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UPCOMING EVENTS

Sunday in the Park with George

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28 Nov 2024

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Jekyll and Hyde

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7 Apr 2025

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Crazy For You

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4 Sept 2024

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Disney’s Beauty and the Beast

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13 Apr 2025

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To be announced

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1 Apr 2025

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LATEST NEWS

Phantom of the Opera as presented by Wexford Light Opera Society

The Phantom of the Opera as presented by Wexford Light Opera Society: Saturday 4th May 2024. I’m nothing if not consistent. I still think...

The Phantom of the Opera as presented by Wexford Light Opera Society: Saturday 4 th May 2024.   I’m nothing if not consistent. I still think that Phantom of the Opera is thin on story, has fairly one-dimensional characters, and a very vague ending. It is a show that relies on a stunning musical score and the requirement of technical spectacle. However, having witnessed the Wexford Light Opera Society production, I can now admit that, when all the ingredients come together in the most crafted and precise combination, I can at last understand why it has been a phenomenal success on London, Broadway and who knows where else. I am equally confident that if this particular production was on any professional stage, it would stand up beside the best of the best. This production was quite magnificent. Perhaps the battle was half won even before the show started, given the grandeur and the capabilities of the National Opera House. But it’s one thing to have a beautiful stage, and something else altogether to turn it into a phenomenon.  Charged with the responsibility of bringing all the various strands of the production together was Director, Christine Scarry, and her first of many major achievements was to surround herself with the perfect team for the job. With a belief in your set designer, your lighting crew, your wardrobe mistress, your choreographer and your Musical Director, the battle is almost won before it has begun. When you have the confidence and foresight to select the perfect players for each role, you make life that little bit easier, and when you have a strong handle on what works dramatically, a perfect eye for what is aesthetically pleasing, and the wonderful imagination to give a production that extra personal stamp, then your job is complete and the end result is something very wonderful. That was the case with this production. The detail and work that went into every aspect of the show was immense, and drawing it all together with style and panache confirms Christine as a master of her art. I’m sure she may have done one or two dodgy productions in her day, but not THIS day. This day, she was supreme in her achievements, and I’m grateful to have been a spectator of that greatness.  During a night of wonderful music, one of the highlights for me was sitting back and enjoying the Entracte, which was something akin to attending a philharmonic concert, such was the standard and quality of a superb orchestra, under the excellent guidance of Musical Director, David Hayes. Throughout the show, the tones and tempi were excellent, giving life and energy to the score, hitting the crescendos with nerve-tingling ferocity, and melting into sublime, swathes of mellow legato. There was never a question of orchestra and vocalists being in competition, as the level and balance of the accompaniment was always perfect. Thanks to Chorus Mistress, Eithne Corrigan, good attention had been given to the choral work, with strong harmonies and clean, crisp diction. “Masquerade” was the showpiece of the vocal work, although the difficult “Don Juan” opera pieces were also very well-handled. It goes without saying that the principal singers were meticulously prepared.  Tony Carty, playing the role of The Phantom, having already performed a matinee that afternoon, was suffering from a sore throat when I attended on the final night of the show. I could tell in his early musical pieces that he was under some strain, and I mention this only to indicate the level of professionalism that he displayed in this performance. With true dedication, and superb restraint, he held back vocally on the easier and more gentle pieces of music and sensibly saved his powerful voice for those scenes where he needed to make a massive impact. In so doing, he avoided what could have been a disaster for the standard of the whole production. His acting throughout the show was excellent, and in managing his vocals so effectively, he persevered to ensure that the show’s climax was just that. This was theatrical craftsmanship, and I richly applaud his dedication.  The sensation of the show, however, was the performance by Karla Tracey as Christine Daaé. Her stage presence was strong and resolute, her acting was remarkable, her grace and elegance in movement was entirely what was required for her role, and I would quite simply run out of superlatives trying to express my admiration for her sublimely beautiful and powerful voice. In a role that demands much, she gave much more than I could have imagined. Her tone, her diction, her emotion, her range were all taken from the very top drawer of musical accomplishment. She may have been born to play this role. I remain in awe.  