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West Side Story

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2 Sept 2026

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26 Oct 2026

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12 Apr 2027

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LATEST NEWS

Review: Jesus Christ Superstar - Wexford Light Opera Society

Society name: Wexford Light Opera Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 02/05/2026 Wexford Light Opera Society’s production of Jesus Christ Superstar was an ambitious, visually striking, and musically thrilling interpretation of one of musical theatre’s most iconic rock scores. From the opening moments, it was clear that this was a company with a strong artistic vision and a determination to fully immerse its audience in the world of the piece. Embracing a...

Society name: Wexford Light Opera Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 02/05/2026 Wexford Light Opera Society’s production of Jesus Christ Superstar was an ambitious, visually striking, and musically thrilling interpretation of one of musical theatre’s most iconic rock scores. From the opening moments, it was clear that this was a company with a strong artistic vision and a determination to fully immerse its audience in the world of the piece. Embracing a dark post-apocalyptic aesthetic, the production combined industrial imagery with bold symbolic choices and a relentless musical drive that created an atmosphere of tension and inevitability throughout the evening. This was a production marked by enormous commitment from every department. The demands of Jesus Christ Superstar are immense, requiring exceptional vocal stamina, emotional clarity and ensemble discipline, and the company rose impressively to the challenge. There was a strong sense of cohesion across the performance, with direction, choreography, technical design and musical interpretation all working towards a unified concept. While a handful of creative choices occasionally distracted or felt slightly less fully realised, the overall achievement was highly commendable and resulted in an engaging and memorable theatrical experience. Christine Scarry delivered a confident and thoughtfully constructed production with very clear storytelling throughout. Maintaining emotional clarity in a sung-through rock musical is no small feat, yet this production handled the balance between spectacle and character exceptionally well. The blocking was consistently strong, with excellent use of space, levels and movement. Characters travelled clearly not only through the physical environment but also through their emotional arcs, and the relationships between characters, particularly Jesus and Judas, were developed with real care and complexity. The emotional trajectory of the piece was handled with restraint and maturity. Rather than leaning into melodrama, the production trusted the material and allowed the emotional conflicts to emerge naturally, giving many scenes considerable impact. There were a few directorial choices that perhaps could have benefited from slightly greater clarity in execution. The use of the Fates during the opening of the titular number was imaginative and visually interesting, though the connection between Greek mythology and the biblical narrative was not immediately apparent, with the significance of the thread-cutting moment becoming clearer only in retrospect. Similarly, the choice to have one of the High Priests physically manhandle Jesus during Act Two was an unusual directorial decision. Having a figure of such status and authority take on a role more traditionally associated with guards created an interesting visual contrast. Judas’ death sequence also aimed for striking theatrical imagery, although the mechanics of the electrocution effect slightly weakened the realism of the moment. Nevertheless, the production’s willingness to take creative risks and pursue bold visual storytelling was admirable and contributed greatly to its unique identity. Musically, the production was exceptional. David Hayes and Chorus Mistress Eithne Corrigan achieved something truly impressive with the score, capturing the raw rock energy that makes Jesus Christ Superstar so iconic. From the opening notes, the orchestra drove the production relentlessly forward, creating a feeling of inevitability that perfectly suited the material. Particularly effective was the decision in places to move directly from one number into the next without pausing for applause, creating an almost cinematic flow and reinforcing the sense that Jesus was on an unstoppable journey toward his fate. Vocally, the production was outstanding. There was tremendous power across the company, from principals to ensemble members, while still allowing room for intimacy and softness in quieter moments. The chorus produced a rich, cohesive sound throughout the evening, demonstrating excellent stamina in what is an exceptionally demanding score. Harmonies were full and resonant, and the musical direction remained one of the strongest aspects of the entire production. Therese O’Sullivan’s choreography was distinctive and highly integrated into the overall aesthetic of the show. Rather than relying on conventional movement styles, the choreography developed its own physical language that reflected the darker and more militaristic tone of the production. The opening number leaned heavily into organised, almost ritualistic movement patterns, with repetitive arm sequences and shifting formations creating some visually arresting stage pictures. Everything was executed with remarkable precision by the ensemble, demonstrating excellent rehearsal discipline and commitment. At times, that precision created a more controlled feeling than one might traditionally associate with the followers of Jesus, where productions often lean more heavily into freedom and spontaneity. However, this appeared to be a conscious stylistic choice that aligned with the production’s broader vision. The choreography also made several brave staging decisions, with performers frequently facing upstage or side-on to the audience. This requires considerable confidence in the cast’s ability to maintain engagement without direct audience connection, and the company rose to that challenge very successfully. The use of lighting tubes during “Herod’s Song” created atmosphere and visual interest, although the surrounding spectacle occasionally competed with Herod himself for focus. By contrast, the choreography during “Superstar” was packed with energy and delivered with exceptional precision. The principal performances anchored the production extremely well. Aidan Byrne delivered a strong and compelling portrayal of Jesus, offering a grounded and charismatic interpretation that remained emotionally accessible throughout. His gradual emotional progression was handled with great control, capturing the increasing weight and exhaustion of the character while still maintaining authority and presence. His scenes with Judas were particularly effective, filled with tension, frustration and genuine affection beneath the conflict. Vocally, he was extremely impressive, navigating the notoriously difficult score with confidence and control. His rock scream in “Gethsemane” was exactly what audiences hope for in the role: raw, emotional, and thrilling. Thomas Furlong brought a constant nervous energy to Judas that worked very effectively within the darker aesthetic of the production. His portrayal clearly communicated the character’s internal conflict and emotional instability, sustaining that tension consistently throughout the performance. His relationship with Jesus formed one of the strongest emotional threads within the production. Niamh Cullen offered a refreshingly grounded interpretation of Mary Magdalene, avoiding the softer and more traditionally feminine portrayal often associated with the role. Instead, she brought a more practical and understated energy to the character. While at times a slightly greater sense of warmth toward Jesus may have deepened the emotional connection further, the performance nevertheless felt sincere and thoughtful. “I Don’t Know How to Love Him” was delivered with strong vocal control and emotional honesty. Among the supporting performances, Tony Carty delivered one of the evening’s most impactful portrayals as Pontius Pilate. Commanding the stage whenever he appeared, he captured the character’s external authority and internal conflict with nuance and subtlety. Stephen Byrne’s Herod leaned away from the more traditionally camp interpretation of the role, instead presenting a grittier rocker aesthetic that contributed effectively to the chaotic energy of the sequence. Jonathan Kelly brought warmth and sincerity to Peter, while Joshua Higginbotham delivered strong vocals and a genuine sense of devotion as Simon Zealotes. Seamus McManus was particularly commanding as Caiaphas, combining calm authority with an underlying menace, while his impressive bass notes added greatly to the impact of the role. Eric Hayes offered a heightened and stylised interpretation of Annas, creating a clear contrast to the more restrained performances surrounding him. The High Priests functioned very effectively as a collective force throughout the production, reinforcing the increasing pressure surrounding Jesus during Act Two. The Soul Girls also provided excellent vocal support during “Superstar”, blending beautifully and fully embracing the style and energy of the sequence. The ensemble work throughout the production was exceptional. Every member of the company appeared fully invested in the world of the show, creating a strong and consistent atmosphere from beginning to end. The choreography was performed with tremendous energy and precision, while vocally the ensemble produced a rich, blended sound that supported the principals beautifully. Even during quieter scenes, the level of focus and commitment never wavered. Visually, the production created a fascinating world. The combination of ruined industrial steelwork and remnants of frescoes established a compelling post-apocalyptic environment that immediately set the tone. The prominent Statue of Liberty head was certainly a bold design choice and, while perhaps more direct than some of the subtler visual elements elsewhere in the production, it nevertheless contributed effectively to the dystopian aesthetic. Colin Murphy and the stage management team handled the largely static set with great efficiency, allowing cast movement and staging to remain fluid and dynamic throughout. Lighting was one of the major highlights of the evening. Sharp beams and carefully utilised shadow created a striking visual landscape, while the recurring image of the single moving light behind Jesus first as a full beam on his first entrance, and later fractured behind the cross, provided beautiful symbolic imagery that encapsulated the emotional arc of the production. Sound was equally impressive, balancing the power of the rock score with vocal clarity throughout the large venue. Costumes, hair and make-up all contributed strongly to the overall visual identity of the production. The post-apocalyptic desert-rock aesthetic worked particularly well for the apostles and ensemble, while the High Priests provided stark visual contrast. The Herod sequence embraced a more contemporary style, adding further variation to the visual palette. While the gold costumes during “Superstar” perhaps appeared slightly less refined than some of the other costume choices, they still added to the theatrical spectacle of the number. Hair and make-up were both executed to a very high standard and tied the overall aesthetic together successfully. The Front of House team also contributed greatly to the overall experience of the evening, creating a warm and welcoming atmosphere from arrival. The audience was efficiently managed throughout the performance, and the professionalism and friendliness of those greeting patrons helped establish a positive tone before the opening notes. It was clear that a great deal of care had gone into ensuring the audience experience ran smoothly, adding to the overall polish of the production. Overall, this was an ambitious, visually inventive and musically powerful production of Jesus Christ Superstar. Wexford Light Opera Society approached the piece with confidence, creativity and enormous commitment, resulting in a production filled with memorable imagery, emotional intensity and exceptional musical achievement. The willingness to take creative risks and present such a distinctive interpretation of this iconic musical was admirable. A highly commendable achievement from the company. Photo credit: Paula Malone Carty Photography

