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UPCOMING EVENTS

Bonnie and Clyde

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21 Jul 2025

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Teachers' Musical Society

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24 Mar 2026

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A Night of Music, Broadway & Beyond

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17 May 2025

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The Sound of Music

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24 Apr 2025

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The Magic of Musicals

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25 May 2025

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LATEST NEWS

Beauty and the Beast as presented by Carnew Musical Society

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

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

A Christmas Carol as presented by Oyster Lane Theatre Group

Oyster Lane Theatre Group  A Christmas Carol – The Musical  Wednesday 27th November 2024  Since its original publication almost two...

Oyster Lane Theatre Group  A Christmas Carol – The Musical  Wednesday 27th November 2024  Since its original publication almost two hundred years ago, ‘A Christmas Carol,’ by Charles Dickens, has seen many re-imaginings on the big screen, small screen and, yes, on stage. Celebrating their 30th anniversary, Oyster Lane Theatre Group presented the Menken, Ockrent and Ahrens musical version of the classic Dickensian tale to a delighted audience in the stunning National Opera House. And what a fitting anniversary show this was, full of stellar performances, excellent production values and a timeless, heartwarming narrative that sent us away with a smile on our faces and full of festive cheer.  Front of house set the tone beautifully for what was to come. I was so disappointed to have missed what I believe was a gorgeous choral performance of Christmas favourites in the foyer before the show commenced. What a lovely idea that was to get everyone warmed up and into the Christmas spirit. The hospitality and warm welcome from front of house staff was most appreciated as we took our seats in what has to be one of the most impressive theatres the country has to offer.  Director Thomas O’Leary is no stranger to the Opera House stage and that familiarity must have helped greatly when staging this mammoth show. It was a brilliantly slick production, moving from reality to other-worldly locations so seamlessly, in what was an almost cinematic realisation of the timeless tale of Ebenezer Scrooge’s unlikely redemption. It was full of attention to detail and care in every element. There was a huge level of collaboration with fellow production team members and technical teams in evidence. Work with cast and characterisation was exemplary. Ensemble integration into the action was excellent. Background action and business was always meaningful, never distracting and added a layer of realism at all times. Street business felt so real, with a sandwich board man, children on sleds, a game of ‘ring a rosies’ and many more authentic touches. I loved the ease with which we melted from reality to more sombre settings as Scrooge contemplated his fate. A wonderful job, to be very proud of.  Patrick Clancy’s musical direction was excellent. His wonderful fifteen-piece orchestra produced an incredible sound which really brought Alan Menken’s sumptuous score to life. Thanks to Mr. Clancy’s expert conducting, the accompaniment was beautifully sensitive in numbers like the gorgeous ‘A Place Called Home’ but more full and vibrant when required in the big production numbers like ‘Mr. Fezziwig’s Annual Christmas Ball.’ There was an incredible choral sound from the large ensemble, enhanced greatly by wonderful sound balance and great support from a skilled group of pit singers. Principal singing across the board was of a really high standard, with some standout performances, even in the smaller roles. Underscoring was beautifully sensitive and kept to just the right level during dialogue.  Jonny Smith’s choreography was vibrant, inventive, and visually appealing throughout. From the joyous Fezziwig number to the more sombre ‘Dancing on Your Grave,’Mr. Smith’s choreography was always appropriate in style, precise and, most importantly, driving the narrative at all times. The Fezziwig ball was full of energetic exuberance in what was a brilliantly executed routine. Everything was thrown at this number. We had impressive lifts, a wonderful fan sequence, cartwheeling ladies, can-can kick lines and splits that had me wincing in admiration. ‘Abundance and Charity’ was an equally impressive, full on production number, complete with a fabulous tap number led by the very talented Conor Lyons. The ballet group were a joy to watch as they accompanied the various ghostly apparitions with such glorious finesse.  Kevin Reade played the iconic Ebenezer Scrooge brilliantly. His journey from miserly curmudgeon to his eventual redemption as generous benefactor, was skilfully played with sensitivity, intelligence, and nuance throughout. Mr. Reade’s physicality was very well studied. Every movement had thought behind it. He was completely immersed in the role and never once let his characterisation slip. I loved his beautiful mirroring of Young Scrooge’s dance with Emily as he relived his youth in a very poignant manner. Mr. Reade sang very well with a rich baritone voice. His ability to tell the story through song was most impressive. ‘Yesterday, Tomorrow and Today’ was a real highlight as we saw his internal conflict and even a hint of vulnerability before his eventual realisation and redemption.  Michael O’Gorman was a most endearing Bob Cratchit. He was a lovely character, all about his family, his humble existence, and his meagre means, which contrasted starkly with Scrooge’s miserly ways. Mr. O’Gorman was a super singer too with a beautiful tone to his voice. He had a little timing hiccup with Tiny Tim on the night I attended but was quick to get himself back on track with help from Mr Clancy.  Jenny Keogh played the Ghost of Christmas Past with a beautifully ethereal presence as she brought key events of Ebenezer’s past to life, giving us an insight into the underlying issues which shaped this empathetically bankrupt man. Her stunning soprano voice was an absolute delight in her haunting rendition of ‘The Lights of Long Ago.’  A jovial Conor Lyons played the Ghost of Christmas Present. Mr. Lyons had exceptionally good presence and a superb sense of theatricality. ‘Abundance and Charity’ was sung and danced superbly by Mr. Lyons in his inimitable theatrical manner. As light-hearted and upbeat as his characterisation was, he was well able to turn on the darker side too. He was very strong as he berated Scrooge. “The child will die!” was emphatic and sobering, emphasised even more by its contrast with what had preceded.  