There’s a star in the making in the shape of Daniel Furlong, who most effectively took on the role of Raoul, Vicomte De Chagny. Doubtless, he will find himself cast in romantic leads in the future, possessing, as he does, a very fine tenor voice, good acting ability, and great stage presence. This was a confident and very capable performance.  Tony Brennan and Pat Lawlor, as Richard Firman and Gilles Andres, respectively, provided a light comedy duo, as the new owners of the Opera Populaire, confounded by the misfortune of dealing with a theatrical ghost and living Prima Donnas. Witty in the execution of their pieces, they were most impressive in the vocal challenges of the tricky ‘Notes’ numbers.  Ami Stahlut was a most impressive Carlotta Giudicelli, with a fabulous soprano range and a wonderful presence on the stage. She was dramatic and stubborn and delightfully self obsessed, making her character worthy of ridicule and many a good laugh. Very well played and beautifully sung.  Her counterpart was a pompous and buffoonish Piangi, played with great character and comedy by the very capable and likeable George Lawlor. With fine facial reactions and a stuffy awkwardness, he squeezed as much comedy as possible from his characterization. There was a dry, controlled, severity about Nicola Roche in the role of Ballet Mistress, Madam Giry, very strong and secure in her vocals, and mysterious in her station as go between from the Phantom to the rest of the Opera. Very confidently and dramatically played.  As stated in a previous review of Phantom, I’m never quite sure of the relevance of Meg Giry to the story, but regardless of that, Niamh Cullen gave good voice and personality to her role, with a confident presence and a warm character.  Eric Hayes made an impact as Buquet, the stage technician of dubious character, who meets an untimely end. Other notable performances came from James McDermott as a relieved Monsieur Lefevre, Dylan Walsh as the dramatic theatrical Monsieur Reyer, Stephen Byrne as the auctioneer and Catherine Walsh as the Confidante.  What made the chorus stand out in this production was their commitment and precision in everything that they performed. Routines were meticulously rehearsed, pictures on stage were sharp and artistically beautiful, and when they had an opportunity to shine vocally, they grasped it with both hands and sang their hearts out. I sensed their total belief that they were an integral part of something special, and they responded accordingly. Excellent work. Choreographer, Thérése O’Sullivan, took every possible opportunity to enhance the production with beautiful movement, whether it was the ballet dancers rehearsing or performing in the Operas. The full chorus have limited opportunities to shine, but in all they were asked to do, they were meticulous and energetic, with “Masquerade” being awesome in presentation and execution. But the terpsichorean highlights of the show were undoubtedly those moments when the Corps De Ballet took centre stage. Excellent work.  With a superbly designed and brilliantly built and painted set, perfectly selected projections, an amazing and industrious stage crew, under the direction of Stage Manager, Colin Murphy, perfectly built and sourced props and one of the finest stages in Ireland, this was a recipe for success. When you combine all the above with a superbly detailed lighting and effects plot and virtually flawless sound quality, then you get as close to technical excellence as it’s possible to get. What might have edged it even closer to perfection would have been a bigger organ, with bigger organ pipes that dominated that scene, a heavier fake body for the hanging of Buquet that stopped more abruptly, with a neck snap for horrific impact, and a much speedier falling of the chandelier, perhaps blacking-out with a light explosion, before it hit the stage. But I’m nit-picking really. Scene after scene, I was mesmerized by the visual strength of the sets, the use of candlelight, the controlled use of fog/mist, the flash effects, and just how smoothly and seamlessly everything moved and fit together. Technically, the show was quite simply beautiful.  Congratulations to the wardrobe team for selecting such a top-notch costumier to supply this show with a wonderful and varied wardrobe. The day wear for the principals and chorus were apt and respectable, and the theatrical wear for the Operas was luscious and beautiful. Particularly lovely were the several sets of beautiful ballet outfits for the Corps De Ballet. When the full cast took to the stage for the splendid “Masquerade,” it truly was an awesome spectacle, from wigs, to masks, to outfits, to footwear. Make-up was generally very good, although perhaps Carlotta and Piangi’s could have been more exaggerated and also the Phantom. From where I was sitting, I didn’t really catch the horrific effect when his mask was removed.  Finally, it behooves me to acknowledge that in the course of carrying out one’s duties as an adjudicator, one also has the privilege of gaining much knowledge from the experience of others. During this season, I have had many teachers in many disciplines, but tonight I was fortunate enough to gain wisdom and experience from two professors. Professors Christine Scarry and David Hayes. I shared that privilege with Wexford Light Opera Society, who blossomed and bloomed under such accomplished leadership. Thank you all for a sublime theatrical experience. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Paula Malone Carty