Review: The Clockmaker’s Daughter - Avonmore Musical Society

Society name: Avonmore Musical Society Show name: The Clockmaker’s Daughter Adjudicator date of attendance: 11/04/2026 There is something really magical about ‘The Clockmaker’s Daughter’. It is like a whimsical fairytale with the most beautiful score but underneath that lies a story with so much heart and emotional depth. It is a show that asks important questions about belonging and acceptance. Avonmore Musical Society embraced all of that beautifully in their production at St Mary’s Hall,...

Society name: Avonmore Musical Society Show name: The Clockmaker’s Daughter Adjudicator date of attendance: 11/04/2026 There is something really magical about ‘The Clockmaker’s Daughter’. It is like a whimsical fairytale with the most beautiful score but underneath that lies a story with so much heart and emotional depth. It is a show that asks important questions about belonging and acceptance. Avonmore Musical Society embraced all of that beautifully in their production at St Mary’s Hall, Arklow. The story was told with imagination, sincerity and affection, giving us a wonderfully warm night at the theatre. It had everything that is good about amateur musical theatre, with its strong emphasis on community, imagination, talent and, above all else, real heart. Great effort had gone into the front of house experience. The foyer was very nicely decorated, continuing the steampunk aesthetic of the production with visible cogs front of house. There was a warm and welcoming atmosphere from the moment we arrived. Front of house staff were friendly, approachable and clearly proud of the production they were presenting. It all contributed nicely to the evening and set a lovely tone for what was to follow on stage. Amy Penston Hendley directed the production with a confident and very thoughtful hand. It was clear that she understood the heart of the piece. Underneath the fantasy and fairytale elements of ‘The Clockmaker’s Daughter’ lies a story about fear of difference and the speed with which ordinary people can be swept up in mob mentality. Those themes, so relevant in today’s world, came across strongly. Ms. Penston Hendley found a lovely balance between the story’s comedy and emotion. There was great attention to narrative detail throughout. Scene transitions flowed very smoothly and contributed to the show’s excellent pace. There were many beautifully realised moments throughout the show. ‘Where You’ll Be’ was stunning both visually and emotionally, with beautifully simple staging, gorgeous lighting and superb vocals capturing the storybook quality of the piece. There were also lovely smaller details throughout the show. Abraham pausing to touch the workshop door after Will had been shot was a beautiful directorial choice, saying so much in one simple action. Likewise, the moment of Will leaving a flower beside Constance’s statue had genuine emotional sincerity. Overall, this was superb work with tremendous heart and skill in what is a deceptively difficult show to direct well. Martina Murphy’s choreography was very successful throughout. Ms. Murphy’s work was all about telling the story and contributed hugely to the building of character, atmosphere and emotion. There was a lovely sense of energy and optimism in ‘The Turning of the Key’, with appropriate, natural movement giving the village of Spindlewood great life and personality. There was particularly lovely work in ‘A Modest Modiste’. The seamstresses’ choreography using the measuring tapes had a nice softness and elegance to it and the final picture was especially beautiful. ‘Raise a Glass’ was one of the standout choreographic sequences of the evening. The celebratory dancing was joyful and infectious, with excellent high-energy movement. I really admired the dramatic movement used during ‘Fear and Whispers’. The broken clockwork-inspired physicality from the ensemble worked brilliantly in reflecting the growing fear, suspicion and mob mentality spreading through the town. Excellent storytelling through choreography. Conor McCarthy did stunning work as musical director, bringing Michael Webborn and Daniel Finn’s gorgeous score to life with great care and sensitivity, ably assisted throughout by chorus mistress Jennifer Lee. Principal singing throughout was consistently excellent. What stood out most, however, was the quality of the ensemble and choral singing. From the opening moments of ‘The Turning of the Key’, the chorus produced a wonderfully full and confident sound with their exceptional harmonies. ‘Raise a Glass’ was musically outstanding. The power and energy of the ensemble vocals was stunning, adding hugely to what was one of the show’s most memorable sequences. The orchestra was excellent and complemented the vocals beautifully. Overall, an exceptionally high musical standard throughout. Áine Kinch gave a superb performance as Constance, capturing both the innocence and emotional complexity of the character with great sensitivity throughout. There was something truly captivating about this performance. Ms. Kinch embraced Constance’s childlike curiosity and naivety so well and also allowed her humanity to emerge little by little as the story unfolded. Vocally, she was outstanding. Her performance of ‘Impossible’ was stunning, delivered with tremendous control and emotional honesty. It was one of those pin-drop moments where the audience was completely drawn into the performance. ‘A Story of My Own’ was another lovely moment, with Ms. Kinch beautifully capturing Constance’s growing self-awareness and emotional awakening. Dramatically, she was so impressive. Ms. Kinch paid great attention to the physicality of the role. Her precise posture and movement made her very believable as someone who was not quite fully human. Excellent work all round from Ms. Kinch. Daniel Furlong was outstanding in the dual role of Storyteller and Will, giving a performance which was full of warmth, sincerity and emotion throughout. Mr. Furlong had an easy charm and a wonderfully engaging presence. There was something incredibly natural about his performance and he was utterly believable from beginning to end. As Storyteller, he established an immediate rapport with the audience, with great confidence and ease. As Will, his understanding of dialogue and pace was exceptional. His developing relationship with Constance was beautifully handled. His singing was equally exceptional. Vocals were expressive and effortless, always telling the story. He impressed greatly in ‘If You Could See My Heart’, with excellent vocal technique and a great understanding of the lyrics, delivered with genuine emotion. An exceptional performance from a hugely talented performer. Andrew Docherty gave a superb portrayal of the clockmaker, Abraham. Abraham is such a complex character. He is a grieving father and a man desperately trying to hold on to something he has lost. He has so much love but also fear, guilt and sadness. It is a role that can easily become overly stern or distant but I thought that Mr. Docherty found the humanity in Abraham beautifully. He brought wonderful sympathy to the role, as we saw his flaws and fears but still we remained emotionally invested in his story. He sang very well throughout. ‘You Are Still Here’ had great feeling and sincerity, with a warm and expressive baritone and excellent acting through song. Emily Davis was very strong as Amelia Kelly, bringing great intelligence and emotional understanding to the role. There was a real sense of thought behind every interaction. As an actress, she was consistently impressive. Ms. Davis brought a lovely, natural quality to her performance. Vocally, she was equally strong. ‘Raise a Glass’ showed the quality of her voice beautifully. Overall, a very thoughtful portrayal throughout. Joanne Logue delivered an excellent performance as Ma Riley, full of energy, personality and presence. As the central antagonist she embodied the darker themes of the show but also provided much of the show’s humour and larger-than-life characterisation. Striking the right balance between the two is not easy but Ms. Logue handled it extremely well. Characterisation was