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LATEST NEWS

Young Frankenstein as presented by WLOS

Wexford Light Opera Society Young Frankenstein Saturday 3 rd  May 2025 Expectations are always high when you attend a Wexford Light Opera Society show.   Their productions, staged in one of the finest venues the country has to offer, are always professionally produced and highly entertaining. Their version of the comedy horror/parody ‘Young Frankenstein’ ensured that expectations were met and often surpassed in what was a wonderful night of theatre. Led by an exceptional creative and...

Wexford Light Opera Society Young Frankenstein Saturday 3 rd  May 2025 Expectations are always high when you attend a Wexford Light Opera Society show.   Their productions, staged in one of the finest venues the country has to offer, are always professionally produced and highly entertaining. Their version of the comedy horror/parody ‘Young Frankenstein’ ensured that expectations were met and often surpassed in what was a wonderful night of theatre. Led by an exceptional creative and technical team, the cast embraced the show's absurdity and delivered a most memorable evening’s entertainment.  There are few theatres like the National Opera House for comfort and style, and it is always a privilege to attend a show there.   I was looked after so well and it was clear that society members were going out of their way to create a most welcoming environment for patrons as they arrived. Director Christine Scarry ensured that we were treated to a slick, fast-moving production with great pace and exceptional fluidity to what can be a very challenging show.   Everything was meticulously considered and crafted. The show was very well-rehearsed and cleverly blocked with a good understanding of the show's vaudevillian style and delivery.   There were many nice touches throughout the show.   ‘Join the Family Business’ was a brilliant fusion of direction, choreography, music, and technical elements, in what was a standout moment of the show. ‘Life, Life’ was simply incredible, with the rising table, sparks flying, and brilliantly timed sound effects, all combining in the creation of a brilliantly realised sequence.   ‘Roll in the Hay’ is one of the standout comedic songs of the show. Unfortunately, I felt that it fell a little bit flat on this occasion.   I did feel that the euphemistic ‘hayride’ was a missed opportunity to really push the boundaries in true Mel Brooks style. A small personal preference in what was a brilliantly directed show overall.   Other clever touches included Dracula's unexpected arrival in the coffin and the brilliant reveal of Frederick and Inga on the table.   Excellent work overall. Musical director David Hayes, assisted by chorus mistress Eithne Corrigan, did a simply wonderful job with this show.   You only had to look at the list of assembled musicians to know that this was going to be a very special musical presentation. From the moment the orchestra began to play, we were treated to an almost cinematic musical experience with the most incredible sound, perfectly balanced and completely in tune with the narrative detail of the show. There was great collaboration with the sound department in featuring various instruments as required, such as the gorgeous violin leitmotif in the ‘Life, Life’ section of the overture and Igor's French horn ‘solo.’ Underscoring was incredibly sensitive and well-timed, demonstrating an acute awareness that the single most important thing was the spoken narrative. Choral singing was exceptionally good. Perfectly mixed offstage vocals in ‘Life, Life’ added so much to the dramatic tension as we built to the climactic moment of the Monster’s ‘reanimation.’ A simply outstanding job from start to finish. Choreographer, Thérése O’Sullivan devised some very impressive routines, which were well pitched for the very large ensemble.  ‘ Please Don't Touch Me’ was very well choreographed with great synchronicity.   However, I felt that, because the comedy largely lies in the separation of the couples, that the space between them needed to be more exaggerated for the visual gag to really work.  ‘ Together Again for the First Time’ was a fabulously performed, vaudevillian style routine from Frederick and Igor.  ‘ Welcome to Transylvania’ was quirky as hell but it had to be as Igor is literally making it up as he goes along. This was a wonderful example of choreography supporting the narrative as the townspeople were drawn into the absurdity whilst Igor attempted to distract them from the monster's wailings. Of course, the absolute highlight was ‘Puttin’ on the Ritz,’ borrowed from a certain Mr. Berlin, which was the tap-dancing showstopper that it should be. It is a monster of a number, and Ms. O’Sullivan is to be commended for her fabulous work with the huge ensemble and, in particular, for the fabulous shadow dance, which was so well synchronised and had obviously been rehearsed to within an inch of its life. Colin Flynn was an excellent Doctor Frederick Fronkensteen, sorry Frankenstein, in what was a most confident and dynamic performance, full of whimsical charm and charisma. His performance as the neuroscientist who shuns academic life to take up residence in his newly inherited castle in Transylvania, was quite wonderful. Mr. Flynn was the driving force behind the production, hardly off stage from beginning to end.   