The Little Mermaid as presented by Striking Productions

Striking Productions The Little Mermaid 3rd to 5th May Rathwood Big Top. Adjudication Performance 5th May. As I concluded my journey as...

Striking Productions  The Little Mermaid 3rd to 5th May Rathwood Big Top.  Adjudication Performance 5th May.  As I concluded my journey as Aims Adjudicator, my destination was the Big Top in Rathwood. This was not just any performance, but a truly unique and captivating experience set amidst the enchanting trees of Rathwood. The front-of-house management was quite good, especially considering the challenges of a new and busy venue. Despite the increased demands and unfamiliar surroundings, the front-of-house team handled the situation with remarkable skill and professionalism. And a smile! Their ability to navigate the complexities of a new venue while ensuring a smooth and enjoyable experience for the audience was commendable. Their dedication and adaptability were evident, and their efforts significantly contributed to the production's overall success. Well done to the front-of-house team for their outstanding performance in facing such challenges. The Director was Robert Ó’Néill. Mr Ó’Néill demonstrated a deep understanding of this story's fun element and the out-of-world experience by effectively and beautifully bringing the magical underwater world to life on stage. The production's pacing was well-executed and given that this production was in a Big Top Tent, it made Mr Ó’Néílls job quirky, if not slightly different. Mr Ó’Néílls vision was evident in every scene. The attention to detail and the seamless integration from a Musical performed on a Stage to a Musical performed in a Big Top tent was exemplary, different, and simply superb. These characters had the most beautiful, shining personalities and costumes, and the love story unfolded before my eyes. I was stunned by how successful this production was given the venue. Mr Ó’Néílls direction shone here in what could only have been trying circumstances, and yet it was beautiful and a vision with each character superb in their roles. I applaud Mr Ó’Néill as director here. It must have been challenging, but seeing this venture's success is rewarding. Charming direction here, Mr Ó’Néill.  The Musical Director was Joan Butler. Ms Butler's expertise was apparent in the flawless execution of the iconic songs and the overall musical performance of the Orchestra. Tucked away neatly to the left of the stage and given the acoustics and the venue, the sound produced was gorgeous and nothing short of a miracle. The cast's vocal abilities shone with the orchestral accompaniment here and were expertly showcased, and Ms Butler's guidance undoubtedly contributed to the production's overall success. The brave option of using live music rather than backing tracks was a daring and correct move, adding depth and emotion to the storytelling. The musical director's passion for the score was palpable throughout the performance. A charming Musical Director with buckets of talent, Ms Butler, it was a joy to sit and listen to the gorgeous sound throughout this production with you and your Orchestra at the helm.  The Choreographer, Tracy Rea, demonstrated superb creativity and skill in the dynamic and captivating dance numbers. Her ability to adapt to the unconventional venue, with its various entry and exit points, was admirable. The dance styles added excitement and energy to the show, and her attention to detail was commendable. The children were enraptured by the flawlessly performed colours and movements. The seamless blending of movement and storytelling was a testament to Ms. Rea’s talent, which shone brightly in every dance sequence. The Stage Manager was Sandra Maye. The set design for "The Little Mermaid" in the Big Top tent was extraordinary. Despite the unconventional venue, the set was a visual spectacle that seamlessly transported the audience into the enchanting underwater world. The stunning projections were magnificent and extremely practical, adding depth and detail to the stage that would have been challenging to achieve with traditional set pieces. The creative integration of projections with the physical set was appropriate and innovative, enhancing the overall visual presentation and storytelling. The set design team's ability to adapt to the Big Top tent's unique demands while maintaining the production's magical atmosphere was truly commendable. Their work was a testament to their creativity, resourcefulness, and dedication to creating a memorable and immersive theatrical experience. The sound design in this production was a remarkable feat, especially considering the unconventional venue. The sound team expertly balanced the audio to ensure that every note and spoken word filled the space without overwhelming the audience. Despite the tent's acoustics challenges, the sound was clear, immersive, and perfectly complemented the actors' performances. From the powerful musical numbers to the subtle sound effects, the sound design enhanced the overall experience and transported the audience into the magical world of "The Little Mermaid." The lighting design in the Big Top tent was nothing short of breathtaking. The lighting team skilfully utilised the unique space to create mesmerising visual effects that heightened the emotional impact of each scene. With limited traditional rigging options, they creatively employed innovative lighting techniques to illuminate the stage and set the mood for the underwater adventure. The interplay of light and shadow added depth and dimension to the production, showcasing the talent and resourcefulness of the lighting crew. The costumes in this production were a true spectacle to behold in this unique setting. From the shimmering scales of the merfolk to the intricate detailing of the human characters' attire, every costume was a work of art. The vibrant colours and exquisite fabrics transported the audience to an underwater realm, and the attention to character-specific details was evident in each ensemble. The costumes not only enhanced the visual appeal of the production but also served as a testament to the creativity and craftsmanship of the costume team. The hair and makeup design in "The Little Mermaid" was a testament to the team's artistic talent. The imaginative and skilful makeup application brought the characters to life, with each actor's transformation adding realism and authenticity to their portrayal. The elaborate hairstyles and makeup designs complemented the costumes while enhancing the story, making it far more believable and natural, such as the intricacy and attention to detail.  