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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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Anything Goes

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18 Nov 2025

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24 Mar 2026

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LATEST NEWS

The Rocky Horror Show as presented by Maynooth University MS

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

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

Sister Act as presented by Clane Musical & Dramatic Society

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

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

Jesus Christ Superstar as presented by Teacher's Musical Society

Teachers’ Musical Society  Jesus Christ Superstar  Tuesday 1st April 2025  Celebrating 25 years in existence, Teachers’ Musical Society...

Teachers’ Musical Society  Jesus Christ Superstar  Tuesday 1st April 2025  Celebrating 25 years in existence, Teachers’ Musical Society took to the stage of DCU St. Patrick's campus, where it all began for them a quarter of a century ago. Their most recent production, ‘ Jesus Christ Superstar’, was a far cry from their inaugural show ‘Fiddler on the Roof’. The dramatic pre-set, with ‘BELIEVE’ screaming at the audience from a giant LED screen, was an indication that this production was not going to follow any traditional interpretation of Andrew Lloyd Webber and Tim Rice's groundbreaking show. On the contrary , Emma Jane Reilly's unique vision determined that further ground would be broken, nay pulverised, as her highly original take grabbed the audience by the collar and made us sit up, pay attention and think. It was a beautiful production, which unfortunately fell short in one crucial technical area on the night that I attended.  Front of house was quiet when I arrived in the foyer, with nobody waiting around. It was lovely to enter the auditorium, where much of my own formative, theatrical years were spent, to see the impressive preset and to experience the palpable sense of anticipation, “the buzz”, in the air.   Director Emma Jane Reilly's concept and vision was quite astonishing.   Her innovative take sought to capture the essence of the story whilst infusing it with a contemporary relevance. The huge LED screen was the perfect medium for her to reimagine the show through a dystopian, anarchic lens. It was a brave, visually striking departure from the norm, which breathed new life into a show that has seen many different interpretations over the years. There were so many original and dramatic touches which elevated the show's theatricality hugely. The wonderfully creative on-screen graphics added hugely to the show’s unique premise. From the Elie Wiesel quote to the brilliant, dramatic images which introduced characters, linked scenes and set locations, this element was a real touch of genius. The use of the box in preset, a nod to Pandora perhaps, was a clever theatrical device,   culminating in Judas's hands being drenched in blood. The Last Supper was fabulously staged, a triumph of stagecraft and lighting. I loved the reimagining of Herod as a burlesque Queen of Hearts, complete with her canine minions. A truly memorable production from Ms. Reilly.  Ben Cully's musical direction was hampered somewhat by poor sound on the night that I attended. This was no fault of Mr. Cully’s or the exceptional group of musicians in the band, which was housed under the scaffolding of the set. Balance within the band was not always satisfactory. In the first half of the show, keys and drums were very high in the mix, almost at a deafening level. Bass was hardly audible. Principal singing was of a really high standard throughout the show, although in the bigger numbers, it was difficult to hear lyrics. E nsemble vocals and harmonies were often overwhelmed when the band was at full tilt. To be fair, in numbers with more sympathetic accompaniment, solo and group singing were excellent. I am, of course, conscious that a musical director's positioning can have a huge bearing on what they are hearing and that the sound in the room may not have been apparent to Mr.  Cully. An MD often has to trust the ears out front. My opinion is that Mr. Cully was let down on this occasion.   Choreography by Nicole McDonald was vibrant and dynamic, tying in perfectly with the director's vision for the show. There were so many fabulous routines. ‘Hosanna’ was   wonderful its precision of movement and its joyous, celebratory feel. The dancing ladies in the Temple were marvellously seductive, with a leering Annas enjoying every moment. ‘ Herod's Song’ was deliciously decadent, brilliantly performed. ‘ Superstar’ was a brilliant high   point of what was an excellently choreographed show with its electrifying choreography   showcasing the ensemble at their very best.  Christopher McDonald was a serene yet intense Jesus. His character’s compassion and torment shone through, skilfully capturing both the human and divine elements of the role.   