top of page

UPCOMING EVENTS

Come From Away

​

28 May 2026

More...
Hits from the Musicals

​

26 Oct 2026

More...
Come From Away

​

10 Sept 2026

More...
FROZEN

​

31 Jan 2027

More...
Broadway & Beyond (The Encore)

​

22 May 2026

More...

LATEST NEWS

Review: The Drowsy Chaperone - Rush Musical Society

Society name: Rush Musical Society Show name: The Drowsy Chaperone Adjudicator date of attendance: 21/03/2026 Rush Musical Society’s production of The Drowsy Chaperone embraced the charm, wit, and layered theatricality of this unique musical with confidence and creativity. This is a piece that lives and dies by its precision of tone, balancing parody with genuine affection for the Golden Age of musical theatre, and this production clearly understood the assignment. What emerged was a...

Society name: Rush Musical Society Show name: The Drowsy Chaperone Adjudicator date of attendance: 21/03/2026 Rush Musical Society’s production of The Drowsy Chaperone embraced the charm, wit, and layered theatricality of this unique musical with confidence and creativity. This is a piece that lives and dies by its precision of tone, balancing parody with genuine affection for the Golden Age of musical theatre, and this production clearly understood the assignment. What emerged was a thoughtful, engaging, and often very funny evening of theatre that demonstrated both a strong directorial vision and a committed company. At the heart of the production was a clear and intelligent directorial approach from Wilfie Pyper. The decision, in keeping with the original concept, to ground the entire narrative within the Man in Chair’s living room worked beautifully, particularly within the intimate venue. This concept allowed the audience to remain closely connected to the central character while fully investing in the heightened, nostalgic world of the musical unfolding around him. The interplay between reality and imagination was handled with care, and the overall flow of the piece felt natural and well-paced. Characterisation across the board was strong, with a clear understanding that the figures within the “show” are intentionally heightened and somewhat two-dimensional. Leaning into this stylistic choice gave the production clarity and allowed the comedy to land effectively. Each character felt purposeful, contributing to a cohesive ensemble dynamic. The humour was well judged throughout, with moments of genuine laugh-out-loud comedy balanced by quieter, more reflective beats. The slightly risqué elements of the script were handled with confidence and taste, maintaining the show’s playful tone without tipping into excess. The use of the set was particularly effective, with the space utilised to its fullest potential. Movement and staging felt intentional and well considered, contributing to strong visual storytelling. Transitions were smooth, supporting the pacing of the production. In a venue of this size, however, precision becomes even more noticeable, and there were moments where the shifts between the “real” world and the imagined musical could have been slightly sharper, particularly in relation to the operation of the record player. Tightening these transitions would further enhance the immersive quality of the piece. There was also an opportunity to deepen the storytelling in the relationship between Mrs. Tottendale and Underling. While their scenes were enjoyable and often very funny, the progression of their connection felt somewhat sudden. Allowing more development, particularly during “Love is Always Lovely,” would help the audience invest more fully in their journey. A small visual detail in the final moments, where two maids remained visible in a lighting state, slightly diluted the emotional impact of the Man in Chair’s closing scene. Refining this would help preserve the poignancy of that final image. Musically, the orchestra under Sarah Lynch Barrett brought a strong sense of energy and commitment to the production, supporting the style and rhythm of the piece. The overall sound was pleasing, though there were occasions where cohesion between pit and stage could be strengthened. Some timing discrepancies, particularly in dance numbers such as the tap sections, briefly disrupted the flow. Greater security in cueing and entrances would add polish and consistency. Balance was a key consideration in this space. At times, the orchestra overpowered the singers, making it difficult to fully appreciate the vocal performances. In an intimate venue, a lighter touch from the band would allow the voices to carry more naturally and create a more cohesive overall sound. With some careful adjustments in this area, the musical aspect of the production could reach an even higher level. Eimear Sheridan’s choreography captured the spirit of the 1920s with a clear nod to the stylised, revue-like quality of the era. There was a strong “Follies-esque” feel to many of the numbers, which suited the tone of the piece very well. The choreography was thoughtfully adapted to the available space, with creative staging that made full use of the performance area. The opening number was particularly effective in establishing energy and style, while “Show Off” stood out as a highlight. While much of the movement was clean and well executed, there were moments where greater attention to unison would enhance the visual impact. Ensuring that all performers are consistently aligned in timing, direction, and placement would strengthen the overall cohesion. One performer in particular struggled slightly with consistency, which occasionally drew focus. Addressing this would help maintain the polish of the ensemble work. There was also an opportunity to involve all members of the chorus more fully in the choreography, enriching both the visual texture and the sense of ensemble. The central performances provided a strong anchor for the production. Simon Pyper’s Man in Chair was an exceptional piece of acting, natural, nuanced, and deeply affecting. His portrayal captured the character’s childlike enthusiasm and underlying vulnerability with great authenticity, drawing the audience into his world from the outset. The emotional journey was clear and compelling, culminating in a final moment that landed with real impact. Rebecca Leonard delivered a poised and elegant Janet van de Graaf, embodying the classic 1920s leading lady with grace and precision. Her physicality and attention to detail were excellent, and vocally she brought a lovely tone to the role, delivering the expected moments with confidence and charm. Stephen Ryan’s Robert Martin was warm and engaging, with a particularly strong tenor voice. His high notes were impressive, and his ease of movement, including the roller-skating, added to a confident and appealing stage presence. His relationship with Janet felt genuine and comfortable, supporting the central narrative. Niamh Banim’s Drowsy Chaperone was vibrant and full of energy, with a powerful vocal presence and strong comedic instincts. Her facial expressions and character choices were highly entertaining, and while the portrayal of intoxication could be refined slightly to feel more natural, the overall performance was memorable and effective. The supporting cast added depth and variety to the production, with many strong individual contributions. Noreen Fynes brought a clear sense of character to Mrs. Tottendale, leaning into the confusion and eccentricity for strong comic effect. Her interactions with Brian Magennis’s Underling were particularly enjoyable, with Magennis delivering a very funny, well-controlled performance grounded in excellent deadpan timing. There is scope to further develop the emotional progression of their relationship, but the foundation is strong. Mark Flynn’s George was a confident and well-characterised performance, with effective physicality and a pleasing vocal contribution. Daniel Farrell’s Adolpho was a standout, fully embracing the exaggerated, flamboyant nature of the role with confidence and flair. His performance was both vocally strong and physically dynamic, with his rendition of “Adolpho” providing a clear comic highlight. Gary Finegan’s Mr. Feldzig delivered a very good performance, capturing the character’s panic and urgency with clarity. His interactions with Kitty and the Gangsters were effective and well timed. The Gangsters themselves presented an interesting contrast; Kevin Twohig brought strong energy and engagement, while Helen Farrell appeared less comfortable, particularly in maintaining eye-line and connection with the audience. With increased confidence and commitment to the physical comedy, these roles could unlock even more humour. Nora Farrell’s Kitty was a very funny and characterful performance, with strong vocal and physical choices that reflected the style of the role. While diction was occasionally impacted by the character voice, her interactions with Mr. Feldzig were excellent, and her “premonition” moments were particularly memorable. Aoife Parkes made a strong impression as Trix, delivering a confident and vocally powerful performance, while Barry Kavanagh’s Superintendent demonstrated excellent comic timing and characterisation, proving that even a smaller role can have significant impact. The ensemble brought strong energy and enthusiasm to the stage, contributing positively to the overall pace and atmosphere of the production. Their commitment was evident, and they were particularly effective in their handling of entrances, exits, and set transitions. Vocally, there were moments where the chorus was difficult to hear, often due to balance and microphone considerations. Ensuring consistent amplification would allow their contribution to be more fully appreciated. Movement was generally well executed, though, as with the choreography overall, a greater focus on precision and unison would strengthen the visual impact. Stage management, led by Connie Murray, was clearly well organised and thoughtfully executed. The decision for the cast to manage set changes worked very effectively, with transitions integrated smoothly into the performance. The set itself was a real highlight, creative, detailed, and highly functional. The use of elements such as the fridge as an entrance point added a playful and imaginative touch, while the overall set dressing demonstrated a strong attention to detail. The inclusion of cast photos within the album concept was a particularly nice touch, and maintaining consistency in their visual style would further enhance the aesthetic. Lighting contributed some lovely stage pictures and supported the atmosphere of the piece. With sharper cueing, particularly in the transitions between the real and imagined worlds, the storytelling could be even clearer. Sound presented more noticeable challenges, particularly in balance. The orchestra frequently overpowered the singers, and there were moments where dialogue, especially from the Man in Chair during musical numbers, was difficult to hear. A more balanced approach would significantly improve clarity and audience engagement. Visually, the production was outstanding. The costumes were beautifully designed and perfectly suited to the period, with a cohesive colour palette and excellent attention to detail. The maids’ costumes in particular were thoughtfully coordinated. Hair and make-up were equally strong, capturing the style of the era with precision and adding significantly to the overall authenticity of the production. From an audience perspective, the experience was enhanced by a warm and welcoming atmosphere on arrival. Front of House operations were efficient and well organised, ensuring a smooth seating process and contributing to a sense of anticipation in the space. The intimacy of the venue worked very much in the production’s favour, allowing for a strong connection between performers and audience and supporting the immersive nature of the piece. Overall, this was a highly enjoyable and thoughtfully realised production that demonstrated a clear understanding of The Drowsy Chaperone and its unique theatrical voice. With some refinement in technical balance and precision, particularly in sound and timing, this production has all the elements to reach an even higher standard. The talent and dedication within Rush Musical Society are evident, and this was a performance full of charm, creativity, and heart.

