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Review: Annie - Ratoath Musical Society

Society name: Ratoath Musical Society Show name: Annie Adjudicator date of attendance: 01/05/2026 “She's not a nice lady!” The young boy sitting a few rows ahead of me at Ratoath Musical Society's production of ‘Annie’ in the Venue Theatre couldn’t contain his disgust any more. Miss Hannigan's treatment of the orphans had struck a nerve and his spontaneous outburst summed up exactly what live theatre is all about for me. He was totally engrossed and believed everything he was seeing. That’s...

Society name: Ratoath Musical Society Show name: Annie Adjudicator date of attendance: 01/05/2026 “She's not a nice lady!” The young boy sitting a few rows ahead of me at Ratoath Musical Society's production of ‘Annie’ in the Venue Theatre couldn’t contain his disgust any more. Miss Hannigan's treatment of the orphans had struck a nerve and his spontaneous outburst summed up exactly what live theatre is all about for me. He was totally engrossed and believed everything he was seeing. That’s what it’s all about at the end of the day; telling a believable story and affecting an audience. Ratoath Musical Society had clearly done so for this young man. It was an entertaining production, with many highlights and, while there were a few issues that occasionally prevented the show from reaching its full potential, there was plenty for the audience to enjoy as this much-loved story was brought to life. Front of house ran smoothly on the night I attended. The box office operation appeared to run well, with audience members being dealt with very efficiently. There was a pleasant atmosphere in the foyer which set a positive tone for the evening. A cast member sold raffle tickets at the interval, in character, and this was a nice touch which helped to create a fun and immersive experience. Sharon McNamara directed with confidence and a good understanding of the show's humour and heart. Her best work was with the very talented younger members of the cast who, from the opening moments of the overture, were full of energy and personality. The relationship between Annie and Warbucks was beautifully portrayed. There was great sensitivity in their scenes and the bond between the two was very natural and heart-warming. There was also some lovely work with the staff in Warbucks’ mansion, where background action was full of purpose without ever becoming distracting. Comedy was very well judged throughout. It is often the smaller details that stand out. Little touches, like Lily helping herself to the pearls in Miss Hannigan's office, only for Hannigan to later retrieve them from Lily's ‘creative’ hiding place, showed great attention to detail and were very funny. Overall, this was a very well-paced show that moved smoothly from scene to scene. The minimalist staging allowed for excellent fluidity, ensuring that the story never lost momentum. Very strong work from Ms. McNamara. Aisling Rountree's choreography was also at its best when working with the younger members of the cast, who performed some of the most polished and energetic routines of the evening. ‘It's the Hard-Knock Life’ was excellently performed by this very talented group of children. The number was slick, sharp and full of character, with the orphans showing great focus and commitment throughout. Ms. Rountree cleverly tailored her choreography to the abilities of the cast. While the adult ensemble did not always display the same level of polish as the children, she made sure that routines were always achievable. ‘Hooverville’ was a good example of this, with manageable choreography that suited the performers well and a fun kick line adding to the energy to the number. One of the standout routines of the evening was ‘Easy Street’, as choreography was character-driven and allowed the personalities of the three performers to shine through. There was also superb work from the orphans in ‘You're Never Fully Dressed Without a Smile’, which again showcased the strengths of the younger cast members. Dave O'Connor led an accomplished eight-piece orchestra that gave strong musical support throughout. Owing to the space restrictions in the Venue Theatre, musicians were positioned underneath the tiered seating. Principal singing was solid throughout and there were some very good ensemble moments too. The orphans had a fabulous sound in ‘It's the Hard-Knock Life’, full of enthusiasm and confidence. The adult ensemble had a spirited sound in ‘Hooverville, and ‘You're Never Fully Dressed Without a Smile’ was another highlight, with the younger cast members once again producing an excellent vocal performance. There was good work too from the Boylan sisters whose harmony work was well blended and nicely performed. On the evening I attended, there was a handful of musical mishaps that impacted what had otherwise been a solid musical presentation. Most noticeably, the ‘Tomorrow’ encore at the end of the show suffered from a disconnect between cast and the orchestra, creating noticeable uncertainty in what should have been the big musical conclusion. All of that said, it would be unfair to allow these isolated incidents to overshadow the many positive elements. Throughout most of the performance, the orchestra provided excellent support and there were many examples of strong singing too. Taking on the title role, Grace Carolan gave a most engaging performance as Annie. This is a very demanding role for any young performer, requiring strong vocals and acting ability. Grace rose to that challenge so well. Vocally, she was excellent. Her singing was confident and she showed a lovely understanding of the lyrics throughout. ‘Tomorrow’ was particularly strong, full of sincerity and warmth. Her work with Sandy was equally impressive. Sharing the stage with a dog can present challenges for any performer but she had a lovely rapport with her four-legged co-star. This was a very accomplished performance from a talented young performer who will have gained a great deal from the experience of playing such an iconic role. Sinead Butler was a very strong Miss Hannigan, giving a performance full of character and comic flair. She had a wonderful presence on stage and kept her characterisation consistently throughout. Ms. Butler had excellent comic timing and fully embraced the larger-than-life nature of Miss Hannigan, ensuring that she was both despised and likeable at the same time; a difficult balance to achieve. ‘Little Girls’ was a highlight. The number was sung very well and performed with great humour as she fully captured Hannigan's comic absurdity. Her comic timing was excellent throughout. She was also a very strong mover, especially in ‘Easy Street’, where the character-driven choreography suited her perfectly. Her physicality throughout the show was excellent and it was apparent that every gesture and reaction had been carefully considered. Excellent work all round. Andrew Docherty gave an excellent performance as Oliver Warbucks, bringing both authority and warmth to the iconic role. Mr. Docherty was a very strong actor with an excellent understanding of text. He captured Warbucks' boisterous and authoritative nature very well but also ensured that glimpses of vulnerability and humanity emerged as the story progressed. His relationship with Annie was so well played and Mr. Docherty and Grace were so engaging in their scenes together. He sang with a warm baritone voice which suited the character perfectly. ‘You Won't Be an Orphan for Long’ was an excellent example of storytelling through song. A very thoughtful and thoroughly enjoyable performance overall from Mr. Docherty. Charlene Masterson brought a refreshing, somewhat different interpretation to the role of Grace Farrell. Rather than presenting Grace as the sweet, overly polished character that audiences often see, Ms. Masterson gave us a strong, professional woman, someone who was more than capable of dealing with Miss Hannigan when required. There was warmth and kindness there but she avoided making the role overly sentimental and this felt natural and authentic. She sang very well, with a lovely, clear soprano voice, especially in ‘I Think I'm Gonna Like It Here’. Colm Shalvey was excellent in the role of Rooster, with plenty of energy and humour from start to finish. Rooster can often become a caricature but Mr. Shalvey made the character both entertaining and believable. His singing was very impressive in ‘Easy Street’. There was a real sense of fun in his performance and it was clear that Mr. Shalvey was enjoying every minute on stage. A thoroughly enjoyable performance from a very talented performer with strong comic timing throughout. Sinead McKernan gave a very enjoyable performance as Lily St. Regis, bringing