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LATEST NEWS

Legally Blonde as presented by Bray Musical Society

Society Name:  Bray Musical Society Show Name:  Legally Blonde Adjudicator Date of Attendance:  10/04/2025 Brief Overview of Show and...

Society Name:  Bray Musical Society Show Name:  Legally Blonde Adjudicator Date of Attendance:  10/04/2025 Brief Overview of Show and Evaluation of Front of House Bray Musical Society’s production of Legally Blonde  was a commendable community effort with visible dedication from its cast and crew. Taking on this effervescent, high-energy musical is a bold choice for any amateur group, with its demanding blend of rapid-fire comedy, detailed character work, energetic choreography, and near-constant musical underscoring. While this particular performance had a number of challenges that impacted its overall polish and energy, there were also moments of promise and enthusiasm that hinted at the potential within this company. Front of House was welcoming and professional. The team greeted audience members warmly. The atmosphere in the theatre was upbeat and expectant, and the audience appeared ready to support their local performers wholeheartedly. The overall impression was one of a proud community event, with clear goodwill from both sides of the footlights. Director – Direction and Production Emma Thornton’s direction had a firm grasp of the show’s structure and basic staging requirements, but the production would have benefitted from a stronger stylistic stamp and a greater sense of theatricality. Legally Blonde  is a show that thrives on energy, sharp comedy, and heightened characterisation, which didn’t quite come to full fruition here. The blocking was functional, but it lacked the punch and precision that the material demands. Moments that should have sparkled with humour or emotional clarity, such as the bedroom scene between Elle and Emmett, often felt underdeveloped. Small details, like  eyelines, and onstage focus, were inconsistent. In a raked auditorium, it is especially important that performers lift their energy and gaze above the floor to maintain connection with the audience. That said, the overall shape of the story was clear, and each scene flowed reasonably well into the next. The directorial vision would be strengthened in future with more attention to physical storytelling, character arcs, and visual dynamics. Musical Director – Direction and Orchestra Naoimh Penston led a solid-sounding band with good tempo management throughout, and the instrumental underscoring was consistent and effective. The orchestra provided a strong foundation for the show, and the band’s presence helped to carry moments where the vocals faltered. There were a few moments where musical precision and intonation let the production down. Cue pickups were occasionally shaky, and there were some notable tuning issues in ensemble numbers, particularly among the alto section. The band did a commendable job overall. A closer collaboration between Musical Director and Sound would have helped ensure the vocals weren’t overwhelmed in certain numbers. More vocal sectional work, particularly on harmonies and blend, would strengthen the society's musical impact in future productions. Choreographer – Choreography Yvonne Prendergast’s choreography was spirited and appropriately tailored to the strengths of the cast. The execution lacked the crispness and uniformity necessary to really dazzle. Musical numbers like “Omigod You Guys” and “Whipped Into Shape” demand high energy and precise synchronisation, the ensemble sometimes appeared uncertain or uneven in their delivery. Spacing was a particular challenge. With additional time focused on spatial awareness, clean transitions, and group movement dynamics, these issues could certainly be remedied. There was evident enthusiasm in the cast, and with more polish and confidence, this energy could be channelled into tighter, more compelling choreographic storytelling. Leading Principles – Singing and Acting Elle Woods – Emily Farrell:  Emily offered a warm and thoughtful portrayal of Elle, veering away from the traditional hyperactive “sorority queen” and instead delivering a more grounded and emotionally accessible interpretation. Her vocal performance was strong, with a pleasant tone and controlled delivery. She was clearly at ease onstage and brought an easy grace to her movement. While her arc was believable, there was room to explore the emotional highs and lows further Emmett Forrest – Dylan Anderson:  Dylan’s Emmett was sincere and likeable, with a lovely, understated presence. His vocal performance was clean and confident, and his overall characterisation was gentle and unforced. Emmett’s visual presence was slightly compromised by hair obscuring his face, which occasionally limited the audience’s ability to connect with him emotionally. Small adjustments to styling could help ensure that facial expressions can be seen more clearly, especially during key emotional scenes. Warner Huntington III – Stephen Carvill: Stephen had a pleasant voice and delivered Warner’s songs clearly, but sometimes the characterisation felt a little too restrained. Warner is written as an entitled, self-serving antagonist, and the performance would benefit from a sharper edge and greater arrogance. With a bit more boldness and swagger, Stephen could develop a more convincing and detestable Warner, one the audience would love to hate. Vivienne Kensington – Leora DeFlumere:  Leora gave one of the most compelling performances of the evening. Her Vivienne had a well-defined arc, transitioning from aloof and superior to supportive and strong. Her facial expressions communicated much, although, unfortunately, her hair often obscured her face. With a slight adjustment to styling, this thoughtful and layered performance would have been even more impactful. Paulette Buonufonte – Lyndsay Tracey:  A clear audience favourite, Lyndsay delivered a comic and endearing Paulette. Her physicality, accent, and timing were spot-on, and she brought genuine heart to the role. Her “Bend and Snap” moment was a highlight of the evening, delivered with full commitment and excellent comic instinct. Brooke Wyndham – Sophie Quinn:  Sophie brought great physical energy to the stage, and her vocals remained impressively stable despite the demands of “Whipped Into Shape.” Midway through the number, a slight lapse in focus revealed some frustration, but she recovered well. With a bit more confidence and commitment to character, even when things go awry, Sophie’s performance would continue to grow in strength. Supporting Roles – Singing and Acting Professor Callahan / Elle’s Dad – James Scott:  James showed great versatility, embodying two very different characters with distinct energies. As Callahan, his switch to smarminess in the kiss scene was sudden but effective, while his fatherly presence as Elle’s dad added a welcome layer of warmth and support. Kyle / Dewey – Ian Foster:  Ian was a crowd-pleaser as the flirtatious UPS man, delivering his entrance with cheeky charm and a confident swagger. His contrasting role as Dewey was well-played, though a deeper dive into the character’s unpleasantness could have heightened the contrast and added dimension. Serena – Charlotte Fortune, Margot – Mya Davey, Pilar – Kayleigh Horan:  This trio brought fun and personality to the Delta Nu chorus. Charlotte sparkled with bubbly energy, Mya’s Margot channeled classic “Clueless” energy, and Kayleigh brought a grounded coolness to Pilar. Together, they offered vibrant harmonies and strong ensemble presence. Enid Hoops – Michelle Murray:  Michelle brought solid commitment and strong character work to Enid; a role that often risks being overlooked. While the script limits Enid’s development, Michelle’s performance gave the character authenticity and drive. Aaron Schultz / Carlos - Conor Martin, Kate - Lorraine Barry, Leilani - Holly O’Rourke, Gaelan / Grandmaster Chad / Nikos - Raven Gabriel:  Each performer brought commitment to their respective roles. Raven’s dance work was particularly noticeable and helped energise the group scenes. These smaller parts were played with care and supported the larger story effectively. Chorus/Ensemble – Singing, Acting and Choreography The ensemble had moments of promise but somewhat struggled with cohesion and confidence. Harmonies were light, and the alto line in particular lacked security. Vocally, a few members stood out, but the group as a whole did not blend effectively. Acting was sincere, though sometimes over-exaggerated; workshops focusing on nuanced ensemble work would be beneficial. Choreographically, the group seemed under-rehearsed in sections, with timing discrepancies and uncertain spatial awareness. More attention to unison, levels, and group awareness would elevate future performances. Some performers projected excellent energy and presence; it would be lovely to see this consistently across the ensemble. Stage Management & Set Design The set was visually pleasing, with well-constructed pieces that served their purpose effectively. The decision to have the cast complete scene changes helped maintain the flow and avoided technical lulls. Elle’s bedroom, while functional, lacked the personal detail and flair that could have deepened the storytelling. Stage management was efficient and well-coordinated. Scene transitions were smooth, and props were placed logically. The team behind the scenes deserve recognition for maintaining a steady rhythm throughout the performance. Technical – Lighting and Sound Lighting design showed creativity, especially in moments like the window specials during the opening number. Cue timing and colour consistency needed refining. Several scenes were unevenly lit, with characters moving between warm and cool lighting in the same scene. Face lighting was underpowered overall, making it difficult to see expressions clearly. Sound balance was reasonable. The mix between vocals and orchestra was handled competently, and cues were hit cleanly. Improved communication between MD and Sound could further elevate the experience, especially during larger ensemble numbers. Visual – Costumes, Hair and Make Up Costumes were serviceable but lacked the distinctive contrast between character groups. The Delta Nus and Harvard students didn’t visually separate enough in tone or style. Some of Elle’s costumes missed the mark stylistically and bordered on unflattering, which undercut her character’s fashion-forward persona. The costuming in Paulette’s scenes stood out positively with flair and character-appropriate choices. Hair design proved problematic, untamed styling meant many actors’ faces were obscured. In theatre, especially in emotionally expressive roles, visibility is key. Future productions would benefit from more structured styling. Makeup had some nice touches and helped bring characters to life, though a consistent design aesthetic would have helped unify the overall look. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. This production of Legally Blonde  had many building blocks in place, a committed cast, a well-structured band, and some standout performances, but didn’t reach its full potential. The foundations were there, but refinement was needed across the board: more precision in music and choreography, stronger directorial choices, and clearer visual storytelling. With continued focus on group cohesion, staging detail, and technical polish, Bray Musical Society has the potential to grow into a confident and vibrant ensemble. A show like Legally Blonde  demands boldness, clarity, and energy—and with time, support, and further development, the society will no doubt rise to meet that challenge.