consistently strong throughout. She had excellent stage presence and a wonderful physicality. Comedy was very well handled too, creating a figure who was entertaining while still allowing us to see the darker, more spiteful side of the character as the story progressed. That transition into the more unpleasant and dangerous Ma Riley was very convincingly played by Ms. Logue. Kevin Macken was very impressive as Henry Glynn, creating one of the most memorable supporting characters of the show. What impressed me most was the intelligence behind Mr. Macken’s performance. His acting was so natural and believable throughout. His comic timing was excellent. Small moments, such as his attempts to retrieve the watch or his realisation that Amelia’s dress would not be ready until Monday, were played with great understanding of the humour. A really memorable supporting performance, played with charm and intelligence throughout. Seán Hendley brought great warmth and a light comic touch to his portrayal of Mayor Glynn. Mr. Hendley’s strength as a character actor showed throughout in the confidence and detail of his performance. He found lots of humour in the role but in a most natural way, never pushing the comedy, ensuring that Mayor Glynn was authentic and believable. Overall, wonderful work throughout from Mr Hendley, in a portrayal that was full of lovely character detail. The very committed ensemble work throughout was highly impressive and a huge part of why the show worked so successfully. There was constant life and character within the community of Spindlewood and a lot of effort had clearly gone into developing this. The seamstresses in particular were excellent throughout. Orlagh Sunderland as Rhiannon, Zoe Cummins as Mary, Izabela Wong as Jane, Molly-Rose Smith as Lucille, Niamh Harper as Moll, Erin Connolly as Cara and Amber Doyle as Sue worked beautifully together both during ‘A Modest Modiste’. Their singing was wonderfully blended, while their movement and interactions were well-rehearsed and in tune with the narrative. Strong support also came from Tomás Byrne as John, Eoghan Kinsella as Sam, Fionn Vigors as Ted, Gary Joyce as Jim, Callum Murray as Dave and Elaine McMahon Dossett as Mab, all of whom contributed greatly to Spindlewood’s sense of community. Fiona Redmond also made a very strong impression in her cameo appearance as Mrs. Reece. Musically, the ensemble was outstanding. Their singing was excellent and it was obvious that an enormous amount of rehearsal had gone into the choral work. Barry Ryan and his crew did absolutely outstanding work. ‘The Clockmaker’s Daughter’ can be a challenging show, with its constant shifts between interior and exterior locations and its fast transitions. Thanks to an exceptionally well-rehearsed crew, the entire operation ran with remarkable smoothness and precision. The choice to costume crew was a clever one, ensuring that we were never pulled out of the fairytale world of Spindlewood during transitions. The trucks themselves were moved incredibly smoothly and meant that the whole production flowed with remarkable fluidity. The result was stage management of an exceptionally high standard throughout. Set design was quite beautiful and captured the magical, storybook quality of ‘The Clockmaker’s Daughter’ wonderfully well. I loved the steampunk aesthetic, with oversized cogs and clockwork imagery creating a most atmospheric playing space. The trucks for Abraham’s workshop and Ma Riley’s shop were very impressive. Each had lovely detail and character. The bridge was another gorgeous piece of design, which reinforced the fairytale feel of the production. Overall, it was a set which facilitated the storytelling beautifully, full of atmosphere and great detail. A credit to all involved. The lighting design was, at its best, absolutely stunning. It was often atmospheric and visually beautiful, contributing greatly to the magical, storybook feel of the production. There were so many times where lighting, set, haze and performance came together in really breathtaking ways, creating some stunning stage pictures. ‘A Story of My Own’ was particularly well handled, with the moving light tracking Constance with impressive precision and subtle changes in colour beautifully enhancing the mood. Likewise, the moment Constance first appeared in ‘Spindlewood’ was wonderfully captured. The rippling effects in the bridge scene were another lovely touch. ‘Fear and Whispers’ featured very dramatic lighting which heightened the growing tension so well, while ‘If You Could See My Heart (reprise)’ was visually stunning, with powerful backlighting and beams cutting through haze to create a very powerful effect. Moments like these showed exactly how effective lighting can be when fully focused on atmosphere and storytelling. Sound was in extremely capable hands throughout. There was great warmth and balance from the orchestra. There was a lovely clarity within the orchestra mix too, with key instruments featured when required. The vocal sound was equally impressive. Mic EQ levels had been carefully set, giving a warm and full sound for both dialogue and singing. There was great balance too in the ensemble and choral work. With so many microphones in use and so many busy ensemble sequences in the show, this was all the more impressive. The sound effects work was also excellent throughout. Effects such as the turning of Constance’s key and the sound of running water were very well chosen and timed perfectly within the action. The costume design complemented the fairytale atmosphere of the production and worked very well within the steampunk-inspired visual. The costumes hinted at a rustic, old-world setting through the use of waistcoats, aprons, layered skirts, braces and earthy fabrics. There was nice individuality within the villagers’ costumes, adding greatly to the authenticity. Constance’s costumes reflected the character’s innocence and uniqueness extremely well. Her green dress during ‘Raise a Glass’ was especially striking, setting her apart while drawing the audience’s eye towards her during what was one of the production’s biggest ensemble numbers. Excellent work from all involved. The props department did superb work throughout, with excellent attention to detail. Abraham’s workshop in particular was beautifully realised and detailed. The various plans and sketches were beautifully realised and the clocks, books, tools and mechanical objects, ensured that the workshop looked most authentic. Mayor Glynn’s all-important pocket watch was another excellent prop choice. The market scene also featured great props work. The crates, logs and fish brought excellent life to ‘Market Day’. Hair and makeup were very strong throughout. Constance’s look was especially impressive with an almost porcelain quality to her appearance, while the subtle mechanical influence within her eye makeup was a very clever touch. Mayor Glynn’s wig, sideburns and moustache suited his character perfectly. Male ensemble members’ sideburns were also very authentic and reinforced the overall attention to detail from the hair and makeup department. Avonmore Musical Society’s production of ‘The Clockmaker’s Daughter’ was, above all else, a show full of heart. Underneath the fantasy, clockwork imagery and fairytale atmosphere was a beautiful story, so well told by a wonderful production team, cast and crew. There was something really uplifting about spending an evening watching a show packed with imagination and magic. Avonmore Musical Society should be very proud of what they achieved. It was a beautiful night of theatre. Pat McElwain Sullivan Adjudicator 2025/2026

Review: We Will Rock You - Bray Musical Society

Society name: Bray Musical Society Show name: We Will Rock You Adjudicator date of attendance: 09/04/2026 Bray Musical Society presented ‘We Will Rock You’ at the Mermaid Arts Centre in Bray against a backdrop of chaos across Dublin, with fuel protests causing major traffic disruption and delays throughout the city. Despite all of that, we made it through the madness and were rewarded with a fun night’s entertainment packed with some of Queen’s most iconic tunes and Ben Elton’s endless stream...