plenty of personality to the role of Rooster's glamorous but somewhat dim-witted sidekick. Her comic timing was strong and she worked well alongside Rooster and Miss Hannigan, especially in ‘Easy Street’ which was performed with great energy and commitment to the comedy. A very humorous and entertaining performance from Ms. McKernan overall. Caroline McNally, Melissa Connolly and Siobhán Mooney worked very well together as the Boylan Sisters, as an entertaining and energetic trio. The chemistry between the three was evident and all three made great use of facial expression and were fully engaged at all times. Vocally, they did very well, with their accurate, well-blended harmonies. Ms. Connolly also impressed as Star-to-Be in ‘NYC’, performing the number with confidence and optimism. Peter Finnegan took on the roles of Bert Healy and President Roosevelt, making a strong impression in both. As Bert Healy, he brought great energy and personality to the stage. In the role of President Roosevelt, he was a believable and authoritative figure without losing the warmth and humanity that is required. He had a strong voice and wasn’t afraid to belt things out with confidence. Dave Quinn made the most of his role as Drake. Mr. Quinn was very animated throughout. I loved his very funny reaction to Annie's impending adoption. Mr. Quinn's genuine delight at the news was both heartwarming and amusing. Dave Grey made a good impression in the role of Bundles, the laundry man who finds himself the object of Miss Hannigan's affections. A relatively small role within the overall production, Mr. Grey approached it with commitment and good humour and had good fun in doing so. The ensemble work in this production was divided between the orphans and the adult ensemble. The orphans brought wonderful energy, focus and commitment to every scene in which they appeared. Singing, dancing and acting were all of a very high standard and it was so obvious that a considerable amount of rehearsal had gone into their work. The adult ensemble also made a strong contribution. They adapted well to their various roles, whether appearing as the staff in Warbucks' mansion, the residents of Hooverville or the other myriad characters from NYC to Washington DC. They were engaged in the action around them and their dedication and enthusiasm were evident throughout. Stage manager Niamh Travers and her team did a very good job of keeping the production moving smoothly throughout the evening. Changes appeared slick and well rehearsed, ensuring that transitions between locations were generally very fast and well organised. This was particularly important in a production that moved through so many different settings, and the stage management team should be commended for the fluidity achieved. Overall, Ms. Travers ensured that the production ran very smoothly throughout. The set design made excellent use of a large LED screen, which allowed the production to move quickly and easily between the many locations required. The graphics were of an exceptionally high standard. The orphanage dormitory looked suitably bleak and Hooverville created a convincing picture of hardship. The interiors of Warbucks' mansion successfully indicated the scale and wealth of his world, with the grand staircase being a particularly strong image, perfectly suited to the setting. The practical pieces worked well too. The orphanage beds looked very authentic, as did the furniture in Warbucks' mansion. One thing that kept catching my eye was the gap between the bottom of the screen and the stage floor. While not a major issue, it sometimes broke the illusion and reminded us that we were looking at a screen. I wondered whether some form of low-level cityscape or similar, across the base of the screen, might have helped disguise this gap. The lighting design was strong throughout, with plenty of colour and movement used to help suggest different locations and moods. There was some lovely use of colour. Lighting was used to good effect picking out the radio in Miss Hannigan's office, helping to focus the audience's attention. There was frequent tracking of performers using moving lights. This can be very effective when it works well and there were numerous occasions where it worked perfectly. However, tracking performers like this can be very challenging and requires a lot of tech time and consistently timed movement by performers. On a few occasions, the tracking light was fractionally behind the performer it was following. There was a lot to admire in the lighting design overall which, with some fine tuning, could have been elevated even further. The sound design was excellent throughout. There was a very good balance between the band and cast. Instruments blended together very well, creating a very warm, full sound. The vocal mix was equally impressive. Ensemble singing was well balanced. EQ levels were well set with voices sounding natural and clear. Sound effects were particularly well handled. Effects such as the telephone and applause cues were very well timed and really helped to support the storytelling. Overall, this was excellent work from the sound department. The quality of the mix and the excellent balance between cast and orchestra ensured that this was one of the strongest elements of the production. There was great attention to detail from the costume department. The orphan costumes worked particularly well. They were suitably worn without appearing overly exaggerated and there was enough variation between the costumes to give each orphan a sense of individuality. The servants and maids in Warbucks’ mansion were very well presented in their smart, tidy uniforms, creating a very polished. Hooverville was equally successful, with coats, scarves and worn clothing helping to create a believable picture of life during the Depression. There were some lovely individual character costumes such as Rooster's sharp suit and spats. Bert Healy's bowler hat was a nice finishing touch and Annie herself looked wonderful in her iconic red dress. Overall, the costume department did very good work. The props department also did great work throughout, with very good attention to detail. Annie's all-important was perfect. Other props were equally effective, including the laundry basket, Miss Hannigan's hip flask, Grace's briefcase and the antique telephone, all of which felt appropriate to the period. The radio in Miss Hannigan's office was especially authentic, while the microphone used in the NBC radio scene was another standout prop. The Christmas presents helped to create a lovely festive atmosphere during the later scenes. One small point concerned Miss Hannigan's "medicine", as it was noticeable that she was ‘drinking’ from an empty glass. This is only a minor observation but a small amount of liquid would have made this moment even more believable. The hair and makeup department did very good work throughout. Annie's wig looked great. As one of the most recognisable characters in musical theatre, there are certain expectations and Grace Carolan’s red curls helped to create the classic image. Wigs used for the principal characters were well chosen. Lily St. Regis's blonde wig perfectly suited her personality. Miss Hannigan's dramatic red wig was another excellent choice. Miss Hannigan's makeup was also very effective. The stronger, more exaggerated approach suited her character perfectly. There was great attention to detail with Warbucks. The bald cap was exceptionally convincing and looked completely natural. It is often difficult to achieve this effect successfully but the work here was of a very high standard. Overall, this was very good work from the hair and makeup team. As I reflected on the performance afterwards, I found myself returning to the young audience member whose spontaneous outburst was a lovely reminder of the unique power of live theatre. For that child, the world on stage was completely real. That is what every production should strive to achieve. Ratoath Musical Society can be proud of what they achieved and I wish them every success as they continue to bring live theatre to audiences and create those magical moments that only theatre can provide. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Sister Act - Baldoyle Musical Society

Society name: Baldoyle Musical Society Show name: Sister Act Adjudicator date of attendance: 22/04/2026 Baldoyle Musical Society’s production of ‘Sister Act’ had a most fitting home in St. Mary’s Secondary School. The venue itself seemed perfectly suited to a story centred around convent life and, with the society staging productions there for more than fifty years, there was something kind of appropriate about a show set in the 1970s unfolding…within those walls. This was a production full...