There aren’t too many performers who can perform a key role without uttering a word. Emma Nolan was a silent, ominously foreboding presence as the Ghost of Christmas Future. A most graceful ballerina, I was transfixed by her movement as she drew us into the darkest sequence of the show, painting the grimmest of pictures for Ebenezer in ‘Dancing on Your Grave.’  Neal O’Leary was an intense, ghoulish but ultimately funny Jacob Marley, Scrooge’s deceased business partner who delivers the chilling news that he will be visited by the three ghosts. Mr. O’Leary had wonderful presence and great physicality as he got every last drop out of his fun characterisation. His ‘Link by Link’ was an excellent number, very well performed by Mr. O’Leary and the committed ensemble.  Barry Wadding and Majella Londra were a fabulously energetic duo as Mr. and Mrs. Fezziwig and they led from the front in the wonderful ‘Mr. Fezziwig’s Annual Christmas Ball.’ Daniel Furlong was an excellent Young Scrooge, giving us a glimpse of Ebenezer as a young man. A fine actor, Mr. Furlong displayed a lovely baritone voice in the beautiful ‘A Place Called Home.’  Equally impressive was the extremely talented Holly Rossiter as Emily, Scrooge’s love interest from his youth. Ms. Rossiter had great presence and superb diction. Her singing was incredibly good, her soaring soprano voice leaving us wishing that her role was much bigger.  Aidan Morrissey was a great choice as Tiny Tim. He had a lovely blend of hope and innocence and, in spite of his frailty, we recognised his resilience and positive outlook. His iconic “God bless us everyone” was delivered with great hope. What a great voice he had too. I look forward to seeing Aidan perform many more roles in the years to come.  Robert Kelly was an excellent Mr. Smythe. Again, I wished this role was bigger as Mr. Kelly was a fine actor with great command of dialogue.  Louise Hewitt was a warm and sincere Mrs. Cratchit and she played very well off the other Cratchit family members.  In a show with multiple cameo roles, there was great support too from Thomas Furlong and Caitlin Carty as Fred and Sally Anderson. Also, very impressive were Joshua Higginbotham as Young Jacob Marley, Leighton Duignan as Jonathan, Aoibhinn McCarthy as Gracie Smythe, Caroline O’Connell as Mrs. Mops, Cillian McCamley as 12-year-old Scrooge, Niamh Bradley as Fan Scrooge and Katie McElheron Doyle as Martha Cratchit. All other featured roles were played to a very high standard, adding to the very professional feel of the production. Special mention, however, to the young man who purchased Scrooge’s turkey. A super cameo. This lad will go far!  The very large ensemble added so much to the realism of this wonderful show. Whether they were carol singers, townspeople, sailors, partygoers, or ghostly accomplices, they were well rehearsed, focused and always in tune with the storytelling. Chorally, this was a wonderful group and their dancing was so slick and well performed too. Most impressive, for me, was their completely natural background business which never distracted. There was great use too of a very talented troupe of children who added great authenticity and energy to the show. What a fantastic opportunity for them all to work with such a talented cast and crew. A credit to you all.  Colin Murphy’s stage management was incredibly slick and professional throughout. There was an amazing fluidity to the whole show that complemented its wonderful pace perfectly. The colossal set, with its towering buildings, just glided on and off stage, as required, with minimal fuss and perfectly timed transitions. Fly cues were timed to perfection and crew were highly efficient and hardly ever seen.  Set design was simply outstanding. From the moment we entered the theatre and saw the most sumptuous pre-set, we knew that this was going to be a visually stunning show. The attention to detail in recreating the Victorian London landscape was wonderful. The detailed buildings and archways were perfectly authentic, as were all of the large set pieces that were introduced throughout the show. Very much a part of the whole design concept was the fabulous AV element which added so much to the overall aesthetic. The perfectly chosen images and animated sequences blended in perfectly with the physical set, creating a unique and perfect blend of traditional set pieces with more high-tech, visual elements.  Lighting for this show was hauntingly beautiful at times. There was so much attention to detail in creating some beautifully atmospheric states. The cobble-effect gobos and backlit windows set the tone from the outset. The funeral sequence was wonderfully atmospheric. The clever use of follow spot for Scrooge, created wonderful separation between reality and the ethereal world of the ghostly characters. Well-chosen colours and dramatic shadowy effects enhanced a beautifully realised design, operated seamlessly, which added so much to the narrative as we melted in and out of reality and Ebenezer’s dream.  The sound design was excellent for the most part. Sound effects added a great layer of authenticity. Underscored dialogue could be heard loud and clear. The effect on Marley’s voice was well judged and added so much to the other worldliness of the scene. Choral numbers were mixed to perfection, with a lovely balance and a warm, full vocal sound.  Attention to detail was all over the props department, keeping up the very high standards set in other areas of production. Everything was authentic to the era. From the beautifully wrapped presents, tied with ribbon, to the candelabras with flickering lights, to turkeys on platters, to chimney sweeps’ brushes, to Tiny Tim’s iconic crutch, there was a top-class props team at work.  Costumes were stunning. The perfectly chosen Victorian attire transported us back almost two centuries. There were top hats, mop caps and bonnets aplenty. Ensemble daywear looked wonderful. Scrooge’s iconic nightcap and housecoat were perfect. The look for each ghost was meticulously put together, with nothing left to chance. Mr. Lyons’s coat was a fabulous piece, as was his poinsettia headdress. The white, veiled ballet costumes in Act 1 were beautiful and the black ballet costumes in the second act were equally stunning. Key to the costume plot was the meticulous attention to detail. Huge congrats to the entire team.  Hair and make-up were in good hands. There were fabulous wigs for the ghosts and I loved the authentic sideburns and facial hair of the gentlemen. Hairstyles were appropriate to the era and make-up was well chosen also.  This was an absolutely, top tier production of a huge show. An enormous amount of hard work was in evidence in every department. With stellar performances, captivating choreography, stunning musicality, wonderful direction, and excellent technical elements, it was a most uplifting, entertaining spectacle. Huge thanks Oyster Lane and congratulations on your 30th anniversary show. To paraphrase Tiny Tim, “God bless you, everyone!”  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos provided by the society; Photographer: Paula Malone Carty