In the unconventional setting of a Big Top tent, the props team demonstrated remarkable ingenuity and precision. The props seamlessly integrated with the vibrant set design, enriching the storytelling, and bringing the enchanted world of "The Little Mermaid" to life.  Emma Sunderland played the part of Ariel. What a glorious role and a beautiful lyrical voice this young lady has. Ms Sunderland’s' portrayal of Ariel was enchanting. She brought a perfect blend of innocence, curiosity, and determination to the character, capturing the audience's hearts with her beautiful voice and graceful movements. Her portrayal truly embodied the spirit of the adventurous and free-spirited mermaid. I loved you in this role, Ms Sunderland, and it was a stunning performance. I hope your journey on the stage in musical theatre will stay with you for a long time. Bravo.  Joshua Nolan played Prince Eric. Mr Nolan's portrayal of Prince Eric was charismatic and heartfelt. His princely demeanour and genuine emotions resonated clearly with me, creating a solid connection to the character. His chemistry with Ariel was palpable, and his performance brought a sense of romanticism and bravery to the role. His lovely, stunning vocals enhanced this role and your superb overall performance.  Kayla Kehoe played Ursula. Her portrayal was nothing short of magnificent. She exuded power, cunning, and theatrical flair, embodying the essence of a formidable villain. Her commanding presence and wicked charm added depth to the character, making every scene she graced with her presence utterly captivating and thrilling. Your magnificent role and superb vocal performance left me in awe of what you made of this character. And you looked amazing.  Kevin Reade played King Triton. No stranger to the stage, Mr Reade’s portrayal of King Triton was regal and profoundly moving. He brought a commanding presence and paternal warmth to the role, portraying the inner conflict and love for his daughter with great emotional depth. His performance radiated authority and tenderness, and this role was beautifully played—the perfect part for a fantastic actor. I wish you many more years of stage success, Mr Reade. It was a joy.  Brian Roche played Sebastian. What an absolutely delightful and joyful role this young man made of this character. Mr Roche’s exuberance and comedic timing breathed life into the character, infusing every scene with infectious energy and a simply lovely charm. His performance on stage was a true highlight.  Siobhán Kavanagh played Scuttle. This young lady's performance and interpretation of this lovely part were scene-stealing. Ms Kavanagh created eccentricity and comedic timing for the character and delivered a memorable and entertaining portrayal.  Holly Harmon played the part of Flounder. Ms Harmon acted this role in a way that was endearing and heartfelt. She embodied the innocence and loyalty of the character, creating a genuine connection with the audience. Showcasing a wide range of emotions, from youthful exuberance to moments of vulnerability, demonstrating versatility and depth in the performance. The actor's chemistry with other characters, particularly Ariel, makes Flounder a beloved and relatable character that I loved throughout.  Paddy Behan played the part of Grimsby. Mr Behan’s depiction of Grimsby was a refined and polished performance. Excluding authority and sophistication, capturing the essence of the character with poise, Mr Behan’s stage presence commanded attention, and his mannerisms and demeanour were beautiful. The actor's interactions with other characters, particularly Prince Eric, were so lovely and endearing, and I warmed to this gentleman in this role from the word go.  Audrey Cooper played the part of Flotsam. Both captivating and menacing, this lovely actor embraced the criminal nature of the character, exuding a sense of hostility and intrigue. Her physicality and vocal delivery conveyed a sense of foreboding, adding tension and drama to the production. The actor's ability to embody Flotsam's sinister presence contributed to the story's overall atmosphere, creating a compelling antagonist that was superb.  Tricia Millar played the part of Jetsam. A character with sinister elegance exuded a menacing charm that perfectly complemented Ursula’s villainy. The actress’s command of the stage and compelling portrayal of the character’s devious nature made her captivating and formidable. Aquata, played by Shauna Ray Lacey, Adrina played by Emma McNally, Atina played by Rachel Corcoran, Alanna played by Katie O’Shea, Adella played by Katie Phelan, and Arista, played by Grace Guerin; King Triton's daughters, were exceptional. These young ladies had magnificent voices and stunning appearances with fabulous costumes.  Chef Louis was played by Julien Jully. A funny, dramatic, and flamboyant characterisation which made us laugh. Well done  You all played a vital role in the success of this production throughout, and each of you played your parts beautifully. You were all like a pretty picture on stage that one could frame!  The Chorus Mistress was Joan Butler. The chorus was captivating, and their sound and presence on stage were enchanting. Their harmonious voices resonated throughout the venue, creating a truly gorgeous treat for the audience at every turn. This Chorus demonstrated wonderful talent and dedication, with their gorgeous voices seamlessly blending into each scene and contributing to the storytelling beautifully. This Chorus left a lasting impression on me. So, very well done. Stunning sound and vocals and gorgeous harmonies.  This production of “The Little Mermaid” was a triumph for this lovely Society. Massive creativity and resourcefulness delivered an unforgettable experience for your audience, including adults and children, on the day I attended. It’s a beautiful and striking venue and, in my opinion, a true success as this was your first venture in this phenomenal location, and I applaud you all. Bravo, and thank you for making my afternoon an absolute treat for the senses, the eyes, and the heart! Congratulations, and thank you for your outstanding warm welcome.  CAROLINE DALY JONES ADJUDICATOR SULLIVAN 2023 / 2024 Photos by Darragh Carroll