Society name: Baldoyle Musical Society Show name: Sister Act Adjudicator date of attendance: 22/04/2026 Baldoyle Musical Society’s production of ‘Sister Act’ had a most fitting home in St. Mary’s Secondary School. The venue itself seemed perfectly suited to a story centred around convent life and, with the society staging productions there for more than fifty years, there was something kind of appropriate about a show set in the 1970s unfolding…within those walls. This was a production full of warmth, joy and infectious energy. The comedy worked so well, the score was performed with real gusto and there was a great sense of fun from start to finish. While certain technical issues, especially on the sound side, occasionally impacted the overall polish of the production, there was still much to enjoy in a show with such strong performances and genuine heart. Front of house set the tone for the evening with a warm and welcoming atmosphere from the moment I arrived. Audience members were greeted at the door by members of the team dressed in nun costumes. It was a simple touch but one that tied in perfectly with the tone of the show. The hall was packed with an enthusiastic audience and a sense of anticipation and excitement was palpable. Everything was very organised and ran very smoothly. More than anything else, what stood out was the friendliness of the front of house volunteers. Director Richie Smith brought considerable experience to the production and had a very strong understanding of the comedic style that makes ‘Sister Act’ work. There were lots of nice directorial touches throughout the evening, with scenes flowing smoothly and an excellent sense of pace throughout, particularly during the hilarious confessional scene which had great comic precision. Mr. Smith made very effective use of the playing space. The different levels across the stage were utilised well, while the two apron areas stage left and stage right provided good options and allowed for great fluidity between scenes. The tracked gauze revealing the nuns’ choir was particularly effective. Overall, this was confident and experienced direction, with a strong understanding of how to keep a musical comedy moving. Eoghan Connolly did excellent work as musical director, getting a tremendous sound from both orchestra and cast. He assembled a superb group of musicians who brought real colour and energy to Alan Menken’s score. The principal singing across the board was very strong but it was the ensemble work that stood out most over the course of the production. Underscoring was also particularly well handled. Every word could be heard, and there was a very good sense of balance between band and stage. ‘Sunday Morning Fever’ in particular was extremely well mixed. Unfortunately, the production was hampered by persistent feedback issues, particularly during the larger production numbers. This was frustrating because so much of the sound design and musical balance was working extremely well. It was unfortunate, as the quality of the musicianship and choral work was so good. Sinead McCrohan did really impressive work as choreographer, creating routines that were not only energetic and well-rehearsed but also full of character throughout. ‘When I Find My Baby’ was great fun and extremely well performed by Curtis and his henchmen as they captured the swagger and comic menace perfectly. The nuns’ ensemble work in both ‘Raise Your Voice’ and ‘Take Me to Heaven’ was absolutely superb. These were exceptionally sharp, precise routines, executed with huge confidence and energy by the cast.. I loved the staging of ‘Lady in the Long Black Dress’. The decision to have the ‘nuns’ appearing to dance with Joey, TJ and Pablo was inspired and suited the playful tone of the number perfectly. Excellent work throughout. Kate Headon was excellent as Deloris Van Cartier, capturing both the larger-than-life confidence of the character and her underlying warmth extremely well. She had superb stage presence and was full of charisma throughout. Deloris can sometimes be overly brash but Ms Headon ensured that there was good balance between the edgier side of her character and the comedic side. Her singing throughout was consistently strong, with excellent phrasing and a real understanding of the style. What impressed most however was her comic performance. She had an excellent sense of pace throughout. She never forced the humour and that came across so naturally. She had great physicality which really enhanced the comedy and her reactions and expressions were very funny throughout. A thoroughly entertaining Deloris Van Cartier. Kathryn Gibbons brought a very interesting interpretation to the role of Mother Superior, leaning far more into the comedy than is often the case. It was a bold approach and, for the most part, one that worked well. Vocally, she was excellent. ‘Here Within These Walls’ was beautifully sung with warmth and sincerity. She really pushed the humour in ‘I Haven’t Got a Prayer’. The laughs came thick and fast and her comic instincts were clearly a hit. A very confident and highly entertaining performance from Ms Gibbons, full of personality, great vocals and excellent comic timing. Nicola Smith was superb as Sister Mary Robert, playing her character’s journey from shy, nervous novice to confident young woman with great skill. Mary Robert’s timid nature was there from the outset and Ms. Smith had a gentle sweetness and vulnerability which made the audience invest in her. She had a lovely presence on stage throughout and a very natural comic instinct. Her voice was absolutely stunning. ‘The Life I Never Led’ was superbly performed. Vocally it seemed almost effortless, with excellent control, clarity and honesty. A wonderful portrayal overall, combining strong acting, comedy and outstanding vocals throughout. Áine Murray brought wonderful energy and personality to the role of Sister Mary Patrick. This was a performance that was upbeat, animated and extremely funny. Ms Murray had boundless enthusiasm and a most excitable nature which made her a firm audience favourite. Ms Murray had excellent comic timing. She had a strong vocal too, delivered with over-the-top enthusiasm which served the comedy well. Megan McInerney was very entertaining as Sister Mary Lazarus, with great comic energy and personality. She created a wonderfully eccentric nun with great confidence and fun. Her rapping was a huge highlight, performed with fabulous energy and physicality. Ms McInerney clearly enjoyed the absurdity and humour of the moment. Adam Kelly gave a very likeable and funny performance as Eddie Souther, with an awkward sincerity and charm that suited the character so well. His comic timing was excellent. There was a lovely warmth to the performance which made him so endearing to the audience. Mr. Kelly also had great chemistry with Deloris. I particularly enjoyed the sincerity with which he admitted to having had a crush on her for years. Vocally, he was impressive. ‘I Could Be That Guy’ was one of the standout moments, combining his lovely singing voice with an excellent comic performance. He was also a very good mover and this really added to the comedy of the role. A confident, charming and thoroughly entertaining performance throughout. I’m sure Anthony Ennis will not mind me saying that he possesses one of those faces made to play a villain. He brought a wonderfully malevolent presence to the role of Curtis Jackson, creating a character who felt threatening while still managing to keep the comedic side of the character front and centre. This was a superbly judged performance. Mr. Ennis resisted the temptation to overplay the role. He had excellent stage presence throughout, always looking comfortable and in control. He sang well throughout, particularly in ‘When I Find My Baby’, which was performed with great style and energy. There was also excellent work from Eoin O’Connor as Joey, Declan Flynn as TJ and Robin Murray as Pablo. Collectively, the trio worked extremely well together, creating a highly entertaining and very funny dynamic. ‘When I Find My Baby’ was superbly performed by the three men. Vocals may not always have been the most