The Witches of Eastwick as presented by St. Michael's Theatre Musical Society

Society Name:  St. Michael’s Theatre Musical Society Show Name:  The Witches of Eastwick Adjudicator Date of Attendance:  23/11/2024...

Society Name:  St. Michael’s Theatre Musical Society Show Name:  The Witches of Eastwick Adjudicator Date of Attendance:  23/11/2024 Brief overview  of show and evaluation of Front of House On a dreary and grey November evening, the warm welcome extended by St. Michael’s Theatre Musical Society’s front-of-house team was much appreciated. The venue itself offered a good view from any seat, which is a testament to its thoughtful design. However, a persistent smell of fuel and a noticeable chill in the air detracted somewhat from the overall ambiance. These environmental issues could be addressed to ensure a more comfortable experience for future audiences. Director-   Direction and Production Kevin Kennedy’s direction and overall production of The Witches of Eastwick  left room for improvement. While the blocking was competently executed and functionally effective, it lacked creativity and innovation. There were no glaring issues, but nothing truly memorable or standout either. The three seduction songs felt overly exaggerated and veered into tasteless territory. The explicit and unnecessary physical actions detracted from the storytelling and could have been reimagined in a way that was suggestive yet tasteful. Visually, the show lacked cohesion. The various design elements—from sets to costumes to lighting—did not come together as a unified whole. This lack of a guiding vision was evident, and it appeared that each department was working independently without strong direction from the director. The choice to allow Jane to adopt a Moira Rose-like accent from Schitt’s Creek  was another puzzling decision, as it overshadowed the character’s performance and distracted from the story. Key storytelling moments, such as the spellcasting that summons Van Horne, were unclear. Stronger direction could have clarified these pivotal plot points. The flying scene, a potential highlight, was underwhelming and could have been executed with greater creativity and impact. Overall, the production felt chaotic visually and aurally, emphasizing the need for a cohesive and clear vision. Musical Director-   Direction and Orchestra Philip Kennedy’s musical direction was a strong point of the production. The orchestra was well-coordinated, delivering a polished and balanced sound from the pit. The chorus—a highlight of the evening—sang with energy and precision. The trio numbers performed by the witches stood out musically and were well-received by the audience. However, there remains room for pushing the vocal performances even further to achieve a fuller and more dynamic sound. Choreographer - Choreography Claire Kickham’s choreography was another area that could benefit from more innovation and attention to detail. There was an over-reliance on repetitive steps, which made the routines feel monotonous. Furthermore, there was a lack of synergy between the choreography and the overall direction, leading to a disjointed feel. Key numbers, such as “Dance with the Devil” and “Dirty Laundry,” were underwhelming. The former lacked the intensity and drama it required, especially when compared to the overly explicit seduction scenes. The latter missed an opportunity for creative staging, as the use of pristine dishcloths in a number titled “Dirty Laundry” felt incongruous. Greater variety in formations, movements, and stage directions could have added depth and visual interest. Leading Principles-   Singing and Acting Alexandra Spofford (Joanne McCabe):   Joanne delivered a grounded and confident performance, embodying Alexandra’s strong and self-assured nature. Her powerful, earthy voice added depth to her portrayal, and her performance was among the highlights of the evening. Sukie Rougemount (Roisin Currid):   Roisin’s playful and innocent characterization of Sukie was endearing. Her lovely vocal quality added charm to her portrayal of the hopeless romantic, effectively capturing the essence of the character. Jane Smart (Michaela White):   Unfortunately, Michaela’s performance was overshadowed by the exaggerated accent, which detracted from both her dialogue and overall presence. While her singing voice was a saving grace, unaffected by the accent, the disparity between her portrayal and the other witches made her character feel out of sync. A subtler approach would have allowed her considerable talents to shine. Darryl Van Horne (Michael Cruz):   Michael brought a suave and confident energy to the role of Darryl. However, his portrayal could have leaned further into the character’s darker, more sinister qualities. The lack of differentiation in his interactions with each of the witches was a missed opportunity, likely stemming from directorial oversight. While his comfort and charisma on stage were evident, his performance bordered on being too camp at times. Felicia Gabriel (Teresa Buckley):   Teresa portrayed Felicia with great conviction, fully embodying the irritating, self-important busybody. However, technical issues—missed microphone cues and lighting choices that detracted from key