Review: The Addams Family - Drogheda Musical Society

Society name: Drogheda Musical Society Show name: The Addams Family Date of attendance: 12th March 2026 ________________________________________________________________________ At 19:35 on 12th March, 2026, the lights dimmed in the Barbican Theatre, Drogheda, and a little piece of history was created, or perhaps more fittingly, recreated, as Drogheda Musical Society returned to the stage with their production of ‘The Addams Family’. This marked the society’s first production since the 1980s,...

Society name: Drogheda Musical Society Show name: The Addams Family Date of attendance: 12th March 2026 ________________________________________________________________________ At 19:35 on 12th March, 2026, the lights dimmed in the Barbican Theatre, Drogheda, and a little piece of history was created, or perhaps more fittingly, recreated, as Drogheda Musical Society returned to the stage with their production of ‘The Addams Family’. This marked the society’s first production since the 1980s, making the occasion all the more special. What better way to bring a society ‘back from the dead’ than with a show so playfully steeped in the macabre as ‘The Addams Family’? It was the perfect choice as this new chapter began. For a society in its infancy, the production was a confident and encouraging first step on what promises to be an exciting journey. Front of house was unusually calm for an opening night, particularly for a society at the very beginning of its journey, where one might expect a degree of chaos as systems and routines are being put in place. Instead, there was a relaxed and well-organised atmosphere. We were welcomed into the auditorium and everything flowed smoothly without any sense of urgency or pressure. If there is one small area for consideration, it would be the movement of front of house personnel during the performance. There was some traffic up and down the centre aisle in the first half, as latecomers were seated and checks were carried out. While this is entirely understandable, particularly in a new setup, allowing for natural breaks in the action might help to minimise any distraction for the audience. Director Sarah Louisa Nolan did a very good job in bringing this fun and quirky show to the stage. Working with a cast of varying levels of experience, Ms. Nolan succeeded in getting the best out of her performers. There was a strong understanding of the show’s comedic tone, which came through clearly in the staging and character work. Pace and flow were particular strengths of the production. The integration of the Ancestors throughout the show, particularly in introducing and distributing props during scenes, worked very well and contributed greatly to the overall fluidity of the production. There were some opening night jitters from one or two principal performers which disrupted flow on occasion. However, that is to be expected on such a big occasion and I have no doubt that things settled as the run progressed and confidence grew. What stood out most was the attention given to the ensemble. Every performer was engaged and knew what their contribution should be. This was a very assured piece of direction that laid a very strong foundation for future productions. Megan Monerawela took on the role of Musical Director. As a society starting from scratch, the decision to use backing tracks for this first outing was both practical and sensible. With many start-up groups finding themselves under financial pressure after an initial production, this felt like a wise choice, and one that did not detract from the audience’s enjoyment of the show. Following some minor initial balance issues, things settled quickly, and from that point on the musical aspect of the production was very strong. Ensemble singing was particularly impressive, with excellent attention to dynamics and some really good harmony work. Principal vocals were generally strong and full of character. Of course, one of the challenges of working with tracks is the lack of flexibility. Should anything go slightly off course, it can be more difficult to recover in the moment. Thankfully, such instances were few and far between on the night. Looking ahead, encouraging performers to maintain connection with the audience while keeping the Musical Director in their peripheral vision may help to strengthen performance presence even further. A particular highlight was the vocal work in ‘The Moon and Me’ and ‘Move Towards the Darkness’, where the harmonies were especially strong and beautifully delivered. The standard of choreography was impressive, both in terms of creativity and execution. Aisling Nally devised a series of routines that were very in keeping with the style and tone of the show and which indicated lots of preparation and clear direction. Ensemble numbers were especially effective, full of energy, precision and character. There was a noticeable confidence in performance and this was all the more impressive given that it was opening night. ‘When You’re an Addams’ was a strong and impactful opening, setting the tone with well-rehearsed movement and excellent facial expressions from the ensemble. ‘Trapped’ was another standout, with the clever incorporation of swords working really well. Indeed, the integration of props throughout the choreography was a real strength of Ms. Nally’s work, handled with great creativity throughout. The tango sequence, choreographed by assistant choreographer Katie Fitzsimons, was a highlight of the production. This is a moment that can sometimes lose energy but that was not the case here. It was very well rehearsed, sharply executed and full of character and humour. Peter Kermath played the leading role of Gomez Addams and it was a performance that showed considerable promise. He fully embraced the zaniness of the role, with his wonderfully expressive face and a natural instinct for comedy. ‘Trapped’ was a particular highlight, with that final big note that showcased his vocal potential very clearly. There is definitely a natural comedic performer emerging here. As confidence continues to grow, so too will the scale and range of his comedic ability. Similarly, some additional focus on projection in quieter moments, will raise Mr. Kermath’s game. His movement in ‘Full Disclosure’ was very funny, adding to the humour and physicality of his performance. Mr. Kermath is definitely a performer to watch and I look forward to seeing how he continues to fine-tune his skills in future roles. Suzan McDonagh Fitzsimons brought a wealth of experience to the role of Morticia, with a very polished performance throughout. She had a calm confidence and an elegant presence that really suited the character, allowing the humour and sophistication of Morticia to shine through. Vocally, she was impressive, with ‘Secrets’, in particular, standing out as a musical highlight. There was also a great comedic touch to her performance. The “coroner” gag was subtle, knowing humour at its best, nothing forced and an understanding that sometimes less is more. ‘Death Is Just Around the Corner’ was another excellent moment, showing Ms. McDonagh Fitzsimon’s vocal ability and her ease on stage. Overall, this was a super performance with strong vocals, subtle comedy and a very good understanding of the role. Niamh Costello gave a strong performance in the role of Wednesday, capturing her character’s dark, deadpan nature with great consistency. She very much understood Wednesday’s gothic vibe and her ability to keep her trademark scowl going through the whole show was impressive. Vocally, Ms. Costello did very well. ‘Pulled’ was a standout moment, showcasing her fine voice and performed with confidence and power. Her diction was consistently clear and she had very good comic timing throughout. It was a very confident and thoughtful performance, with strong character work and very good vocals. Paul Davis showed plenty of potential in the role of Uncle Fester, with his strong sense of physical comedy and character. His very expressive face was put to great use throughout, and he embraced the eccentricity of the role, getting plenty of laughs in the process. He also had a fine voice, with ‘The Moon and Me’ providing a memorable highlight. At times, there were some slight uncertainties with musical timing, including a small number of tentative entries and one moment where the vocal moved ahead of the track. However, these were quickly recovered, with strong support from Ms. Monerawela, who helped to keep everything on track. Another performer who will, no doubt, continue to develop with experience. Susan Savage brought great humour and energy to her portrayal of Grandma. Her characterisation was deliciously eccentric and unpredictable, with excellent use of voice and a wonderfully twisted physicality that was consistent throughout. Her facial expressions and movement added greatly to what was a very funny portrayal. Comedy was very strong. Her perfectly timed “I just peed” earned one of the biggest laughs of the night, thanks to Ms. Savage’s wonderful timing. A lively, thoroughly enjoyable portrayal, full of character and fun from start to finish. Casting Katie Fitzsimons in the role of Lurch was a somewhat unconventional choice but one that proved to be very effective. My initial reservations were very quickly put to rest as Ms. Fitzsimons gave a delightfully funny performance that fully captured Lurch’s absurdity. Her offbeat ‘back-story’ when greeting the Beinekes was hilarious, suggesting all sorts of wonderfully absurd possibilities within the Addams household. Could Morticia have secretly been Lurch’s mother?? Who knew? Moments such as mopping up after Grandma’s ‘accident’, drew huge laughter from the audience and her brilliantly confused reaction to Alice’s advances during the very funny ‘Waiting’ added a whole other comedic layer. She unexpectedly danced with great confidence in the tango sequence. Her moment in ‘Move Towards the Darkness’ was delivered with commitment, even if the male vocal register did not sit comfortably and transposing was not an option with the tracks. A very strong and engaging performance overall