secure but they more than compensated with their energy, exaggerated physicality and excellent comic business. Mr O’Connor brought great swagger and charm to Joey. His mop choreography was hilarious and he carried himself with great confidence and style throughout. Mr Flynn brought wonderful flamboyance to TJ, along with excellent comic timing and a very strong singing voice. Mr Murray also contributed strongly to the trio’s dynamic and he fully embraced the humour of the character with his wonderful falsetto during ‘Lady in the Long Black Dress’, which was particularly funny. Karl Hoffman’s portrayal of Monsignor O’Hara was one of the real highlights of the show, for me. This was a clergyman who would not have looked out of place wandering around Craggy Island. Mr. Hoffman made the choice to lean into the character’s Irishness and it worked beautifully. Mr. Hoffman played the role with great understatement, which in turn made the comedy work so well. Sinéad McMullen and Yvonne Keane both gave very strong performances as Michelle and Tina, Deloris’ backing singers. They had terrific energy and worked very effectively alongside Ms Headon. Both were wonderfully expressive and full of sass, with strong stage presence and excellent commitment. ‘Take Me to Heaven’ was performed with great energy and confidence. Excellent work from both. The ensemble work was exceptional, but it was the nuns’ ensemble in particular that lifted the show to another level and took us to heaven. Every single performer was full of personality, energy and delicious quirkiness. ‘Raise Your Voice’ was quite stunning. Every face on stage was completely focused and committed. The standard of movement, singing and acting in the ensemble was consistently excellent. The collective energy and enthusiasm was one of the show’s greatest strengths. James O’Keeffe and his stage management team kept things moving efficiently and scene transitions for the most part flowed smoothly and kept the pace of the show. There was good use made of cast members to strike benches, furniture and smaller set pieces, helping to ensure slick transitions throughout. There were a few occasions where crew members became caught in lighting during transitions and slightly tighter coordination in this area might have improved the overall polish further but these moments were relatively minor. Overall, this was solid work which helped to keep things moving effectively throughout the evening. The set design was simple and functional and this approach suited the limitations of the venue very well. The convent setting was established by using wood panelling, religious iconography and carefully chosen dressing pieces. The use of the different stage levels and the two apron areas stage left and stage right, was very effective and allowed scenes to flow naturally. The central stage area had adequate space for the large ensemble numbers. Projections played a big role in creating context and location and, for the most part, were very well chosen. The various slides helped to establish place quickly without interrupting the flow with large scene changes. The strip lighting built into the steps and framing the screen also worked very well. The papal flags used for the Pope’s arrival were another simple but effective touch which lifted the atmosphere and sense of occasion. The lighting design complemented the storytelling very well. Given the relatively simple physical set, the lighting was an important storytelling tool in creating atmosphere and injecting excitement into the dance numbers. The cross-lighting of the nuns’ choir behind the gauze was especially effective. The way the sisters appeared and disappeared through the lighting states created a lovely piece of theatrical. There was also nice attention to smaller emotional moments within the show. The decision to isolate Deloris and Mother Superior at the top of ‘Spread the Love Around’ as they embraced following their reconciliation was a lovely touch. Lighting during the larger production numbers such as ‘Raise Your Voice’ really added to the excitement. Sound was an area where the production experienced mixed fortunes on the night attended. On one hand, there was clearly a great deal of very strong work being done. The orchestra sounded excellent throughout, particularly given the challenges of a school hall acoustic. Vocal balance for the most part was also very good. Underscoring was particularly well handled. Dialogue could always be heard. The choral sound across the production was another major strength. There were significant feedback problems throughout the show, particularly during the big ensemble moments involving multiple open microphones. There were also quite a number of missed sound cues across the performance. At its best, the sound design was very impressive. It was therefore frustrating that recurring technical issues arose throughout. Costumes were very well handled throughout. Ms Headon’s costumes as Deloris worked particularly well, expressing the character’s confidence and larger-than-life personality. The glittering fabrics and leopard print contrasted nicely with the more restrained convent costumes. The gangster costumes for Curtis and his henchmen were also very effective, with the exaggerated seventies styling adding greatly to the comedy. The traditional nuns’ habits were perfectly conservative, while the addition of the gold sequins provided the perfect transformation. There was one small costume issue during ‘I Could Be That Guy’, where Eddie’s Velcro trouser split became visible slightly ahead of the reveal. That said, the gag itself still landed very effectively with the audience. Props were very well handled throughout, with strong attention to detail. While ‘Sister Act’ is not a prop-heavy show, the items used on stage were carefully chosen and generally looked authentic for the 1970s. Deloris’ hip flask immediately helped establish her rebellious character, while the Wurlitzer jukebox was a nice touch. The nuns’ hymnals, rosary beads and crosses all contributed to the authenticity of the convent setting. There was also lovely comic use of props. TJ’s flowers, Joey’s oversized teddy bear and Pablo’s chocolates all worked very well . The only slight issue which jarred was during the bar scene, where Deloris was visibly ‘drinking’ from an empty bottle. It was a very small detail but one which broke the illusion slightly. Hair and makeup were in very good hands throughout. Curtis’ wig in particular worked extremely well and suited Mr Ennis perfectly, creating a wonderfully sleazy seventies gangster look which added greatly to his presence. The nuns were very well presented throughout, with makeup and hair choices appropriately understated for the convent setting. The only thing which felt slightly out of place was the ageing makeup used for Mother Superior, specifically the forehead lines which appeared quite obviously drawn on. In a larger space the effect might have been less jarring but in a more intimate setting like St. Mary’s hall, it unfortunately stood out. For over half a century, Baldoyle Musical Society has continued to bring musical theatre to audiences in St. Mary’s Hall. What came across most in this production was the collective spirit and sense of community within the society. In an era where long-established community groups face increasing challenges, Baldoyle Musical Society continues to thrive through passion, commitment and a clear love for what they do. Productions such as this remind us exactly why groups like this matter so much. Long may that continue. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Fame The Musical - Leixlip Musical & Variety Group

Society name: Leixlip Musical & Variety Group Show name: Fame The Musical Adjudicator date of attendance: 22/04/2026 Leixlip Musical & Variety Group delivered a vibrant, energetic and emotionally engaging production of Fame The Musical that captured both the exhilaration and vulnerability at the heart of the piece. From the opening moments, the audience was immersed in the pulsating atmosphere of New York’s High School for Performing Arts, and that momentum rarely faltered throughout the...