moments—undermined her performance. Despite these challenges, she delivered a strong and memorable interpretation of the role. Clyde Gabriel (Keith Flanagan):   Keith excelled in his dual portrayal of the downtrodden husband and the smitten lover. His physicality and expressions were well-suited to both aspects of Clyde’s character, particularly in his drunken scenes, which were well-executed and humorous. Supporting Roles- Singing and Acting Michael Spofford (Timmy Moloney):  Timmy was delightful as Michael, effectively portraying the innocence and charm of the varsity boy. His vocals were sweet and blended beautifully with Eryn’s. Jennifer Gabriel (Eryn Buckley):  Eryn’s portrayal of Jennifer was well-executed, capturing her innocence and frustration with nuance. While her vocal performance was lovely, there is potential to push her character’s emotional extremes further. Gina Marino (Caoimhe Kennedy Ryan):  Unfortunately, Gina’s performance left little impression, indicating a lack of material or direction to allow her to shine. Joe Marino (Nicky Brennan): Nicky was energetic and enthusiastic in his performance. A confident portrayal of the character. He gave great gusto to the choreography. Little Girl (Caoimhe Boyle):  Quirky and endearing, Caoimhe’s facial expressions and character choices brought charm to her role. Fidel (Lorcan Dunne):  The choice of Fidel’s walk was an odd directorial decision that disrupted the flow of the show. While Lorcan performed well within these constraints, a different approach could have allowed for a more seamless integration of his character. Brenda Parsley (Claire Kickham):   Claire was suitably irritating as the Reverend’s wife but was not given enough material to leave a lasting impression. Ed Parsley (Jamie Lyster):   Jamie’s performance was confident and entertaining if somewhat understated. Greta Neff (Julie Kinsella):   Julie clearly enjoyed her role, bringing a sense of fun and energy to the production. She gave a memorable performance in a small role highlighting the impact of such roles. Raymond Neff (Steve Carey):   Steve blended well with the ensemble but lacked standout moments. More material or direction could have helped him make a stronger impression. Chorus/Ensemble - Singing, Acting and Choreography The chorus was the heart of this production, bringing energy and enthusiasm to their performances. Despite the limitations of the choreography, they executed their roles with commitment and vitality. Their strong vocal performances and engagement with the material suggest that they are capable of even greater challenges. Stage Management & Set Design The overall set design felt disjointed and overwhelming. The painted flats were cartoonish and lacked texture, contrasting sharply with realistic projections and set pieces painted in different palettes. This visual mismatch highlighted the absence of a cohesive design vision. Scene transitions varied in pace and style, and integrating these into the blocking could have improved the flow of the production. The set changes needed more polish and creativity to enhance the storytelling. Technical- Light and Sound The lighting design further contributed to the visual chaos. Different color palettes clashed with the set, and odd directly overhead lighting coverage left performers dipping in and out of hot spots. The use of moving lights for front-of-house coverage was ineffective, leaving dark spots at the extreme SL and SR, and an imbalance with the overhead lighting.  Sound was the weakest technical aspect. Microphones frequently dropped in and out, leaving significant parts of dialogue and music unheard. The inconsistent use of microphones for soloists and the poor balance during musical numbers detracted significantly from the audience’s experience. Visual - Costumes, Hair and Make Up The costumes were well-fitted and suited the characters but clashed with the other visual elements of the production. While lovely as standalone pieces, they failed to blend into the overall aesthetic. Hair and makeup were competently executed and matched the costumes. Adjudicators suggestions/ comments -   overall comments on the production and comments to enhance the standard for future performances. This production of The Witches of Eastwick  showcased a talented group of performers with great potential. However, the lack of a unified vision across all departments significantly hampered the show’s overall impact. Moving forward, a more collaborative approach is essential. The director should provide clear guidance to ensure that all design elements work together harmoniously. Choreography should be more varied and stylistically aligned with the direction. Technical issues with lighting and sound must be addressed to avoid detracting from the performance. Finally, a stronger focus on storytelling and character development will enhance the audience’s connection to the production. With these improvements, St. Michael’s Theatre Musical Society has the potential to create truly outstanding productions. The talent and enthusiasm of the cast and chorus are evident, and with stronger direction and cohesion, they are capable of reaching new heights.  Photos kindly shared by the society // Photographer : Darragh Carroll