Society name: Bray Musical Society Show name: We Will Rock You Adjudicator date of attendance: 09/04/2026 Bray Musical Society presented ‘We Will Rock You’ at the Mermaid Arts Centre in Bray against a backdrop of chaos across Dublin, with fuel protests causing major traffic disruption and delays throughout the city. Despite all of that, we made it through the madness and were rewarded with a fun night’s entertainment packed with some of Queen’s most iconic tunes and Ben Elton’s endless stream of puns, jokes and one-liners. It was exactly what we needed that night. Something loud, silly, energetic and over the top. Whatever chaos was happening outside the theatre doors was forgotten for a couple of hours everyone left in very good form. There was a great buzz in the packed foyer of the Mermaid before the show. The atmosphere was lively and there was a real sense of anticipation in the building. Front of house were dealing with large numbers but everything appeared organised and well managed throughout. Despite the business, patrons were moved through efficiently and the evening ran smoothly. The AIMS President was also in attendance on the night and we were made to feel extremely welcome and very well looked after for what was a very entertaining evening. Director Chris Currid did very good work with what is quite a difficult show to navigate, at times. There was a good sense throughout that Mr. Currid understood the rhythm of the piece and the importance of momentum. The incorporation of pre-recorded video material was one of the production’s strongest elements. Bringing cast members into the audience during ‘Headlong’ while Heartbreak Hotel was assembled onstage was a very smart piece of direction that kept the pace moving so well. ‘Hammer to Fall’ was another standout sequence. The angry confrontation between Galileo and Scaramouche captured their frustration and emotional exhaustion very well. Comedy was generally handled very well too, which is crucial in this show. There were moments where I felt that the direction could have pushed further. Some principals appeared slightly unsure of the heightened performance style required for this material. Delivery needs to be larger than life and knowing and I felt that not everybody was fully comfortable operating at that pitch all of the time. That aside, this was a confident and well-paced piece of direction overall and there was plenty of imagination evident throughout the evening. Musical Director Elizabeth Gregan led the band from the pit and there was no question that a great deal of work had gone into the musical preparation. Principal vocals were very strong throughout and it was obvious that careful attention had been given to the show’s wonderful harmonies and choral arrangements. There were moments where that really shone through, particularly in some of the offstage vocals and quieter sections. Unfortunately, however, there were also fairly significant balance issues throughout much of the show and it would be unfair not to mention them. The bass levels were far too dominant for most of the show and, while the bass playing itself was excellent, the overall mix often became so bass-heavy that vocal harmonies and ensemble singing were swallowed up entirely. Whenever the balance settled, harmonies were clear and accurate. The offstage vocals in particular were often beautifully blended, giving a glimpse of the potential that was there. Roisin Currid’s choreography played a big part in keeping the energy levels high throughout. There was a wide range of ability onstage but the choreography rarely felt beyond anybody’s reach and the overall effect was that movement always looked comfortable and confident. ‘Radio Ga Ga’ was strong, with very good synchronicity throughout and sharp disciplined movement that captured the cold uniformity of the Globalsoft world very well. ‘‘Killer Queen’ was one of the standout routines of the night. The choreography had flair and plenty of attitude, which suited both the character and the music perfectly. ‘Seven Seas of Rhye’ featured some excellent chair choreography that was inventive and very together. ‘Fat Bottomed Girls’ was undoubtedly one of the highlights of the evening. It was unapologetically bold and risqué, exactly as the number needs to be. The girls committed fully to its style and humour and the final picture gave the number a wonderful finish. Jordan Bass brought great energy to the role of Galileo Figaro. This was a performance full of personality and strong comic instinct. Mr. Bass was extremely animated throughout and made very good use of physicality with his awkward gestures, nervous movement and exaggerated reactions. He judged the tone well as he committed to the madness and humour of the piece. Vocally, he was one of the production’s strongest assets. His singing had great power and he handled the demanding Queen score with confidence. ‘I Want to Break Free’ showed off his range and vocal strength particularly well, while also showing his strong musicality. This musicality was especially evident during ‘Bohemian Rhapsody’, one of the most challenging numbers in the show vocally. Sophie Walsh brought wonderful presence to the role of Scaramouche. Her dry, sarcastic delivery was brilliantly judged throughout. She had great comic timing and was very comfortable with the style of comedy required. Ms Walsh was a very accomplished singer too. ‘Somebody to Love’ was one of the musical highlights of the production, with great power and control in her voice. ‘Under Pressure’ was another standout moment musically, with Ms. Walsh and Mr. Bass blending beautifully together. Her strongest moment came during ‘Hammer to Fall’. There was a real emotional edge to her performance here as she delivered the anger and frustration of the scene with great vocal and dramatic strength. Lyndsay Tracey had tremendous stage presence as Killer Queen and fully embraced the outrageous nature of the character. She dominated the stage the moment she appeared with her commanding physicality and sharp delivery. She too had great comic timing and clearly understood the tongue-in-cheek innuendo and sarcasm. Ms. Tracey had an excellent voice. ‘Killer Queen’ suited her very well and allowed her to show off her power and personality. Timing slipped slightly during ‘A Kind of Magic’ but she recovered and kept going like a pro. A standout performance came from James Scott as Khashoggi, Killer Queen’s sinister right-hand man. Mr. Scott was excellent as an almost comic-book type villain. He brought a very cool, controlled presence to the role but there was always an underlying menace beneath the surface. Vocally, he really came into his own during ‘Seven Seas of Rhye’. There was wonderful authority in his vocal delivery. Much of his humour came through understatement and deadpan delivery and that worked so well against the more exaggerated characters around him. Overall, excellent work from Mr. Scott in what was a most entertaining performance. Conor Martin gave a solid performance as the rebellious Bohemian, Brit. The character is one of the more exaggerated figures in the show and Mr. Martin brought plenty of enthusiasm and commitment to the role. He was a strong singer, showing great power and range in ‘Headlong’ and ‘I Want It All’. From an acting perspective, there was plenty of potential on display. I did feel, however, that the performance could perhaps have been pushed even further stylistically. ‘We Will Rock You’ exists in a very heightened theatrical world. At times, Mr. Martin seemed slightly restrained and a little more focus on the role’s comic absurdity might have made what was a strong performance even better. Tia Tyndall-Kenna did well in the role of Oz. Ms. Tyndall-Kenna brought plenty of attitude and presence to the role, particularly in the musical numbers. She was at her strongest vocally, with some superb singing, most notably during ‘I Want It All’, where her riffing and vocal control were extremely impressive. The quality of her voice was excellent. At times, though, I found myself wanting her to fully let go and trust just how good she actually was. The vocal ability was absolutely