Society name: Leixlip Musical & Variety Group Show name: Fame The Musical Adjudicator date of attendance: 22/04/2026 Leixlip Musical & Variety Group delivered a vibrant, energetic and emotionally engaging production of Fame The Musical that captured both the exhilaration and vulnerability at the heart of the piece. From the opening moments, the audience was immersed in the pulsating atmosphere of New York’s High School for Performing Arts, and that momentum rarely faltered throughout the evening. While Fame naturally lends itself to spectacle, high-energy choreography and powerhouse vocals, this production also ensured that the emotional journeys of the characters remained grounded and authentic. Themes of ambition, identity, pressure, addiction, love and self-discovery emerged clearly throughout, creating a production that felt as emotionally honest as it was entertaining. Director Claire Tighe delivered an excellently crafted production with a strong sense of style and storytelling. The blocking was clever and dynamic, making full use of the space to create multiple locations fluidly and effectively. Transitions flowed seamlessly, maintaining momentum and energy throughout the evening. Particularly impressive was the level of attention paid to character development. Every principal role felt fully realised, with believable arcs and carefully developed relationships. The interactions between characters felt natural and nuanced, allowing the audience to invest emotionally in their journeys. Comedy was handled especially well, with humorous moments given the time and space they needed to land effectively without ever feeling overplayed. Equally, quieter emotional scenes were allowed to breathe, creating strong contrasts in tone that kept the production engaging from beginning to end. There was also a lovely nod to the original 1980s aesthetic of Fame, while still ensuring the production felt fresh and modern. Striking this balance can be difficult, but it was achieved here with confidence and clarity. Musically, the production was extremely strong. Dermot O’Callaghan led an excellent band that fully embraced the iconic 1980s sound world of the musical. The band created a rich and energetic musical landscape that drove the production forward with excitement and vitality. Ensemble numbers in particular burst with life, filling the auditorium with sound and energy. Vocally, the standard across the company was exceptionally high. Harmonies were tight, diction was crystal clear, and the ensemble sound was impressively balanced throughout. Particularly commendable was the consistency of the vocals during demanding choreography. Maintaining such strong vocal clarity while dancing full-out is no small feat, and it reflected the level of preparation and rehearsal undertaken by the company. Solo vocals across the principals were equally polished and stylistically appropriate, contributing to an overall musical sound that felt cohesive and professional. The choreography by Claire Tighe and Jen Dawson was absolutely stunning. Blending traditional 1980s jazz influences with contemporary movement styles, the choreography felt authentic while still appearing fresh and exciting. Ensemble work was particularly impressive, with clean lines, ever-changing formations and exceptional synchronisation throughout. The opening number exploded with infectious energy that continued right through to the final curtain call. The opening of Act Two stood out as one of the highlights of the evening. It had its own distinctive movement style and atmosphere, creating a memorable and visually exciting sequence. Importantly, the choreography throughout never felt inserted simply for spectacle. Every movement sequence contributed to storytelling and characterisation, demonstrating thoughtful and intelligent choreographic choices. Brian Dalton gave a strong and believable performance as Schlomo, capturing both the pressure imposed upon him by his parents and his desire to break free from the expectations surrounding classical music. There was sincerity and honesty in the performance that made the character engaging and relatable. Aoibh Tully delivered a compelling and emotionally layered Carmen. Her portrayal following Carmen’s addiction struggles was particularly effective, revealing a deeply troubled and vulnerable young woman beneath the confident exterior. “There She Goes” was performed with excellent sass and energy, showcasing a powerful and assured vocal performance. Aoibh also proved herself to be an excellent dancer, displaying strong technique and performance quality throughout. Cian Egan brought a calm and self-assured presence to Nick, providing a lovely contrast to Serena’s chaos and unpredictability. His gradual emotional awakening and growing feelings for Serena were portrayed with warmth and subtlety. Vocally, he possessed a smooth and controlled tenor tone that suited the role beautifully. Lauren Dooley gave a charming and engaging performance as Serena. Her journey of self-discovery was quirky, heartfelt and thoroughly entertaining. Her interactions with Nick were consistently funny and believable, while “Think of Meryl Streep” was delivered with wonderful comic abandon. Vocally, Lauren combined strong power with sensitivity and emotional nuance, capturing both Serena’s eccentricity and vulnerability. Elliot Kelly excelled as Jack, delivering an emotionally layered performance filled with defiance, pain and vulnerability. As a dancer, he was outstanding, displaying excellent control, beautiful lines and strong technical ability throughout. His relationship with Iris was particularly touching, while vocally he demonstrated impressive consistency and confidence. Neasa Nic Shuibhne gave a poised and graceful performance as Iris. Her posture and physicality perfectly suited the disciplined dancer, and there was elegance in her movement throughout. Her quieter scenes were handled with sincerity and emotional honesty, particularly in her interactions with Jack. Sean Cronin was an absolute comic highlight as Joe. Bold, brash and wonderfully over-the-top, he commanded attention every time he appeared on stage. His comic timing was excellent, and his interactions with Carmen struck exactly the right balance between awkwardness and humour. “Can’t Keep It Down” was hilariously performed, pushing boundaries while remaining cleverly judged. Eabha Brennan delivered a thoroughly entertaining Mabel, leaning fully into the character’s obsession with food while still maintaining warmth and relatability. “Mabel’s Prayer” was particularly enjoyable, combining humour with strong vocals. Among the supporting performances, Naoimh Penston stood out vocally as Miss Sherman. “These Are My Children” was genuinely hair-raising, filled with warmth, heartbreak and emotional honesty. Her care for her students was evident throughout every scene. Gillian Purcell brought warmth and humanity to Miss Bell, creating a believable relationship dynamic with Miss Sherman that balanced tension with mutual respect. Max Rochford and Ella Coughlan were highly enjoyable as Goody and Lambchops, creating an entertaining love-hate dynamic that added humour and texture to the production. Dave Miller and Ciaran Tighe also gave solid supporting performances as Mr. Sheinkopf and Mr. Myers respectively, bringing warmth and personality to their scenes with the students. The ensemble as a whole were exceptional. This was a company full of genuine triple threats, with consistently high standards across singing, acting and dancing. Energy levels remained impressive throughout, and every ensemble member appeared fully invested in the storytelling. Importantly, nobody faded into the background. Every performer contributed individual characterisation and commitment, which significantly enhanced the realism and vibrancy of the production. Visually, the production was equally strong. The set design utilised moving platforms and steps to create multiple locations quickly and fluidly, maintaining pace and momentum throughout. The New York brick aesthetic was highly effective, while the additional scenic details reinforced the style and period of the show beautifully. Projections integrated seamlessly with the static set and were cued accurately throughout. Emer Nic Chonchradha handled stage management excellently, ensuring that scene changes were smoothly choreographed into the general movement of the production so that momentum was never interrupted. Lighting design effectively supported the energetic 1980s aesthetic, with strong use of backlighting and movers helping to create atmosphere and visual excitement. One small issue was a slightly uneven front wash across the extreme downstage edges, but this was a relatively minor concern within an otherwise very effective lighting design. Sound was also very well balanced throughout, successfully managing the large orchestral sound alongside a vocally powerful ensemble. Costumes captured the spirit of the modern take on 1980s perfectly while still feeling polished and cohesive. Each character appeared individually styled, helping to reinforce identity and storytelling. The costumes for the opening of Act Two were particularly striking and added significantly to the visual impact of that sequence. Hair and make-up were neat, appropriate and well suited to the performing arts school setting. Front of house operations were welcoming, organised and efficient, helping to create a warm and professional atmosphere before the performance even began. Audience members were greeted warmly and guided smoothly to their seats, contributing positively to the overall theatre-going experience. Overall, this was an immensely enjoyable and highly accomplished production of Fame The Musical. Leixlip Musical & Variety Group demonstrated tremendous talent across all departments, creating a show that combined technical excellence with genuine emotional heart. The production succeeded not only because of its high-energy spectacle and impressive choreography, but because it remained firmly rooted in storytelling and character throughout. The company should be extremely proud of what they achieved here.

Review: We Will Rock You - SONG Dundalk

Society name: SONG Dundalk Show name: We Will Rock You Adjudicator date of attendance: 19/04/2026 ‘We Will Rock You’ has been a very popular choice for groups this season, and SONG Dundalk’s production showed exactly why the show works so well with audiences. One of the key things that makes this society stand out is the strength of its younger performers. There is some exceptional talent coming through the ranks and that was very evident throughout this production. Earlier in the season I...