Crazy for You as presented by Jack Cunningham Productions

Jack Cunningham Productions  Crazy For You  Saturday 7th September  There is something really special about the ambience of the Theatre...

Jack Cunningham Productions  Crazy For You  Saturday 7th September  There is something really special about the ambience of the Theatre Royal in Waterford. This classical Victorian theatre has such a unique atmosphere, and it is always a pleasure to attend a show at this historic venue. And so, I was very excited to see Jack Cunningham Productions stage one of musical theatre’s greatest crowd-pleasers, ‘Crazy for You.’ With its brilliant Gershwin score, side-splitting comedy routines and huge production numbers, it was a given that the audience would leave with smiles on their faces, singing and tap dancing down Waterford’s Mall.  The foyer was extremely busy just before curtain-up as bumper-to-bumper traffic and limited parking caused mayhem for people trying to get to the theatre on time. The front of house team did a great job putting everyone at ease as they rushed in and we were soon seated, in anticipation of a great night’s entertainment.  Jack Cunningham directed, co-produced, choreographed, danced, co-ordinated costumes and probably even made the cast tea at the interval! I have utmost admiration for anyone taking on even one of these elements for such a huge show. To co-ordinate all of the above is nothing short of superhuman and is to be applauded on every level!  Mr. Cunningham’s direction was generally sound. He was blessed with a talented front line who bought into his vision, and he got some really good comic performances out of his cast. Sightlines were an issue throughout the show with dialogue and action often being obscured by the downstage tables in the saloon scenes. Positioning of performers, when delivering dialogue in crowd scenes, also needed attention at times. The iconic Zangler/Bobby mirror scene, although well performed, could have been more original in its conception. There was very funny business with the guys trying to pick up the dance moves going into ‘Slap that Bass’ and great marshalling of cast for the slick scene changes.  Choreography was exhilarating in its execution. The show requires a highly energetic ensemble of terrific dancers and that is exactly what Mr. Cunningham had at his disposal. The big tap sequences were superb in their percussive precision. All of the bigger numbers were exceptionally well rehearsed, and it was refreshing to see these routines performed with such gusto and expression from all. ‘I Got Rhythm’ was an absolute triumph. The acapella tap sequence was quite superb and audience members were given more than a nudge to rise to their feet before the number built to the climactic end of Act 1. The Follies were excellent as the eight showgirls of Bobby’s subconscious and Mr. Cunningham had done great work to ensure that they always moved with great synchronicity.  Musical Director, Emma Walsh, didn’t have an orchestra to manage, as accompaniment was tracked. These recordings were of a very high quality. Unfortunately, the track did run away from the ladies’ ensemble in the very wordy, up-tempo section of ‘Entrance to Nevada.’ But, in general, cast did well working with the tracks. There was a great wall of sound from the large cast in the bigger numbers but some of the more intricate harmony lines were missing, on occasion, as the safer option of singing in unison was chosen. Principal singing was of a high standard throughout.  Casting the stagestruck Bobby Child, a New York banker with dreams of becoming a dancer, is always a difficult task. How lucky the production team was to have a triple threat like Conor Lyons in the role. Mr. Lyons brought a wealth of experience and talent to the part and was clearly enjoying every minute. His dancing was excellent, and he sang with a lyrical quality straight out of the golden age of musical theatre. Mr. Lyons had great comic timing and, even if he occasionally over-egged things as an almost Borat-esque ‘Zangler,’ he relished the rapturous audience reaction to his comic antics.  Jennifer White was equally strong as the feisty Polly Baker, apparently the only woman left in Deadrock, Nevada. Blessed with a delightfully clear voice, Ms. White had such a lovely, natural presence as she delivered her songs with real heart and a genuine understanding of Ira Gershwin’s gorgeous lyrics that drew us in as she told the story. ‘Someone to Watch Over Me’ was a highlight as was the touchingly poignant ‘But Not For Me.’Ms. White was quite the dancer too and the chemistry between herself and Mr. Lyons was so clear.  The eccentric, Hungarian theatre impresario, Bela Zangler, was played with great energy by Jonathan Kelly. Mr. Kelly had the audience in stitches with the corniest of one-liners, the most memorable being in his very well-played, drunken mirror scene with Mr. Lyons – “I am beside myself!” Singing in ‘What causes That?’ was full of character and drunken hilarity.  Kieran Walsh squeezed everything out of the role of saloon owner Lank Hawkins, who had his eye on Polly but hadn’t a snowball’s chance of success. Mr. Walsh had great presence and delivered lines with conviction and strong comic timing. His reactions in ‘Naughty Baby,’ as he slowly caved in to being seduced by Irene, were very funny.  Trish Orpen was a delight as the overbearing fiancée of the hen-pecked Bobby. Ms. Orpen was perfectly bossy and brash, leaving no doubt as to why Bobby felt the need to switch off and lose himself in the blissful world of his imagination, where he could dance his troubles away with eight visions of loveliness. Ms. Orpen threw herself into ‘Naughty Baby’ with vampish glee and Mr. Walsh really had no choice but to succumb to her advances. Apart from being an excellent comic turn, the number was superbly sung by Ms. Orpen.  