The most natural of comedians, he had great comic understanding and physicality. His Frederick was often manic but well able to balance the light and shade of this quirky character as he continued his grandfather's legacy in pursuing the reanimation   of dead tissue. Mr. Flynn's incredible diction in the patter song, ‘The Brain,’ was so impressive and his fine vocal abilities were very evident in ‘Man About Town.’   A superb performance all around.19-year-old Kacey Mooney did very well as Transylvanian, wannabe lab assistant, Inga.   Ms. Mooney impressed hugely with her stunning vocals, in particular, her exquisite yodelling in ‘Roll in the Hay’ and the beautifully seductive ‘Listen to Your Heart.’ She had a wonderfully consistent accent and excellent diction throughout.   Ms. Mooney had a light comic touch and I would have liked to see her push the comic possibilities even further; to throw herself into the role without restraint.   I really look forward to seeing Ms. Mooney building on this wonderful performance over the coming years. David Doyle was very animated as the humpbacked sidekick Igor, with the ever-moving hump.   Mr. Doyle gave us a quirky, weird, and ultimately hilarious characterisation, with wonderful physicality and razor-sharp comic timing.   There were so many comic highlights in Mr. Doyle's performance but ‘Together Again for the First Time,’ with Mr. Flynn, was certainly a standout moment, as was his very funny “Walk this way sequence” which underlined Mr. Doyle’s wonderful physicality. Awareness of the audience was sometimes an issue and Mr. Doyle broke the fourth wall on occasion, which did not seem entirely appropriate for this style of show. Nonetheless, this was a top notch, performance from a very skilled comedian. Sophie Blaney Parslow gave a great performance as Frederick's neurotic, needy, and teasing fiancée, Elizabeth Benning.  H er characterisation was delightfully over-the-top. Ms. Blaney Parslow was a very good singer with great comedic timing and clearly relished her performance in ‘Please Don't Touch Me,’ during which she showed what a superb high register she had.   Little was left to the imagination as the monster had his wicked way with her offstage. ‘Deep Love’ was incredibly funny, one of the comedic highlights of the show as she travelled full circle from discouraging the merest touch from Frederick in the early stages of the show to liberating herself completely, having fallen for the monster's ample charms. Stephen Byrne was a terrific monster who infused meaning into every growl and grunt, having been brought to life by Frederick. Mr. Byrne had the most hilarious range of facial expressions, which added so much to his very likeable characterisation. A lot of work had gone into his makeup and hair and his very unusual looking mohawk added inches to his already towering physique. He was hilarious in the scene with the hermit as he was hit on the head, scalded, and set alight.   Of course, his ‘Puttin’ on the Ritz’ was a standout number driven by Mr. Byrne. It combined comedy, exquisite timing and excellent movement in a most memorable sequence which deserved a standing ovation all of its own. Mr. Byrne’s amazing shadow dance routine was excellent in its precision and his transformation from monster to gentleman, with his delightfully clipped posh accent, was excellent. Antonia Close was a formidable Frau Blucher, the mysteriously dour housekeeper, whose name prompted terrified whinnying every time it was mentioned.  Ms.  Close demonstrated exceptional comic timing, switching from austere, deadpan facial severity to uninhibited, lustful abandon in the blink of an eye.  ‘ He Vas My Boyfriend’ was the performance of the show, for me, with Ms. Close's amazing physicality, attack and powerful, earthy vocal. This was a simply phenomenal performance as Ms. Close immersed herself in the character with exceptional timing, brilliantly judged pauses, and exquisite, deadpan delivery.   Bravo. Brian Kelly did well as Inspector Kemp.   He had good diction and projected very well. His physicality was strong and he was consistent in his impeded movement; his surgeries having cost him “an arm and a leg.” He needed to be more aware of Frederick’s upstage positioning as he welcomed him to Transylvania, as this was played mostly downstage towards the audience. He was suitably suspicious throughout ‘Welcome to Transylvania’ and stood out in his solo dance as he slowly succumbed and became drawn into the shenanigans around him. Pat Lawlor was a wonderful Harold, the blind hermit. His loneliness was palpable, as was his joy when joined by the monster.   It can be difficult to make an impact in just one scene, but Mr. Lawlor grabbed his opportunity with both hands in delivering a very funny portrayal. His ‘Please Send Me Someone’ was beautifully poignant, showing Mr. Lawlor’s fine tenor voice off perfectly. Likewise, Keith Flanagan delivered a very impressive cameo as Frederick's grandfather, Victor von Frankenstein.   His singing in ‘Join the Family Business’ was excellent and he demonstrated very good presence and good comedic timing throughout the number. Dylan Walsh did well as Ziggy, the village idiot. However, at times, I felt that his delivery lacked impact and that more could have been done with his character. To be fair, the part is underwritten, but creation of more comic business and a little bit more work from Mr. Walsh ‘off the ball,’ in terms of his expressions and reactions, could have made this a more impactful portrayal.  