Society name: SONG Dundalk Show name: We Will Rock You Adjudicator date of attendance: 19/04/2026 ‘We Will Rock You’ has been a very popular choice for groups this season, and SONG Dundalk’s production showed exactly why the show works so well with audiences. One of the key things that makes this society stand out is the strength of its younger performers. There is some exceptional talent coming through the ranks and that was very evident throughout this production. Earlier in the season I reviewed their production of ‘Annie’, so it was really interesting to see them move from the world of Daddy Warbucks and 1930s New York into the loud, chaotic and rebellious world of rock music and futuristic dystopia. While the two shows could not have been more different in style, the same sense of hard work, ambition and polish was very much on display here. This was a hugely entertaining production which really understood the tone of the piece. The cast had a wonderful understanding of the humour, silliness and larger-than-life nature of the script. There was a great energy running through the show from start to finish, along with some outstanding individual performances and an incredibly impressive technical standard. The front of house experience was most pleasant. The large open foyer area of An Táin Arts Centre was extremely busy before the show, with a real buzz and sense of excitement building amongst the audience. Everything moved very smoothly and efficiently. Credit is due to the front of house team, who were warm, welcoming and very organised throughout. I also liked the presentation of the volunteers in their branded ‘We Will Rock You’ t-shirts. It gave a nice sense of professionalism, while also making personnel easy to identify. The choice of classic rock tracks playing before the show immediately set the tone and got the audience into the spirit of the evening. The pre-show announcements, delivered by Khashoggi via the large LED screen, tied in neatly with the futuristic style of the production and had us smiling before the action had even begun. Directors Terese Dunne and Moya Hodgers did superb work with this production. ‘We Will Rock You’ can easily become chaotic or overblown in the wrong hands but there was real control and clarity to the storytelling throughout. The visual side of the production was particularly strong and the use of the LED screen and animated graphics became a huge part of how the story was told. Comedy was directed extremely well. The show has a very heightened style and needs performers who are willing to embrace the madness of it all. On this occasion, the directors understood exactly how far to push things. The standout moment of the production was ‘No-One But You (Only the Good Die Young)’. It was genuinely stunning. Vocally, visually and emotionally, it became one of those moments where everything simply came together. The staging, lighting, use of the screen, mood and pacing all blended beautifully, creating a highly memorable sequence. The pacing of the show overall was excellent. Scenes moved quickly, the energy never dipped and there was great momentum throughout. Patrick Dunne did exceptional work as musical director, ably assisted by chorus mistress Irene Dunne. It is difficult to overstate just how impressive the overall musical standard of this production was. Mr. Dunne had assembled a superb group of musicians and the quality of the playing right across the board was outstanding. Choral work throughout the show was magnificent. All through the show, the ensemble produced the most gorgeous harmonies. For me, the standout musical moment of the evening was ‘No-One But You (Only the Good Die Young)’. It was genuinely breathtaking. The lead vocals were superb but it was the choral sound that really impressed. It was one of those rare moments where an audience has no choice but to fall silent and listen. The guitar work was exceptional too, particularly during the many Queen-style harmonised solos. Excellent work from all involved. There were no fewer than four choreographers working on this production. Tara Gill, Sinead Lightley, Terese Dunne and EJ Dunne obviously worked exceptionally well together as a team because their work was consistently outstanding. What really impressed me was not just the sharpness of the choreography itself but the level of performance in every routine. Every dancer was fully in character and connected to the tone of the show throughout. There was confidence and personality behind it all, which suited the style of show perfectly. ‘Radio Ga Ga’ was a standout. The militaristic marching style, the precision in the lines and the uniformity of movement gave us a very striking opening number. ‘Crazy Little Thing Called Love’ was another hugely enjoyable sequence. The use of levels worked particularly well and the energy created by the cheering and interaction during the dance break brought a real buzz to things. The ten dancers in ‘Fat Bottomed Girls’ brought terrific energy to the stage and the incorporation of fans into the choreography was a bold, theatrical choice. Overall, excellent work from the choreography team who created routines that were consistently imaginative and exceptionally well-executed. Barry Murphy gave a very assured performance as Galileo Figaro. Mr. Murphy struck a lovely balance between the character’s awkwardness and his larger-than-life humour. His singing was extremely impressive throughout. ‘I Want to Break Free’ featured his beautifully rich tenor vocals, while ‘Hammer to Fall’ and the climactic ‘Bohemian Rhapsody’ showed wonderful power and stamina. He handled the rock vocals so confidently right through the show. Comic timing was very strong throughout and he was well able to ham things up and really point the humour when required. Katie McCartan is a name worth remembering. At just seventeen years of age, she delivered a remarkable performance as Scaramouche and looked completely at home in the role. Ms. McCartan had wonderful attitude and stage presence throughout. The cutting sarcasm and humour of Scaramouche came across effortlessly and her comic timing was excellent throughout. Her singing was exceptional, not just for her age but for anyone in the role. ‘Somebody to Love’ in particular was hugely impressive. It is a song that demands enormous vocal control but she handled it with great confidence and maturity. An excellent performance from a hugely talented young performer who clearly has a very exciting future ahead of her. Eoghan McGeough had terrific energy in the role of Brit and was a constant source of life and movement whenever he appeared on stage. This was a very animated performance in the best sense, full of personality, confidence and fun. He had excellent stage awareness and a genuinely cool presence on stage. Comic timing was very sharp and he delivered dialogue with confidence and clarity. Musically, he was most impressive. ‘I Want It All’ showed his excellent vocals at their best, packed with energy and attitude. Naoise Duffy gave an outstanding performance as Oz and brought huge energy to her portrayal. There was a real spark to this performance, helped enormously by her superb movement and wonderful stage presence. Ms. Duffy was a seriously accomplished vocalist. ‘No-One But You (Only the Good Die Young)’ was simply beautiful and was, for me, the high point of the production. Ms. Duffy also handled the comedic side of the role extremely well. Her timing was very sharp throughout and she delivered dialogue with confidence and ease. Neil Farren made a very strong impression as Khashoggi and brought exactly the kind of commanding presence the role needs. Moving through the action with an air of control and authority, he really suited the cold, corporate world of Globalsoft. There was something wonderfully slick and slightly menacing about his performance but he also understood the comedic side of the role and kept that balance very well. Musically, he had a strong baritone voice which suited the role well. ‘A Kind of Magic’ was impressive, while ‘Seven Seas of Rhye’ showed both his vocal ability and strong stage presence. Brooke Rafferty Shaw was excellent as Killer Queen and completely embraced the outrageous, over-the-top nature of the role. She carried herself with a wonderfully dystopian sense of glamour and authority throughout, striding through scenes like somebody who genuinely believed the world revolved around her. Vocally, she had some very strong moments. ‘Killer Queen’ allowed her to really let loose, showing off her superb voice so well. ‘Fat Bottomed Girls’ was another highlight, with great confidence and control throughout. Her performance in ‘Another One Bites the Dust’ was especially impressive vocally. The power in her lower register at the beginning of the song immediately grabbed the attention and was one of several moments where she showed just how accomplished a singer she is. Tony Markey was very funny as Buddy, or to give him his full title, Buddy Holly and the Crickets. He brought great personality to the role and had a very easy connection with the audience. He was very comfortable breaking the fourth wall, adding hugely to the show’s fun. Mr. Markey’s comic timing was superb. His horror at the possibility of being sent to Euro Disney was hilarious and his response to the idea of singing a cappella was suitably over-the-top and very funny. But there was more to the performance than just comedy. Mr. Markey also sang beautifully