Anne Marie Collins showed just why there is no such thing as a small part in theatre. She was always in character as Tess, always reacting to everything and was so strong acting through her dance numbers. Her knowing manipulation of Zangler in Act 2 was skilfully played.  Dermott Sullivan did well in the role of Everett, always reminiscing about his late wife’s prowess on the Gaiety Theatre stage. Cueing was a bit of an issue in the opening Deadrock scene on the night that I attended but, once he settled, Mr. Sullivan gave a well-rounded, confident performance. His falling for Lottie was a nice, cute comic moment.  Clare Smith was a domineering presence as Lottie Child, Bobby’s business driven, overbearing mother and Holly Grant gave a suitably ditzy performance as Patsy, whilst also shining as one of the Follies.  Joe Shanahan, Mark Rellis and Liam Steenson were a strong trio as Moose, Mingo, and Sam, three layabout citizens of Deadrock. Collectively, they sang well in unison, but I would love to have heard them tackle the harmonies of the ‘French Reprise.’ Phil Erskine and Ciara Giles were perfectly matched as the eccentric British double act, Eugene, and Patricia Fodor. Their arrival in Deadrock is met with disappointment as it becomes apparent that nobody is coming to see the show which can potentially save their theatre. Mr. Erskine and Ms. Giles were hilarious as they tried to convince the townsfolk to grin and bear it in the brilliant ‘Stiff Upper Lip.’  The ensemble in this show was young, enthusiastic, and incredibly talented. Their dancing was a triumph from start to finish. Mr. Cunningham’s cast lived every moment in their faces and that was what we, as an audience, felt the most. The energy, the commitment and the unbridled joy from this large cast was simply exhilarating. They committed themselves fully to the singing also and were particularly impressive in ‘I Got Rhythm’ and ‘Stiff Upper Lip.’  Set design was simple but effective for the most part, with the exception of the opening backstage scene which lacked impact set against blacks. The Deadrock trucks were very well designed, turning slickly to create the interior of Lank’s saloon, which was really well dressed. Using the back wall of the Theatre Royal stage as the dilapidated Gaiety stage, was an inspired choice. However, the visibility of a modern red fire alarm upstage left was unfortunate.  Stage manager, Shane Taheny, kept things moving along at a brisk pace with the help of cast moving trucks and set pieces very efficiently. There was a lot of movement of the front tabs during the interval as the saloon tables were being set for ‘The Real American Folk Song.’ It might have worked better to set these as part of the action once the curtain was out.  Props needed more attention to detail, in general. Some were excellent. The disused Gaiety Theatre stage looked amazing with the old-style organ, ropes, costume rails etc. However, not everything was this good. Lank’s toy gun with its red plastic tip, paper plates in the saloon mirror scene, the Fodor’s empty laundry bag and Zangler’s extremely small cheques were a few of the items that jarred.  Lighting was generally good, playing things safe for the most part. With the exception of a timing glitch going into Bobby and Polly’s finale dance, cueing appeared solid. There was good use of follow spot in ‘Shall We Dance?’ up to the point where Bobby and Polly separated and were too far apart to follow both. Unfortunately, there was a significant issue with the overzealous use of haze machines.  Sound was very good for the most part. Dialogue was clear and vocal balance was generally good. Dialogue in ‘Tonight’s the Night’ was barely audible as it was overpowered by the backing track, and we missed some very funny lines as a result.  Costumes were excellent throughout, from the gorgeous uniformity of the Follies, to the stunning showgirl costumes of the finale. Daywear for ‘Entrance to Nevada’ was perfectly impactful and there was good attention to detail in coordinating the identical costumes of the real Zangler and Bobby’s ‘Zangler.’  Hair and make-up needed some attention. Whilst the styling of ladies’ own hair was very authentic for that 1930s look, there was an issue with some wigs as hair was visible underneath. I was disappointed in the look for the two ‘Zanglers.’ Having these two characters looking as identical as possible is a crucial plot point. Unfortunately, with both devoid of facial hair, it was very difficult to buy into the idea that Bobby had duped a whole town into believing that he was Zangler. A beard and moustache for both would have made the world of difference and Irene’s line to Bobby, “You look like Karl Marx,” would have made sense. This was a very entertaining production of one of the all-time great musical comedies that literally has everything. The dancing was just electric and there were many fine comic moments from an extremely talented cast who delighted a visibly enthusiastic and responsive audience. With a little more attention to detail in the technical aspects and a more focused approach to positioning for dialogue, this very talented company will continue to build on what has been a meteoric rise to date. Who could ask for anything more?!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photographer : Colin Shanahan (DigiCol)

Review: Spring Awakening // North Wexford Musical Theatre

North Wexford Musical Theatre - Spring Awakening Date of Adjudication: Friday 6th September My first show of the season and expectations...

