitment to the show. Their well-rehearsed and performed dancing was uplifting, especially in the opening sequence and the standout ‘Let’s Hear It For The Boy.’ Vocally, this was a very secure show, with excellently performed harmonies which, unfortunately, competed against the band too often.  Emer Munnelly’s stage management was organised and efficient but felt quite panicky at times as crew almost sprinted on to complete changes. The biggest issue from a stage management perspective was the lack of adequate masking which meant that we could see performers passing back and forth as they tried to get from one side of the stage to another during scenes.  A very simple but visually appealing set allowed for quick transitions and multiple staging opportunities, with interior and exterior scenes played in what was an open playing space. The stage right church house and stage left barn structures were beautifully finished and framed this playing space very well. The wooden frame, upstage of the rostrum, broke up the black backdrop nicely.  Lighting left a lot to be desired. It lacked creativity, precision, and any sort of theatricality. The bright, lino-type floor did not help matters, as there was a very strong ‘bounce’ which meant that everything was extremely stark. Cues and transitions were abrupt and jarring with very sudden snaps. On occasion, moving lights intermittently swept across the playing space for no apparent reason.  Sound was a mixed bag. There were some great sound effects which added a layer of authenticity to scenes. The school bell, car, train, and crickets were all very appropriate and well timed. There were multiple late cues for microphones, suggesting that the operator was not familiar enough with the show or that enough tech time wasn’t available. Mic levels for dialogue, were set far too high. The level and balance of the band needed attention. Individual instruments were far too high in the mix at times, with bass, keys and guitar being the main offenders.  Props were generally appropriate to the era. We had a nice podium for the Reverend and I liked the well-made protest signs. There were a few missed opportunities, perhaps. It felt strange for the trio at the Town Council meeting not to have any notes, pens, documents, or a glass of water.  Costumes looked well and were generally suitable for the 80s Hicksville vibe of the show. The ensemble’s red tops and black leather for ‘Holding Out For A Hero’ were a great choice and there was good fun had with the very authentic looking cowboy hats and checked shirts. I felt that there could have been more of a dramatic distinction between Ariel’s more conservative, preacher’s daughter look and her more rebellious side reflected in her costuming. Hair and make-up were simple but effective, with nothing looking out of place apart from black eyes for Ren and Ariel which did not look natural.  Trinity Musical Theatre are blessed with some exceptionally talented people and this shone through their show, in spite of some poor technical elements. The energy and commitment from every single person on stage was palpable and I look forward to seeing this very talented company on stage again in the future.  Pat McElwain  Gilbert Adjudicator 2024/2025

Bonnie & Clyde as presented by UCD Musical Society

Public Adjudication   UCD Musical Society  Bonnie and Clyde  Thursday 21st November 2024  The Astra Hall on the University College Dublin...

Public Adjudication   UCD Musical Society  Bonnie and Clyde  Thursday 21st November 2024  The Astra Hall on the University College Dublin main campus is not the ideal setting for a full scale musical production. More suited to conference-style events, the venue has little to offer other than its ample tiered seating. But that is exactly why I love this role so much. So many times, my expectations have been turned on their heads and it is a truly wonderful thing when that happens. Amateur musical theatre relies hugely on community resourcefulness and can do mentality. The superb production of ‘Bonnie and Clyde’ that we witnessed in the Astra Hall was testament to both. It mattered not that this wasn’t a professional theatre or, indeed, even a proper theatre space. What mattered was that an extremely talented group of talented, creative souls came together with a very clear vision, transforming the space and creating a piece of theatrical magic.  This was my second time to visit UCD this season and their front of house team provided the warmest of welcomes once again. There was a great sense of anticipation as we waited outside the auditorium, before being led to our seats to the strains of 1930s popular tunes which created a lovely atmosphere as we waited for the show to commence.  Spoiler alert: they die at the beginning. And they die at the end. The hallmark of Seán Sheehy’s direction was the outstanding level of acting which brought us on an exhilaratingly gritty journey, set against the backdrop of the Great Depression. Mr. Sheehy’s ability to seamlessly transport us from episodes of high tension to more light-hearted moments, without ever losing the focus on the story, was very skilfully achieved. The director also used a very clever theatrical device of two wonderful dancers, Brianna Kelly and Francesco Bach, to enhance and enrich the story of the notorious Bonnie and Clyde. This was a hugely original take and a bold directorial choice. Ms. Kelly’s and Mr. Bach’s performances were exquisitely moved and beautifully portrayed. I tip my hat to Mr. Sheehy for having the bravery to try something different that, for me, really worked.  