and brought real heart to the role when needed. ‘These Are the Days of Our Lives’ was especially well performed, with a gorgeous sincerity. Emiliano Vazquez made the most of his cameo appearance as the Teacher and clearly enjoyed his moment. This was an animated performance, perfectly suited to the exaggerated style. A relatively brief role but one which made a strong impression. The ensemble was exceptional and was a huge part of the success of the show. There was a very impressive level of discipline and focus which never dropped. Production numbers were performed with precision, sharp movement and excellent uniformity. What really stood out though was the level of performance across the cast. Nobody was simply going through steps. They were all fully engaged at all times. Their singing was equally impressive. Whether on stage or offstage, the standard of vocals was consistently high. Dramatically, the cast showed a very strong understanding of the style and humour of the piece. Reactions and interactions always had a purpose. Excellent work from everyone. Moya Hodgers was stage manager as well as co-director and the connection between those two jobs was very evident right through the show. Everything worked together seamlessly. Scene changes were exceptionally slick. What worked really well was the way transitions were cleverly masked and supported by the use of graphics on the LED screen. Rather than the audience focusing on movement happening on stage, attention was naturally drawn towards the visuals, allowing changes to happen quickly and efficiently without interrupting the flow of the show. The result was a production that moved with real confidence and fluidity throughout. The set design for this production was very effective. The industrial scaffold structure gave the stage good shape and depth. The use of levels was particularly effective, with performers often positioned on platforms, staircases and gantries. What impressed me most was how seamlessly the physical set and digital graphics worked together. The LED screen was a very important storytelling device throughout and the graphics used were exceptional. Lighting built directly into the set was used in a variety of clever ways, sometimes providing dramatic backlight, sometimes punching musical moments with extra impact and at other times helping create mood and atmosphere within scenes. The lighting in this production was, quite simply, extraordinary. Indeed, it was some of the finest lighting work I have seen in any production in a very long time, amateur or professional. The scale, imagination and quality was genuinely breathtaking at times. Every cue, every colour choice, every effect and transition had been meticulously planned and executed. Indeed, lighting almost felt like another character within the show. We went from huge rock-concert moments to far quieter, more atmospheric scenes, yet the lighting was always perfectly in tune with whatever the show needed emotionally. The lighting design during ‘No-One But You (Only the Good Die Young)’ is difficult to put into words. It was subtle, theatrical and emotionally intelligent in a way that raised an already beautiful sequence into something truly special. The lighting was beautifully connected to the music and lyrics. Truly exceptional work. Sound was of an exceptionally high standard throughout. Achieving the right balance in a show like ‘We Will Rock You’ is no easy task given the size and power of the score but on this occasion the mix was always impressively clear and controlled. Important instrumental lines were allowed to shine without ever overwhelming the vocals. Lead vocals were consistently clear and easy to hear, while the ensemble vocals had wonderful warmth. The choral balance was particularly outstanding and added greatly to the overall impact. A really superb job by the sound team on what is a very demanding show musically and technically. There was excellent attention to detail in the costuming of this show. The wardrobe team embraced the bold, rebellious world of ‘We Will Rock You’ and created a visual style that was vibrant and full of personality. The Bohemians in particular looked terrific. The mixture of tartan, fishnets, leather, ripped fabrics, chains, mesh and accessories gave the group a real sense of individuality and rebellion. In contrast, the more uniformed costuming of the Globalsoft world worked extremely well dramatically. Props were very well handled and there was some lovely attention to detail. Killer Queen’s throne was an excellent piece and perfectly suited the larger-than-life nature of her character. The jukebox was another standout prop and tied in beautifully with the show’s celebration of musical nostalgia. There were also lots of smaller details. The posters and signage added much to the overall visual chaos. The television set was suitably retro and even smaller pieces were perfectly in keeping with the tone of the production. Excellent work all round from the props department. Hair and makeup were of a very high standard throughout the show, with cast fully embracing the exaggerated rock aesthetic and futuristic dystopian feel of ‘We Will Rock You’. The Bohemians looked particularly strong. Bold hairstyles, colour streaks and questionable wigs (in a good way!) contributed to a great sense of rebellion. It was edgy and alternative and suited the tone of the production perfectly. Makeup was equally strong throughout the cast. Strong eye makeup and eyeliner aplenty added to the rock concert vibes. Killer Queen’s styling was especially impressive and added greatly to her glamorous, self-obsessed persona. Excellent work from all involved. SONG’s ‘We Will Rock You’ was a superb achievement and one of the most technically accomplished productions I have seen this season. Every element of the show worked together so seamlessly. Its directors brought great clarity and to a show that can easily lose its way if not fully understood. It had humour, theatricality and more than a little madness but never lost sight of the storytelling or the heart underneath it all. It was a hugely entertaining night of musical theatre delivered with great skill, imagination and heart by a very talented group. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Spring Awakening - Maynooth University Musical Society

Society name: Maynooth University Musical Society Show name: Spring Awakening Adjudicator date of attendance: 17/04/2026 Maynooth University Musical Society’s production of Spring Awakening was an ambitious and emotionally charged piece of theatre that demonstrated impressive maturity from a student company. This is not an easy musical to stage. Its themes are complex, often uncomfortable, and deeply emotional, requiring performers and creatives alike to approach the material with honesty,...

Society name: Maynooth University Musical Society Show name: Spring Awakening Adjudicator date of attendance: 17/04/2026 Maynooth University Musical Society’s production of Spring Awakening was an ambitious and emotionally charged piece of theatre that demonstrated impressive maturity from a student company. This is not an easy musical to stage. Its themes are complex, often uncomfortable, and deeply emotional, requiring performers and creatives alike to approach the material with honesty, sensitivity, and courage. This production clearly understood the responsibility that comes with telling this story and approached it with a great deal of thought and care. Under the direction of Sean MacMathuna, the production embraced a bold and confident artistic vision. The traverse staging was particularly effective, creating intimacy and immediacy that suited the material beautifully. Traverse can often present difficulties in ensuring that neither side of the audience feels disconnected from the action, but the blocking here was handled with real intelligence. The movement patterns constantly shifted focus and created dynamic stage pictures, ensuring the audience remained fully engaged from every angle. The minimalist approach to the set design worked very well for the production. The use of simple boxes and a raised platform allowed the storytelling and performances to remain central, rather than overwhelming the stage with unnecessary detail. It was a production that trusted the emotional power of the material and the commitment of its cast, and that trust paid off. Group scenes were visually striking, and the transitions flowed smoothly, maintaining momentum and emotional intensity throughout the evening. One of the production’s greatest strengths was its ensemble work. The chorus displayed exceptional focus, energy, and commitment from beginning to end. Every performer appeared fully invested in the world of the piece, and there was a strong sense that each ensemble member understood their own character and place within the story. This gave the production richness and authenticity, elevating the atmosphere significantly. Vocally, the ensemble was extremely strong, with clear harmonies, excellent diction, and impressive musical precision. Choreographically, they maintained strong energy and clean execution even during the most physically demanding sequences. Joe Keane’s choreography was another major highlight. The movement language felt completely integrated into the emotional world of the show, demonstrating a clear understanding of how choreography can deepen storytelling rather than simply accompany it. The choreography made excellent