from Ms. Fitzsimons. Dillon Corcoran was animated and very engaging as Lucas, bringing great energy to the role. He was a strong actor, with a natural comedic ability and a very impressive physicality that suited the part well. He played Lucas’s goofy, all-American enthusiasm so well, providing a perfect counterbalance to Wednesday’s darker, deadpan persona. Mr. Corcoran showed great stage awareness and some quick thinking that was most impressive. In one scene, he recovered a brief lapse from a fellow performer quite seamlessly; a clear sign of someone who is in the moment and fully in character. Vocally, he was equally strong, with ‘Crazier Than You’ giving an opportunity to show his impressively confident singing voice. Emma Jayne Calvey was highly entertaining as Alice Beineke, with a delightfully over-the-top energy that made her an audience favourite from the start. She was a very clever actress with a sharp instinct for comedy and she embraced Alice’s quirks so well. ‘Waiting’ was undoubtedly one of the comic highlights of the production and Ms. Calvey threw herself into it with complete commitment. Vocally, she was very impressive, with a powerful delivery in ‘Waiting’ that matched her unhinged energy. Excellent work from Ms. Calvey throughout. Tom McGanley was the perfect foil to Ms. Calvey’s Alice, with his very entertaining performance as Mal Beineke. Delivery was consistently sharp and his increasing bewilderment with the Addams family as his suspicion built was hilariously played. His escalating exasperation as Alice unravelled was comedy gold. Vocally, he was also strong, getting his chance to shine in ‘Crazier Than You’ with his confident and very capable singing voice. A very well-executed performance from a clever performer, who shone as one of the production’s more ‘normal’ oddballs. Lennon Doyle gave a very strong performance as Pugsley, the youngest member of this delightfully dysfunctional family. A talented young performer, he brought a confident stage presence, a keen instinct for comedy and musicality to the role. Vocally, Lennon had a strong and musical singing voice. ‘What If’ is no easy number, sitting quite high at times, but he approached it with intelligence and good musical awareness. He also had great fun in the Act 1 finale, where his enthusiastic antics with Grandma’s acrimonium helped to unleash the chaos that followed. A motley crew of strange Ancestors appeared throughout the show and what was immediately apparent was the level of work and attention that had gone into the ensemble as a whole. Each ensemble member had their own identity, with movement that was appropriate to that character. They really came into their own during ‘the game’, where the background business and reactions were perfectly appropriate and never distracted from the intended point of focus. The stillness of the three Ancestors holding the frames during ‘Happy/Sad’ was simple, effective and very well executed. Similarly, the ensemble’s focused observation during ‘Crazier Than You’ helped to draw us into the tension of the scene without pulling focus. A highly effective and well-drilled ensemble overall. Stage Manager Liam MacEneaney ensured that the production moved along in an organised and efficient manner throughout. For a society at this stage of its development, this was a very reassuring element of their first production. There was effective use of cast, at times, to assist with setting and striking furniture. There were a small number of moments where greater coordination between stage management and lighting would have helped, as occasionally, lighting cues came in slightly ahead of the stage being fully set. These were minor and did not significantly impact the performance but are worth noting as the society continues to build on this positive start. Set design had a strong understanding of the gothic world of ‘The Addams Family’. The overall concept was quirky, fun and macabre throughout. The raised platform and steps gave great depth and allowed for varied staging opportunities and use of levels. The tombstones either side of the stage were a simple but effective choice in establishing the show’s gothic environment. The imposing gates, covered in cobwebs were a particularly good visual focus at the top of the show. The overall achievement was significant in creating a confident, imaginative canvas against which to present this inaugural show. The set supported the storytelling very well and showed a strong creative instinct. An excellent foundation on which to build going forward. Lighting for the show provided a very positive springboard for the future. There were many thoughtful moments, with the break-up gobos warming the front tabs pre-show, setting the tone so well. There was a strong sense of atmosphere throughout, with lighting working well to establish the dark, macabre world so central to the show. The use of haze was particularly effective, adding an otherworldly quality that complemented the overall look of the production. Cueing was generally well handled, with good timing throughout. The snap cues for Gomez’s ‘Two Things” moments were nicely timed, with rapid shifts between reality and Gomez’s inner thoughts as he addressed the audience directly. With lots of atmosphere and a strong understanding of mood and timing, the lighting design provided an excellent platform for further development in future productions. Sound was very well managed overall. Track levels were particularly well judged throughout. The overall sound quality was excellent, with clear vocals and an impressive balance between voices and backing tracks. EQ levels were well set, allowing lyrics to come through clearly without being overpowered. There were no missed cues throughout, a really impressive achievement for an opening night. Looking ahead, there may be opportunities to further complement the storytelling through the use of sound effects. A show like ‘The Addams Family’, with its quirky style, lends itself particularly well to this kind of creative detail. Super work throughout. Costumes were very much in keeping with the traditional visual associated with ‘The Addams Family’. Lurch’s elevated footwear worked well to give added height. Pugsley’s black and white stripes were exactly as expected and immediately identifiable, while Wednesday’s yellow dress added great visual humour, as she attempted to appear “normal” for the Beineke’s visit to Central Park. Gomez’s black and blue jacket was a stylish choice, setting him apart and adding an extra touch of flair and exoticism. Mal’s Grateful Dead t-shirt was another nice touch, as he channelled the old Mal in an attempt to reignite his marriage. There was also some clever and subtle storytelling through costume. The move to Lucas wearing black and white while Wednesday wore a yellow tie, was a nice touch, representing a blending of their two worlds. Morticia’s styling was deliciously gothic and carried with confidence and elegance throughout. The Ancestors were beautifully presented as a group, dressed in off-white, ghostly tones. There was excellent attention to detail in the props department. The larger furniture items were effective, with the antique chair and chaise longue helping to establish the gothic look of the Addams household. Smaller props were equally well considered. Grandma’s well-stocked trolley was humorously dressed and the distinctive green jar of acrimonium stood out clearly. It was great to see this kind of clarity. Props incorporated into the choreography were handled very well, with items such as the swords adding greatly to storytelling within the movement. The crossbow was another standout piece. The lanterns used in ‘Move Towards the Darkness’, added nicely to the mood of the scene and Fester’s wonderfully absurd, clearly homemade rocket pack was a very funny highlight. Of course he would have made it from whatever junk was lying around! Great attention to detail. The chalice used in ‘Full Disclosure’, complete with its distinctive ‘A’, was another important piece. Overall, a very strong and imaginative props design. Hair and makeup were very effective overall, working in tandem with the costumes to help create the weird and wonderful characters of the Addams world. The Ancestors had excellent makeup that complemented their costuming and enhanced their ghostly, otherworldly presence. Wednesday’s trademark plaits looked great and her black nail polish was a lovely touch. Pugsley’s red eyes were another subtle but effective detail. Lurch’s makeup was especially striking, leaving the audience to question whether they were among the living or the dead; entirely appropriate for the show. Gomez’s handlebar moustache and goatee were perfectly suited, adding to his sense of flair, while Fester’s wig during his disguise as a ‘normal’ football player provided a great comic moment. Grandma’s wig was a particularly wild piece, full of character and well suited to the role. For me, this was far more than just a night at the theatre. It signalled the return of Drogheda Musical Society after decades away and that in itself was a remarkable achievement. To bring a society back to life requires vision, determination and no small amount of courage and all involved should take great pride in what has been accomplished here. For a group in its infancy, this was a very solid and encouraging start. There was a clear sense of ambition throughout, with a talented production team and a cast who were fully committed. As with any opening production, there were areas that will naturally develop with time and experience, but what shone through above all was the potential within this group. There was a sense of enjoyment on stage that came from a group of people who believed in what they were doing. The energy in the theatre and the engagement from those who may not regularly attend musical theatre, is something many long-established groups strive for, and it is a wonderful omen for the future. There is every reason to believe that this is the beginning of an exciting and successful new chapter as Drogheda MS moves towards ‘the brightness’. Welcome back! Pat McElwain Sullivan Adjudicator 2025/2026