Jekyll & Hyde as presented by Gorey Musical Society

Gorey Musical Society Jekyll and Hyde – the Musical Monday 7 th  April 2025 Well over a century has passed since Robert Louis Stevenson...

Gorey Musical Society Jekyll and Hyde – the Musical Monday 7 th  April 2025 Well over a century has passed since Robert Louis Stevenson penned his novel, ‘The Strange Case of Dr. Jekyll and Mr. Hyde,’ which pointed to the duality of human nature - the maintaining of a public facade of decency whilst hiding a more sinister side.   Mr. Stevenson could hardly have imagined that his dark commentary on 1800s English society would one day become an equally sinister musical theatre production, least of all in an Irish town, so aptly named.   The musical version immerses its audience from the very start, holding up a metaphorical mirror as Jekyll proclaims, “In each of us there are two natures.”   Gorey Musical Society's production was a thought-provoking, sinister presentation. There were standout performances, some original directorial touches bordering on the downright disturbing and an excellent ensemble, all set against the seedy underbelly of Victorian London. I received an exceptionally warm welcome as I arrived at Gorey Little Theatre, one of my favourite venues to visit this season.   Front of house staff did a great job, organising the capacity audience as they arrived. There was a great sense of anticipation in the foyer for what everyone knew was going to be a great night's entertainment. Director Stephen Acton brought a very clear vision to this dark tale.   From the opening preset of the body on the gurney, dramatically lit from above, we knew that this was going to be a visually interesting production.   There was excellent pace and many moments of extreme intensity throughout. There were superbly smooth transitions between scenes, adding greatly to this pace.   The cleverly designed set evoked a dark gothic atmosphere, which highlighted the more disturbing elements. The use of the mirror as a powerfully clever theatrical device, representing Jekyll's inner conflict and the emerging darkness of Mr. Hyde, was a fine touch.   Mr. Acton has a great eye for staging and there was very good use of the set’s multiple levels. Overall, a very fine job from the talented Mr. Acton. Conor McCarthy, one of the busiest musical directors on the circuit, did a wonderful job at the helm of this show.   He squeezed every delicious drop out of Frank Wildhorn's score.   From beautifully sensitive ballads to the full-on ensemble numbers such as ‘Façade’ and ‘Murder Murder,’ t here was excellent work from Mr. McCarthy and his exceptional orchestra. There is a lot of underscoring in the show and Mr. McCarthy handled this in a very sensitive manner, sitting on the orchestra to ensure that dialogue was always heard.   Principal singing was of an exceptionally high standard. Choral singing was very strong  and o ffstage vocals in ‘Dangerous Game’ and ‘Confrontation’ were exceptionally good. Super work all round. Choreographer Megan Lopez devised a series of routines which complemented the sinister themes of the show.  ‘ Facade’ was very sharp and synchronised with great use of stage levels.   There was a frenetic, chaotic energy in ‘Murder Murder,’ which mirrored the escalating violence.   However, I did feel at times that it was too chaotic and it was difficult to see where the focus was meant to be, as soloists became lost in what was a very busy stage. ‘Bring on the Men’ was a fantastic number and the girls did excellent work in this, although I did feel that one or two could have sold it a little bit more.   The dual character of Jekyll and Hyde is one of the most challenging roles in musical theatre. The dramatic and vocal requirements are significant and finding someone who can fulfil those requirements is a huge consideration when choosing to produce the show. The key is balancing Jekyll's noble aspirations and idealistic intentions with Hyde's descent into unfettered darkness.   Chris Currid delivered a tour-de-force performance in this role.   His vocals were, unsurprisingly, top-notch with powerful renditions of ‘This is the Moment’ and ‘Confrontation’ being standout moments, musically and dramatically. His physicality was so impressive. His posture, as Hyde, was astonishing and his dramatic facial expressions were quite hideous, making him almost unrecognisable.   Overall, an exceptionally well-played role. Thomas Furlong was a compassionate John Utterson, who delivered a very solid performance as Jekyll's friend and lawyer.   He had strong vocals and very good stage presence.  However, Mr. Furlong had to raise a toast with an empty glass.  No doubt, he had a word with the props department afterwards. Dramatically, he was very strong, confronting Jekyll about the change in his will and leaving everything to Hyde.   This was a powerful moment, really well-played. Emily Kelly was a standout performer in the role of Emma Carew, Jekyll's fiancée. She brought grace and vulnerability to the role, which contrasted with her fiancée's chaotic existence. She found so many emotional layers and was central to some of the most heart-wrenching moments in the show.   Ms. Kelly had a superb, soprano voice and her control was exceptional.  ‘ Once Upon a Dream’ was a stunning performance, balancing tenderness and power whilst bringing a beautiful, emotional depth to the character.  ‘ Take Me as I Am,’ with Mr. Currid, was one of the musical highlights of the production. April Kelly was a fiery and sensual Lucy Harris, playing the role with a palpable, raw emotion that was quite overpowering at times.  Her desperation in ‘Someone Like You’ was palpable as she yearned for the love and respect of Jekyll. Her wonderful on-stage chemistry with Mr. Currid was so evident and their scenes together provided many of the show’s dramatic highlights. ‘In His Eyes’ was a standout musical moment which deserved a standing ovation all of its own, such was the incredible level of performance from both Lucy and Emma. Brendan Sheridan played the role of Sir Danvers Carew with great dignity and concern. He was a devoted father with a very strong vocal. ‘Letting Go’ was a very touching duet with Emma.  Rónán Ó Dubhghaill was very impressive as Simon Stride, secretary to the board of governors. Mr. Ó Dubhghaill had very strong stage presence and nicely clipped diction which brought gravitas to the role. Ciara Herron brought a light touch to the role of Lady Beaconsfield. Another member of the board of governors, and a gossip monger, full of her own importance, she was a very good character actress. Her excellent diction was evident throughout and she provided some important moments of levity. Rory Robinson brought exceptional presence to the role of Bishop of Basingstoke, which made him a standout character in the show. He was despicable as the hypocritical ‘man of the cloth.’ His eventual demise and the scene preceding it, were highly disturbing. Tommy Cox offered strong support as Lord Savage as did Eamonn Murphy in the role of General Lord Glossop. Both had superb accents and presence, fulfilling their roles very well. Justin Grimes was well cast as Sir Archibald Proops, a lawyer on the board of governors, who was quick to pour cold water on Jekyll's proposed experimentations Colin Doran was a very sinister and malevolent Spider, Lucy's vicious pimp. His ominous presence and excellent physicality made him a most despicable character. Paudie Breen played Mr. Poole, Dr. Jekyll's trusted but increasingly concerned manservant. This was one of the standout performances of the night. Mr. Breen cleverly conveyed the conflict between Poole's loyalty to his employer and his need to do what was right for everyone else. This was an exceptionally strong acting performance, full of clever nuance and understanding. His intelligent, usually subtle, reactions to others, set him apart, demonstrating, once again, that there's no such thing as a small part. Sinead McLoughlin as Nellie, Anthony Murphy as Bisset, and Michael Doran as Minister, Butler all offered strong support. A huge part of the show's success was the large ensemble. They were most impressive in their precision of movement and superb vocals and they added so much to the tension with their energy and focus. Mr. Acton had clearly done a lot of work with the ensemble and their dramatic intent and understanding of the narrative was always to the fore. ‘Dangerous Game’ was particularly impressive and I loved the excellent movement and precision of ‘Facade’ (reprise 2). Stage manager Paul Doran did an excellent job in keeping everything moving. Crew members were efficient and well on top of all of the necessary scene changes. Cast were also utilised and were superbly rehearsed in moving furniture and set pieces as required. The mechanics of Jekyll's laboratory were brilliantly operated in what was a seamless display from crew.We had a cleverly designed set with multiple levels and some very clever touches. I loved the fabulously clever, rotating Red Rat curtain on the upper level. It was a very simple but clever piece, beautifully finished. Jekyll's laboratory was an incredible feat of engineering, appearing from behind sliding doors and moving downstage in a moment of theatrical magic. Overall, this was a wonderful set which suited the style of production very well and offered excellent staging choices for director and choreographer.  I would describe the lighting for this show as simple but effective. It was a good solid lighting plot, dramatic but with no crazy effects. There was good use of follow spot throughout. However, it felt as its operation needed work as it was quite shaky at times. After Jekyll's first transformation into Mr. Hyde, the follow spot seemed to be playing catch-up with Hyde and was just a fraction behind him as he moved around the stage. ‘Confrontation’ worked quite well but I did feel that this hugely climactic number was a missed opportunity for more creative and dramatic lighting. Elements of the sound in this show were exceptionally good. We could hear every word of dialogue and underscoring, which is always refreshing. Vocals always sat on top of the accompaniment, ensuring that songs drove the narrative. Just as it should be. There was very good balance within the orchestra. I did feel that the neck breaking sound effect needed to be better coordinated with the on-stage action at times, as, occasionally, the sound effect came after the physical act and sometimes it even came before. It felt like more rehearsal was needed for these moments.  Props were very well chosen with great attention to detail. The scientific equipment and paraphernalia in Jekyll's lab, such as display jars and chemicals, were very detailed. The antique wheelchair looked amazingly authentic. Furniture was all appropriate to the era. However, my one concern in relation to props was that cast appeared to be ‘drinking’ from empty glasses. Small details like this can jar when everything else is so detailed. Costumes were excellent across the board, evoking the Victorian era so well. Costumes reflected the period and social standings of the characters and there was wonderful attention to detail. Some of the principal characters needed additional costumes to signify time passing. This was particularly noticeable with Jekyll/Hyde and Utterson. There was great attention to detail also in the hair and makeup department. I loved the simplicity of using Mr. Currid's own hair for his transformation into Mr. Hyde. Stride's handlebar moustache was a very nice touch and, overall, hairstyles and makeup were very detailed and appropriate to the era.This was a powerful, thought-provoking version of ‘Jekyll and Hyde’ which was violent, murderous and, at times, disturbing. What a pleasure it was to see Gorey Musical Society’s incredible wealth of talent. It was more than a moment. It was a theatrical experience that will live long in the memory…and the nightmares! Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Darragh Carroll

Legally Blonde as presented by Kilkenny MS

Kilkenny Musical Society  Legally Blonde – The Musical  Wednesday 9th April 2025  On the surface, ‘Legally Blonde – The Musical’ is a...