North Wexford Musical Theatre - Spring Awakening Date of Adjudication: Friday 6th September My first show of the season and expectations were high as I hit the road for Gorey to see North Wexford Musical Theatre’s ‘Spring Awakening’. This award-winning group, still in its relative infancy, has quickly established itself as quite the theatrical force in the vibrant South East region. The air of anticipation in Gorey Little Theatre was quite electric. Front of house was a hive of bustling efficiency and I was given a very warm welcome before being shown to my seat. Based on Frank Wedekind’s controversial play, penned in 1891, ‘Spring Awakening’ is a powerful, hard-hitting, often darkly humorous commentary on repressive culture and the tragic repercussions of sexual ignorance. Over a century on from Wedekind’s play being banned for its assault on the moral senses of Victorian-era Germany, ‘Spring Awakening’ continues to shock and to resonate strongly today. Burning themes of sexual abuse, self-harm, abortion, masturbation and suicide are all presented through the eyes of disconnected teens as they navigate their lives through a minefield of authoritarian suppression and its catastrophic consequences. Stephen Acton’s provocative production was beautifully directed throughout. He designed a minimalist set, against a blackboard backdrop which screamed “Blah, Blah, Blah” in angry, scrawled chalk – a hint of the anarchy to come. The simplicity of his design allowed for great fluidity between scenes as Mr. Acton’s exceptionally well-drilled cast arranged simple, black boxes to create various locations. I loved the originality of the branch motif - a nod to Wendla’s being “like a tree-nymph fallen from the branches”. The use of branches embedded in the set, becoming handheld microphones, Melchior’s blade and Moritz’s grave was a bold, original choice and a refreshingly clever theatrical device. A huge part of success of this production was the way in which Roisin Currid’s excellent choreography enhanced the storytelling. Clearly there was close collaboration between Ms. Currid and Mr. Acton, as the stylised routines and fluid movement of a hugely committed cast drove the narrative in an organic and theatrically stylish manner. The ensemble was mesmerising, moving almost as one in such numbers as the beautifully staged ‘I Believe’. And then there was the joyous anarchy of the frenetic ‘Totally F*cked’ – the fully invested young cast hitting us between the eyes in an energetic, precise and angst-ridden hormonal rage. Musical direction by Conor McCarthy was equally top-notch. His seven-piece band was incorporated into the set, inhabiting the very world they helped to conjure through their wonderful playing, in a very still and focused way. Mr. McCarthy’s meticulous attention to detail in the choral aspects of the show was evident throughout. There was a wonderfully balanced, accurate and powerful choral sound from the ensemble. Principal singing was excellent throughout and, for the most part, there was a good balance between orchestra and cast vocals. The rebellious Melchior, unafraid to question his authoritarian elders, was played by the very talented Jordan Bass. Mr. Bass’s singing was a joy throughout. From the haunting ‘Left Behind’ to the full-on ‘Totally F*cked’, this was an excellent vocal performance. Mr. Bass really showed his acting chops too as the show progressed. His struggles to come to terms with having beaten Wendla, his grief at Moritz’s death and his distraught reaction to discovering Wendla’s grave, were poignant and powerful. Mr. Bass’s distinctly Irish accent did feel like a rather incongruous choice. It may well have been a directorial decision but, for me, it jarred at times as it lacked consistency with Mr. Bass’s singing accent and with the more neutral accents around him. Initially, I felt that April Kelly needed to focus more on the innocence and naivety of fourteen-year-old Wendla. However, as the show progressed, this very talented lady delivered a very polished, nuanced and emotional performance as the confused adolescent whose tragic demise stems from suppression of youthful curiosity. The beautifully sung and melodic ‘Whispering’ was a standout moment, underlining Ms. Kelly’s wonderful talent for telling a story through song. Her superb diction was crystal clear throughout and her emotional range was most impressive. Andrew O’Grady’s sensitive portrayal of the misfit Moritz, haunted by the increasingly sexual nature of his dreams, was a highlight of the show. His distinctive hairstyle set him apart as an outsider from the start and we were totally invested in his story and the cruelty of his tragic fate. His isolated, angst-ridden ‘Don’t do Sadness’ was just heartbreaking. But my abiding memory of Mr. O’Grady’s performance wasn’t scripted at all. His reactions to each of the mourners placing flowers in his grave during his funeral scene, were just mesmerising. This scene was a theatrical triumph of direction, lighting, movement, music, ensemble acting and Mr. O’Grady’s perfectly-pitched emotional commitment. Alex Kavanagh attached some semblance of hope to her dishevelled Ilse. Yes, she had suffered at the hands of an abusive father but Ms. Kavanagh clung to a glimmer of hope, having escaped institutionalism. Her ‘Don’t do Sadness/Blue Wind’ was a superbly