Review: We Will Rock You - Naas Musical Society

Society name: Naas Musical Society Show name: We Will Rock You Date of attendance: 9th of March 2026 ________________________________________________________________________ Naas Musical Society marked a significant milestone with their production of ‘We Will Rock You’, their 30th show since the group’s foundation in 1995. It was a great choice for such an occasion. The show was big, bold, and unapologetically crowd-pleasing, with a catalogue of instantly recognisable Queen hits. The audience...

Society name: Naas Musical Society Show name: We Will Rock You Date of attendance: 9th of March 2026 ________________________________________________________________________ Naas Musical Society marked a significant milestone with their production of ‘We Will Rock You’, their 30th show since the group’s foundation in 1995. It was a great choice for such an occasion. The show was big, bold, and unapologetically crowd-pleasing, with a catalogue of instantly recognisable Queen hits. The audience was in very familiar musical territory, with one iconic number following another. ‘We Will Rock You’ is not without its narrative quirks. Set in a dystopian future where individuality and live music have been suppressed, the story (such as it is) is tongue-in-cheek, packed with puns and non-stop references to iconic song lyrics and a rollercoasting energy that might well be challenging to follow. It was a thoroughly entertaining show with a superb cast working in tandem with a skilled production team, to ensure that the heart, humour, and spectacle of the piece shone through brightly. Front of House at the Moat Theatre was, as always, a very positive experience. The foyer area was busy yet well managed, with everything moving along smoothly and efficiently. A particularly nice touch was the display of cast photographs, which were beautifully captured, professional shots that created a polished and inviting atmosphere before the performance had even begun. It was also a pleasure to meet some of the founding members of the society, individuals steeped in its history, who shared stories and anecdotes from across the years. There was a great sense of community throughout the theatre, with a warmth and familiarity evident as audience members greeted one another. Director Sharon McNamara showed a clear understanding of the material, capturing the unique blend of musical theatre and rock gig that people expect from ‘We Will Rock You’. It is a show that requires a confident hand to balance these elements and Ms. McNamara embraced the theatricality and the concert-style energy impressively. Pace was very well judged and there was no let up in momentum from start to finish. The show’s notoriously bonkers storyline was navigated with skill, with Ms. McNamara finding as much clarity as possible in a plot that can often feel chaotic. Comedy was a particular strength throughout, with sharp comic timing evident across the principal performances. The use of projection was also cleverly integrated, most notably in the motorbike sequence, which was both imaginative and highly effective as Buddy, Galileo and Scaramouche made their journey in style. Equally, the simple yet effective reveal of the guitar towards the end of the show was handled very well. Overall, this was a super piece of work from a skilled director who clearly had a firm grasp of how to bring this challenging material to life. Musical Director Mairéad McKenna assembled a highly capable group of musicians, clearly au fait with the demands and style of the genre. The seven-piece band, comprising two keyboards, two guitars, bass, drums and percussion, delivered a full, driving sound that captured the essence of Queen’s iconic score. Ms. McKenna led from the keys and there was no doubting the quality of musicianship on display throughout. There were some challenges in achieving balance within the space. While the energy and power of the band were entirely in keeping with the style of the show, the mix leaned heavily toward bass and kick drum which, at times, overpowered vocals. With the band positioned offstage, accurately gauging the balance in the auditorium can be more difficult and this may have contributed to these issues on the night. That said, there were many moments of genuine musical excellence. Ensemble vocals were very strong throughout, with the offstage singing at the top of ‘A Kind of Magic’ being particularly effective. The ensemble delivered with real confidence in their onstage numbers, right up to their stirring ‘Bohemian Rhapsody’ finale. ‘No One But You’ stood out as a highlight, featuring a superb lead vocal from Oz supported by beautiful harmonies from the Bohemians. Áine Foley’s choreography was well in tune with the style and demands of the piece, embracing both its rock concert vibe as well as its theatricality. There was a good understanding of how to use movement to enhance character and to build energy, while also ensuring that the large ensemble was effectively utilised throughout. ‘Radio Ga Ga’ was a particular highlight, with impressive synchronicity and strong visual impact. ‘Killer Queen’ was delivered with real flair, the dancers clearly relishing the opportunity to lean into the number’s camp energy with confidence and enjoyment. ‘A Kind of Magic’ showcased a different dynamic, with precise, military-style movement that was both disciplined and visually striking, making excellent use of the multi-level set. ‘Fat Bottomed Girls’ added a playful edge, incorporating riding crops to good effect in what was a cheeky and entertaining routine. A standout element of the choreography was that it was well judged in accommodating a wide range of abilities within the ensemble, ensuring that all performers were included and given opportunities to shine. Galileo, the outsider at the heart of the story, was played with a frenetic energy by Tom Joyce. His erratic, impulsive movement established a very clear character choice from the outset, reflecting the role’s eccentricity and sense of disconnection. While this heightened physicality is often associated with the character, it did at times feel a little distracting, with mannerisms drawing focus. Vocally, Mr. Joyce was exceptionally strong, demonstrating a very impressive range in his rock tenor voice. This was most evident in ‘Who Wants To Live Forever?’, where his vocals soared with ease, delivering one of the standout musical moments of the evening. ‘I Want To Break Free’ was another highlight, showing both his vocal control and his ability to connect with the lyrics in a meaningful way. Mr. Joyce also showed a strong comic instinct, particularly in moments where Galileo is overwhelmed by the song lyrics racing through his mind. Scaramouche, the sharp-witted, rebellious misfit who refuses to conform, was played by Claire O’Reilly. As a character, she was a perfect contrast to Galileo’s more chaotic energy. She was sarcastic and guarded initially but eventually revealed her more emotional side. Ms. O’Reilly captured these elements excellently, delivering a standout performance that balanced attitude, vulnerability and humour so well. Her comic timing was excellent throughout, with a brilliantly natural delivery that allowed each line to land with maximum effect. There was an authenticity to her performance that never felt forced, and she demonstrated a strong understanding of when to let the comedy breathe and when to push for impact. Vocally, Ms. O’Reilly was equally impressive, with a strong range and a tone that was always full of character and well connected to the lyrics. Overall, this was a polished, memorable and very funny portrayal. Sophie Mulhare brought Killer Queen, the all-powerful, controlling force behind the Globalsoft regime, to life in memorable fashion. Ms. Mulhare embodied dominance, glamour, and menace in equal measure. She was part tyrant, part rock diva and clearly enjoyed every minute of this clear departure from her day job as a primary school teacher! Vocally, this was a top-class performance. ‘Fat Bottomed Girls’ was bold and unapologetic and suited her style perfectly as she belted it out with power and flair. ‘Another One Bites The Dust’ further showed her excellent vocal control. Ms. Mulhare also demonstrated excellent comic instincts, particularly in her interactions with Khashoggi during the ‘Don’t Stop Me Now’, with razor-sharp timing that made it one of the comedic highlights of the show. Killer Queen’s right hand man, Khashoggi, was played with great assurance by Conor MacNamee. Mr. MacNamee played the role as with a sleek, sinister touch and knew exactly how to nail the show’s dry, knowing humour. He combined an underlying menace with a relaxed, almost understated delivery that allowed the comedy to land naturally without ever feeling forced. Vocally, he also impressed. He delivered ‘Seven Seas of Rhye’ with confidence and enthusiasm, throwing himself fully into the performance and revealing a vocal strength that added another dimension to his already impressive portrayal. Buddy, the keeper of musical history and one of the show’s most endearing figures, was played brilliantly by Andrew Docherty. Mr. Docherty embraced Buddy’s eccentricity, giving us a performance that was both unhinged and utterly engaging. The decision to present Buddy as a Scot proved to be an inspired one, giving the character a distinctive identity and greatly enhancing the comic potential of the role. The running gag of half-remembered musical knowledge, delivered through a series of hilariously mispronounced references, was comedy gold, as was his gloriously over-the-top reaction to