Evita as presented by Waterford Musical Society

Evita as performed by Waterford Musical Society: Friday 3rd May 2024. This was my fourth visit to Argentina this season, and each of the...

Evita as performed by Waterford Musical Society: Friday 3 rd May 2024.   This was my fourth visit to Argentina this season, and each of the four, while similar in ways, offered something different and something to challenge the critical eye. As with the previous three productions, this Evita was a great pleasure to watch and enjoy.  The Theatre Royal, Waterford, has, for a long time, been one of my favourite venues. It has a great atmosphere, being both expansive and intimate, and when on that stage, one can almost feel the audience. I’m quite sure that the cast of Evita know exactly what I mean, for the audience for their beautiful presentation were enthusiastic and very appreciative of the production, the performances and the wonderful drama that unfolded in the telling of the story of Eva Peron. Director, Liam Butler, presented us, generally, with a tidy and familiar production, but managed to throw in a few surprises along the way. I was somewhat distracted by the set for the show, a series of columns, brick on one side and decorative on the other, but there didn’t always seem to be logic in their positioning on the stage. They moved a lot, but with the exception of the beautiful balcony at the start of Act Two, they always looked rather random. Stage management, under Shane Taheny, seemed to know where everything was meant to be, and worked diligently to keep the show running smoothly, but often I was mystified as to the location being suggested by various settings. In most other respects, this was a very coherent production, with the available stage space used very effectively. Good pictures were achieved, and the main action of the piece was always nicely highlighted. Particularly well-handled were the final scenes of the show, which were excellent in timing and atmosphere. The use of projected images for the montage was quite brilliant, and infinitely more successful than physically recreating the various numbers that the montage features. This was like Eva’s life flashing through her mind as she lay helpless and tormented in her bed. I loved it.  The best tribute I can pay to Musical Director, Wayne Brown, is that I never noticed him, nor questioned his work or ability. I simply sat back and enjoyed the beautifully played music, which accompanied the show unobtrusively, like the soundtrack to a movie. I heard nothing that drew my attention in any negative manner, as tone, rhythm and balance all seemed to just flow together quite effortlessly. His orchestra were finely tuned and precise in their playing, and his vocalists did all that was required to present a delightful sound throughout the show. A very good job, all round.  The chorus contribution to the show was of a high standard, both visually, with tidy and often energetic dance routines, and vocally, with very good and secure harmonies and precise diction. Their actions and reactions to the drama were natural and very believable.  At the outset of the show, I was a little unsure of Paula Weldon in the role of Eva Duarte, feeling that she didn’t quite capture the youthful ambition of her character, but as the evening progressed, so did my admiration of her talent and ability. As she matured and easily seduced Peron, there was a passion in her performance that escalated until her illness slowed her down. From then on, her performance was awesome, culminating in a truly memorable and heart-breaking final scene. This was her best acting of the night. Throughout the show, however, there was a consistently good vocal quality on display, which more than convinced me why she was cast in the role.  Dermot Keyes was the kindest Peron I have seen this season, with a very touching love for Eva, which seemed to break his heart as much as hers when she fell ill. This was a strong and steady performance, delightfully lyrical in his vocals, and with such a striking stage presence. Beautifully acted from start to finish.  Brian Tuohy, similarly, had a very strong presence on the stage, and was quite powerful in his vocals, perhaps on occasions a tad strident. There were moments when I wished his sneer towards Eva would soften to show more compassion, even admiration for her achievement, but he was quite ruthless in his sardonic cynicism towards her. Nevertheless, his performance was extremely self-assured.   Timmy Moloney captured the easily deluded character of Augustin Magaldi delightfully. His singing was of a very fine quality, if perhaps he needed to be more flirtatious in the execution of his song. He did very effectively project the annoyance and frustration of realizing that he had been little but a stepping stone for Eva.  Lauren Cardiff displayed all the correct emotions of being rejected as Peron’s Mistress. Her delivery of “Another Suitcase” was beautiful enough to leave us wanting to hear more from her.  The Children of Argentina sang divinely in Santa Evita, with perfect tuning and beautiful, clear diction.  There was very good work done by choreographer, Ali Reville, particularly in the precise and military routines of the generals and the Aristocratic chorus. The Art of The Possible, Peron’s Latest Flame, and The Chorus Girl Hasn’t Learned Her Lines were delightfully regimented and classy in appearance, with simple but extremely effective patterns and movements. There was great energy, too, in Buenos Aires, A New Argentina and The Money Kept Rolling In, which were all performed with energy and good accuracy by an enthusiastic chorus. In a show that doesn’t always stand out for its dancing, this was an engaging presentation. It was a nicely costumed show, with Eva always looking extremely stylish, good attention to the Generals and good work on the ordinary people. There was an almost Ascot-Gavotte look and feel about the rich peoples’ chorus, which was most effective, and another nice original idea. Hairstyles/wigs were very appropriate and well-managed. From a make-up point of view, the standard was very good, and the work done on the ailing Eva was most impressive. The stage was nicely dressed with only essential furniture, and a very good array of banners, signs, flags and other appropriate props. The show was visually very attractive.  The very delightful Chairperson, Seneiva Magill, gave me a warm welcome to one of my favourite theatres, and was attentive and hospitable throughout the evening. I’m indebted to you all for a most enjoyable night, and I only hope that you will keep striving to be your best and keep entertaining your audiences as much as you did with this lovely production. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Colin Shanahan

The Addams Family as presented by Bray Musical Society

BRAY MUSICAL SOCIETY THE ADDAMS FAMILY 17TH – 20TH APRIL 2024 MERMAID ARTS CENTRE, BRAY CO WICKLOW PUBLIC ADJUDICATION The Front of House...