The last time I saw Dario Regazzi he was on stage playing Vittorio Vidal in UCD’s Sweet Charity. A talented young man, Mr. Regazzi took up the Musical Director’s baton for Bonnie and Clyde. And what a super job he did too. He conducted a fine nine-piece band, cleverly housed stage left of the playing area, and he elicited a great sound from its talented musicians. There was a really good balance between music and vocals and lyrics were clear at all times in both ensemble and smaller numbers. Principal and ensemble vocals were top notch with stunning harmonies realised by vocal director Caoilfhinn Young. There were so many musical highlights to choose from in this score which draws on elements of blues, folk, gospel, and more traditional musical theatre. ‘This World Will Remember Me’ and ‘Bonnie’ were two such highlights. But it was the absolutely stunning duet, ‘You Love Who You Love,’that stole the show for me with its passion, performance, and incredible musicality.  Choreographer, Emma Rogerson, did a superb job. She managed to reflect the themes of violence and romance in her choreography, always adding to the tension, with a close eye on the narrative detail throughout. Her choreography was inventive and full of character, performed with great energy and precision by a very committed cast. ‘God’s Arms Are Always Open’ was a standout number with its high-energy gospel feel. But the most impressive choreography of the production was encapsulated in the beautifully realised sequences performed by Brianna Kelly and Francesco Bach. It was a joy to watch their combined grace, focus, fluidity, and precision come together in what was a stunningly theatrical combination of dance and storytelling.  Aimee O’Neill was captivating in the complex, emotional role of Bonnie Parker. Her journey from innocence to criminal accomplice was played with such sensitivity and nuance. A very skilled actress, Ms. O’Neill’s emotional range was quite stunning as she moved from romantic idealist to conflicted criminal. Her vocals were simply sublime. Ms. O’Neill’s tone, power and superb range were so impressive. ‘Too Late to Turn Back Now’ was a tour-de-force performance as we saw conflict, vulnerability and resolve combine with wonderful musicality in what was one of many standout moments in the show. ‘Dyin’ Ain’t So Bad’ was equally spine-tingling. It was a brilliant piece of acting through song. But the musical cherry on top was Ms. O’Neill’s incredible duet with Blanche, ‘You Love Who You Love.’ A truly memorable performance overall.  Robert Hogan was quite sensational as Clyde Barrow, the other half of the notorious duo who embarked upon a robbing and killing spree through the Great Depression. This was an acting masterclass from Mr. Hogan. He was incredibly charismatic, yet sinister and dangerous at the same time. And yet, we rooted for him in spite of his despicable crimes, as he descended into a tortured abyss of desperation, spiralling towards the grisly end which we already knew would unfold. Mr. Hogan’s vocals were equally impressive. The very challenging ‘Raise a Little Hell’ showcased quite an extraordinary vocal, as Mr. Hogan delivered an electrifyingly unhinged performance. And then there was the beautifully melodic ‘Bonnie,’ underlining Mr. Hogan’s versatility and range. An excellent all-round performance.  Sorcha McGlynn’s bible bashing Blanche was yet another tour-de-force performance. Providing much of the show’s comic relief, Ms. McGlynn had exquisite timing and superb presence. Her cutting put downs were hilariously funny. But it wasn’t all about the humour and Ms. McGlynn was equally strong with the more dramatic elements. There was a heartfelt honesty about her own love story’s tragic trajectory. What a beautifully full and expressive voice Ms. McGlynn had too. ‘That’s What You Call a Dream’ was a stunning solo, sung from the heart.  Joseph Gibney was just as impressive in the role of Buck Barrow, cleverly balancing the comedic elements of his character with the more serious. Mr. Gibney skilfully navigated the inner conflict of Buck’s loyalty to his brother, Clyde, with his loving devotion to his wife, the very religious Blanche. His chemistry with both Mr. Hogan and Ms. McGlynn was palpable. Mr. Gibney sang very well too. ‘When I Drive’ with Mr. Hogan was a fun number and I loved ‘Goin’ Back to Jail’ with Blanche. A superb performance from Mr. Gibney.  The very talented Elijah Lopez took on the role of lawman Ted Hinton. Hinton is charged with bringing the wayward Clyde Barrow to justice but his unhealthy infatuation with Bonnie Parker adds an additional layer of motivation to his quest. Mr. Lopez played the part with a significant edge and we were always aware of the ulterior motives behind his mission to eliminate his adversary. Mr. Lopez’s super vocals were at their best in his soulful duet with Mr. Hogan ‘You Can Do Better Than Him’ and this song also underlined his wonderful ability to tell a story through song as we were left in no doubt as to his intentions.  Taking on the mantle of moral compass, Connor Kirwan’s Preacher had commanding stage presence every time he appeared on stage, underlining the great strength in depth within this very talented cast. ‘God’s Arms Are Always Open’ was a veritable showstopper full of evangelical power and passionate performance from Mr. Kirwan.  