Vocally, Mr. McDonald gave a seriously impressive performance. His brilliantly sung ‘ Gethsemane’ was one of the best renditions of the song that I have ever heard. Every word had weight as Mr. McDonald lived every single second of his anguish and agony. Most importantly, we were fully invested and we believed every word in what was a wonderfully powerful yet vulnerable performance. Mr. McDonald’s exceptional emotional range added layers to his characterisation. A really impressive job in one of musical theatre’s most challenging roles.   Gavin Molony gave a sensational performance as Judas, brilliantly capturing the complexity of this multi-layered persona. Mr. Molony had a stunning presence in what was a very skilled and nuanced portrayal. Judas's inner turmoil was very well played throughout. At times his vocals were quite sublime as his stratospheric range seemed quite effortless. I loved his a cappella ‘I Don't Know How to Love Him’, half sung, half spoken. It was powerfully raw and emotional as the realisation of the consequences of his actions sank in. His hands, covered in blood, smearing his face and body was a powerfully symbolic moment, brilliantly played.  Lisa Rose McMahon played Mary Magdalene with a beautiful tenderness balanced with great inner strength. This was a deeply moving portrayal. In quieter moments, with more sympathetic accompaniment, she really shone and her stunning vocal came to the fore. ‘ Everything's Alright’ was beautifully sung in a most heartfelt performance.  Ms. McMahon’s signature number, ‘I Don't Know How to Love Him’, showcased the most exquisite voice with exceptional control.   Her dramatic presence was also wonderful, even when the point of focus was not directly on her.   Karl Dawson gave a gorgeous portrayal as an authoritative, yet deeply conflicted Pilate.   His performance was infused with much nuance as we shared his inner struggle between his duty and his underlying humanity. Mr. Dawson had a fabulous vocal. ‘Pilate’s Dream’  was quite mesmerising. ‘Pilate and Christ’ was excellently performed and ‘Trial Before Pilate/39 Lashes’ was simply outstanding. This was a beautifully pitched, dramatic interpretation which   combined stunning vocals with emotional nuance and depth. A superb all-round   performance.   Niamh Parkes turned the part of Herod on its head, playing the role as a burlesque Queen of Hearts. This was a very interesting twist, which maintained the flamboyance and cruelty of Herod's character whilst simultaneously allowing for some wildly unique choices. Ms. Parkes had a wonderfully mocking tone in ‘Herod's Song’, which was brilliantly sung with an elevated theatrical flair which was most fitting for her unique slant on the character. Iarlaith O’Rourke was a youthful Peter but his considerable experience belied his years. He   sang very well in ‘Peter's Denial and his dramatic “I don't know him!” was tinged with heartfelt guilt. His vocal in ‘Could We Start Again Please?’ showcased him at his very best and his emotional intensity was perfectly judged.  Rob Gallagher was a very strong Simon Zealotes. He had a wonderful voice, perfectly suited to the rock genre. ‘Simon Zealotes/Poor Jerusalem’ was excellently performed and he was equally strong in ‘Could We Start Again Please?’   Mr. Gallagher had great stage presence and was also a standout amongst the apostles.  Séamus McManus had a commanding, authoritative presence as Caiaphas. Mr. McManus gave a remarkable vocal performance, with his deeply resonant bass voice being one the musical highlights of the show. His imposing, malevolent presence contributed to what was a most memorable performance.   The very talented Adam Trundle was a cunning and manipulative Annas.   He had the most   fabulous tenor vocal, contrasting greatly with Mr. McManus’ deep bass tones. He had a flamboyant, almost camp presence which really worked. I particularly loved his enjoyment of the ladies in the temple as he revelled in the excess and gluttony of the moment.   Jim Walsh, Garrett Rodgers and Brian Dennison represented the religious establishment and had strong, authoritative presence as the high priests. Individually and collectively, they added layers of tension and drama with their exceptional stage presence. Even in still moments of observation, they worked together, creating very strong focus and contributing to the creation of many of the show’s most dramatic pictures. A superb job from all.  Kate Gallivan, Eva Kelly and Rosie Scanlon were an interesting addition as the Fates.   These three blended wonderful vocals with excellent presence, bringing great musicality and flair to ‘Superstar’. They just needed to watch their spacing during this number. A minor point in what was a wonderful performance from all three.  The ensemble was exceptionally strong. Their incredible commitment, dramatic intent, movement and investment in Ms. Reilly's vision, was a huge part of the success of the show. Performance levels were wonderful across the board. The Apostles were excellent in their roles, bringing intensity and heartfelt emotion to their scenes. There was a wonderfully rich   choral sound in ‘The Last Supper’. There was powerful dramatic work from the ensemble in ‘Trial Before Pilate/39 Lashes’, their chants of ‘Crucify him!’ building to a frenzied crescendo.  