Kilkenny Musical Society  Legally Blonde – The Musical  Wednesday 9th April 2025  On the surface, ‘Legally Blonde – The Musical’ is a show full of all-American frivolity, with an unhealthy focus on superficiality and the importance of social status. But when you dig a little deeper, there is much more to digest and in many ways it is actually a show about some more pertinent issues, especially for young women. Issues like breaking stereotypes, the objectification of women, believing in yourself and the importance of resilience resonate throughout the show. Taking on these important themes, Kilk enny Musical Society delivered a solid production with many high points.  The Watergate Theatre has a very small foyer space which can fill up quite quickly. H ouse management was very on top of this, ensuring that things were kept moving and didn't get too crowded. Front of house was opened quite early to allow the capacity audience to enter the auditorium and to alleviate pressure in the foyer. I was delighted with the exceptionally warm welcome and the atmosphere was very positive throughout the building.  Director Simon Manahan was at the helm for this production. Mr. Manahan had a good eye for casting and had assembled a very talented principal lineup and ensemble. In general, I felt that comedy needed to be more pointed and a lot pacier. Mr. Manahan had a great sense of flow and transitions between scenes were very well handled as he utilised cast and crew   very cleverly to ensure that there were no unnecessary gaps between scenes. In general, I thought that some cast needed more guidance on characterisation and comic delivery.   Callahan kissing Elle is such an important moment in the show and I felt that much more build up and layers of subtext throughout the show were needed to help it really land.   David Hayes was the musical director, ably assisted by Jimmy Brockie. The nine-piece   orchestra brought all of the vibrancy, flair and energy required, as well as displaying exceptional musicianship. Tempi were very solid throughout and attention to musical detail in   the dynamics of the score was consistently in evidence. Principal vocals were generally very strong. There was great choral work from a strong ensemble, with the Greek chorus being particularly impressive. ‘Chip on My Shoulder’ was a highlight in this regard. ‘So Much Better’ was a perfect blend of principal and ensemble vocals, attention to narrative and high energy, making it one of the standout numbers of the show for me and a fitting end to the first act as we were left wanting more.  There was very good work on choreography from Róisín Currid, who devised some highly energetic, dynamic routines which, importantly, always had the narrative at their core. The opening number, ‘Omigod You Guys’ was typical of such energy and this very well-rehearsed routine made up for the fact that many of the vocals were difficult to hear.   ‘ So Much Better,’   was technically impressive, demonstrating superb precision from cast. ‘ Whipped Into Shape’   was a wonderful routine, brilliantly performed by Ms. Currid (who had to step into the role of Brooke at a late stage in the rehearsal process) and the ensemble of skilled skippers. ‘ Bend and Snap’ was fun, tight, and impressively synchronised and we even got a Riverdance moment from Paulette and Kyle which was perfectly in keeping with the show’s comic tone. Great work from Ms. Currid overall.  The very talented Jenna Dunphy took on the leading role of Elle Woods. Ms. Dunphy was a strong actress with good presence and very clear diction. She had all the required skills and delivered a very good portrayal. Some more pointed direction and guidance with comic delivery would have helped her to really fine tune and elevate her performance to another level. Her vocals were exceptionally good. ‘Take it Like a Man’ was wonderful but she was at her very best in the title number, ‘Legally Blonde,’ which was beautifully heartfelt as she considered packing it all in and returning home. For me, this was a standout, ‘pin drop moment,’ exceptionally well delivered.  The experienced Jordan Bass played Emmett, Elle's guide, and mentor. Mr. Bass did very well, impressing with his strong vocals and natural stage presence. His acting was very solid, ensuring that we were all on Team Emmett as he and Elle fell for one another. I felt that comic delivery could have been pushed a little more to get even more out of the role. Mr. Bass’s standout vocal in ‘Chip On My Shoulder’ was superb and he was equally impressive in ‘Take It Like a Man.’   Overall, a very good job from Mr. Bass.  Ivan Kiely had a blissful lack of self-awareness as Warner, Elle's self-absorbed ex-boyfriend. He had a light but pleasant vocal in ‘Serious’ with Ms. Dunphy. At times, I felt that more of a comic touch was needed and that Mr. Kiely needed more edge to really capture his character's overly privileged, chauvinistic side.   Rachel Leydon was impressive as Margot, the Delta Nu sorority sister. Ms. Leydon had great energy and expression and led from the front with her wonderful reactions throughout. Laoise O'Connell, as Serena, was a standout performer and a very clever actress, always in tune with the narrative. Her acting and reacting were consistently excellent. For me, this was one of the performances of the show and her natural understanding of the required comic tone and delivery was superb. Ms. O'Connell was also an excellent dancer and shone in all of the ensemble numbers. Lisa O'Rourke, as Pilar, made up the trio of Elle's Delta Nu girls. She had superb presence and stood out in ensemble numbers, once again leading by example. A strong mover, Ms. O'Rourke brought great energy and focus to the role. Together, this very strong trio brought much drive and energy to the show.   Paul Hennessy had very good presence as the ruthless Professor Callahan. His vocals were very strong throughout, with ‘Blood in the Water’ being very impressive vocally. I felt that there needed to be more build up to his inappropriate intentions with Elle and that exploration of subtext might have added weight to their ‘moment.’   Mr. Hennessy arguably had one of the funniest lines in the show “Oh you lesbians think you're so tough!” which he duly delivered, bringing the house down.  Nicola Brennan was a quirky Paulette, the unlucky in love hairdresser who befriends Elle. Her hilarious delivery, asking Elle if Vivienne had an ‘extra body part,’ made me laugh out loud. Ms. Brennan had a powerful voice with a lovely tone, which took me by surprise in ‘Ireland.’   