the suggestion of singing a cappella. ‘These Are The Days Of Our Lives’ was delivered with great heart and sensitivity. It was a nice contrast to the high-energy comedy and demonstrated a well-rounded performance that balanced humour with heart. Adam Trundle was a superb Brit, one of the Bohemians intent on discovering the lost secrets of live music. Mr. Trundle brought great clarity to the role, with a strong command of text that actually made sense of a plot that can, at times, feel convoluted. His delivery was thoughtful and solid, ensuring that important narrative points landed effectively with the audience. There was a great confidence in his stage presence, and he brought a warmth to the character that made him immediately likeable. Vocally, Mr. Trundle was consistently strong. His superb range and musicality were evident at every turn. ‘I Want It All’ was particularly impressive with Oz. This was an excellent comic performance from a very talented performer which brought great charm to the production overall. Jenny McCabe played Brit’s partner in crime, Oz, with a combination of resilience, warmth and determination to preserve what little remains of the world’s musical history and identity. Her consistently excellent accent sat very comfortably within the context of the show and her delivery throughout demonstrated a sharp comic instinct, getting the most out of the script’s offbeat humour with wonderful confidence. Her onstage partnership with Mr. Trundle was excellent, both creating a strong, humorous dynamic that made them a perfectly cast duo. This was especially evident in the anthemic ‘I Want It All’, where Ms. McCabe and Mr. Trundle combined brilliantly to deliver a high-energy and musically tight performance. Vocally, Ms. McCabe was outstanding throughout. Her solo in ‘No One But You’ was, for me, the musical highlight of the show, delivered with beautiful tone, control, and an utterly believable sincerity. In the role of Teacher, David Kirk made a welcome return to the stage after a number of decades away, bringing a natural ease and assurance to the role. He captured the character’s controlled authority very well, while still allowing a glimpse of personality to come through. Mr. Kirk had strong stage presence and clear, confident diction that ensured every line was delivered with purpose and clarity. The ensemble did very well, with strong vocals and well-rehearsed choreography adding to their energetic onstage presence. They provided excellent support to the principal characters throughout, maintaining high performance levels across the board. There was a good sense of commitment, with performers fully engaged throughout. The Teen Queens were particularly impressive, excelling both in movement and vocally. Their unaccompanied “Find me somebody to love” section was a standout moment, allowing their musicality to shine through with well-blended, accurate harmonies. The dancers in ‘Killer Queen’ also stood out, bringing great style, confidence, and strong performance energy with their precision and flair. The Bohemians formed a particularly strong and believable group, embodying a rebellious spirit and sense of community. Vocally, the ensemble was consistently solid, contributing a strong choral sound. Stage management, under the guidance of Bob O’Kelly, was slick and efficient throughout. Particularly impressive was the flying of the cyc, which acted as a downstage projection screen, along with the large upstage ‘circuit-board’ fly piece. Both were executed smoothly and with excellent timing. The split blacks beneath the raised platform provided effective masking, although there was one early moment where hands were briefly visible adjusting them from behind during a scene. This was a minor blip in the context of an otherwise polished operation. There was strong coordination between departments, most notably following the torture sequence, where chairs were struck efficiently under the cover of lighting blinders. Overall, a highly competent and professional piece of stage management that played a key role in the smooth running of the show. The set design really established the bold, high-energy world of ‘We Will Rock You’. The overall visual impact was strong, with lighting integrated into the structure to create a gig-like atmosphere that drew us into the energy of the piece from the outset. The multi-level structure at the heart of the design was extremely practical and visually effective. The raised platform, flanked by staircases and additional playing areas, provided excellent staging opportunities. The trussing added to the industrial feel while also supporting the lighting design, and the upstage ‘circuit board’ fly piece worked very well in reinforcing the technological dominance at the centre of the story. What stood out most was the versatility of the set. The use of projection, particularly in sequences such as the motorbike ride, was both imaginative and well-integrated, adding another visual layer. Lighting played a major role in the overall visual impact of this production, helping to create a world that was both atmospheric and had a real rock concert vibe. The use of battens on the proscenium arch, combined with practical lamps integrated into the set, added greatly to the overall picture, in setting an industrial, futuristic tone. The design made excellent use of moving lights and haze to create striking, dynamic images. Particularly impressive was the use of beam effects to create laser-like ‘bars’ during Galileo’s imprisonment, a clever and visually impressive choice that added to the drama and the visual spectacle. There was also great sensitivity where required. ‘No One But You’ was beautifully lit, capturing a sense of stillness and emotional depth that allowed the number to breathe. Sound in ‘We Will Rock You’ always presents a challenge, requiring a careful balance between the power and drive of a live rock band and the clarity of vocals needed to tell the story, as convoluted as it may be. On this occasion, the production embraced the energy and volume that are so central to the show’s roots, with the very talented musicians delivering a full sound that captured the spirit of Queen’s music and contributed greatly to the overall atmosphere. At times, however, the balance leaned more heavily towards the band, particularly in the lower end, with bass guitar and kick drum occasionally dominating the mix. In a venue as intimate as the Moat Theatre, this sometimes made it more difficult for vocals and harmonies to come through with full clarity, particularly in numbers such as ‘Under Pressure’. That said, there were many elements of the sound design that worked very effectively. The use of effects was well judged, most notably the vocoder in ‘Radio Ga Ga’, which added a very authentic style to the number. There was also good evidence of strong vocals across the cast, well blended and musically assured. Costumes were a major strength of the production, playing a crucial role in defining the two opposing worlds. The ensemble’s silver tops, white trousers and matching silver caps for ‘Radio Ga Ga’ created a uniformed image that reinforced Globalsoft’s controlled, manufactured identity. It was futuristic without being overcomplicated, creating an almost robotic visual. On the Bohemian side, the costume design was equally successful. There is always a risk that this world can descend into a chaotic mishmash of rock clichés but that was very carefully avoided. The Bohemians’ collective look felt coordinated rather than thrown together. Ripped fabrics, tartans, fishnets and leather all featured. Buddy’s kilt was a fun choice which reinforced his individuality. There was very good work from the props department throughout, with some strong attention to detail. The Bohemians’ den was particularly well realised, filled with an eclectic mix of items that reflected their scavenger-like existence. The motorbike was a standout piece, with a distinct Mad Max-style that made it look like it belonged in the Bohemians’ dystopian world. One small point was that the Bohemians’ drinking bottles were empty, which slightly broke the illusion of reality. A minor point, to be fair, in the context of what was otherwise very strong work from the props team. There was excellent work from the hair and make-up team, with a strong sense of style throughout. The Teen Queens looked great, with their brightly coloured bobbed wigs perfectly complementing their pastel skirts. Khashoggi’s white wig immediately set him apart, giving him a recognisable and authoritative presence, while Buddy’s larger-than-life wig leaned into a classic rock icon aesthetic, perfectly suiting his eccentric personality. There was also strong attention to detail in the make-up design. Galileo’s guyliner was a particularly effective touch, while Killer Queen’s glamorous, polished look reinforced her dominance and diva-like presence. The Bohemians also looked great, with hair and make-up reflecting their rebellious identities. Overall, this was a most enjoyable production from Naas Musical Society, marking their 30th show with great confidence and energy. A very talented cast, under the guidance of a skilled production team, brought this challenging and often chaotic piece to life with great commitment and flair. Most importantly, there was a real sense of fun and enjoyment both on stage and across the theatre, with a strong community spirit underpinning the entire production. A fitting milestone for the society and a production that everyone involved will remember for a long time. Pat McElwain Sullivan Adjudicator 2025/2026 Photos are by Brenda Reade Photography