Gerry McCann did an excellent job as stage manager. Movement of the large sets of steps by cast and crew dressed as police, could have been challenging, as timing was of the essence as one scene segued into another. However, these changes were executed seamlessly and brilliantly timed.  The set, consisting of scaffolding, with an upper deck playing area, wire fencing and two sets of trucked steps, allowed for a large, open playing space which was very well utilised by Ms. Reilly and Ms. McDonald. An imposing cross, complete with functioning lx, flew in for the show’s climactic moment at the end of Act Two. All sense of time and location was provided through the use of the huge LED screen which was located to the rear of the scaffolding’s upper level. Lighting was exceptional. The show was lit with dramatic flair and, crucially, a clear understanding of the narrative and familiarity with the score. Timing is always a key element   when lighting musical theatre. A fraction before or after the beat with a cue can make all the difference. Thankfully, things were in good hands on this occasion. ‘Heaven on Their Minds’ was most impressive as the stage was transformed with well-chosen colours and dramatic beams.  ‘ Pilate's Dream was beautifully lit in a blue wash which complemented the moon graphic perfectly, with plenty of atmospheric haze adding to the ethereal feel. The dramatic beam cutting through haze from overhead for Mary Magdalene's ‘Everything's Alright’ was beautiful in its simplicity and very effective. The timing of the 39 lashes was incredibly   impressive.   Not one beat was missed. ‘Trial Before Pilate/39 Lashes’ looked stunning and an   equally stunning job was done for the Crucifixion which was a visual triumph with the lx on the cross adding greatly to the dramatic spectacle. Overall, this was a wonderful lighting plot with exceptional operation.   It is important for me at this point to acknowledge the incredible visual elements on screen which added so much to the overall aesthetic. These graphics were absolutely outstanding and Ms. Reilly has to be complimented hugely for creating such detailed, evocative and visionary digital backdrops which complemented her vision so well.  Unfortunately, on the night that I attended, opening night, there were significant problems with the sound. I must preface this by saying that, in my opinion, these problems were not due to opening night technical glitches. There were no late cues, which there often can be on opening night. There were a few different issues, in my opinion. 1. EQ levels needed to   be addressed for some performers. 2. There was a considerable imbalance between instruments in the band. 3. The overall gain levels of the band were too high, especially in Act One. To be fair, t here was some improvement in Act Two. All of that said, there were some lovely moments too. ‘The Last Supper’ had a good spread of radio mics and sounded very well. Throughout the show and in lighter moments, where vocals sat comfortably on top of accompaniment, things sounded very well.  Props were very well looked after with nice attention to detail throughout. I loved the priests' cobra canes. The box at the top of the show, which became an important theatrical device, was a wonderful piece. The way it was lit from inside , illuminating Judas’s face, was a clever touch. It's funny how something as small as Jesus' dog tags registered with me as they caught the lights and reflected into the audience. All other props appeared to be very well chosen, such as lanterns and of course Jesus's crown of thorns.  There was exceptional work on hair and makeup from Jesus’ wig to his wonderful buzz cut in his orange jumpsuit. I loved the uniformity of the Fates’ blonde bobs and Annas's wig set him apart as a very distinctive character. The dancers in the Temple had a suitably seductive look. Mary Magdalene's wig was well chosen and the overall look and attention to detail throughout was most impressive.   Costumes aligned perfectly with the show's overall aesthetic of a modern, urban dystopia.   I   loved the look for Caiaphas, Annas and the priests who looked very sharp and intimidating, their costumes adding to the malevolent feel. The dancing girls in the temple looked wonderful in their red and black and the black hoods for the lepers worked really well. Jesus Christ's orange prison uniform tied in perfectly with the overall vision and Herod's fishnets and burlesque, Queen of Hearts look was a triumph.  This was an exceptional production by Teachers’ Musical Society which blended traditional  storytelling with highly creative visual elements. Its success was largely down to the   director’s original, brave and clever choices and the wonderful work carried out by a very skilled production team and a stunningly talented cast. The show looked amazing thanks to bold creative choices and admirable attention to detail. I have no doubt that the sound issues which I experienced on opening night improved as the week went on. Twenty-five years is a wonderful milestone for a society to reach. Congratulations to the current custodians and very best wishes to all of those who will carry the society through the next quarter of a century.   Pat McElwain   Gilbert Adjudicator 2024/2025 Photographer credit: Seamus Fearon