There was great work from the ensemble whether playing villagers, ancestors, medical students, or the myriad cameo roles throughout the show. Elizabeth's five entourage members were superb vocally and movement wise, as were the four gentlemen who joined Inspector Kemp in the quintet at the top of ‘Welcome to Transylvania.’   There was great commitment to dance numbers and wonderful ensemble singing, particularly in ‘Please Don't Touch Me’’ and Transylvania Mania.’ There was excellent movement in ‘Puttin’ on the Ritz’ in particular and ‘Transylvania Mania’ showed great characterisation from the ensemble as they were drawn into Igor's ridiculous dance. Accents were not entirely secure in the town hall meeting, during which a number of ‘Irish immigrants’ were in attendance.  T here was a rush to exit before blackout at the end of ‘Please Don't Touch Me,’ presumably to change for ‘Join the Family Business.’   It is always best to err on the side of caution, particularly during a fade blackout, before moving. Colin Murphy presided over a very efficient stage crew, in what was a very busy show for this stage manager.   He utilised cast well, striking furniture and props, as required.   There was great timing of fly cues and amazing work in ‘Life, Life,’ coordinating the flying of the table, spectacular pyrotechnics, smoke, and the myriad special effects which went into making this a standout scene in the show. A super job all around. There was an excellent, steampunk inspired, professional-looking set with giant cogs framing the stage and a very interesting circular platform which was used right through the show to give elevation to principal performers as required. The huge semicircular screen provided great scope for the use of some fabulously designed graphics, which added great depth to the stage in what was a seamless integration of technical and physical scenery.   Side flats were very impressive with their scientific formulae.   There was a wonderful revolving bookcase in the castle which worked very cleanly during one of the funniest scenes in the show. The fly piece which incorporated three steampunk-like portraits for Victor's ‘Join the Family Business’ was quite stunning.   The laboratory looked amazing with its machines and inbuilt LX and the hermit's cabin, complete with a lit stove, provided great detail. Lighting was stunning throughout, always enhancing, and supporting the narrative. There was great use of two follow spots in ‘Together Again for the First Time,’ which added to the vaudevillian feel of the show. Unfortunately, the horses and cart got caught in follow spot during their entrance and it might have been best to either bring Frederick and Igor stage left, or stage right for their entrance or to kill follow spot a little earlier.   There were stunning ghostly effects in ‘Join the Family Business’ and I loved the detail of the shaft of light, indicating the opening to the passageway behind the bookcase. There was very clever work as Frederick and Inga entered the darkened laboratory for the first time by candlelight, as pockets of light were created every time they moved. The amazing bulbs built into the set worked so well in the context of the laboratory and fabulous backlighting gave us a very sharp silhouette for the iconic ‘Puttin’ on the Ritz.’   A super job all round. Sound was excellent throughout, with brilliantly timed sound effects such as thunder, lightning, and the castle door. I did feel that the ‘squelch,’ when Igor stood on Herr Delbruck’s brain and the sound effect when the monster hit his head off the frying pan were too loud and might have been better off either omitted or played at a lower volume, as they came across as ‘panto-esque.’   Cueing of microphones was excellent with nothing dropped and EQ levels were perfect for all performers. Underscoring was incredibly sharp and clear throughout and the notoriously challenging ‘Life, Life’ was seriously impressive from a sound perspective.   Brilliantly designed graphics blended perfectly with the physical set pieces to create a really stunning visual spectacle. The Young Frankenstein logo in the pre-set gave way to animated clouds and lightning.  U sing graphics allowed for great fluidity throughout the show, whether suggesting time passing or a quick change of location.   Props were generally well handled. The skeleton was a great addition to Frederick’s lecture as was Mr. Hilltop’s gurney. ‘Please Don't Touch Me’ featured suitcases and trunks on a trolley. The absence of any hay in the iconic number ‘Roll in the Hay’ was jarring. Herr Delbruck's brain was described as being half the size of the abnormal brain which was eventually used for the monster. However, that did not appear to be the case. All of the instruments in the laboratory, including the goggles looked very well. Lanterns were very authentic in ‘He’s Loose’ and there was great dressing of the hermit's cabin. However, it was quite obvious that there was no soup as nothing was spilt on the monster's lap. Likewise, there was nothing in the bottle for the hermit's toast. This kind of visual detail is important.The shattering mug worked so well, a great visual gag! And well done on sourcing a French horn for Igor.  There was great work in the costume department from the traditional dress of the Transylvanians to the white coats of Frederick's students. There was attention to detail everywhere.   The only thing that jarred was the beige mac, worn front and centre at Victor's funeral, which looked very out of place compared to the black funeral coats and shawls on the rest of the ensemble. The quartet in ‘Welcome to Transylvania’ looked great and the top hats and tails in ‘Puttin’ on the Ritz’ were fabulously classy.Hair and makeup were very well looked after.   