BRAY MUSICAL SOCIETY  THE ADDAMS FAMILY 17TH – 20TH APRIL 2024 MERMAID ARTS CENTRE, BRAY CO WICKLOW PUBLIC ADJUDICATION The Front of House team of Bray Musical Society's "The Addams Family" production was perfect. Friendly, welcoming, and attentive to the patron's needs, ensuring everyone had a pleasant experience. Their organization is to be noted. I particularly loved the Foyer with its decoration and the paintings of the Beineke’s and The Addams family at the end of each arm of the staircase draped in all sorts of decoration and fitness. There was a smooth and efficient flow of the audience entering and exiting the theatre. The Front of House team's efforts contributed to the audience's positive experience and helped set the scene for a successful production.  The Director was Ms Emma Thornton. Ms Thornton did an impressive job on casting and character development, especially with the front line. The cast played their respective roles well, and their performances were very good. The vocals were remarkable, and the costumes were visually appealing, bringing the characters to life. However, a few areas of the production could have been improved. The sets were too minimalistic for the stage's width, length, and depth. Specifically, adding more details and filling the stage with more set, particularly in the scenes where Gomez is alone on stage or Gomez and Wednesday; indeed, in many of the scenes where just one or two of the main characters were centre stage, more set and attention to detail with furniture, gothic windows, a balcony, a mezzanine would have been so beneficial and visually more appealing to the eye for the audience. Despite some areas that could have been enhanced, the Director's work brought the characters to life and created a visually captivating production. With some adjustments to the set design and a smoother start to the show, this production had the potential to be even more successful.  The Musical Director, Ms Elizabeth Gregan, and her Orchestra, positioned under the stage with Ms Gregan conducting from the pit, were undoubtedly a highlight of this production. The Orchestra's beautiful sound was a testament to their professionalism and attention to detail, which Ms Gregan led with impeccable precision. Overall, the Musical Director and her Orchestra were a significant factor in the success of this production. I want to give this lovely orchestra recognition for their beautiful tone, sound, and contribution to the show, which was undoubtedly outstanding. Their presence and performance added a layer of depth and richness to the production, making it a truly memorable experience. The Choreographer was Yvonne Prendergast. Ms Prendergast's role as the choreographer was an essential aspect of the production's success. Her creative and engaging choreography added a lovely lightness and good pace to the show, and the cast danced their movements with precision and energy. The ensemble numbers were visually stunning, and the movements were well-coordinated and precisely executed. I was genuinely captivated by the variety of dance styles and the excellent execution of the choreography. Ms Prendergast's contribution was commendable and I look forward to seeing more of her work in the future. The Stage Manager was Greg Egan. Considering the vast stage for the cast, I felt the sets were too minimalistic during the production. I felt that more detail could have been added to the sets, especially in the scenes where only one or two principal characters were on stage, making the stage look too bare and vast.  On the other hand, the sets in the ensemble numbers were visually good and worked well in the production. The vast stage offered so much potential for creativity and detail, and I felt that more could have been done to enhance the production rather than take away from it.  The lighting design was very good. Excellent lighting cues, which enhanced the production's overall atmosphere. The lighting changes were well-timed and seamlessly executed, which complemented the mood of each scene. Using colours, shadows, and spotlights such as “The Game” created a gothic and eerie ambiance, which was so lovely. The lighting effects, particularly in the dance numbers, were visually successful.  The sound design was also superb. Thanks to the Sound Team, the sound quality was spot on, the sound effects were well-timed and solid, and the sound where an audience doesn’t have to strain to hear is a vital part, in my opinion, of any production success. The balance between the live orchestra and the actors' voices was perfect, and the vocals were clear and audible throughout the performance. I am thrilled to provide an adjudication on the fabulous costumes in "The Addams Family" production. When the company went to hire costumes, they found that none were available. However, I was incredibly impressed by the company's get-up-and-go attitude and their ability to source and create their costumes for the production. This was a win-win situation, as the costumes were stunning and added a gorgeous freshness and change to the usually hired costumes. The authenticity and attention to detail in the costumes were truly remarkable.  From Morticia's elegant gown to Gomez's impeccably fitted suit, each piece was visually stunning and truly brought the characters to life on stage. I was particularly impressed by Ms. Beineke's vibrant yellow dress, which added colour and energy to the scene. The costumes were visually stunning and a testament to the company's hard work, commitment to the show, passion, and dedication. The costumes were gorgeous and authentic, and I am in awe of the creativity and attention to detail that went into sourcing and creating these lovely costumes. The result was awe-inspiring. The costumes added a layer of depth, and I was delighted to see the company's efforts pay off so beautifully on stage. The result was nothing short of fantastic. You should all be so very proud.  