Molly Coogan was very strong as Bonnie’s widowed mother, Emma Parker. Her inner turmoil as she grappled with her daughter’s criminal descent was heartbreaking; her maternal, protective instincts in direct contrast to Bonnie’s hellraising.  Lia Mullan, as Clyde’s mother Cumie Barrow, had an equally emotional journey. Ms. Mullan did very well portraying the strain of Clyde’s criminality on the family unit.  Liam O’Sullivan played the conflicted Henry Barrow very well as he tried to reconcile loyalty to his wayward family with his own, more principled beliefs. His country yokel characterisation was well judged.  Colm Nicholl was a formidable Sheriff Schmid in relentless pursuit of Bonnie and Clyde. An excellent performance in a smaller role.  Ella Ruddle was a strong Deputy Bud and Irina Agotha played a solid Governor Ferguson, intent on maintaining law and order in her district.  Charlotte Geaghan was an interesting piece of casting as Texas Ranger, Frank Hamer but it really worked as Ms. Geaghan was a skilled actress who brought great strength to the role.  Kareem Al-Asad offered great support as law enforcer Deputy Johnson and Ari Kenny played a great Bob Alcorn, the journalist charged with reporting on the infamous duo’s criminal exploits.  I couldn’t possibly let this go without mention of the wonderful salon ladies, Ciara McKenna as Stella, Julie Bowell as Trish and Dani Halpin as Eleanore. These ladies were excellent actresses and really nailed the sassy fun of their characters. Their performance of ‘You’re Goin’ Back to Jail’ with Blanche and Buck was one of the real highlights of this super production. Say it loud and clear for the people at the back…there is no such thing as a small part!! Bravo ladies.  There was great support from a superbly committed ensemble who were clearly immersed in the story and who added so much to the narrative with their excellent performance levels whether playing bank customers, law enforcement, store clerks or the myriad other characters within Bonnie and Clyde’s universe. Singing and movement were excellent throughout. Focus was outstanding at all times. ‘God’s Arms Are Always Open’ was superbly sung with excellent harmonies from all and wonderful performance levels.  Eva Furlong did a fine job as stage manager, ensuring that Mr. Sheehy’s vision for a fluid, pacy production was well complemented by the slick, organised scene changes. A disciplined and efficient crew was well marshalled by Ms. Furlong and kept everything moving in the fast transitions.  Set design was simple and minimalist with no major pieces coming in or out during the show. However, this simplicity suited the challenging space really well and allowed us to focus more on the beautiful performances and compelling narrative. The cutout car on a raised platform was simple in its design but achieved its purpose well. There was a slight gap in the stage right doorframe through which performers could be seen as they prepared to enter. This was distracting at times.  The lighting design was a significant step up from my last visit to the Astra Hall and, whilst there were many improvements and more creative choices made, there was still quite a bit of work to be done to match the extremely high standards set in other areas of this production. Some elements were really impressive. There was great use of gobos and haze to create some lovely atmospheric pictures. There were some superbly dramatic states achieved to complement some equally dramatic stage action. Timing of cues needed some attention, however, as did the need for more key light to catch faces in certain scenes.  In general, sound was very good apart from some intermittent gremlins at the top of the show. The balance in the band was quite good and the fact that they were ‘housed’ within the set meant that vocalists weren’t overpowered. Cast vocals were full and warm and there was good attention to detail with some well-chosen sound effects. These were mostly well-timed. My favourite was the gunshot with the shell casing hitting the ground. Great to hear that kind of detail. Cueing of mics was pretty solid throughout. A job well done on what can be a challenging show.  For the most part, props were well chosen, reflecting the 1920s/1930s era of the show. There was great dressing on the set, including framed photos, ukulele, radio etc. The ‘True Detective’ magazine was an authentic touch. Era appropriate guns are always difficult to source or replicate for a show like this and I understand the challenges posed therein.  Costumes were generally very good and in keeping with the era. A bit more consideration to the passage of time might have been needed for some of the principal characters to vary what they were wearing as time progressed. Hats and coats would always have been worn outdoors in the 1920s/1930s. A small, very picky point on what was a good costume plot overall.  There was good attention to detail with hair and makeup. Ms. O’Neill’s hair, in particular, was very authentic to the era. Good care was taken to recreate the makeup styles of the day. Well done to all involved.  This was a superb production from beginning to end. The standard of acting and singing was quite breathtaking at times. It was great to see the darkly humorous elements of the show being so well played. Being honest, some of the technical elements fell short of the mark. However, the fabulous performances of this extremely talented cast more than made up for any technical shortcomings. The future of Irish musical theatre is in safe hands.  Pat McElwain  Gilbert Adjudicator 2024/2025

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