All Shook Up as performed by Glencullen Dundrum Musical and Dramatic Society

Society name: Glencullen Dundrum MDS Show name:  All Shook Up Adjudicator date of attendance:26/03/2025 Brief overview  of show and...

Society name: Glencullen Dundrum MDS Show name:  All Shook Up Adjudicator date of attendance:26/03/2025 Brief overview  of show and evaluation of Front of House Glencullen Dundrum MDS’s vibrant production of All Shook Up  proved to be a joyous, energetic, and impressively cohesive evening of musical theatre. A jukebox musical built around the music of Elvis Presley, All Shook Up  is no easy feat – blending comedy, romance, mistaken identities, and rollicking rock-and-roll. What was delivered on the night was a confident, colourful, and delightfully funny performance filled with clear storytelling, dynamic choreography, and glorious harmonies. The audience’s engagement from start to finish was a testament to the company’s ability to immerse and entertain. Front of House was a warm and welcoming experience. Staff were efficient and courteous, and the general atmosphere before curtain-up was one of excitement and community. Seating and access were well managed, and transitions in and out of the theatre space ran smoothly.  Director-  Direction and Production Damien Hurley’s direction brought a fresh, slick, and well-judged vision to the show. He struck an excellent balance between the campy humour intrinsic to All Shook Up  and a genuine emotional through-line, ensuring the piece never tipped into parody. The storytelling was clear and engaging throughout, a significant achievement in a show that relies on fast-paced twists, mistaken identities, and multiple intertwining plotlines. Blocking was generally strong and ensured that all key moments were visually accessible, with intelligent use of levels and depth. A few minor moments of upstaging occurred, particularly in larger group scenes, where characters occasionally obscured one another. These were minimal and did not significantly impact the narrative but could be considered for future refinement. Characterisation across the board was thoughtful, distinct, and authentic, contributing greatly to the production's strength. There was evident cohesion among the cast, a tribute to the director’s leadership and his ability to foster a sense of ensemble. Particularly praiseworthy was the show’s pacing, which never lagged. Scene changes, smoothly executed by the cast, were well-rehearsed and timed, ensuring the show maintained its momentum. This thoughtful integration of transitions as part of the performance, rather than interruptions to it, kept the audience immersed and the energy high. In all, Damien’s vision was confidently and stylishly realised, delivering a show that was as coherent as it was entertaining. Musical Director-  Direction and Orchestra Musical direction by Barry Power was first-rate. The band delivered a tight, expressive, and energetic sound that supported the performers without ever overwhelming them. Balance across the instrumentation was carefully maintained, allowing the nuances of Elvis’s iconic music to shine through with clarity and punch. The vocal direction deserves particular praise. The cast’s harmonies were exceptional, rich, confident, and precisely tuned. Chorus work was a consistent highlight of the production, offering a full-bodied, resonant sound that lifted the musical numbers with real polish and professionalism. Diction was impressively crisp, ensuring that lyrics were always intelligible, a crucial element in a narrative so reliant on its musical storytelling. Barry’s leadership was clearly evident in the musical cohesion achieved on stage. The transitions between dialogue and song felt organic, with no awkward gear shifts. The entire cast demonstrated a solid grasp of rhythm and musicality, suggesting a rehearsal process that was both thorough and musically nurturing. Choreographer - Choreography Nicole McDonald’s choreography was a real triumph. The movement was clean, purposeful, and well-suited to both the era and the exuberant tone of the show. She displayed an excellent understanding of spatial awareness, utilising the stage effectively to accommodate large ensemble numbers without crowding or confusion. Formations were thoughtful and ever-changing, giving the chorus dynamic visual appeal. Transitions between choreographic patterns were impressively smooth, creating a flow that mirrored the musical drive of the score. Importantly, there was no visible repetition, each routine brought something new to the table, keeping audience engagement high throughout. Particularly praiseworthy was the ability of the entire ensemble to execute choreography with precision and enthusiasm. There was an infectious energy in the dance numbers, reflecting both strong direction and committed performance. One minor note: “Let Yourself Go,” a number that lends itself to flirtatious interaction, could have benefited from a little more “cat and mouse” energy to heighten the tension and humour. A touch more narrative interplay within the movement could have elevated the moment from good to electric. Leading Principals – Singing and Acting Natalie / Ed - Ali Coyne:  Ali’s performance was a standout in every sense. She inhabited both personas, the earnest grease-monkey Natalie and her male alter-ego Ed, with remarkable physical clarity and nuance. Her physicality, posture, and vocal adjustments between the two characters were expertly executed and never cartoonish. This dual-role performance could so easily become a gimmick, but Coyne brought sincerity and heart, making Natalie’s journey feel real and resonant. Vocally, she was superb, powerful and expressive, with a command of dynamics that allowed both vulnerability and strength to shine through. Her stage presence was undeniable, and she carried her central role with confidence and charisma. Chad - Gavin Molony:  Gavin brought just the right mix of swagger and self-awareness to the role of Chad. He avoided the trap of overdoing the Elvis impersonation, instead giving us a character who was both sexy and self-deprecating. His physical performance, particularly his restrained but well-placed pelvic moves, found just the right tone, eliciting smiles without slipping into pastiche. His voice was strong, smooth, and effortlessly projected. Moloney’s chemistry with Coyne was palpable, and his presence anchored the show beautifully. Éanna O’Donaill - Dennis:  A thoroughly endearing and detailed performance. Eanna captured Dennis’s nerdy awkwardness with both charm and depth, generating sympathy without slipping into caricature. His commitment to the characterisation was especially impressive in his vocal choices – maintaining the nerdy timbre even through sung passages, which added to the comic integrity of the role. There was real heart in his performance, and the audience clearly rooted for him. Sylvia – Gail McGrath:  Gail gave a grounded, emotionally resonant performance as Sylvia, bringing warmth, strength, and sincerity to the role. She portrayed Sylvia’s journey, from guarded independence to quiet vulnerability, with