there, but there were moments where the performance felt slightly held back when it could perhaps have exploded even further with confidence and attitude. Eoin Martin played Buddy as a laid-back, ageing hippie type, with a very relaxed delivery throughout. There was something very likeable about the performance. Buddy is a character who should drive the comedy directly at the audience. Mr. Martin occasionally seemed a little hesitant in that regard. The opportunities were there for him to really eyeball the audience, own the room and embrace the madness of the material but at times it felt like he was gently tapping the fourth wall rather than breaking it. Mr. Martin was another very strong singer. ‘These Are the Days of Our Lives’ was beautifully sincere and, despite the sound balance issues affecting the number, he still impressed vocally. With a little more confidence in pushing the character’s theatricality and audience interaction further, it could have been a truly standout portrayal. Ruth Coughlan made a very strong impression in the cameo role of Teacher and showed herself to be an excellent character actress. She fully committed to the heightened style of the show from the moment she appeared and brought great energy and confidence to the role. The ensemble was very committed throughout. Whether appearing as Bohemians, Yuppies, Ga Ga Kids or Fat Bottomed Girls, there was a very strong sense that they had bought into the madcap tone of the production and that they were enjoying every minute. Kudos to the production team for instilling this in their cast. The Bohemians in particular brought great life to the stage. There was a lovely sense of interplay and casual banter between them that made the group feel like a believable community. A lot of work had obviously gone into the vocal preparation of the ensemble. The rich harmonies were there and whenever the sound balance settled, the quality was very apparent. Performance levels during the choreographed sections were consistently high, with the cast maintaining strong energy and commitment right across the evening. The set design was functional and versatile, giving the cast plenty of space to work with in the large open playing area. The large upstage platform was used to very good effect, creating opportunities for levels and varied staging. The central stair unit was another useful element. Much of the atmosphere came from the LED screens which did a lot of the heavy lifting visually. The graphics and pre-recorded video material were extremely well created and gave the production a very polished look. The futuristic imagery, animated backgrounds and filmed inserts added much excitement and humour to scenes. Overall, the combination of staging, graphics and video content worked very well together to create a practical playing space which offered great versatility and fluidity for the production team. Gerry McCann’s stage management was excellent throughout and the show ran with impressive smoothness from a technical point of view. The crew were extremely slick and well-rehearsed, carrying out all scene changes with speed and efficiency and maintaining great pace and momentum through the show. While ‘We Will Rock You’ does not rely on large-scale moving scenery to the same extent as some productions, there was still plenty happening behind the scenes and everything appeared highly organised. The lighting design played a huge role in creating atmosphere throughout the show. There was a strong understanding of the rock-concert aesthetic of ‘We Will Rock You’, while still maintaining the atmospheric moments required in musical theatre. The use of side lighting was particularly effective, combined with haze and strong colour choices. ‘Under Pressure’ was especially well handled. The cueing here was excellent, with a very effective blend of musical theatre precision and rock-gig atmosphere which helped to heighten the tension and connection between Galileo and Scaramouche. ‘No One But You’ was another standout moment with lighting allowing the emotion of the song to come through naturally. ‘Seven Seas of Rhye’ featured some very clever design and cueing choices as the Bohemians were ‘processed’. One of the upstage lighting bars appeared to bounce at various points during the show and this had a knock on with lights moving erratically on the stage at times. The distraction wasn’t a major one but it did draw the eye. Sound was probably the area of the production that most needed attention on the night. I don’t know whether some of the issues stemmed from limitations within the house PA itself, but I can only respond to what was heard on the night and unfortunately there were some fairly significant balance problems throughout the show. The main issue was the dominance of the bass within the overall mix. At times it was overpowering to the point that vocals were being lost underneath it. ‘These Are the Days of Our Lives’ was probably the moment where the issue became most noticeable. Because it is a softer, more reflective number, the heavy bass presence underneath it was even more apparent and, unfortunately, took away from the number’s warmth. There was also plenty of evidence of how good the sound design could be when the balance sat properly. Offstage vocals were often beautifully amplified and blended. ‘I Want It All’ sounded excellent, while the offstage vocals during ‘Headlong’ were particularly strong and showed the quality of the choral work very well. Dialogue throughout the show was very clear. Principals were, for the most part, well supported vocally and cueing for dialogue was excellent throughout. Sound effects were also well chosen and very well timed. Costumes were one of the production’s strongest elements. There was a very good understanding throughout of the contrast between the conformity of Globalsoft and the chaos of the Bohemians. The Bohemians looked excellent as a group. There was tartan, leather, mesh, chains, distressed fabrics and mismatched accessories everywhere. Oz’s punk-inspired styling and Brit’s tartan-heavy look were excellent. The Globalsoft aesthetic worked very well too, especially the ensemble’s silver, white and metallic uniforms. Killer Queen was especially successful with her bold red palette ensuring she dominated the stage whenever she appeared. Khashoggi’s long black coat and sharp tailoring gave him an imposing presence which suited the character perfectly. Buddy’s tie-dye colours and headband brought great visual humour to the character. The ensemble overall were extremely well dressed throughout. Excellent work throughout. Hair and makeup complemented the costume design very effectively. Strong eye makeup, textured hairstyles, wigs, braids and metallic styling all contributed to the overall visual. Killer Queen’s bold makeup and vivid red hair were particularly striking, while Buddy’s wig and ageing were nice details. There was very good work from the props department throughout, with plenty of attention paid to the quirky, offbeat nature of the show. Brit’s homemade instrument was excellent. It genuinely looked cobbled together out of scraps and random materials. The ‘cattle prods’ used during the ‘processing’ of the Bohemians were also very effective. Small details like Killer Queen’s whip were very effective and the Harley during ‘Headlong’ gave the scene a real injection of energy and attitude when it appeared onstage. The all-important videotape was another key part of the story. Overall, there was excellent attention to detail from the props team throughout. ‘We Will Rock You’ is one of those shows that needs energy, commitment and a group willing to unapologetically throw itself into the madness of its world. Bray Musical Society certainly did that. We were left with the sense of a society which had given absolutely everything to the show. There was great ambition, creativity and heart throughout. In the midst of a chaotic evening outside the theatre, Bray Musical Society succeeded in doing exactly what theatre is supposed to do; it transported its audience somewhere else for a few hours and sent us home smiling. Job done. Pat McElwain Sullivan Adjudicator 2025/2026