However, I did think that the ladies who had their long hair down at the funeral, might have tied their hair up to be more appropriate to both the era and the context.   Victor von Frankenstein and the ancestors all looked wonderful.   The monster's luminous green Mohawk was an unusual choice which grew on me (I wish!) after a while. I loved the subtle detail of Frederick's hair getting steadily crazier as the show progressed, reflecting his tortured mind as he descended into manic mode. The hermit's beard and wig were fabulous, as was Elizabeth's post-coital Bride of Frankenstein wig.   The monster's makeup was very impressive but did need to be touched up as the show progressed. ‘Young Frankenstein,’ based on the Mel Brooks movie from the early 1970s, is full of cheap innuendo, double entendre, sledgehammer humour, and its fair share of dreadful puns.   There is little sophistication, no deep message and plenty of deep love. Sounds just about perfect to me!   Wexford Light Opera Society understood the brief and the show’s very specific comedic style. With boundless enthusiasm, they pulled out all the stops, to give us a fabulously funny, technically impressive, excellent production. A credit to all involved! Pat McElwain Gilbert Adjudicator 2024/2025

Shrek as presented by Avonmore Musical Society

Avonmore Musical Society Shrek the Musical Saturday 26 th  April 2025 Once upon a time, on audition day in Arklow, County Wicklow, Director Amy Penston-Hendley was heard crying into her coffee… Amy : We're doomed! We're never going to find a brilliant comic actor, of gigantic stature, who can sing, break wind at will and deliver a flawless Scottish accent. Andrew Docherty : Hold my beer! Sometimes, a role just fits like a glove and, on this occasion, the glove fit just about perfectly onto...

Avonmore Musical Society Shrek the Musical Saturday 26 th  April 2025 Once upon a time, on audition day in Arklow, County Wicklow, Director Amy Penston-Hendley was heard crying into her coffee… Amy : We're doomed! We're never going to find a brilliant comic actor, of gigantic stature, who can sing, break wind at will and deliver a flawless Scottish accent. Andrew Docherty : Hold my beer! Sometimes, a role just fits like a glove and, on this occasion, the glove fit just about perfectly onto the stubby, chunky, green fingers of the protagonist.   And it wasn't just me who thought so.   The multitude of children, who were lucky enough to get tickets for the matinee performance of Avonmore Musical Society's ‘Shrek the Musical’, were completely in agreement as they cheered and laughed at their favourite ogre's antics. But it wasn’t only the flatulent swamp-dweller that impressed. This was a fabulous production, with a very strong front line, a talented, committed ensemble and wonderfully impressive visuals that had us dancing in the aisles by the finale. I was afforded the warmest of welcomes upon my arrival at St. Mary's College, Arklow on a gloriously sunny Saturday afternoon.   Front of house was very busy as families with children buzzed around, excited to see the show. The foyer was nicely decorated with photos and entries for a Shrek-themed colouring competition from local children. Upon entering the hall, there was wonderful energy in the room.  F ront of house announcements were delivered in an obligatory Scottish accent, setting the perfect tone for what was to follow. Homegrown director Amy Penston has literally grown up in Avonmore Musical Society and what a thrill it must have been for her to take on this mammoth show.   Ms. Penston did a great job on what was a most heartwarming production, full of energy, warmth, and many hilarious comedic moments. It was a very fast-paced and slick show, with some lovely touches throughout.   I loved the animated storybook at the top of the show, which set the tone for the magical fairytale world that we were about to enter. Ms. Penston instilled great energy and exuberance in the ensemble.   From time to time they were a little bit overly exuberant, occasionally pre-empting rections because of their enthusiasm.  ‘ Travel Song’ worked very well against the brilliant animated graphics in the background. There was superb operation of the dragon by the three black-clad puppeteers. However, I did feel that the positioning of the dragon vocalist so far away, on stage right, weakened the connection between the two.   A super job overall from Ms. Penston. Musical director Conor McCarthy, played in and conducted a fabulous eight-piece orchestra.   This was a very talented lineup of musicians and it showed in the wonderful sound that lifted the roof off St. Mary's College. The band was very tight indeed and tempi were secure throughout. One of the main challenges for a musical director and sound operator in ‘Shrek the Musical’ is the considerable dynamic range from number to number. Some of the numbers are very brass heavy and, as such, can often overpower vocalists.   Donkey was often overpowered by such brassy orchestration, due to her songs, written for a male voice, being in such a low register. The musical highlight of this show was definitely the chorus singing.   There was a wonderful sound in ‘What's Up, Duloc?’ and a stunning chorus sound in ‘Wedding Procession’. Principal singing was excellent throughout, whether in the upbeat, high-energy numbers or the emotion-filled ballads. A typically strong job from the very talented Mr. McCarthy. Martina Lynch's choreography was well-rehearsed and dynamic, always in keeping with the fun and madcap nature of the show. ‘What's Up, Duloc?’ embraced the madness, giving us a quirky, fun routine with the ensemble executing a kick line whilst on their knees, combining visual comedy and choreography so well.  ‘ Forever’ was a fabulous routine, with six ‘skeletons’, who were very strong movers. ‘Morning Person’ featured a wonderful tap routine from the rats’ chorus.   There was great fun with the Three Blind Mice in the very funny ‘Make a Move’, with one rodent even managing the splits. ‘Freak Flag’ was simply fabulous, full of energy and brilliantly performed and ‘I'm a Believer’ had everyone on their feet at the end with its unbridled joy.   A super job all round from Ms. Lynch. Andrew Docherty delivered a towering, tour-de-force comedic performance as everyone's favourite, flatulent ogre, Shrek.   Mr. Docherty's physicality was exceptionally good as he lumbered around the stage and his deft comic timing and hilarious facial expressions were an absolute joy. Mr. Docherty delivered a brilliantly uplifting performance of ‘Who I'd Be’, which was intelligent, thoughtful, and sincere.   There was always great attention to narrative detail and every word that Mr. Docherty spoke or sang was deeply invested in the story.His duet, ‘I Think I Got You Beat’ with Fiona, was a comic highlight of the show. ‘When Words Fail’ was beautifully sincere, and ‘Build a Wall’ was highly passionate with wonderful storytelling.   A brilliant, professional performance from Mr. Docherty. Ellie Willoughby was a most endearing Princess Fiona.   She was an exceptionally clever actress and a brilliant comedienne, with wonderful comic timing. ‘I Think I Got You Beat’, with Mr. Docherty, was a brilliant duet and their ‘burp off’ was utterly hilarious. Ms. Willoughby exuded warmth and charm throughout in what was a very layered and nuanced performance which captured the show’s theme of acceptance beautifully.   A really top-notch performance from a very talented lady. Orlagh Sunderland played the wise-cracking Donkey, full of energy, exuberance, and a wonderful physicality.  This was a highly sassy performance and Ms. Sunderland was clearly a very talented comedienne, with strong coming timing and a hilarious range of facial expressions.   However, diction was often an issue, compromised somewhat by her highly energetic characterisation.  Her fast-paced, snappy delivery required a little bit more attention to clarity of diction in order to raise her performance to the next level. When gags were clear, they were brilliant.  “ Oh my God, you ate the princess!” went down a storm, delivered with great power and conviction. Overall a super characterisation.  Sean Hendley was a very animated Sean Hendley gave a very animated, cartoonish portrayal of Lord Farquaad.  His facial expressions and physicality were simply hilarious.It 's fair to say that Mr. Hendley is a man who is ‘vertically unchallenged’ and, as such, he needed to maintain the illusion of the costume by crouching down to keep his ‘feet’ on the ground. Full credit to Mr. Hendley for maintaining the amazing physicality of the role throughout.   I have no doubt that his knees are still sore.  ‘ The Ballad of Farquaad’ was hilariously funny.   I loved his proposal on one knee, which went down a storm.   His hilarious realisation and delivery of “The ogre has fallen in love with the princess!” was comedy gold.A wonderful all-round comic performance from Mr. Hendley. Christine Dunne Firmo was the stunning, powerhouse voice of the dragon, breathing life into a superbly operated puppet that was most impressive visually. This was a wonderful performance, and Ms. Dunne Firmo was clearly enjoying every moment with her stratospheric, effortless vocals impressing greatly. On the afternoon that I attended, Amber Simmons played the role of Young Fiona.   This was a lovely performance from Amber, who had the most beautiful singing voice in ‘I Know It’s Today’ Lauren Gammell was equally impressive as Teen Fiona, delivering a fine performance in the same number with great   support from Mr. McCarthy. The very talented Kevin Macken-Tierney was a wonderful Pinocchio, with a fabulous voice and physicality. His movement was very strong and his shrill high voice was perfect for the role. His falsetto in ‘Freak Flag’ was most impressive in what was a brilliantly performed number. Fionn Ó Conchúir doubled up as Gingy and Papa Bear, impressing with his versatility. His Gingy had an excellent delivery and was very funny. His voice at the top of ‘Freak Flag’ was wonderful.   James Kearon really impressed as the Pied Piper.   The three blind mice, Olivia Connell, Ella McEvoy and Zoe Cummins, made fabulous backup singers with their strong vocal harmonies and slick movement.   Stacey Carter was most impressive as Mama Bear with her stunning strong vocals in ‘Freak Flag’ being a standout musical moment.   Rob Donnelly was an almost unrecognisable, cross-dressing Big Bad Wolf and it was a look that really suited him.With such an enormous cast of non-speaking roles, space does not permit me to go through every named character.   