use of the traverse space, constantly evolving visually while remaining emotionally grounded. The sharp, staccato movement style suited the tension and urgency of the material extremely well, and the cast performed it with admirable precision and commitment. “Totally Fucked” stood out as one of the strongest numbers of the evening, capturing youthful rebellion and chaos with tremendous energy while still maintaining clarity and control. There was also a very clear sense that the choreography and direction were working hand in hand. The movement felt fully integrated into the production rather than existing separately from the dramatic scenes, giving the show a cohesive and unified theatrical language. Musically, the production was of a very high standard under the musical direction of Enda Keating. Spring Awakening contains a demanding score that requires versatility from both cast and band, balancing contemporary rock influences with emotionally vulnerable storytelling. This company handled those challenges well. The vocal work throughout the company was consistently strong. Harmonies were clear and well balanced, diction was excellent, and the cast demonstrated strong musical discipline. Vocal entrances and cut-offs were especially impressive considering the enclosed positioning of the band beneath the stage, which can often create communication challenges. Despite this, cast and band remained tightly connected throughout the performance. The band itself sounded excellent. The strings added a haunting quality that supported the emotional atmosphere of the piece. It was clear that a significant amount of preparation and musical detail had gone into the production, and the results were evident throughout the evening. Among the principal performances, Dayna Quinlan delivered a particularly outstanding portrayal of Wendla. Her performance was emotionally nuanced, vulnerable, and deeply sincere. She captured the innocence and curiosity of the character beautifully while still allowing the audience to see Wendla’s emotional growth throughout the story. Her relationships with the other girls felt genuine and grounded, and her connection with Melchior developed convincingly over the course of the production. Vocally, Dayna was exceptional. Her singing was beautifully controlled and emotionally connected, with a warm tone that suited the score perfectly. She demonstrated a strong understanding of when to allow vulnerability into the sound and when to build emotional intensity, resulting in consistently compelling musical storytelling. It was a mature and emotionally intelligent performance that made a significant impact on the production as a whole. Caolan Moriarty approached the role of Melchior with clear commitment and sincerity. Vocally, he handled the demanding material admirably. His relationships with both Wendla and Moritz felt believable, and there was genuine warmth and emotional honesty in those interactions. There are opportunities for the character arc to develop even further in future performances. Melchior began the show at quite a heightened emotional level, which reduced some of the progression later in the story. Allowing the character more room to evolve gradually would create an even stronger emotional payoff. Physically, there were moments where slightly more openness and confidence in posture would have strengthened stage presence further. Nonetheless, this was a thoughtful and musically capable performance with many strong moments. John Doyle Peredo gave a committed and emotionally charged performance as Moritz. He captured the troubled nature of the character effectively, and by the end of the production the emotional impact of Moritz’s journey landed powerfully. Vocally, he was extremely strong and handled the demanding score with confidence and skill. As with Melchior, the emotional progression of the role could perhaps have been paced slightly more gradually. Beginning from a more restrained emotional place would allow the later deterioration to feel even more devastating. However, John’s sincerity and emotional investment were never in doubt, and he connected strongly with the audience throughout. Annie Bolger delivered a moving portrayal of Ilse, bringing emotional honesty and sensitivity to the role. Her scene work with Moritz was particularly impactful and carried genuine emotional weight. She demonstrated a clear understanding of the character’s trauma and vulnerability, while vocally “Blue Wind” was performed with touching sincerity and strong emotional control. Caitlyn Carroll also handled Martha’s difficult material with maturity and care. Her emotional restraint was effective, and she communicated the character’s pain truthfully without overplaying it. Her physicality was particularly strong and helped define the character clearly within the wider ensemble dynamic. Among the supporting cast, Aaron Viera Kelly and Lei McGuinness gave lovely performances as Hanschen and Ernst. Their relationship felt genuine and sensitively handled, never straying into caricature. Vocally, both performers were strong individually, and their voices blended well together. Conor Majury, John Brennan, Dorothy Toye, and Mary O’Dowd all contributed positively to the group dynamic, helping create believable friendships and strengthening the ensemble work considerably. Paul Mescal and Karina Power also handled the challenge of playing multiple adult characters admirably. Greater differentiation between some of the adult roles physically and vocally would perhaps strengthen storytelling clarity even further, but both performers remained committed and reliable throughout. Technically, the production was extremely strong. The lighting design in particular was striking, making excellent use of shadows, slim beams, and downlighting to create atmosphere and emotional tension. Cueing was precise throughout and demonstrated a huge amount of care and preparation. The restrained colour palette also complemented the monochromatic aesthetic of the production beautifully. Sound quality was equally impressive, especially given the acoustic challenges presented by the venue. The balance between vocals and band was handled very well, ensuring that both music and text remained consistently clear throughout the performance. Costumes, hair, and make-up all worked cohesively within the overall visual concept. The monochromatic styling reinforced the tone of the piece effectively while still allowing individual characters to feel distinct. Hair and make-up remained appropriately understated, supporting the realism and emotional honesty of the production. Stage management by Rory Cummins deserves recognition. Scene changes were integrated seamlessly into the movement of the production itself, ensuring there was no loss of pace or energy between scenes. The organisation required to maintain that level of fluidity in such a technically and emotionally demanding production should not be underestimated. Front of house presentation was welcoming, efficient, and professional, helping to establish the atmosphere of the evening from the moment the audience arrived. There was a clear sense of care and organisation, and the audience experience felt considered and supported throughout. Overall, this was a highly impressive production from Maynooth University Musical Society. The company approached difficult material with courage, sensitivity, and artistic confidence, resulting in a production that was emotionally engaging, visually compelling, and musically strong. There are certainly areas that can continue to deepen and develop, particularly in allowing some character journeys greater emotional progression and differentiation, but these are refinements within an already highly accomplished piece of work. The level of commitment, creativity, and collaboration displayed throughout the company was extremely commendable, and the society should be very proud of what they achieved with this production. Photo credit: akw media

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.

Society
Baldoyle Musical Society
Cecilian Theatre Arts
Clane Musical & Dramatic Society
Coolmine Musical Society
DCG Project, The
DCU Drama Society
Drogheda Musical Society
Dun Laoghaire Musical & Dramatic Society
Dunboyne Musical Society
Dundalk Musical Society
Dunshaughlin Musical Society
Entr'acte Musical Theatre Society
Glasnevin Musical Society
Glencullen Dundrum MDS
Hammer and Nail Theatre Group
Harolds Cross Tallaght Musical Society
Inchicore Variety Group
Kells Musical Society
Kilcock Musical & Dramatic Society
Kill Musical & Dramatic Society
Kilmacud Musical Society
Kilmainham Inchicore Musical Society
Leixlip Musical & Variety Group
Loving Life Choir
Malahide Musical & Dramatic Society
Marian College Musical Society
Maynooth University Musical and Dramatics Society
Naas Musical Society
O'Connell Musical Society
Phoenix Performing Arts College
Pioneer Musical & Dramatic Society
Portmarnock Musical & Dramatic Society
Rathmines & Rathgar Musical Society
Ratoath Musical Society
Roundwood Variety Group
Rush Musical Society
Rush Panto Society
SGPA
SONG Dundalk
Sheevawn Musical Youth Theatre
St. Agnes' Musical Society
St. Mary's College CSSp Musical Society
St. Marys Musical Society, Navan
Stage Door and More Ireland
TSP Theatre Group
Teachers' Musical Society
The Now and Then Production Company
Trim Musical Society
Trinity Musical Theatre Society
UCD Musical Society
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