Review: The Hunchback of Notre Dame - Gorey Musical Society

Gorey Musical Society The Hunchback of Notre Dame Adjudicator date of attendance: 02/04/2026 Gorey Musical Society took on the hugely ambitious The Hunchback of Notre Dame with confidence, imagination, and an impressive understanding of the emotional depth required to make the piece work. It is a musical that demands enormous vocal power, strong visual storytelling, and an ability to balance darkness with moments of genuine warmth and humanity. This production succeeded in doing exactly that,...

Gorey Musical Society The Hunchback of Notre Dame Adjudicator date of attendance: 02/04/2026 Gorey Musical Society took on the hugely ambitious The Hunchback of Notre Dame with confidence, imagination, and an impressive understanding of the emotional depth required to make the piece work. It is a musical that demands enormous vocal power, strong visual storytelling, and an ability to balance darkness with moments of genuine warmth and humanity. This production succeeded in doing exactly that, delivering an evening that was musically thrilling, visually striking, and emotionally engaging throughout. Under Megan Lopez’s direction, the show maintained a strong sense of flow and momentum from beginning to end. The storytelling was consistently clear, even during the larger ensemble scenes, and the integration of the storytellers into the action worked especially well. Their movement in and out of scenes felt seamless, adding continuity and helping the narrative move naturally from one moment to the next. The overall visual identity of the production was cohesive and thoughtful, with a strong understanding of the gothic atmosphere at the heart of the piece. The use of the statues and gargoyles as part of the storytelling framework was particularly effective. Having them preset within the arches as the audience entered immediately established the world of the cathedral and created a wonderful moment of surprise when they later came to life. Lopez handled tonal shifts with confidence, allowing the darker moments of the story to land while still leaving space for tenderness and emotional connection. The final image of Quasimodo’s parents returning as spirits to welcome him at the end of the show was especially moving and provided a beautiful sense of full-circle closure. There were a few areas where the storytelling could have been pushed even further. The physical violence between Frollo and Esmeralda somewhat lacked the intensity needed to fully justify the emotional reaction that followed, and some additional use of the upper levels during larger crowd scenes may have added greater visual depth. Similarly, while the decision to largely retain Irish accents throughout the production was an interesting choice, the contrast with Frollo’s more traditionally “villainous” English accent sometimes felt stylistically inconsistent. Musically, however, this was an outstanding production. Conor McCarthy’s musical direction was exceptional and formed the backbone of the evening. From the opening moments, the orchestra created a rich and ethereal soundscape that perfectly suited the grandeur of the score. The balance between pit and performers was superb throughout, particularly impressive given the size of the orchestra. Individual instrumental lines remained crystal clear, while vocal harmonies were never lost beneath the orchestration. The chorus and choir work was especially breathtaking. Harmonies were precise and beautifully controlled, with the dissonant sections delivered confidently and cleanly. The closing moments of the opening number were genuinely thrilling, filling the auditorium with a sound that felt almost physical in its impact. The ensemble singing throughout the evening was consistently powerful, and the discipline of the choir was remarkable considering many performers were positioned upstage or behind principal action for large sections of the show. Transitions between dialogue and music were also handled beautifully, with underscoring flowing naturally into songs and maintaining emotional momentum throughout. Principal vocals were consistently strong, although diction occasionally became unclear in some of the larger or more intense vocal passages. Nonetheless, the overall musical standard of the production was extremely high. Megan Lopez’s choreography complemented the production very effectively. Rather than attempting movement beyond the cast’s abilities, the choreography embraced their strengths and created visually engaging moments that always served the storytelling. The armography throughout the show was particularly effective, creating strong stage pictures and adding fluidity to ensemble scenes. The use of scarves during “Topsy Turvy” worked especially well, bringing colour, movement, and texture to the stage, while the circular formations suited the period aesthetic beautifully. Importantly, everyone on stage always appeared involved and connected to the action, creating a strong sense of ensemble cohesion. Andrew O’Grady delivered a warm and emotionally sincere performance as Quasimodo. One of the strongest elements of his portrayal was the distinction he created between Quasimodo’s inner world and the way he presented himself to the outside world. His scenes with the gargoyles felt freer and more natural, while his physicality shifted during interactions with the citizens of Paris. There was perhaps room to explore the physical contrast between those two states even further, but the emotional honesty of the performance ensured the audience remained deeply invested in him throughout. Vocally, he sang with apparent ease and genuine emotional connection, particularly in his scenes with Esmeralda, which carried real warmth and tenderness. Margaret Masterson gave a commanding and confident performance as Esmeralda. She brought enormous strength and determination to the role, creating a character who was proud, defensive, and fiercely independent. Vocally, the role sat very comfortably within her range, and she handled the demanding score with confidence and control. At times, it would have been interesting to see a little more vulnerability emerge within quieter moments, particularly in her relationship with Quasimodo, as occasionally the intensity remained level throughout. However, this was still a committed and engaging portrayal. Rónán P. Byrne delivered one of the standout performances of the evening as Frollo. He captured the character’s duality exceptionally well, balancing outward piety and authority with the inner torment and obsession consuming him beneath the surface. His transition from younger to older Frollo was subtle and believable, achieved through carefully judged changes in both physicality and vocal tone. Vocally, he possessed a rich and mature sound that suited the role beautifully, and “Hellfire” became one of the undeniable highlights of the production. The number was dramatically gripping and vocally commanding, elevated further by striking technical elements including the projection of a stained-glass window shattering gradually throughout the scene, mirroring Frollo’s psychological collapse. Richard O’Toole brought warmth and complexity to Phoebus, successfully balancing the character’s swagger and confidence with glimpses of the emotional trauma beneath the surface. His first entrance hinted briefly at the scars left by war and immediately gave the character greater depth. His growing love for Esmeralda and gradual questioning of his own belief system were communicated clearly throughout the performance. Vocally, he blended particularly well with Esmerelda during their shared material. Among the supporting cast, Tommy Cox brought strong energy and fluid physicality to Clopin, with a movement style that suited the role beautifully. At times he slightly anticipated reactions physically before delivering lines, but overall, he remained an engaging and charismatic presence. Brian Cooney and Megan Mitten both gave convincing performances as Jehan Frollo and Florika respectively, with Jehan’s death scene proving particularly realistic. Justin Grimes integrated seamlessly into the statue ensemble as Saint Aphrodisius, while Rónán Ó Dubhghaill and Maria Forrest contributed strongly in their featured ensemble roles. The gargoyles and statues were a major strength of the production. John Donohoe, Becky Sillery Murphy, Paul Kehoe, and Shauna Crooke worked exceptionally well as a group, maintaining strong ensemble chemistry while still allowing individual personalities to emerge. Their physicality and facial expressions remained clear and expressive despite the extensive makeup, and vocally they blended beautifully together. The storytellers also played a crucial role in maintaining the momentum of the production. Thomas Rush, April Kelly, Niamh Flemming, Melissa Larkin, Caoimhe Boyle, and Ciara Herron brought excellent energy and clarity to the narrative, moving fluidly in and out of scenes and helping sustain the pace of the show throughout. The ensemble as a whole was outstanding. Vocally, the chorus produced a rich and powerful sound that repeatedly raised goosebumps, adding enormous emotional weight to many of the production’s biggest moments. Beyond the singing, the ensemble remained consistently engaged and invested in the storytelling, with every performer appearing fully committed to the world of the piece. Visually, the production was equally strong. The set design created an effective framework for the storytelling, with the lighter stone-inspired palette beautifully reflecting the architecture and atmosphere of the cathedral. The asymmetrical staging, featuring a staircase on only one side, added visual interest and prevented stage pictures from feeling static. Additional moving set pieces helped transitions flow smoothly, while the projection work during “Hellfire” added another memorable visual layer to the production. Lighting throughout the show was particularly effective, especially in creating the interior world of the cathedral. The sense of scale and gothic atmosphere was beautifully achieved through careful use of focus, shadow, and colour. The lighting palette complemented the production’s visual identity very well, balancing warmth with darker dramatic moments. Costumes, hair, and makeup were all of a very high standard. The vibrant gypsy costumes contrasted beautifully against the more muted cathedral tones, while the gargoyle makeup, particularly the green patina detailing on the faces and headpieces, looked excellent. Hair and makeup were consistently period appropriate, with only one small oversight where one gargoyle’s hands had not been painted to match the rest of the design. Front of House operations were warm, welcoming, and efficiently managed. Audience members were greeted professionally and seated smoothly, helping to create a positive atmosphere before the performance began. There was a genuine sense of excitement in the auditorium, and the company should be commended for maintaining such a polished audience experience throughout the evening. Overall, Gorey Musical Society delivered a richly atmospheric and emotionally compelling production of The Hunchback of Notre Dame. With stunning musical direction, strong ensemble storytelling, imaginative visuals, and several standout performances, this was a production full of ambition, heart, and theatrical flair that left a lasting impression.