But this ensemble was extremely strong and their commitment and talent to every single cameo role, dance number and choral performance was evident throughout. Stage manager Barry Ryan did good work throughout, with very efficient, unfussy movement of set pieces. The positioning of the haze machine on stage left was a bit of an issue as we were aware of haze being constantly pumped on stage during scenes and this was a distraction. The operation of the remote controlled rats was very impressive and there was clever use of crew wearing blue capes and helmets to move Farquaad's bath. Overall, very strong stage management and efficient execution of changes.The set incorporated some very well-designed and finished set pieces with some cleverly chosen graphics.   The first thing I noticed was the impressive walkway around the orchestra which was used to great effect when characters were traveling.   Projection worked wonderfully well to provide depth and to allow for swift changes of location.   The Shrek logo in the pre-set was wonderfully striking.   Scenic artistry was of a very high standard.   I loved the cleverly designed, encased proscenium and the castle gates and ramparts looked very well, as did Shrek's out house for his big reveal at the top of the show.   Fiona's fabulous tower was another high point.   Overall, a very visually pleasing set, enhanced greatly by well-chosen graphics. The lighting, when it was good, was brilliant. There was fabulous use of colour, reds and greens in ‘Forever’. At times there was an over reliance on shining intense lights into the audience which felt unnecessary.   A stunning picture was created for Donkey and Fiona's freeze in ‘When Words Fail’.   The haze machine was in overdrive throughout, occasionally taking away from the intended point of focus.   Haze is a valuable and very effective tool for enhancing stage lighting.   However, it should not be a feature in itself.  There was superbly atmospheric lighting combined with wonderful graphics as we anticipated Fiona's transformation, which of course never happened, as she stood on the altar. This was a magical picture. Sound was generally very good. There was great use of appropriate sound effects for burps, farts and birdsong.   Donkey's ‘Don't Let Me Go’ needed significantly more level, largely due to it being in such a low female register with the result that lyrics were lost. largely due to it being in such a low register for a female singer.   ‘Travel Song’ was similarly affected in the brassier moments. All of this aside, there was great balance within the pit and other principal vocals were very well supported. Cueing of mics was very strong and EQ levels appeared to be set appropriately across a very large cast in what is a roast of a show for a sound operator. There was a wonderful selection of graphics in use which aided smooth transitions between scenes.   Some of my favourites were the ‘Travel Song’ animated background and the detail of animated fireflies in the swamp. Props were very well chosen, often quirky.   Villagers' tools looked authentic as did the soldiers' swords.   Fiona's storybook with detachable pages brought a touch of magic to proceedings.   The dragon puppet was very impressive.  Bluebird and Bluebird's nest looked great but the inflatable deer had seen better days and was looking a tad deflated in the leg department.   Cases and lanterns were used to good effect as cast paraded Anatevka style upon eviction from the swamp.There is absolutely no cutting corners in the costume department when it comes to a show like ‘Shrek the Musical’. Avonmore Musical Society pulled out all the stops to get this element just right. This was a show bursting with colour and a wonderful array of costumes, from Shrek's iconic tartan trousers to Farquaad's hilarious ‘little guy’ costume.   There was great attention to detail everywhere.   The skeleton morph suits in ‘Forever’ looked very well, as did Fiona's iconic green dress. The rats looked fabulous in their top hats and tails, as did the three blind mice with their tall skirts and white fluffy hats.   There was a great reveal of the wolf's red dress and Fiona's fabulous wedding dress was quite the creation.  The hair and makeup department did a wonderful job also.   This was such a busy show, with so much detailed makeup and, particularly, prosthetics required to get the very specific looks just right.   Shrek's prosthetics and and his chunky fingers were brilliantly detailed as were the yellow wigs for Duloc.   Dragon's wonderful red wig was nicely diva-esque and the rats' makeup was suitably rodent-looking. Rob Donnelly's wolf makeup made him completely unrecognisable and it was only towards the end that I realised what part he was playing. Donkey's smig beard and prosthetics looked wonderful.  The overriding sense that I took away from this wonderful show was the wealth of talent in depth in the society. From the titular character, right down to Farquaad’s dad, Dwarf, there was so much talent on display, from young to old and plenty in between. The future is very bright for Avonmore Musical Society as they continue to tap into this wonderful pool of talent. I, for one, am “a Believer” and will be first in line to see whatever future productions are in the pipeline. Pat McElwain Gilbert Adjudicator 2024/2025

Joseph and the Amazing Technicolour Dreamcoat as presented by Enniscorthy Musical Society

Society Name: Enniscorthy Musical Society Show Name : Joseph and the Amazing Technicolour Dreamcoat Adjudicator Date of Attendance: 23/04/2025 Brief Overview of Show and Evaluation of Front of House Enniscorthy Musical Society’s production of Joseph and the Amazing Technicolour Dreamcoat was a vibrant, imaginative, and delightfully high-spirited staging of this ever-popular musical. From the moment the show began, it was clear that this was a performance brimming with energy, enthusiasm, and...