Her comic understanding in this number was exceptionally good and what a great Irish dancer she was too. Her infatuation with Kyle was very nicely played, getting every last ounce of humour out of every opportunity but she balanced that so well with her sincerity in her support for Elle. Leah Comerford was a wonderfully condescending Vivienne, Warner's overly privileged girlfriend. She played the devious side of Vivienne so well and yet she earned redemption in her beautifully played scene with Elle towards the end of the show. This could have jarred but, thanks to Ms. Comerford's skill as a performer, her character arc was smooth and believable.  Sarah Brennan was another standout performer as ardent feminist, Enid Hoopes. This was an excellent performance and it was clear that Ms. Brennan really understood the show’s comedic tone. Her expressions and physicality were a joy as she immersed herself in the role, whether the direct focus of our attention or when in a more passive role.   Róisín Currid, choreographer, was a late addition to the cast in the role of Brooke and what a great job she did too, commanding the stage in the excellent number ‘Whipped Into Shape.’   And it was clear that Ms. Currid had whipped her cast into shape for this particular number. So how fitting it was that she got to lead it. An excellent job.   Michael Bergin impressed as both Kyle and Pforzheimer. As Pforzheimer, there was a   tendency to overplay things a bit, and his characterisation might have been more believable had it been toned down a little. As Kyle, Paulette's dream hunk intent on delivering his package, he brought the house down with his shoulder rolling walk and hilarious expressions.   Mr. Bergin was a dead ringer for a certain Mr. Flatley, as he lashed out a few haon, dó, trís in style.  There was a wonderful supporting cast of cameo characters, with everyone giving 100% to their roles. In this regard, standout performances came from the canine duo of Sebastian and Rio who played Bruiser and Rufus.   The ensemble was focused and committed throughout.   Elle's sorority sisters and Greek chorus girls were excellent as her inner voice. They were particularly strong in ‘So Much Better.’   There was great work from the ensemble in ‘Take it Like a Man,’ which featured a very impressive choral sound and the finale was an excellent combination of sharp choreography and a huge ensemble sound as we went back to ‘Omigod You Guys.’   In general, Bill Molloy did well as stage manager. There was clever use of cast, setting furniture and other pieces. Masking was a little bit of an issue at times. During ‘Chip on My Shoulder,’ a bed was visible in the wings ready to come on for the dorm scene. The scene change from the prison to the department store was problematic and there was almost an accident with the EXIT fly piece nearly hitting a cast member as it was flown in. This change, I'm sure, was tightened up as the week progressed.  The set was visually appealing and beautifully finished, with pink being the order of the day. The impressive Delta Nu pillars looked well, as did the fabulous Harvard fly piece, complete with coat of arms, when it flew in. The raised walkway, upstage of the pillars, allowed for some nice staging opportunities, most notably at the end of Act One as the hoodies spelled out Elle’s name. The prison bars were very effective and the bookshelves, which reversed to create the department store displays, were very clever. The EXIT fly piece, which was used for the department store, worked very well also.   Lighting was generally strong throughout, with good use of colour and appropriately timed transitions adding to the overall aesthetic and fluidity of the show. There was excellent lighting in ‘What You Want’ and an appropriately green cyclorama for ‘Ireland.’ Isolating   Paulette downstage centre going into the change for the Harvard Law party, was a clever touch. Emmett and Elle were unfortunately left in darkness just before the change into the dorm scene but, again, I'm sure that this cue was addressed as the week went on.  The sound department was still finding its feet on the night that I attended. This may have been due to limited tech time in the run up to opening night and I am sure that much tweaking was done as the week went on. Orchestra levels were too high at times. ‘Omigod   You Guys’ was quite problematic at the top of the show, with the orchestra drowning out vocalists. Throughout the show, it felt like additional tech time was needed, with missed cues, microphones left on backstage and what felt like a lack of familiarity with the show in general. All of that said, when things were good, they were very good. EQ levels were always appropriate and dialogue was clear and well supported. Underscored dialogue was, in general, well balanced with the orchestra.  Props were generally well looked after. There were wonderful props used as dressing in Paulette's salon.  Likewise, there was excellent dressing in Elle's dorm, although the bed itself looked quite scrappily dressed, which is not what we would expect of Elle. The department store shelves were very well dressed too. There were some inconsistencies though.   Elle's girls specifically referenced ‘Town and Country’ magazine, but they had a different magazine.   Elle had no phone in the courtroom scene for her phone call, nor did she have a ring for her proposal scene. Jelly in the champagne glasses for the toast after the courthouse scene looked very well until cast ‘drank’ from them and, of course, that jelly was going nowhere.  There was excellent attention to detail in the costume plot. Elle's fab costumes from her bunny rabbit to her myriad pink pieces and her court attire were all excellent. The obligatory hoodies spelling out ‘Elle Woods’ at the end of Act 1 worked really well. The blue graduation robes and the mortar boards with their pink tassels looked impressive and Enid's rainbow t-shirt was a delight. The sharp suits for the courthouse scene and the wonderful whites for the Greek chorus, all looked very impressive, as did the orange prison uniforms. An excellent job all round.   Hair and makeup were very well looked after with nothing appearing out of place. Elle’s obligatory blonde locks were perfectly suited to the role.  Overall, this was an entertaining, fun, and visually appealing production, with a very talented cast. What stood out, above all else, was Kilkenny Musical Society’s great sense of   community and teamwork, from front of house, to backstage, to cast. Omigod, it was a privilege to see!   Pat McElwain   Gilbert Adjudicator 2024/2025