The make-up and hair of the entire cast in The Addams Family were truly impressive, and I can't help but appreciate the hard work and dedication that must have gone into crafting each character's appearance. The make-up of the front line and the ancestors was particularly striking, and it was evident that the make-up and hair team had taken great care to ensure that every detail was perfect. The make-up and hair team's dedication and hard work were commendable; their efforts undoubtedly contributed to the production's success.  Props were very good in most scenes. The creepy portraits, their attention to detail, and other props used during the production were skilfully chosen, creating an eerie and immersive atmosphere that truly brought the show to life. Grandma's trolley was a detailed vision, and I loved that every potion and bottle was complete and very authentic. The time it must have taken to build this one prop made it simply the best prop on the set. The props here and their detail contributed significantly to the production's overall success. Great job, props team! Tim Forde played the part of Gomez Addams. A commendable performance, Mr Forde brought a lot of energy and charisma to the role, delivering the character's witty lines with excellent timing. The chemistry between Gomez and Morticia was evident, and the actor's strong stage presence added to the production's overall charm   This role suited you very well, Mr Forde. I looked forward to seeing you on stage with your eccentricity, darkness, fun, and charm.  Joanne Keeling played the part of Morticia. Ms Keeling was a calm and serene matriarch exuding an alluring and slightly intimidating gothic charm! Ms. Keeling delivered a strong performance as Morticia Addams, beautifully capturing the character's elegance and allure. Gorgeous facial expression remained the same throughout the show except for one moment when Ms Keeling attempted a smile – badly! Ms Keeling's vocals were impressive, and the on-stage chemistry with Gomez was palpable. Ms. Keeling's character demonstrated beautifully through her acting that she was deeply devoted to her family. Lovely role, Ms Keeling.  Conor Martin played the part of Fester Addams. Mr. Martin brought so much warmth and humour to the role, and I particularly loved his scenes with the Ancestors, which were delightful. Mr Martin’s vocals were impressive, and his Makeup and physical appearance were perfect. Your singing of “The Moon and Me” was so lovely. Mr Martin was a quirky character with a ghoulish delight in experiments and inventions, and his stage presence was superb. But Mr Martin’s scene with the moon won me over. His dry wit and devilment were so well done, and the audience lapped up this character and what Mr Martin himself brought to this role. Superbly cast and performed Mr Martin. Emily Farrell played the part of Wednesday Addams. Ms Farrell, as Wednesday, had a deadpan wit and melancholy personality. I loved how her talent in acting showed her intelligence, cunning fascination with death, and the darker sides of life, and I loved her costume, black dress, and hair and makeup, which were mainly of note. Ms. Farrell captured the character's rebellious spirit, and her vocals were excellent.  Sam Gannon played the part of Pugsley. The portrayal of Pugsley Addams by this young man was delightful. He was mischievous and a little naïve, but he also portrayed a love for dangerous and unusual experiments. Mr. Gannon brought a lot of energy and humour to the role, and his solo “What If” was a huge moment, alone on stage spotlighting a solo; singing his heart out was one of the show's highlights for me. An absolute Star.  Catherine Gregan played Grandma. She wore a fabulous costume with wild, frizzy hair and gypsy-like attire. You acted so very well with her playful impishness despite her age. Her somewhat senile behaviour added so much to the production, and Ms. Gregan shuffled about menacingly and with great wit. She superbly played the role. Well done, Ms. Gregan.  James Scott played the part of Mal Beineke, who did a great job bringing this character to life.. He had a solid and resonant voice that commanded attention, and his acting as husband and the chemistry with his on-stage wife, Alice Beineke, was also noteworthy. He acted in this role very well.  Amanda Anderson played the part of Alice Beineke. Ms. Anderson's portrayal of Alice Beineke was acted dramatically and later with true abandon, which was very good indeed. Ms. Anderson's vocal performance was beautiful, with a clear and powerful voice, and her chemistry with her on-stage husband, Mal Beineke, was also noteworthy; I enjoyed what Ms Anderson brought to this role.  Dylan Anderson played the part of Lucas Beineke. Mr. Anderson's portrayal of Lucas Beineke was very well played beautifully, showing us the character of a young man struggling to find his place in the world and torn between his love for his girlfriend, Wednesday Addams, and his loyalty to his family. With a solid and confident voice, Mr. Anderson's vocal performance was excellent.  The Chorus Master was Elizabeth Gregan. The Chorus members put in a lot of hard work and dedication, which showed in their performance. Their harmonies were delightful, complementing the soloists and the Orchestra perfectly. The Chorus members' energy and enthusiasm throughout the production were impressive, adding to the show's overall quality and professionalism. Highlights being “Full Disclosure,” “Just around the Corner,” and the showstopping “Move Towards the Darkness” and “Secrets” to mention but a few. A glorious sound, everyone.  I saw a fabulous society here and a lovely camaraderie; hang on to that; it's not easy to find or hang on to. But here is a gorgeous unity that exists within this beautiful society. This is a significant factor in the success of any production and should be nurtured and cherished. I also want to express my sincere gratitude to Megan Fawsitt, Chairperson of the Society and the Committee, and you all for your hard work and dedication. It was a pleasure to attend the show, I sang all the way home! I wish you all the best for your future and encourage you to strive for excellence.  Caroline Daly Jones  Sullivan Adjudicator 2023/24