subtlety and truth, making her arc entirely believable. Gail’s stage presence was assured, and her comedic timing was dry and effective, offering a strong contrast to the broader humour elsewhere in the show. Vocally, she was excellent. Her soulful tone had great depth and resonance, and her singing was filled with feeling as well as technical control. Her musical moments were confident and expressive, particularly in her scenes with Jim, where their chemistry added real emotional weight. A lovely, touching interpretation of the role. Maria O’Loughlin - Miss Sandra:  Maria delivered a vocally assured and technically strong performance. Her voice was rich, warm, and expressive, and her musical numbers were beautifully sung. However, her portrayal of Sandra felt a touch restrained in terms of sensuality. Miss Sandra is a character defined by her allure and aloofness – a stillness that suggests power and seduction. Some of the character's impact was lost due to overly fussy movement or choices in costuming that failed to support the character’s sultry mystique. While the vocal delivery was excellent, a little more stillness and sharper contrast in her physical performance would enhance the role’s impact. Supporting Roles – Singing and Acting Eloise Broderick - Lorraine:  A delightfully energetic and authentic portrayal. Eloise captured the essence of teenage infatuation with wide-eyed enthusiasm and boundless energy. Her voice sparkled, particularly in the ensemble numbers, and she delivered her scenes with genuine charm and humour. Alan Lao - Dean:  Alan matched Eloise’s energy beautifully, and their chemistry together was touching and believable. His portrayal of Dean was sweetly awkward and well judged. Their relationship arc was engaging and earned, and Alan’s understated comedic timing added depth to his performance. Mary-Beth Jennings - Matilda Hyde: A memorable comedic performance. Mary-Beth was delightfully overbearing as Matilda, she embodied the character’s rigid moralism with relish, generating genuine laughter. Her confidence and timing were strong throughout, and she provided a satisfying foil to the more free-spirited characters around her. Cathal Butler - Earl:  This role is ripe for comedy, and unfortunately, some of its potential went unrealised. Earl’s character requires subtle timing and a clear understanding of why he is being told to “shut up”, his attempt at dialogue should come just before Matilda silences him, not in response to it. These moments were often mistimed, missing comedic beats and weakening the impact of his character’s journey. A stronger sense of Earl’s inner world, and perhaps a little more “Sheriff swagger” could lift this role. Peter O’Brien - Jim: A warm and grounded performance. Peter gave Jim a gently comic quality that was both believable and endearing. His interactions with his daughter and other townsfolk were sincere and well-observed. Vocally, Peter had a lovely mellow tone, providing a nice contrast to some of the show’s more belting numbers. Chorus/Ensemble- Singing, Acting and Choreography This ensemble was an absolute force. From the opening number to the final bows, they performed with professionalism, polish, and palpable joy. Vocally, the chorus offered a rich, balanced sound that filled the space without ever overpowering. Every member was visibly engaged, no weak links, no passive background performances. In terms of movement, the ensemble was cohesive and well-rehearsed. Their confidence in the choreography and commitment to the storytelling made every group number a visual and auditory highlight. It is clear that this was a well-drilled and motivated group of performers, and they elevated the entire production through their energy and unity. Stage Management and Set Design The set was simple but highly effective, making excellent use of the available space. Visuals were clearly considered, from the town signage to the playful use of props. The choice to keep the set flexible and manageable allowed for seamless transitions, which, when executed by the cast, felt like an extension of the action rather than a pause. A minor detail that detracted slightly from the overall polish was the quality of some of the signage, particularly sticker applications, which appeared slightly unfinished or less durable under stage lights. These are small aesthetic elements, but worth attention in future for an even more professional finish. Stage management was superb. The show moved at a brisk pace, with not a single lull. Scene changes were swift and silent, and there was an overarching sense of order and preparation that supported the production from behind the scenes. Technical – Lighting and Sound Lighting design created some beautiful pictures, particularly in musical moments where colour and contrast helped heighten emotional beats. However, cue execution was sometimes mistimed like buttons on the end of numbers not being sharp to the beat. Specials occasionally missed their mark, and the front-of-house lighting appeared too warm (verging on orange). An uneven focus created dark patches in facial coverage and some distracting visual inconsistencies. Sound was strong overall, with clear amplification and good vocal-instrument balance. The audio mix did feel a little top-heavy, lacking some bass warmth, particularly in vocal numbers. This occasionally diminished the depth of the sound, though clarity remained excellent throughout. Visual –  Costumes, Hair and Make-Up Costuming was vibrant and well fitted, with strong visual appeal, and very pleasing, coordinated colour palette. The storytelling opportunity to move from drab colours at the show’s beginning to more vibrant tones as Chad’s influence spreads wasn’t fully capitalised on. This kind of colour progression can help visually underline the show’s central transformation.  Hair design was excellent, with era-appropriate styles worn confidently by the cast and consistent application across the board. Make-up was also strong, with well-applied character looks. The only minor suggestion is to refine the makeup for the statue characters – ensuring necks, wrists, and other exposed areas match the costumes to complete the illusion. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. Glencullen Dundrum MDS produced a polished, engaging, and thoroughly entertaining production of All Shook Up . With a confident directorial hand, strong musical foundation, clean and creative choreography, and a committed cast, the company delivered a show that delighted from start to finish. To elevate future productions even further, consider: Fine-tuning technical cues, especially lighting transitions and special spots. Paying close attention to small set and costuming details that enhance polish. Further exploring character dynamics in roles with comic potential that felt slightly underdeveloped. Embracing visual storytelling opportunities through costume colour progression. Overall, this was a joyful, polished, and impressively cohesive evening of theatre. The cast’s passion and hard work were evident in every number, and the audience responded with genuine enthusiasm.