Review: Legally Blonde - Trim Musical Society

Society name: Trim Musical Society Show name: Legally Blonde Adjudicator date of attendance: 04/03/2026 Trim Musical Society’s production of Legally Blonde was a vibrant, energetic and highly engaging evening of theatre that captured the spirit and pace of this much-loved musical. From the outset, there was a clear sense of confidence in the storytelling, with a strong understanding of the show’s tone and style. The decision to have activity already taking place onstage as the audience...

Society name: Trim Musical Society Show name: Legally Blonde Adjudicator date of attendance: 04/03/2026 Trim Musical Society’s production of Legally Blonde was a vibrant, energetic and highly engaging evening of theatre that captured the spirit and pace of this much-loved musical. From the outset, there was a clear sense of confidence in the storytelling, with a strong understanding of the show’s tone and style. The decision to have activity already taking place onstage as the audience entered was particularly effective, immediately immersing the audience in Elle Woods’ world and setting the playful, high-energy atmosphere that the piece demands. Under the direction of Emma Thornton, the production benefitted from a strong sense of flow and clarity. The storytelling was easy to follow, with well-judged pacing that ensured the show moved along at a consistent and engaging tempo. Transitions were smooth and purposeful, allowing scenes to shift without losing momentum. The blocking throughout was thoughtful and effective, creating visually interesting stage pictures while ensuring that key narrative moments were clearly communicated. Importantly, the stage never felt overcrowded or static, there was always a sense of movement and intention behind each choice. A particularly commendable aspect of the direction was the attention given to characterisation, especially within the ensemble. Each performer appeared to have a clear understanding of their role within the world of the show, resulting in a stage picture that felt populated with distinct and believable individuals rather than a uniform chorus. This added richness and depth, enhancing the overall storytelling. Creative touches such as the pre-show presence of the Delta Nu girls and the use of Margot, Pilar, and Serena for the pre-show announcements via video were both effective and stylistically appropriate. These moments helped to establish the tone early and reinforced the identity of the piece in a cohesive way. While the production was consistently well executed, there may be opportunities in future to explore more distinctive or daring directorial choices. Everything was polished and clear, but there is scope to push further into unique interpretive territory to create an even more memorable visual and narrative signature. From a design perspective, the use of pink across costumes, set, and lighting was thematically appropriate and individually very effective. However, when combined, these elements occasionally created a slightly overwhelming visual palette. Introducing more contrast in colour could help to highlight key characters and moments, giving the audience clearer visual focal points while still maintaining the show’s signature aesthetic. Musically, the production was in very strong hands under the direction of Ben Cully. The band delivered a full, rich sound that supported the performers beautifully without overpowering them. Balance was well maintained, allowing vocals to remain clear and intelligible throughout. Tempos were well judged, contributing to the overall pace and energy of the show, and there was a strong sense of cohesion between pit and stage. The ensemble singing was a particular strength, with harmonies that were well tuned, balanced, and supported by excellent diction. This clarity ensured that the storytelling remained sharp and accessible. There was a minor moment of instability during the section involving Elle’s mum and dad, where the ensemble slipped out of sync and struggled to fully recover. While understandable in a live performance, developing strategies to quickly re-establish cohesion in such moments would further strengthen the musical security of the production. Choreography by Laura Douglas was a standout feature of the evening. The work was clean, inventive, and perfectly suited to both the style of the show and the abilities of the cast. There was a clear sense of musicality throughout, with movement that enhanced the storytelling and added energy to each number. The routines were executed with precision and confidence, reflecting a high level of rehearsal and preparation. The Delta Nu sequences were particularly strong, full of character, energy, and cohesion. “Gay or European” made clever and effective use of props, with the flags adding both humour and visual interest. The Irish dancing in “Legally Blonde Remix” showcased the talents of the cast. Importantly, this felt fully integrated into the piece rather than an add-on, contributing meaningfully to the overall impact. At the centre of the production, Eimear Molloy delivered a very strong performance as Elle Woods. She brought a natural warmth and charm to the role, balancing Elle’s bright, bubbly personality with a grounded sense of authenticity. Her stage presence was undeniable, drawing focus with ease and maintaining audience engagement throughout. Her emotional journey was clearly mapped, particularly in her relationship with Emmet, which developed in a believable and satisfying way. Vocally, she was excellent, delivering the score with confidence, power, and consistency. Colin Flynn’s Emmet Forrest was gentle, sincere, and endearing. He created a likeable and believable character, with a clear emotional arc that complemented Elle’s journey effectively. His portrayal captured the character’s quiet strength and vulnerability. While there were occasional moments of pitch insecurity, particularly in more speech-driven sections, his overall vocal tone was pleasant and his performance engaging. Jamie Hennessy’s