Beauty and the Beast as presented by New Ross Musical Society

New Ross Musical Society  Beauty and the Beast  Tuesday 4th March 2025  The much-loved Disney tale, ‘Beauty and the Beast’ has been a...

New Ross Musical Society  Beauty and the Beast  Tuesday 4th March 2025  The much-loved Disney tale, ‘Beauty and the Beast’ has been a very popular choice for societies this season. With plenty for both adults and children to enjoy, it is always a firm favourite and, most importantly, a fairly good ‘banker’ in terms of ticket sales. As if to prove this theory, New Ross Musical Society’s production in St. Michael’s Theatre was packed to the rafters with patrons of all ages. The society had overcome quite a significant setback with their set in the final few weeks of production. To have gotten the show up and running was quite the achievement and testament to the wonderful resilience and resourcefulness of their committee and production team. In true theatre tradition, the show went on and the New Ross audience couldn’t have been more appreciative.  Front of house was buzzing as I arrived. The foyer was very busy but the team kept things moving in the friendliest, most welcoming way. It was lovely to chat with front of house personnel about the theatre a nd the rich history of the group. I was pleasantly surprised when the front of house announcements began right on the button of 7.30pm. This was a first in over thirty shows to date. Kudos to all for such punctuality!  Director Derek Shannon ensured that the production ran very smoothly and that there was a great pace   throughout. There was very good attention to the narrative detail, with the storytelling always front and   centre. There was good work with principals and the importance of the ensemble was always evident.   At times, crew could be seen carrying out changes in full light during scenes. More care needed to be   taken with sight lines in general. In my opinion, much more needed to be done for the transformation of   Beast to Prince. It is the dramatic high point of the show and requires a moment of Disney ‘magic.’ For me, w hat happened, in plain sight, was too obvious. Beast going off on stage right and Prince replacing   him, felt like something had been missed. All of that said, Mr. Shannon presented a most entertaining   show.   MD Jimmy Brockie conducted an eleven-piece orchestra and what a great sound there was from this fine group of musicians who brought Alan Menken’s delightful score to life with such great flair. From the beginning of the prologue, it was evident that this was a very tight orchestra, excellently conducted by Mr. Brockie. However, I am sorry to say that, in general, they were let down by the sound department. One area in need of attention consistently throughout the show was underscoring. This was immediately apparent in ‘Belle’ where underscored dialogue was barely audible. Claire Wilson was chorus mistress and her work, when heard, sounded wonderful. Unfortunately, ensemble   harmonies weren't always prominent enough and were often lost underneath the orchestra. Again, this was an unfortunate sound issue.   Anne-Marie Cooney’s choreography was strong throughout, always suiting the abilities of her very large cast. The larger production numbers, for which the show is renowned, were generally well-rehearsed and used the available space well, including the upstage, raised level. ‘Be Our Guest’ worked well. It was a kaleidoscope of colour, movement, and extravagant costuming, building to a great can-can sequence and a wonderful final picture. ‘Human Again’ was another high point which was performed with great energy and joy by the large cast. ‘Gaston’ had great energy and fun and ‘The Mob Song’ was a highlight of the show; a great example of telling the story through choreography.  Sarah Corcoran was a most likable Belle. She was a strong, thoughtful, and intelligent actress with a lovely, expressive voice. She had very nice chemistry with Maurice. ‘No Matter What’ was a beautifully poignant moment. ‘ Home’ was a lovely dramatic interpretation full of heartfelt passion. I loved her joy   at being introduced to the library. ‘A Change In Me’ was a thoughtful, clever interpretation, very controlled and with beautifully sustained notes showing her impressive range.   Jonathan Kelly was a very aggressive and menacing Beast initially, but his humanity was always bubbling under the surface. I loved his very thoughtful delivery of his songs and his rich baritone in ‘If I Can’t Love Her’ gave us a very strong end to Act One.   Timing went a bit awry in ‘Something There’ as he raced ahead but he recovered quickly. Mr. Kelly was clearly a strong actor and this was reflected in his considerable emotional range and his ability to switch from anger to more poignant moments in a very natural manner.   Conor Lyons gave a very strong, cartoonish portrayal of the self-obsessed Gaston. He was the perfect villain that we love to hate, full of unapologetic narcissism. His ‘Me’ was brilliantly performed. He was exceptionally strong in the mob song, demonstrating his ability to blend the more sinister elements of his character with the fun side. A wonderful portrayal of the misogynistic, muscle-bound cad.   Andrew Lane was a very good Lefou, Gaston’s punchbag and inept sidekick. His village idiot was a very funny character and his manic, very physical performance was most impressive.  Comic timing was very strong throughout. It is fair to say that the vocal demands of the role are not overly taxing. However, it was clear that Mr. Lane was an excellent singer as he was particularly strong in ‘Gaston.’   Julie Kinsella was full of maternal warmth as Mrs. Potts, everyone’s favourite teapot. She had a delightfully upper crust accent and took no nonsense from anyone. She had a lovely connection with   Chip. Her light soprano voice suited the title number very well but I felt that she needed to think about her demeanour more during her solo. Had she softened and smiled more, it would have helped to p roject more warmth.   Con Kickham was a very talented Chip. He had great expression, excellent diction, and a lovely singing v oice. He will certainly have learned a lot from the experience of working with so many talented people and I have no doubt that we'll be hearing his name again for many years to come.   Timmy Moloney brought great energy to the role of Lumiere, the French candelabra with a roving eye. Mr. Moloney had great facial expressions and his exotic accent was very consistent throughout. There was great fun with Babette and the flirtatious banter between them both was a comic highlight of the   show. Chemistry with Cogsworth was strong as they bounced off one another very naturally. His ‘Be   Our Guest’ was well delivered, with all of the necessary flamboyance and flair that one expects.   Declan Taylor was an equally strong Cogsworth, the over-the-top cantankerous old clock. His upper crust delivery was perfectly condescending and his quick-witted pomposity was the source of much hilarity. He sang well in ‘Human Again’ and his superb rapport with Mr. Moloney was always evident.  