Review: Me and My Girl - New Ross Musical Society

Society name: New Ross Musical Society Show name: Me and My Girl Date of attendance: 14th March 2026 ________________________________________________________________________ ‘Me and My Girl’ has everything a great musical comedy should have. Colourful characters, a catchy, memorable score, a script full of puns, double entendres and an endless stream of fast-firing one-liners. What’s not to love? New Ross Musical Society fully embraced the charm, humour and energy that have made the show...

Society name: New Ross Musical Society Show name: Me and My Girl Date of attendance: 14th March 2026 ________________________________________________________________________ ‘Me and My Girl’ has everything a great musical comedy should have. Colourful characters, a catchy, memorable score, a script full of puns, double entendres and an endless stream of fast-firing one-liners. What’s not to love? New Ross Musical Society fully embraced the charm, humour and energy that have made the show such an enduring favourite over the years. Performed in St Michael's Theatre, it was a lively and engaging production that brought the world of Lambeth and Hareford Hall to life in what was a fun-filled, highly entertaining production. Front of house in New Ross is always a pleasant experience and this was no exception. Volunteers were welcoming and efficient, ensuring that everyone was well looked after from the moment we arrived. The presence of the AIMS President added to the sense of occasion and there was a genuine buzz everywhere. There was good attention to detail in the foyer, with some lovely photo displays celebrating past productions. Inside the auditorium, programme sellers were friendly and upbeat, setting the tone perfectly for the evening’s performance. Direction was in the capable hands of Derek Shannon, who showed a strong understanding of the show’s comedic style. There was great attention to the slapstick, visual comedy of the show throughout. There was strong work with the ensemble, who reacted and interacted with intelligence and humour throughout. Pace was generally strong, with the library scene in particular standing out for its brisk, energetic delivery and wonderful slapstick antics. There was some thoughtful staging throughout. The challenging fugue sequence, set within the window frames, was very well realised, while the ‘human’ portraits in the library scene brought great visual impact. Musical direction was of a very high standard under the baton of Jimmy Brockie. Mr. Brockie’s ten-piece orchestra impressed throughout, with a rich, full sound which balanced the energy and sensitivity required to bring Noel Gay’s vibrant score to life. Choral work was very strong, with ‘A Weekend at Hareford’ getting the production off to a confident start thanks to the ensemble’s full-blooded delivery. The ensemble sound at the top of ‘An English Gentleman’ was especially impressive with its excellent diction and tight harmonies. Principal singing was also of a high standard throughout. Tempos and dynamics were well judged, providing nice contrast between softer, more intimate moments like ‘Once You Lose Your Heart’ and more full-on energetic numbers such as ‘The Lambeth Walk’. Choreography by Anne-Marie Cooney was always very engaging. There was a clear focus on storytelling and character. The opening number, ‘A Weekend at Hareford’, was simple but effective, catering for performers of all abilities whilst still establishing the tone of the show. There was a great sense of fun and absurdity in ‘The Family Solicitor’, with principals fully embracing the playful style through their energetic hopping, skipping, jumping and ‘letting rip’. The tap break in ‘Me and My Girl’ was wonderful, with Bill and Sally dancing up a storm in a sequence that was technically impressive yet so charming. ‘Hold My Hand’ was another fun routine, featuring strong ensemble work and ‘The Lambeth Walk’ was a clear audience favourite, with its spoons routine and character-driven choreography. ‘Men of Hareford’ was a most enjoyable sequence, with the tapping ancestors making a strong impression, although the impact of the routine was let down somewhat by lighting that did not complement the choreography. Andrew Lane brought tremendous energy and charisma to the central role of cockney costermonger Bill Snibson. This was a superb performance, full of expression and vitality, with Mr. Lane demonstrating exceptional physicality. His use of props was particularly impressive, with standout moments including his business with Sir John’s watch, the perfectly judged decanter drop, the cushion gag, and his wonderful antics with his cloak in the library scene. A triple threat, Mr. Lane excelled in his singing, dancing, and comedic acting. Mr. Lane had the most beautiful lyrical singing voice. His performance in ‘Leaning on a Lamppost’ was warm and controlled and I loved his beautifully timed gesture of blowing out the lamp which was a lovely finishing touch. His transformation towards the end of Act One was very funny, with a hilariously clipped upper-class accent as he attempted to pass himself off as a gentleman. Sarah Corcoran gave a wonderful portrayal of Bill’s girl, Sally Smith, capturing the character’s initial rough-around-the-edges charm with great warmth and authenticity. She had very strong stage presence throughout. Like Mr. Lane, she was extremely versatile, as her strong singing, dancing, and acting combined to deliver a most engaging performance. Her rapport with Bill was a particular strength, with the two having a natural chemistry which shone through, especially during numbers such as ‘Me and My Girl’, which felt fresh and so believable. Singing was excellent throughout. ‘Once You Lose Your Heart’ was beautifully performed and ‘Take It on the Chin’ was another standout, thanks to some warm and playful interplay with Jasper. Overall, a most confident and thoroughly enjoyable performance. Ester Crilly was excellent in the role of Maria, the Duchess of Dene and head of the Hareford household. This was a wonderfully assured and finely judged characterisation. She captured the regal nature of the Duchess with great poise. Ms. Crilly was an exceptionally clever actress. Every movement and expression was carefully considered and purposeful. She also made a strong impression with her singing. ‘Men of Hareford’ stood out as a highlight as we were treated to a clear, tuneful voice which was full of character. Combined with her excellent diction and commanding presence, this was a performance of real quality which brought much authority and humour to the role. Rory Robinson gave a wonderful performance as Sir John Tremayne. Characterisation was excellent and there was so much comic detail in his portrayal. There was great use of comic expression, accent, and physicality as he completely immersed himself in the role. His scenes with the Duchess were a particular highlight, with a most entertaining dynamic between the two. Mr. Robinson’s wonderful facial expressions in response to her cutting remarks were often as funny as the lines themselves. The perfectly timed fall following his declaration that he would stand up to her was a moment of comedy gold. A truly excellent comic performance overall. Amy Haughton took on the role of the vampish Lady Jacqueline Carstone whose materialistic leanings were never in any doubt. Ms. Haughton’s comic potential was clear as she demonstrated great physicality and very strong facial expressions. She committed fully to Jacqui’s often outrageous antics, particularly in numbers such as ‘You Would If You Could’, where she cast inhibitions aside in what was a very funny routine with Bill. She had a strong singing voice, although there were some slight tuning issues in ‘Thinking of No One But Me’. That said, she approached the number with great confidence and energy and her characterisation ensured that the performance was entertaining throughout. Conor Lyons showed his skill as a highly accomplished comic actor in the role of Gerald Bolingbroke. He had all the necessary skills, combining excellent physicality, wonderfully rubberised facial expressions, a strong singing voice and a neatly clipped accent that perfectly suited this delightfully absurd aristocratic character. There was so much to admire in his performance. He was very secure musically. ‘The Sun Has Got His Hat On’ was especially well handled, with Mr. Lyons singing confidently and embracing the humour of the piece so well, especially in the very funny scat section. He was most impressive in the choreography department too, particularly in the tap sequence which he performed with wonderful energy and flair. Phil Erskine brought great enthusiasm and character to the role of Herbert Parchester, the delightfully quirky family solicitor. He fully embraced the eccentricities of the part, enjoying each opportunity as he repeatedly attempted to burst into song. Mr. Erskine had a very engaging presence on stage. His confident tenor voice was full of comic character. His showcase number, ‘The