Warner Huntington III was a solid performance, though there was a sense that the character’s confidence and arrogance could be pushed further. Warner thrives on a certain level of entitlement and bravado, and leaning more fully into these traits would help the character land with greater clarity. Vocally, he was strong and reliable. Jenny Seery’s Paulette Buonufonte was a standout, delivering a performance full of warmth, humour, and strong characterisation. Her comic timing was excellent, and she brought a physical confidence to the role that enhanced every moment she was onstage. Her movement work, particularly in the Bend and Snap, and the Irish dancing section, was impressive and executed with flair. Vocally, she matched this with a strong and confident performance. Jane Rowley’s Brooke Wyndham gave a committed and energetic performance in what is a notably demanding role. The skipping sequence was handled with admirable control and stamina, and she maintained character throughout. While some of the higher vocal passages sat slightly outside her most comfortable range, her overall characterisation remained strong and engaging. Ciaran Mooney’s Professor Callaghan was vocally strong and assured, though the character’s more intimidating and calculating qualities could be further developed. A greater sense of authority and presence would enhance the impact of key moments, particularly in scenes requiring tension. Niamh Ready’s Vivienne Kensington was well observed and thoughtfully performed. She effectively captured the character’s initial dismissiveness while also navigating her development over the course of the show. Her relationship with Warner was clear, and her shift in perspective towards Elle was handled with care. Among the supporting roles, the trio of Margot (Grace Nolan), Pilar (Dee Ni Chloscai), and Serena (Aoibh Tully) were outstanding. Individually excellent and collectively exceptional, they brought a strong sense of unity to their performances. Their harmonies were bright and well balanced, their timing was sharp, and their energy was infectious. They consistently elevated every scene they were part of, both vocally and physically. Caoimhe Hennessy’s Enid Hoops was confident and characterful, capturing the essence of the role effectively. Tim Cogavin’s Kyle offered a refreshingly understated take, avoiding cliché while still delivering strong comedic moments, particularly in his interactions with Paulette. Sam Lee’s Aaron Schultz was suitably obnoxious and well characterised, while Grace Cosgrave’s Chutney brought clarity and a well-defined accent. Eoin Kenny, Siobhan Dobie, and Gwen Bagnall as Pforzheimer, Lowell, and Winthrop were highly entertaining, with excellent “dad dancing” and strong ensemble contributions. Louise Cassidy and Sean Fox as Elle’s parents delivered solid performances, though the timing issue in “What You Want” was noticeable and would have benefited from further attention. Dan Lavelle (Nikos), Cian Murray (Carlos), Louise Cassidy (Judge), Emma Dunne (TV Reporter), Lucy O’Doherty (DA Joyce Riley), Mark Lehane (Stenographer) Adam Pentony (Rupert Morgan Worthington), Cian Murray (Store Manager), – Lar Bathe (Grandmaster Chad), James Kelleher (Jet Blue Pilot), James Kelleher (Prison Guard), Gwen Bagnall (Bookish Client), Lousie Cassidy (Cashier), Chloe Burke (Kiki the Colourist), all contributed effectively to the world of the show. Their commitment helped to create a cohesive and believable environment throughout. The ensemble as a whole was excellent, tight, energetic, and consistently engaging. Their character work was particularly strong, with clear differentiation between roles, and vocally they delivered with precision and confidence. Choreographically, they were clean and coordinated, contributing significantly to the polish of the production. The set design was both visually appealing and functional, with elements such as the opening windows and LED trim adding flexibility and visual interest. Additional set pieces were well constructed and integrated smoothly into the action. Stage management, led by Eoin McElduff, was highly effective, with scene changes incorporated seamlessly into the choreography, maintaining flow and pacing throughout. Lighting design showed creativity, though there were some inconsistencies. Face lighting was uneven, particularly upstage, and balancing this with downstage would improve visibility. Follow spot usage could be refined to avoid abrupt transitions and better support key moments. Sound design was strong overall, with good balance and clarity, despite a few minor microphone issues. Costumes were well executed and suited the characters effectively, contributing strongly to the visual identity of the production. Elle’s quick changes were particularly well managed. Some adjustments to Vivienne’s costumes could further align her look with her character’s status. Hair and makeup were polished and cohesive, adding to the overall finish of the show. Front of House operations were smooth and welcoming, creating a positive and professional audience experience from arrival through to the end of the performance. The sense of organisation and care contributed greatly to the overall success of the evening. Overall, this was a polished, energetic, and highly enjoyable production that reflects a strong standard of work within Trim Musical Society. With some refinement in technical elements and a willingness to explore even bolder creative choices, future productions have the potential to reach an even higher level.

Review: Carrie - UCD Musical Soc

Society name: UCD Musical Society Show name: Carrie Adjudicator date of attendance: 25/02/2026 UCD Musical Society’s production of Carrie was an ambitious and emotionally charged undertaking, tackling a piece that demands both psychological depth and technical precision. At its core, this was a production rooted in strong storytelling, clear character relationships, and a genuine commitment from its performers to honour the material. The company demonstrated a clear understanding of the...