Society Name: Enniscorthy Musical Society Show Name : Joseph and the Amazing Technicolour Dreamcoat Adjudicator Date of Attendance: 23/04/2025 Brief Overview of Show and Evaluation of Front of House Enniscorthy Musical Society’s production of Joseph and the Amazing Technicolour Dreamcoat was a vibrant, imaginative, and delightfully high-spirited staging of this ever-popular musical. From the moment the show began, it was clear that this was a performance brimming with energy, enthusiasm, and a deep understanding of the storytelling style needed for Lloyd Webber and Rice’s iconic score. The choice to combine dynamic choreography, a bright and accessible set, and an engaging approach to characterisation paid dividends, creating a show that was not only enjoyable to watch but also cleverly layered with subtle detail and thoughtful staging. This was a production that both respected the material and reimagined it in clever and context-appropriate ways. Front of House operations were warm and welcoming. Staff greeted audience members with genuine friendliness, and the general atmosphere in the venue was both relaxed and celebratory. The general sense of community and pride in the production was palpable. It was clear that audience members were arriving not just to see a musical, but to support something of local importance, and this goodwill extended warmly across the footlights. Overall, the tone set by the Front of House team created the perfect entry into a theatrical experience that promised, and delivered, a fun, family-friendly, and joyously performed evening of musical theatre. Director – Direction and Production Imelda McDonagh’s direction was vibrant, assured, and full of infectious energy. Her approach to the material balanced reverence with creativity, resulting in a production that felt faithful to the spirit of the original, while still offering fresh and characterful interpretations. The pacing throughout was excellent; scenes moved seamlessly, with musical and choreographic transitions handled fluidly. There was a genuine sense of journey within the storytelling, and that clarity of vision came through in the strong performances from every part of the cast, from leads to chorus. Particularly notable was the direction of the ensemble scenes, the brothers were a unified but wonderfully diverse group, each with distinct personalities and physical traits. Yet they worked together with a cohesion and rhythm that made their interactions compelling to watch. Numbers such as “Those Canaan Days” and “Benjamin Calypso” were true highlights, executed with both humour and precision. The incorporation of platforms and a catwalk was a smart device, used not just as spectacle, but as a storytelling tool that helped distinguish status and space on stage. The interactions between the narrators, children’s chorus, and principal cast were also beautifully directed, each contributing to a storytelling rhythm that never faltered. Imelda’s attention to nuance, comedy, and pathos was present throughout, and her command over the theatrical world she created was evident in the confidence of the performances and the tight ensemble work. A highly effective and accomplished piece of direction. Musical Director – Direction and Orchestra Kevin Kennedy’s musical direction showcased strong leadership, musicality, and a clear understanding of the tone and stylistic diversity within this eclectic score. The band was extremely well kept together, and tempos across the board were well judged. From the energetic drive of “Go, Go, Go Joseph” to the softer lyrical moments, Kevin maintained control and clarity. That said, the balance within the sound mix was uneven. The percussion section was a standout, vibrant, tight, and engaging, but the wind and brass instruments were often lost in the overall mix. Despite clearly playing with spirit and gusto, their contribution was too subdued due to technical limitations, and this affected the overall depth of the orchestral sound. It was also unfortunate that the band did not appear to be adequately represented in the PA, which left the orchestration feeling somewhat thin during fuller ensemble numbers. Vocally, however, the cast were on excellent form. There was a powerful and rich choral sound, with superb harmonies and excellent diction from both the adult and children’s ensembles. The solo performances were delivered with a contemporary pop sensibility that felt entirely appropriate for the score. Kevin’s interpretation leaned confidently into this modern tone, and it was a choice that paid off. Choreographer – Choreography James Dobbs offered moments of choreographic intelligence in a production that blended visual flair with comic energy. Many routines were bursting with life and character, showcasing a strong understanding of musical theatre dance and how to tailor movement to both cast ability and dramatic context. There were sections where the choreography brought genuine excitement and laughter, the couple’s dance during “Those Canaan Days” was particularly effective in combining humour with clever staging, flowing effortlessly out of the narrative. Some routines could have been developed further. It was clear the cast had the capacity to handle more ambitious choreography and pushing them slightly further in these moments might have elevated the visual dynamism of the show even more. “Potiphar” in particular lacked the chaotic cheekiness between Mrs. Potiphar and Joseph the number typically calls for. The bedroom antics, so often a comedic high point, felt underplayed. Although, an