Young Frankenstein as presented by Rush Musical Society

Rush Musical Society  Young Frankenstein  Friday 21st March 2025  ‘Young Frankenstein’ is an irreverent romp of a show, based on the Mel...

Rush Musical Society  Young Frankenstein  Friday 21st March 2025  ‘Young Frankenstein’ is an irreverent romp of a show, based on the Mel Brooks classic film. As with any of Mel Brooks’ creations, those who are easily offended should leave all   prudishness and sensitivity at the theatre door, as much innuendo is guaranteed. It is a wonderfully eccentric parody of the horror film genre and Rush Musical Society’s take, with its bizarre, offbeat characterisations and much comic lunacy, delivered a highly entertaining production, full of surprises and lots of laughs.  There was a very warm welcome front of house. The Millbank Theatre is one of my favourite venues with an ambience all of its own. I was very interested to see how such a big show could be produced in such an intimate space. As always, the atmosphere in the theatre was electric prior to the start of the show and the very funny front of house announcements,   encouraging us to switch off our “mobile voice transportation machines” set the tone for the madcap antics which were to follow.  Director Wilfie Pyper, presided over a very slick production which was full of comedy, double entendre and much innuendo. He created a very immersive experience for his audience utilising the centre aisle to great effect as he created much excitement with characters entering and exiting through the audience.   Pace was generally good throughout and there was great focus on physical comedy, with very well-rehearsed and executed slapstick sequences which delighted the audience. There was wonderful work with principals and ensemble always performed with purpose and understanding of the narrative. The monster chasing Ziggy out through the audience after ‘He's Loose’ was a great touch, which allowed for a much slicker transition to the laboratory. A really impressive job from Mr. Pyper overall.  Sarah Lynch Barrett did a wonderful job as musical director, mastering what is a complex, dynamic score with her fine orchestra which was housed backstage.   Principal singing was of a very high standard throughout and there was great work with ensemble vocals also. There was particularly impressive detail in the very difficult ‘Life, Life’ with Frederick, Igor, Inga, and Frau Blucher. However, t here were moments in the show where the band was too loud. ‘ The Happiest Town in Town’ had too much brass in the mix, which overpowered vocals. There was a similar issue in ‘Join the Family Business.’ Tuning in the quintet for ‘Welcome to   Transylvania’ could have been more secure. O verall, an excellent job from Ms. Lynch   Barrett.   Leah Meagher embraced a variety of styles in her choreography from the vaudevillian feel of the brilliantly performed ‘Together Again’ to the wonderful tap routine of ‘Puttin’ on the Ritz.’   This was an excellently choreographed show. There was great quirky movement in ‘The Brain’ and ‘Please Don't Touch Me’ was perfectly in keeping with the comedic narrative of the show, with very funny work from all as the couples joined Elizabeth and Frederick. ‘Join the Family Business’ was another excellent routine, hugely energetic and with a strong focus on  telling the story. ‘Roll in the Hay’ was quite the eye opener, leaving nothing to the imagination as the song built to its climax… ‘Transylvania Mania’ was a superb ensemble dance routine even if the stage did appear a little crowded at times. There was exceptional work from the Monster, Frederick, Inga, Igor, and the tappers in ‘Puttin’ on the Ritz,’ another wonderful routine.   Ms. Meagher herself, who had to step in at late notice, was a standout performer in   all routines.   Simon Pyper was a triple threat as the protagonist Frederick Frankenstein. He played the role with a delightful mix of charm and comedic flair, making him a firm audience favourite.  Mr. Pyper understood the genre and his facial expressions, sharp timing and great physicality were stamped all over his characterisation. His diction was impeccable in the very wordy ‘The Brain,’ which is right up there with the Major General’s song when it comes to challenging patter delivery. Mr. Pyper exuded confidence throughout, skilfully balancing   frivolity with authority in this hugely challenging role.  Niamh Banim was an exuberant Elizabeth, Frederick's madcap fiancée. This was a very comical performance. Ms. Bani m had a super voice, at its very best in ‘Please Don't Touch Me,’ an hilarious take on setting boundaries.   Her very knowing, stringing along of Frederick was comedy gold. Ms. Banim’s performance in ‘Deep Love’ was one of the high points of the show for me, with her very funny, self-aware performance and wonderful vocal. Indeed, her hilarious whirlwind romance with the monster was one of the comic highlights of the show.  