The Sound of Music as presented by Kilkenny Musical Society

The Sound of Music as presented by Kilkenny Musical Society: Friday 19th April 2024. Back to my childhood I was transported, tonight, to...

The Sound of Music as presented by Kilkenny Musical Society:   Friday 19 th April 2024.   Back to my childhood I was transported, tonight, to memories of my first ever show, playing Kurt in The Sound of Music, which is why it holds a special place in my heart, and it was such a pleasure to watch Kilkenny Musical Society making such a good job of it, in the lovely Watergate Theatre.  Director, Simon Manahan, offered us a straightforward, extremely tidy, well-paced show that relied of a combination of very steady performances and a very picturesque setting. The set for this production was very eye-catching, with a beautiful Alpine projection centre stage, stairs coming from off left and right, beautiful reversible pillars, one side of which became the Abbey columns and the other, pillars in the Von Trapp mansion. Added to this was nicely cut framing and various other hanging pieces that created a kind of photo image of the scenes. The frequently used gate pieces were very effective. The movement of columns, rails and other set pieces was handled quite brilliantly by the Housekeeper and staff of the Mansion, and a well drilled crew, under stage manager, Bill Molloy. It was all beautifully painted and most attractive. Simon also gave good attention to the pace of the show, and in most cases, a good realization of the characters.  Rachel Leydon played the part of Maria with a heap of energy and a very nice vocal quality. She was very comfortable with the children and led them well in their songs. She also played her scenes with the Mother Abbess with good sincerity. While her relationship with the Captain began a tad too abruptly, it did improve a lot as the story progressed. Kevin Reade gave a very strong performance as Captain Von Trapp. During his early scenes he had a cold and uncompromising attitude, and it melted delightfully under the spell of Maria. His transformation was very credible, leading up to a spine-tingling rendition of “Edelweiss” at the concert. This was very moving and beautifully sung. Such a well-played role.  Declan Taylor was a most affable and comical Max Detweiler, amusing in his play with the children, and quaint and quirky in his desire for self-preservation under the Nazi regime. Nicely played, and very comfortable in his encounters with the Baroness. Nicola Harding gave a touch of class coupled with a touch of superiority to her role of Baroness Elsa Schraeder. She handled her uncomfortable meeting with Maria with good comedy, and there was sincerity and a touch of sadness in her relationship with the Captain. There was good delivery of “How Can Love Survive” along with Max. Sarah Brennan was a heart-warming Mother Abbess, firm yet gentle, spiritual yet very aware of human frailties. There was real heart in her conversations with Maria, and her renditions of “Climb Every Mountain” were the musical highlights of the show.  Liesl was beautifully played by Leah Comerford, capturing the youth and innocence of her character with that tiny glint of mischief as she flirted with Rolf. “16 Going on 17” was a very enjoyable number, contributed to so effectively by Ivan Kiely, as Rolf, who was equally charming and innocent at the outset, and then adopted the cold, stony attitude of the Hitler Youth. An impressive transformation. The final scene where Rolf and Liesl come face to face in the graveyard was tense and very touching.  Mary Ní Chaoimh was a most enjoyable Frau Schmidt, not only as an efficient housekeeper with a good sense of humour and loyalty, but also in directing the house staff in the moving  of set pieces. This was well-worked into the script and enabled smooth and speedy scene changes.  Aidan O’Dwyer played the pleasant but ultimately treacherous butler, Franz, very convincingly.  Niamh Kelly as Sr. Margaretta, Laura Dunphy as Sr. Berthe and Sarah Walpole as Sr. Sophia, were a great trio of senior nuns, playing their parts with good individual character, and blending well together in a nicely presented “How Do You Solve A Problem Like Maria”. Good work from all three in establishing their characters.  Kevin Tynan exploded into the show slightly too aggressively as Herr Zeller. Even for a Nazi, I think he might have eased back on his tone as a guest at Captain Von Trapp’s party. His appearance in the second half was much more successful, where his aggression suited the circumstances. What a nasty character he was.  Hugh Keenan and Nicola Brennan were a pleasant couple as The Baron and Baroness Elberfeld.  The Von Trapp children, Harry Duffy as Fredrich, Ruby Burke as Louisa, Charlie Duffy as Kurt, Órla McCabe as Brigitta, Maisy Ryan as Marta and Laoise Reade as Gretl, made a very delightful and worthy contribution to the show, with good individual traits and some very nice singing and dancing throughout, led confidently by Liesl.  The chorus of nuns had a good presence and sense of purpose in all of their scenes. Indeed, the show opened with a very disciplined, expressive and beautiful nuns chorus, led by the Mother Abbess, which epitomized the thorough work done by Musical Director, Jimmy Brockie and Musical Supervisor, David Hayes, in presenting a quality musical experience for the audience. The whole show was delightfully accompanied by a sensitive and very tuneful orchestra. Tempi throughout were just fine.  With the exception of the party scene and Sixteen going on Seventeen, the show doesn’t lend itself to much adventurous choreography, but choreographer, Roisin Currid made a very good job of the routines with the Von Trapp Children, with good energy and well-presented patterns. The Landler was delightfully presented and performed, as was the children’s and chorus waltz, and Sixteen Going on Seventeen had quite beautiful steps and a good element of fun.  Costuming throughout was good, from the children’s sailor suits to their curtained play clothes and their traditional Austrian outfits. The Baroness and Max and the Captain always looked dapper, and Maria’s postulant outfits were appropriately plain. She tidied up nicely in the mansion. Nuns costumes were all in order while perhaps the men should have had green German foot-soldier uniforms, or something akin to what Rolf was wearing, rather than the black SS officer uniforms. There were good fabrics and furnishings to dress the stage, and with a very nicely plotted lighting design, the stage always looked attractive and atmospheric. Complementing the other technical aspects of the show, the sound quality was also very impressive and nicely balanced.  All in all, this was a musically delightful experience, with a beautiful set, and a nicely told story in the hands of an enthusiastic cast. This was The Sound of Music properly and correctly presented and enjoyed thoroughly by an appreciative audience. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Al Craig

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