Society name: UCD Musical Society Show name: Carrie Adjudicator date of attendance: 25/02/2026 UCD Musical Society’s production of Carrie was an ambitious and emotionally charged undertaking, tackling a piece that demands both psychological depth and technical precision. At its core, this was a production rooted in strong storytelling, clear character relationships, and a genuine commitment from its performers to honour the material. The company demonstrated a clear understanding of the narrative’s emotional arc, with many moments landing with sincerity and impact, allowing the darker themes of the show to resonate effectively with the audience. Under the direction of Fionn O’Neill, assisted by Doireann McAuley, the production was assured and thoughtfully constructed. There was a strong emphasis on storytelling throughout, with character journeys clearly mapped and relationships grounded in emotional truth. The world of the piece felt believable, and the performers were given the space and structure to fully realise their roles. The pacing was well judged, with a clear sense of momentum driving the narrative forward, and transitions between scenes were handled smoothly. It was evident that the production had been very well rehearsed, with a high level of confidence across the cast. There was also a strong sense that the material had been carefully interrogated, with clear and considered directorial choices emerging throughout. While the conceptual vision was clear, it did not always feel fully realised in the technical and design elements on stage. A greater level of communication and collaboration between the director and the technical teams would help ensure a more cohesive and unified final product. Accent work was another area that would benefit from further attention. While some performers maintained consistency, others occasionally slipped into Irish inflections, which detracted slightly from the setting. Musically, under the direction of Cuan Egan with vocal direction by Áine Kinch, the production was strong and confident. The vocal work across the company was particularly impressive, with a well-supported sound and excellent ensemble blend. Harmonies were well balanced, and diction was clear, allowing the storytelling within the music to come through effectively. The front line delivered a particularly strong sound, contributing significantly to the emotional impact of the piece. The band itself appeared tight and well directed, with solid tempo choices that supported the drama. However, the overall musical experience was somewhat impacted by sound balance issues within the auditorium. The drum kit, positioned to one side, created an uneven auditory experience, with much of the sound coming directly from the band’s location rather than through the sound system. This resulted in a prominence of hi-hats and cymbals, while bass and tom elements were less present in the overall mix. Enclosing the drum kit and working more closely with the sound department would help create a more balanced and cohesive sound. This is less a reflection on the musical direction and more an indication of the importance of strong collaboration between departments. Choreography by Doireann McAuley was a standout element of the production. The opening number was particularly effective, immediately establishing energy, tone, and style. Movement throughout was dynamic and purposeful, clearly rooted in both character and storytelling. There was a strong alignment between the choreography and the directorial vision, resulting in a cohesive physical language on stage. The use of space was thoughtful, with well-crafted stage pictures and strong visual composition. The choreography was executed with impressive precision, reflecting a high level of rehearsal and attention to detail. There were moments where the style shifted slightly into a more jazz-influenced vocabulary, which occasionally contrasted with the stronger hip-hop style that suited the piece so well. Maintaining a more consistent movement language would strengthen the overall aesthetic, but this did little to detract from what was an accomplished and impactful choreographic contribution. In the leading roles, there were several standout performances. Aimee O’Neill as Carrie White delivered a compelling and emotionally rich portrayal. Vocally, she was excellent, demonstrating both power and control, with a strong belt and seamless transitions into her head voice. Her emotional journey was clearly defined, moving convincingly from vulnerability to devastation, and her interactions with others were authentic and grounded. Lia Mullan as Margaret White provided a solid and engaging performance, with a strong vocal presence that blended beautifully with Carrie’s. There is potential to push further into the extremity of the character’s religious zeal, as a greater sense of rigidity and intensity would heighten the dramatic tension. Nonetheless, this was a committed and enjoyable portrayal. Chloe Burke as Sue Snell delivered a very assured performance, particularly in her navigation of the show’s dual timelines. Her transitions between past and present were clear and emotionally distinct, and her warm vocal tone added depth to the character. Her performance felt natural and well grounded, with strong interactions throughout. Brianna Kelly’s Chris Hargensen was sharply defined and highly effective. Fully embracing the “mean girl” archetype, she created a character that was both formidable and believable. Her confidence and stage presence ensured that her authority within the social hierarchy was always clear, and her vocal performance was equally strong. Julie Bowell as Ms. Gardner delivered a confident and authoritative performance, balancing care and discipline effectively. Her accent work was notably consistent, and her strong vocal control added to the overall impact of her scenes. She brought a clear sense of presence to the role, anchoring many of the school-based interactions. Fionn McGrath as Tommy Ross gave a warm and likeable performance, with a bright and appealing vocal tone. He captured the charm of the character well, though there is an opportunity to further develop Tommy’s emotional journey, particularly in building towards his relationship with Carrie. A clearer sense of when he truly begins to see her would strengthen the emotional payoff of their key moments. The supporting cast brought strong energy and commitment to their roles. Colm Fagan as Billy Nolan delivered a highly physical and engaging performance, fully embracing the character’s impulsive and brash nature. His energy and commitment added a sense of unpredictability to his scenes, and his interactions with others were particularly effective. Amy Van Eekeren (Norma), Sophie Byrne (Frieda), and Alanna Kane (Helen) worked cohesively as Chris’s supporting trio, clearly establishing the social dynamics at play. Their performances were consistent and well defined, adding depth to the high school environment. Dylan Anderson (Freddy), Robert Hogan (George), and Colm Nicholl (Stokes) formed a lively and convincing group, capturing the chaotic energy of teenage boys with enthusiasm. Their camaraderie felt natural, contributing to a strong sense of ensemble throughout. The ensemble as a whole were excellent, both vocally and physically. Their harmonies were strong, diction clear, and their commitment to the performance was evident throughout. As dancers, they executed the choreography with precision and confidence, with featured dancers adding further visual interest and texture to the production. The set design was functional and supported the staging well, making effective use of levels and entrances. The conceptual approach was clear, and the minimal use of additional elements allowed the story to remain the focus. However, the execution would benefit from greater attention to detail, as the set appeared somewhat flat and lacking in texture. Exploring more varied materials and finishes would help create a richer and more immersive visual environment. Stage management, led by Daniel Coolahan and Rosa Liege, was generally efficient, with scene changes handled competently. There is scope to refine cueing, particularly in aligning transitions more closely with lighting states to create smoother scene changes. From a presentation perspective, adopting standard all-black attire would help maintain the visual integrity of the performance. The technical elements of the production presented the greatest challenges. Lighting, in particular, requires significant development. The focus of the face lighting was inconsistent, resulting in uneven stage coverage and performers moving in and out of visibility. Greater attention to beam overlap would address this issue. The lack of backlighting in many scenes reduced depth and visual interest, and the colour palette was somewhat limited, relying heavily on red and open white. Expanding and refining the use of colour would enhance the overall visual storytelling. Specials were often too large and overly bright, and were not positioned accurately, while cueing was inconsistent, with several missed or mistimed cues. Additional technical rehearsal time and more precise programming would greatly improve the overall execution. There was, however, a promising use of colour and composition in the opening of Act Two, suggesting a strong potential for further development. Sound design was serviceable but would benefit from further refinement. Missed cues and occasional microphone issues disrupted the flow at times, and the balance between soloists and ensemble needs adjustment to ensure clarity of text. The band mix, as previously noted, was uneven, and addressing this through closer collaboration between departments will be key. Enclosing the drum kit and refining sound reinforcement would help create a more cohesive auditory experience. Visually, the costumes were generally effective, with a clear attempt to capture the 1990s aesthetic. Fit was largely good, though some garments would have benefited from ironing. Carrie’s prom dress did not fully align with the character’s established modesty, and a more appropriate design choice would strengthen this pivotal moment. Hair design was particularly strong, with excellent period detail, and make-up was effective, though it could be pushed further into the 90s aesthetic. Additional work on Margaret White’s overall look would help to better convey her age and character. From a Front of House perspective, there were some particularly engaging and creative touches. The inclusion of a pre-show preamble delivered by the adult characters was an excellent choice, helping to establish tone and immerse the audience in the world of the play before the action began. It created a strong initial connection with the audience and is certainly something worth continuing and developing. The performance began approximately 15 minutes late, without explanation. An announcement would have helped to manage expectations and preserve the goodwill established by the pre-show experience. Overall, this was a thoughtful and well-performed production with many notable strengths, particularly in its performances, choreography, and musical execution. The company demonstrated a clear commitment to the material and a strong work ethic, resulting in a production that was often emotionally engaging and impactful. There is a great deal of talent within this society, and with continued refinement and a focus on cohesion, their work has the potential to reach an exceptionally high standard.

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
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
Stage One New-Musical Group (S.O.N.G.)
Teachers' Musical Society
The Now and Then Production Company
Trim Musical Society
Trinity Musical Theatre Society
UCD Musical Society
bottom of page