Aoife Parkes played Frederick’s enthusiastic laboratory assistant, (and subject of much innuendo!) Inga, with a wonderfully ditzy and naive touch. Her incredible vocal in ‘Roll in the Hay’ was a delight, with her excellent yodelling being most impressive. She embraced the madness of the song, leaving all inhibitions in the dressing room, to give one of the performances of the night. ‘ Listen to Your Heart’ turned the familiar ‘man seduces woman’ scenario of musical theatre on its head and Ms. Parkes milked this number perfectly, getting every ounce of comedy from her performance. A very impressive, spirited, and funny   performance overall.  In the role of Frankenstein’s Monster, Daniel Farrell had an imposing, towering presence which was further supported by some innovative footwear design. H aving acquired a very smooth brain from none other than Abby Normal, he grunted his way through what was a fabulous performance. He was excellently expressive and his ability to find layers through  monosyllabic groaning and over-the-top facial expressions was most impressive. Mr. Farrell brought the house down with his brilliant signature number ‘Puttin’ on the Ritz’ and boy could he move!  Gary Finegan avoided a Marty Feldman imitation in playing Frederick's eccentric manservant Igor, putting his own original and very funny stamp on his characterisation. He nailed the physical comedy of the role getting much milage out of his ever-roving hump, which appeared to have a mind of its own. Mr Finegan  created a wonderfully funny character, balancing comic insight with moments of intense insanity. I loved his childlike explanation of how he came into possession of Abby Normal’s brain and his description of Inga assisting Frederick’s brains out had me in stitches. Top-notch comedic timing and wonderful physicality, along with hilarious facial expressions, made this a very memorable performance.   I am still a little bit in awe of what Niamh Parkes did in playing the role of Frau Blücher (insert frightened neighing here). Due to a most unfortunate accident, the original actress was  unable to go on after opening night. Not alone was Ms. Parkes incredibly brave to step up to the plate in the manner in which she did, but she also delivered an off-book, flawless   performance on the night that I saw the show – her second night in the role. Ms. Parkes was ominously stern and delivered a remarkable vocal performance in the very wordy, vocally challenging ‘He Vas My Boyfriend’ in which she lost herself as she passionately recalled her relationship with Frederick's grandfather, Victor. This was a powerhouse performance vocally and comedically and Ms. Parkes deserves every credit for what was an astonishing   performance under the circumstances.   Brian Magennis played everyone's favourite amputee, Inspector Hans Kemp. This was a very funny performance, strong on physical comedy. He had good comic timing and played well off Ziggy, the village idiot. Mr. Magennis just needed to be careful to be consistent with the movement of his prosthetic right arm, particularly when hitting Ziggy.  Barry Kavanagh gave a very funny but ultimately heartwarming performance as the blind Hermit. It is difficult to make an impact when you have just one scene, but the very experienced Mr. Kavanagh delivered a hilariously funny, yet melancholic performance. He sang beautifully in the poignant, ‘Please Send Me Someone.’  His scene with the Monster was brilliantly performed.  John Furlong had a very impressive cameo as Victor Frankenstein, Frederick's late grandfather. Mr. Furlong was a superb character with great expression.   His ‘Join the Family Business’ was wonderful, full of character and drive as he tried to convince his grandson to continue the grisly work he had begun before his death.   Dean Mulraney was a very funny village idiot, Ziggy. Mr. Mulraney’s over-the-top facial expressions and keen timing made the most of every comic opportunity in what was a delightfully gormless portrayal. His palpable delight at the prospect of a gay bar opening was quite hilarious. There was good support too from DJ Forkan as the telegraph boy.  The ensemble was highly committed and very in tune with the humour of the show, whether playing villagers, ancestors, or medical students.   They were well-prepared and well rehearsed, performing with great confidence. They were fabulously strong in the opening, ‘The Happiest Town in Town,’ very focused on storytelling and, although their vocals weren’t always clear, it was evident that they were giving everything to their performance. There was great work too during the final scene with suitably over-the-top reactions to the hanging, the monster's return and Frederick coming ‘back to life.’   