Family Solicitor’, was a riot of fun, with Mr. Erskine clearly relishing every moment. Peter O’Connor made the absolute most of a relatively small role as the hard-of-hearing Sir Jasper Tring. This was a highly entertaining characterisation. Mr. O’Connor had a most consistent physicality as the doddery elder statesman of Hareford and he used this to get every last drop out of the role. Of course, he achieved all of this with absolute minimal dialogue, relying instead on his very funny vocal exclamations. Anthony Finn brought a strong presence to the role of Charles, the butler. His wonderfully droll, deadpan delivery was packed with humour and he showed excellent comic timing throughout. He may not have had a great number of lines, but Mr. Finn ensured that every moment counted, thus creating a most memorable character in the Hareford household. Seán O’Brien was a very strong comic presence in the role of Lord Battersby. He captured the character’s fondness for a tipple with humorous charm. His startled reactions, when being admonished by his formidable wife, Lady Battersby, were consistently amusing. We were left in no doubt as to why he might wish to lose himself in a sherry or two! Carmel Rowe was another strong presence in the role of Lady Battersby, bringing authority and precision to the part. She had wonderful comic timing and very strong stage presence throughout. Her deliciously sharp delivery of cutting remarks kept Lord Battersby firmly in his place. Lynda Walsh made a memorable impression as the nosy Mrs. Brown, bringing plenty of vocal energy and a very rough-around-the-edges characterisation to the role. She clearly enjoyed her moment on stage, ensuring the character stood out for all the right reasons. Finn Kiely Kelly also impressed in the dual roles of the telegram boy and the Pearly Prince. He showed good confidence and stage presence throughout. No doubt, this young man will continue to develop in future roles. The ensemble was generally well-rehearsed, showing a good sense of engagement throughout. The aristocrats arriving at Hareford in the opening scene impressed with both their strong singing and expression, helping to set the tone effectively from the top of the show. In ‘An English Gentleman’, while the choral sound was excellent, more focus on character and performance from the staff would have lifted the number even more. In the Act One finale, while there was terrific life and energy from both the Pearlies and the aristocrats, the level of ad-libbing occasionally drowned out the dialogue. That said, the ensemble’s choral singing was of a very high standard throughout. They also committed fully to the choreography, with great energy and enjoyment in numbers such as ‘The Sun Has Got His Hat On’. Stage management, under Mark Hayden, was solid throughout, with scene changes generally executed in a slick and efficient manner. Transitions flowed well, helping to keep the pace of the production moving briskly at all times and fly cues were very well managed throughout. There was a small number of issues that might have benefited from attention. The sound of cast members practising a tap routine on stage during the interval was clearly audible in the auditorium. In addition, a trailing cable from the otherwise excellent lamppost in the street scene was very noticeable. Otherwise, however, it was a well-organised and efficiently managed production. The set design worked well from a structural point of view for the various locations, with some thoughtful ideas throughout. The library scene, in particular, was quite cleverly realised, with the use of the portrait-filled window spaces and the bookcase placed in front of the main doors of Hareford Hall, creating a strong visual. However, there were some aspects of the overall finish that took away from the sense of grandeur one associates with the show. The walls of Hareford Hall appeared somewhat drab for such an opulent setting and, at times, gave the impression of being unfinished. More detailed painting was required to establish the aristocratic world of Hareford. While there were some very strong ideas in the design, a more polished finish and greater attention to detail might have enhanced the overall aesthetic. Lighting was something of a mixed bag throughout the production. There were moments of very strong visual storytelling, particularly in the use of lighting through the windows, which helped to suggest a world beyond Hareford and added great depth. Similarly, ‘Leaning on a Lamppost’ was very nicely realised, with some beautiful backlighting and use of haze combining to create a stunningly atmospheric image as Bill and Sally danced together. Cueing required greater precision in places, with some transitions lacking finesse. ‘Men of Hareford’ felt like a missed opportunity from a lighting perspective. As this sequence exists within Bill’s imagination, it should be a great chance for a director and lighting designer to create some magic with an otherworldly atmosphere that takes us out of reality as the ancestors come ‘to life’. Instead, the number was presented in relatively standard lighting, which limited its impact. Overall, while there were some very effective moments, a more imaginative and consistent approach to lighting would have added greatly to the visual impact of the show. Sound design was of a very high standard throughout. The orchestra mix was excellent, allowing the ten-piece ensemble to flourish without ever overpowering vocalists. EQ levels were very well judged for both singing and dialogue, ensuring warmth and clarity at all times. There was also a strong sense of balance in the ensemble vocals which were very well blended. Cueing was precise and accurate throughout, giving a very professional feel to the overall sound quality. Sound effects, when used, were well chosen and perfectly timed, enhancing key moments as required. Overall, a very well-executed sound design operated with consistency and control. Costumes were a real strength of this production, capturing both the tone and period of ‘Me and My Girl’ very well. There was great attention to detail throughout. The gentry, arriving at Hareford in the opening scene, were beautifully turned out, immediately establishing the world of the aristocracy. The maids and staff were presented with impressive uniformity. The striking suit of armour looked fantastic and provided a great visual gag later in the show. Authentic pieces such as the deerstalker hat, along with the excellent period costuming of the ancestors, further added to the overall aesthetic. The arrival of the Pearlies at the end of Act One provided a wonderful contrast, with their eye-catching pearled costumes standing out brilliantly against the formal attire of the Hareford guests and greatly enhancing the storytelling. Excellent work from the costume department. Props were handled with great care and attention to detail throughout. It was clear that a great deal of thought had gone into sourcing and selecting items that were appropriate to the era and setting. Many props also played an important role in supporting the comedy. Excellent work from the props team overall which added much polish to the production. Hair and make-up were, for the most part, very well considered, with good attention to detail evident across the production. From the smaller touches, such as Parchester’s distinctive centre parting, to the Duchess’s perfectly coiffed hairstyle, there was a clear effort to ensure that characters were appropriately styled for their roles. Some of the maids appeared more heavily made up than the period might suggest and felt slightly out of place given their status within the household. This was a small detail, but worth noting. ‘Me and My Girl’ is one of the great feel-good musicals. It is a show with great joy, humour, and heart at its core. New Ross Musical Society certainly captured its energy and charm with strong performances, wonderful musicality and a clear sense of enjoyment both on stage and in the auditorium. While there were some areas that could be refined, the overall impression was of a society fully committed to bringing this much-loved classic to life. Above all, it was a production that sent everyone home smiling. A much-needed tonic for all! Pat McElwain Sullivan Adjudicator 2025/2026

SOUTH-EAST SOCIETIES

Below is our comprehensive list of SOUTH-EAST 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
Arklow Panto Creations
Avonmore Musical Society
Bray Musical Society
Carnew Musical Society
Currid School of Performing Arts
Enniscorthy Musical Society
Gorey Musical Society
Innovations Theatre School
Jack Cunningham Productions
Kilkenny Musical Society
New Ross Musical Society
North Wexford Musical Theatre
Oyster Lane Theatre Group
Quayplayers Musical & Dramatic Society
Roundwood Variety Group
South Eastern Theatre Group
St. Michael's Theatre Musical Society
Striking Productions Carlow
Studio 55 Productions
The Little Sea Musical Society
Waterford Musical Society
Wexford Light Opera Society
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