Keith Flanagan played Maurice with great charm. His ‘No Matter What’ was a lovely rendition and his paternal instincts were very well played with Belle.   Babette was played with great energy, character, and a wonderful accent by Amy Haughton. This was a characterisation that was full of fun and great comedic timing.   Philip Erskine had quite the malevolent presence as Monsieur D'Arque. The new version of the show doesn't allow for the same amount of character development as the previous version, but Mr. Erskine still managed to make a great impact. He was particularly strong in ‘The Mob Song.’   Aisling Doyle was fabulously over the top as Madame De La Grande Bouche. She was wonderfully still with her back to us as we waited for her to be introduced and she deserves every praise for managing her rather cumbersome costume so well. Her characterisation was fun and larger than life and her soprano voice was a joy.   The three silly girls or, as they are often called, Les Filles de Villes were played by Emma Walsh, Alix Braches and Sadhbh McDonnell. The three of them did well, enjoying every moment of their over the top idolisation of Gaston.   Anthony Finn was a fine prince. Splitting the role of Prince and Beast meant that there wasn’t ample   opportunity for much character development but Mr. Finn did well with what was asked of him.   There was good support from Leah Butler St Ledger as the enchantress and from Ella Barry who looked   wonderful as the gargoyle. The ensemble was strong and focused. They sang well, even if, through no fault of their own,   harmonies weren't always audible. I liked their very disciplined freezes, which were very effective.  B ackground business was always meaningful and had purpose. There was wonderful life in the tavern number, with great laughing, cheering and life.   Stage manager Mark Hayden did a very good job. There was very efficient movement of sets and furnishings by both crew and cast. Low fog was used to great effect, although I did think that there was   too much in ‘Beauty and the Beast,’ during which it was almost a distraction from Belle and Beast’s lovely dance. Fly cues for the trees were well timed with lighting and good use was made of the limited space side stage for storing set pieces.  The society ran into problems with their original set option in the lead up to the show. To have any sort of set on the stage was a blessing, so kudos to everyone who made that work. The s tage left apron with bookcase and castle parapet looked very well. On stage right, we had another castle parapet and the plinth with the rose in the case. The village houses worked very well sliding on and off and I loved the four ‘transparent’ trees that flew in. They were most effective. The large portrait of Gaston was quite a feature in the tavern. The upper level provided some good staging opportunities for Mr. Shannon and Ms. Cooney also utilised this space very well, particularly in ‘Be Our Guest.’ The star cloth transformed the set when used, adding great depth to the stage. There was a lack of attention to detail in the lighting plot overall. The transformation of the prince to the beast at the top of the show was almost in darkness. The final transformation was crying out for more   ‘magic’ from the lighting department. One of the biggest issues were the visible jets of haze which were pumped onstage to the point of distraction all through the show. The positioning of the haze machine   was the main problem. The golden rule with haze is that the source shouldn’t be obvious. The hazer should be placed as far away from the stage as possible, so that by the time the haze reaches the stage, its movement is largely imperceptible. There was also an absence of adequate key light at times, meaning that faces weren't always lit. A number of times throughout the show, moving lights swept   across the stage before reaching their final positions. Three performances into the run, such glitches should really have been addressed. There were some nice touches too though. Maurice's dungeon was nicely lit from within. The s tar cloth worked very well, transforming the stage, when used. D uring ‘Be Our Guest,’the ensemble freeze was nicely lit. The red wash for Belle and Lumiere's tango was also  v ery effective and atmospheric.  Sound design and operation were not up to scratch for a show of this scale. There was a constant problem with crackling mics. EQ levels on certain performers were not set properly for dialogue,   sounding very thin and lacking warmth. In particular, Gaston's EQ settings did not do him any favours. In general, cueing was poor on the night that I attended. The props department did very well. It's quite a busy show props-wise and they rose to the task. ‘Belle’   was awash with baskets, flowers, baguettes, and other items which helped to bring the village to life. I loved Belle's fabulous book cart. Maurice's invention was a wonderful creation, with real smoke.   Maurice's wrench was also very visually pleasing. The tankards in the tavern scene looked authentic and I loved the ‘Castle Tours’ and ‘Follow Me’ signs which added much to the visual humour.  V arious   tools added much to ‘The Mob Song.’ Great work overall.  Hair and makeup were generally well looked after. W igs looked well in general, although I did think that   Maurice's wig was rather odd-looking, even by his standards. Beast looked fabulous with great attention to detail. The fact that Beast wasn't playing Prince meant that his makeup could be more intricate. Lumiere's tall wig was fabulous.  T he Silly Girls' wigs were in need of attention as we could see their own hair quite clearly underneath. There were great looks for all of the enchanted characters.  The costume plot was bright and colourful, reflecting the animated roots of the show. There is a very specific Disney template in place for a show like this and woe betide anyone who messes with the expectations of children (or adults!). Gaston and Lefou looked wonderful.   I loved the wolves' costumes which were very effective. Cogsworth and Lumiere looked amazing. And I loved the great attention to   detail with Lumiere's gold shoes. Full credit too to the wardrobe department,(pardon the pun!) who created a fabulous costume, from scratch, for Madame de la Grande Bouche when there were last   minute logistical issues with their hired choice. Belle's signature yellow dress was perfect but the front needed fixing as her underskirt was visible. I did, however, have reservations about the headpiece, which I felt was a little bit too much.  New Ross Musical Society’s “tale as old as time” was their 56 th production since the late 1960s. Their longevity is testament to a wonderful community spirit which was palpable on the evening that I attended. It was a show packed with talent, both on stage and off. Tightening up on technical elements   will, no doubt, raise the high standards of this wonderful group even further for future productions. Here’s to the next half century!  Pat McElwain   Gilbert Adjudicator 2024/2025 Photos by Darragh C Photography