Stage management by John Foley was generally quite slick. With such an episodic show, which moves along at pace, it can be difficult to maintain continuity, but Mr. Foley and his crew did a fine job. There was very impressive work in coordination of the trucks and table coming on and off for the laboratory scenes. I'm very aware of how tight things are side stage in the Millbank, so this this made things all the more impressive. Once or twice, crew needed to hold for blackouts before initiating scene changes.   The set itself was very cleverly designed, tailor-made for the intimate, challenging space at the Millbank. ‘ Young Frankenstein’ is a monster of a show and I was very keen to see how it would translate onto this stage. The set had a very gothic feel and I loved the cogs and oversized bulbs, a nod to the scientific mayhem which would follow. The centred, circular screen for projection images worked very well, as did the upstage steps and upper levels, allowing for various staging options. The projections themselves, which suggested various locations, blended perfectly with the set design, creating great depth, authenticity, and sense  of place. The castle door (with its fine knockers!) was a great piece, as were the side-hinged flats which opened out for the laboratory and the trucked laboratory machines.  The lighting in the show was wonderfully atmospheric. There were fabulous, suitably ghoulish, ghostly greens in ‘Join the Family Business.’ I loved the wonderful lighting effects in the laboratory. The effects on the walls of the set for ‘He's Loose’ were wonderful, evoking a forest scene. ‘Puttin’ on the Ritz’ was very showy, with moving lights galore. There was also very clever use of backlighting to achieve the monster silhouette in ‘Puttin’ on the Ritz.’   I felt that the train station was very bright and flat. The music for Igor's first entrance suggests a mysterious, ominous, eerie location and I felt that this could have been reflected more in the lighting design. With low fog and haze machines available, I felt a more could have been done at this point.  Sound for general dialogue was very good and very well-cued. There was also excellent use of well-chosen sound effects such as the class bell, seagulls, and all of the wonderful sound effects in the laboratory, which were very well-timed with the throwing of the switches etc. I felt that with the band outside of the auditorium, balance should have been better with the onstage performers. I struggled to hear words at times. In the opening, ‘The Happiest Town   in Town,’ I couldn't hear any of the ensemble vocals. Lyrics were also lost in ‘Join the Family Business’ and spoken lines were overpowered in ‘Please Don't Touch Me’ as passengers spoke about the new dance craze. As I attended quite early in the run, I'm sure that this was addressed.   Props were generally well-chosen with most looking very authentic to the era. From the clipboards, pencils, brain, and skeleton in Frederick's lecture, to the lanterns, pitchfork, and rake in ‘He's Loose,’ there was good attention to detail. The branches used for ‘He's Loose’   were simple but very effective and I loved the shattering mug for the Hermit and monster's toast, which worked perfectly. The only thing that I felt looked out of place was the wheelchair which I thought was too modern-looking for the era.  The hair and makeup for this show were exceptional. Ensemble hairstyles were era appropriate and there was great attention to detail with the very impressive wigs throughout. Frau Blucher's very attractive unibrow had me in stitches and the Hermit was a wonderfully hirsute creation. I loved the Bride of Frankenstein wig and the Monster’s decayed visage suggested that he had only just been dug up.  There was great attention also to in the costume department which drew inspiration from the original movie. The medical students were perfectly turned out in their white coats although, for some, we were aware of their traditional dresses underneath for the next scene. The ancestors were a wonderfully attired mishmash of historical characters. One small point was that Frederick referred to his shoes as being suede when he arrived at the train station, but they weren't. Overall an excellent costume plot with much attention to detail throughout.  This was a most light-hearted, monstrously entertaining production from Rush Musical Society which went down a storm with the sold-out audience. I smiled and giggled to myself all the way home. It was a highly entertaining show, with a very strong cast and crew. My biggest takeaway? The incredible resilience and determination shown by cast and crew in continuing their run when faced with crisis. A credit to all involved. Bravo! Pat McElwain   Gilbert Adjudicator 2024/2025

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