sung duet with Mr. O’Grady and she led the powerful ‘The Song of Purple Summer’ with a much-needed optimism at the end of the show. Another standout performance for me, was Grace Shesgreen’s portrayal of the abused and damaged Martha. Her carefully delivered account of her father’s abuse was intensely disturbing. Theatre resonates differently, depending on the social context of the time. Ms. Shesgreen’s powerful performance came on the heels of shocking revelations of historic abuse of children in Irish schools and I’m sure that I wasn’t the only one who viewed her performance through that horrific lens. ‘The Dark I Know Well’ showed Ms. Shesgreen’s excellent vocals and her ability to tell her disturbing story through song. Eimear Wolohan as Anna and Áine Kinch as Thea were both very strong in their respective roles. Their movement and blend of vocals in ‘Mama Who Bore Me (Reprise)’ were wonderful. Their playful, innocent banter with Wendla as they discussed their crushes was nicely played, creating a stark contrast to what lay ahead for their friend. Richard O’Toole and Colin Doran, who played Georg and Otto respectively, managed to join the band as well as play their roles with aplomb. Mr. O’Toole’s keyboard playing was most impressive, as was Mr. Doran on guitar. It was a lovely touch to feature both talented men in this way. Mr. O’Toole’s scene with Fraulein Grossebustenhalter was a nice bit of comic relief. Yet another highlight of the show, was the exceptionally well-staged and played scene between Luke Burke as Hanschen and Robert Hogan as Ernst. We knew where this was going from the very self-aware Hanschen’s ‘Achilles and Patroclus’ analogy onwards. Their chemistry was palpable – sensually and sensitively directed. Superb vocals from both rounded off two very strong portrayals. Nicola Roche and Rónán P. Byrne as Adult Woman and Adult Man, played the myriad, often despicable, authoritarian figures. Ms. Roche’s abridged version of the facts of life for Wendla (“…she must love her husband with her whole heart”) was humorous yet tragic as the consequences of Wendla knowing no different played out. Ms. Roche was at her best as Frau Bergman, dealing with the doctor’s crushing ‘diagnosis’. I found Mr. Byrne difficult to understand in his opening schoolhouse scene. However, this was short-lived and he proceeded to skilfully jump from character to character with superb changes of physicality, voice, accent and superb diction to convincingly play a multitude of roles. His mouthed “She’s pregnant” provided a much-needed release for us all before the trauma that would befall Wendla. The ensemble in this show was exceptional. From their very first lean forward to listen to Frau Bergman talk birds and bees to Wendla, we knew that this was an extremely committed and focused group, working together, often as one, in a stylish, theatrical manner. They rarely left the stage and the subtlety from every single performer as they observed, reacted and interacted, never taking focus from where it was meant to be, was simply breathtaking at times. Of course, these things don’t happen by accident. What appears simple in performance often requires the most work in rehearsal. Stage manager, Nigel May, had a relatively quiet night. Cast orchestrated the smooth transitions from scene to scene, ensuring fluidity and pace throughout. A low fog machine, concealed under the upstage rostrum, was used very effectively in the graveyard scene. The superb lighting design and, in particular, the meticulous timing of its operation, was a joy to behold. Indeed, the lighting in this show was as much a part of the dramatic action as any cast member. LED batons, built into the set, were used most effectively, as was the strobe in ‘Totally F*cked’. There was beautiful isolation of Melchior and Wendla in ‘The Word of Your Body’ with the ensemble almost silhouetted in the background. Haze was used to create suitably ethereal mood, when required. What must have taken days of collaboration between director and designer were so evident and paid off greatly. Sound was generally very good, with clear dialogue and good cueing throughout. The choral sound was warm and full, with superb balance across all vocal parts. Some minor issues with Mr. Byrne’s mic were quickly rectified. The few sound effects were suitable and well-timed. Occasionally, in higher octane numbers, the band had a tendency to overwhelm soloists but, generally, the balance between music and vocals was well handled in what can be a challenging show dynamically. Costumes were simple and true to the Victorian era with good attention to the boys’ school uniforms, the girls’ dresses and various changes for the adults. Braces and ties might have been a nice addition for the band to blend into the space even more. Make up and hair were well presented with Moritz’s distinctive hairstyle setting him apart from the outset. This was a theatrical feast of a show from North Wexford Musical Theatre. They are to be applauded for their talent, originality and the bravery of their choices in bringing this wonderful production to the Gorey stage. It was a privilege and a pleasure to attend. Bravo all! Pat McElwain Gilbert Adjudicator 2024/2025 Some photos kindly provided by the society - Photography by Darragh Carroll

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