Beauty and the Beast as presented by Carnew Musical Society

Public Adjudication   Carnew Musical Society  Beauty and the Beast – The Broadway Musical  30th November 2024  How does a town with a...

Public Adjudication   Carnew Musical Society  Beauty and the Beast – The Broadway Musical  30th November 2024  How does a town with a population of just over a thousand people sustain a musical society that is on its 56th production since 1967? I have no idea. You’ll have to ask the good folk of Carnew Musical Society what sort of musical magic has been at play over the last six decades. One thing for sure is that there was musical magic aplenty to be seen in St. Brigid’s Hall as the group presented a fabulously entertaining version of Disney’s ‘Beauty and the Beast.’ With its fabulous Alan Menken score and a book full of drama, emotion and humour, the show is always a firm favourite. It was great to see so many children in attendance. Many were, no doubt, getting a taste of theatre for the first time. Others were likely dreaming of performing on that very stage in years to come. Either way, they left with smiles on their faces and songs in their hearts as they headed into the Wicklow night.  Carnew Musical Society is renowned for its front of house and it wasn’t difficult to see why. Every effort had been made to transform the relatively small foyer into a ‘Beauty and the Beast’ themed space. And what a great job they did too with their displays, costumes, colouring competition entries and a myriad details right down to the lovely red roses on the ushers. The auditorium was decorated with large ‘Once Upon a Time’ storybooks; a lovely detail which transformed the space.  There are few who know the stage of St. Brigid’s Hall as well as Michael Dunbar and this familiarity was a large part of the success of the production as he cleverly utilised the playing space to its fullest potential. There was always good attention to the narrative detail and every moment was visually engaging. The simple set design allowed Mr. Dunbar to create multiple locations with just a suggestion of place and this added greatly to the fluidity of the show which he was very aware of throughout. There was good use of onstage freezes, which created some lovely pictures. Relationships between characters were a real strong point of Mr. Dunbar’s direction. From the very funny banter between Lumiere and Cogsworth to the touching father/daughter bond between Maurice and Belle, there was great care and attention to detail in the dynamics between the key players. But it was the relationship between Belle and Beast, with its multiple layers of complexity, that really drew us in. Their journey was engaging and very believable as they moved from adversarial beginnings to a place of mutual respect and love.  Conor McCarthy did a wonderful job as musical director. Conducting from his keyboard, Mr. McCarthy got a rich, vibrant sound from his ten-piece orchestra, always complementing the storytelling. This was a very impressive group of musicians. From the familiar opening bars of the show, we were swept along on a wave of Disney magic as they played with great precision, sensitivity and awareness of the drama and emotional depth of the show. Choral singing was of a very high standard, with tight, well-balanced harmonies throughout. ‘Be Our Guest’ and ‘Human Again’ were standout numbers chorally. There also was beautifully sensitive underscoring right through the show.  Graham Finnerty’s choreography was original, well-rehearsed and suited all levels within the cast. Mr. Finnerty was very in tune with the narrative, ensuring that his routines always complemented the storytelling. Gaston’s ‘Me’ was very cleverly moved and there was great awareness of the comic timing required. ‘Gaston’ was performed with gusto by the energetic ensemble and included a fun ‘dance-off.’‘Be Our Guest’ is every choreographer’s dream (or nightmare!). Mr. Finnerty devised a visually impressive and precise routine which suited all abilities. I loved ‘Human Again’ with the longing and hope of the ‘inanimate’ objects reflected in the routine. Equally entertaining was the high-energy ‘Mob Song’ and its flag-flying nod to some other ‘French’ musical.  Anna Kenny’s performance as Belle was breathtaking at times. She completely inhabited the role, playing the iconic character with a perfect blend of innocence, strength, and vulnerability. Ms. Kenny’s intelligence as an actress was so impressive. Her singing was a highlight of this production. Her vocal and emotional range made each song special. ‘Home’ was sung with fabulous expression, beautiful tone, and exceptionally good control. ‘A Change in Me’ was quite stunning, showcasing a pure, musical theatre voice that was a joy to listen to. Her upset was palpable as Beast lay injured at the hand of Gaston. The quiver in her voice added layers of believability and poignancy to the scene.  The very talented Eoghan Fingleton gave a towering performance as Beast. His journey from scarred recluse to being sympathetic and emotionally in tune, was very skilfully played. There was great nuance to his inner struggle and eventual redemption. Mr. Fingleton’s thoughtful delivery of dialogue was very strong, as was his wonderful ability to tell a story through song. He had a resonant, rich, baritone voice, with just the right level of vulnerability, as he powered through the raw emotion of ‘If I Can’t Love Her’ to bring Act One to a dramatic climax. The chemistry between himself and Ms. Kenny was very believable, with some beautifully tender moments.  Rory Robinson was a very likable and quirky Maurice. His characterisation was full of charming eccentricity. The father/daughter relationship with Belle was beautifully authentic. There was a lovely sincerity to ‘No Matter What,’ with solid support from Mr. McCarthy, which was sung with great character. Mr. Robinson’s dialogue was most thoughtful. Pauses were a fraction long at times, which affected pace, but strong characterisation compensated for this. His generous observation of Belle during the beautiful ‘A Change In Me’ was so subtle but most heartfelt. A really strong portrayal from a very skilled performer.  Richard O’Toole was an excellent Gaston who moved with great swagger as the self-obsessed antagonist with more brawn than brains. It takes a very strong actor to portray a character who is both despicable and likable at the same time. Mr. O’Toole got the balance just right. He was insanely arrogant and yet we laughed at his vainglorious antics as he pranced and posed. Mr. O’Toole’s comic timing was razor sharp and his delivery confident and bold. He had great physicality and a very good sense of pace. I loved his hilariously narcissistic ‘Me’ which was, naturally, all about him. ‘Gaston’ was another fun number and Mr. O’Toole wrung every last drop out of the comedy, both physical and lyrical.  Gaston’s dim-witted sidekick, Lefou, was played with great energy, physicality, and humour by Paul Kehoe. Mr. Kehoe was very animated and had a range of facial expressions that Jim Carrey himself would have been proud of. The literal whipping boy of the show, he must have been nursing bruises for weeks after the run. There aren’t too many opportunities for Lefou to shine from a musical point of view but Mr. Kehoe grabbed the limited opportunity with a powerful singing performance in ‘Gaston.’ A very funny portrayal.  James Dobbs lit up the stage as Lumiere, the charming candle with a certain je ne sais quoi. Mr. Dobbs had a captivating presence on stage, always in character and always in tune with what was going on around him. His wonderful facial expressions were perfect for this style of performance and he had a natural comedic edge which is very difficult to teach. His excellent accent was consistent right through the show and diction never suffered. There was great chemistry with Cogsworth as they traded quick-witted banter. Mr. Dobbs was equally strong vocally and the standout number, ‘Be Our Guest,’ was a great showcase for this talented triple threat.  John Young was a perfectly cast Cogsworth, the tightly-wound, excitable and officious clock who tries to maintain order amidst the chaos. His upper crust accent was a delight and his diction was crisp and clear. Mr. Young excelled at the highly-strung, exasperated delivery and he had a superb sense of comedy which added to the wonderful dynamic between himself and Mr. Dobbs. Together, they created many of the show’s funniest moments, providing much-needed levity at times. In addition to all his fussiness, there were also glimpses of emotional depth. His concern for Beast and acceptance of Belle were nicely played, adding balance to an excellent portrayal.  Niele Byrne was a lovely Mrs. Potts, radiating goodness and maternal warmth. A very strong actress, she showed a clear understanding of text and was always in tune with the narrative. The title number ‘Beauty and the Beast’ was a most gorgeous rendition and the perfect showcase for Ms. Byrne’s beautiful, clear voice.  Maria Forrest was the perfect Madame de la Grande Bouche, larger than life and suitably over the top. A fine actress, Ms. Forrest’s powerful voice was delightfully shrill as the operatic wardrobe.  Babette was played with flirtatious glee by Erin Hogan, who got great fun out of her characterisation. Her chemistry with Mr. Dobbs was electric and they really squeezed everything out of their scenes together.  John Donohoe was a darkly ominous Monsieur D’Arque and his presence in Act 2 added greatly to the build-up of tension.  Louisa McCabe, Carol Byrne and Áine Kinch were a delightful trio as ‘Les Filles de la Ville.’ They were suitably over the top in their fawning over Gaston and their shrill delivery was very funny. Equally strong as each other, they worked very well as a group.  After missing the show due to a bout of illness, I was delighted to see the talented Gearóid Hogan make it to the stage for the last performance as everyone’s favourite teacup, Chip. Gearóid did a terrific job, well able to hold his own acting and singing alongside this very talented cast. He had lovely expression and sang beautifully in ‘Human Again.’  The ensemble members were kept very busy and had a good handle on the narrative which they helped to drive every time they stepped on stage. They were well-rehearsed in their choreography and their choral singing was exceptionally strong. ‘Gaston’ was a great number with everyone entering into the energetic fun.  Raymond Brennan’s stage management was generally well organised and efficient. There was clever use of cast to set and strike furniture during some transitions, helping to ensure fluidity and pace. At times, crew needed to be careful not to be seen side stage. A very efficient job from the crew overall.  I was really impressed with the set design which was simple but visually appealing. The three archways against the well-lit cyc were a beautiful focal point, as were the pillars dressed with ivy and roses. The stained-glass windows down stage left and right were beautifully finished. The six clever, multifunctional pieces, either side of the stage, moved to become buildings or trees, as necessary. This was a clever piece of design which allowed the show to flow effortlessly from scene to scene. The raised rostrum added good depth to the playing space, allowing for flexibility with staging. Overall, a super design which was perfect for the stage and contributed greatly to the creation of a versatile playing space.  Props were generally well chosen and appropriate to the style of show. The baskets, flowers, and books in the opening number, ‘Belle,’ added great authenticity and character depth. The cuddly toy duck seemed out of place. The iconic rose looked suitably enchanted. Maurice’s invention was a fun contraption. I loved the beautifully dressed table in the castle complete with its rich, red tablecloth, candles, and flower centrepiece. The skull on the tavern table was a great find too.  The lighting design was simple but very effective, enhancing the storytelling and adding a magical quality which complemented the mood in every scene. The stunning silhouette of the prince in the stage right archway at the top of the show was beautifully atmospheric. There was nice lighting throughout, isolating and drawing our attention to the enchanted rose, when required. The lighting states for the cast freezes were shadowy and atmospheric. I loved the red and blue lighting which framed Beast so dramatically in ‘If I Can’t Love Her.’ Both ‘Be Our Guest’ and ‘Human Again’ were a kaleidoscope of movement and colour. The transformation had the kitchen sink thrown at it with low fog, dramatic flashing beams and blinders built into the set. A triumph!  Sound was of a very high quality all through the show. There was great balance between orchestra and cast. Vocals were always warm and clear and the choral sound was expertly mixed. No cues were missed and everything was slick and professional. There was good use of sound effects, with the wolves and the beast roar being most impressive.  The costume department did so well in creating and coordinating such a huge number of costumes. The show is iconic in terms of its costuming and all the familiar, key elements were delivered in style. The enchanted characters were all visually stunning. Belle’s gorgeous, pink dinner dress was a spectacle in itself and her iconic yellow ballgown was just perfect. Beast’s beautiful regal attire was the perfect nod to his royal past. Overall, a wonderful costume plot.  With such a visual show, it was great to see so much attention to detail in the hair and makeup department. Principal characters looked so well. Beast’s headpiece was very realistic yet allowed him to be expressive. I loved Madame de la Grande Bouche’s wig which was great fun. Mr. Robinson was the quirkiest looking Maurice I have seen in a long time. A fabulous job all round!  This was a wonderful 56th production for Carnew Musical Society. The society is everything that AIMS should be about. Community is at the heart of the group and that is what has enabled them to thrive through the decades. Judging by the fine array of talent at the group’s disposal, there will be many more decades to come. Congratulations on a super show and very best wishes for the future. Pat McElwain  Gilbert adjudicator 2024/2025 Photography by Eamonn Doran & Lorna Doran McEvoy

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