interesting and creative touch was the use of flight attendants in this chorus a choice that gave a modern and stylised twist. The “Song of the King” was a real spectacle, both versions performed with gusto. The choreography for the faster reprise was, surprisingly, more intricate. This risk-taking was appreciated, and when it paid off, it did so with considerable style. Leading Principles – Singing and Acting Joseph – Richard O’Toole: Richard gave a charismatic and deeply likeable performance as Joseph. His acting choices were thoughtful and grounded, allowing his character to evolve believably from optimistic dreamer to a humbled yet triumphant leader. His stage presence was natural, never forced, and his interactions with the ensemble and narrators were warm and organic. Vocally, Richard brought a distinctly pop-influenced flair to the role, with tasteful riffing and smart melodic choices that modernised the sound without undermining the integrity of the score. A confident and engaging central performance. Narrators – Michaela White, Maria Forrest, Caoimhe Boyle: This trio of narrators were truly a delight. Each brought a distinct personality to the role, and their interplay was fresh, well-balanced, and funny. Their connection with the children’s chorus was especially charming, adding warmth and accessibility. Vocally, they blended beautifully, capable of strong unison and equally adept at holding harmony lines. There were some lovely moments where they stepped into the action, adding a meta-theatrical element that was witty and well-delivered. A genuinely memorable trio. Potiphar / Pharaoh – Anthony Jones: Anthony delivered two sharply contrasting and well-executed performances. His Potiphar was clipped, businesslike, and almost absurdly proper, while his Pharaoh was a swaggering, full-blown Elvis impersonation. Both characters were delivered with commitment and skill. His vocal performance was particularly strong, with real power and tone control. A standout performer who demonstrated both vocal and dramatic versatility. Supporting Roles – Singing and Acting Jacob – Lorcan Dunne: Lorcan’s Jacob was full of warmth and comic charm. His portrayal leaned into the doting father figure, with lovely moments of humour and familial affection. His chemistry with the sons and particularly his performance in “Those Canaan Days” added heart to the show. The Brothers; Ruben - Evan Ryan, Simeon - Paul Kehoe, Judah - John Donohoe, Levi - Frank Kehoe, Napthali - Chris Larkin, Issachar - Shane Kirwan, Asher - Richard Mullen, Dan - Evan Roche, Zebulon - Seán Timmons, Gad - Brian Cooney, Benjamin - Niall Martin: This was an exceptionally strong and cohesive group. Each brother had a clearly defined character, and their ensemble work was outstanding. Vocal standouts included Evan Ryan’s confident delivery of “One More Angel” and Paul Kehoe’s hilarious performance in “Those Canaan Days.” John Donohoe brought great charm and skill to “Benjamin Calypso.” Their camaraderie was believable and provided the production with some of its most entertaining moments. Butler – Richard Mullen, Baker – Naoise Fortune: These smaller roles were handled with care and character. Richard gave a joyful and grateful portrayal, while Naoise’s despair was wonderfully exaggerated and theatrically apt. These moments added colour and comedy to the jail sequences and were well received. Potiphar’s Wife – Nicola Roche: Nicola brought elegance and seductive charm to the role, but her full potential felt somewhat hindered by the understated staging of the number. There was room here to dial up the comedy and sensuality, which might have enhanced the scene’s overall impact. Nonetheless, her performance was strong and stylish. Chorus/Ensemble – Singing, Acting, and Choreography The adult and children’s ensembles were excellent throughout. Vocally, they provided strength, depth, and clarity, with especially good work on harmonies and diction. Their energy never dipped, and they contributed effectively to both scene work and musical numbers. Their commitment and enthusiasm were evident in every number, helping maintain the joyful and engaging tone of the production. With a little more polish in some of the larger dance sequences, this ensemble could reach an even higher level – but their current work already added tremendous value and vitality to the show. Stage Management and Set Design The set design was simple but striking, muslin curtains and sandy brick tones gave a sense of both period and place, with strong thematic cohesion. The platforms and catwalk allowed for dynamic blocking and layered storytelling. These were used thoughtfully to emphasise status, space, and movement. Stage management was focused primarily on the manipulation of the muslin curtains, and this was done with exceptional precision. Timing was tight and perfectly aligned with musical and narrative cues, adding an elegant flow to scene transitions. Technical – Lighting and Sound The lighting design was visually rich, using a lovely palette to create mood and highlight narrative shifts. One of the most effective moments was the rainbow ripple during “Joseph’s Coat”, a stunning visual match for the song’s iconic listing of colours. However, FOH lighting left dark spots where the catwalk met the main stage and along the catwalk itself, which created occasional visibility issues. Sound design had some inconsistencies. The PA lacked the band mix, leaving the overall sound a little thin. Additionally, some cues were missed, and the sound occasionally ran a little hot. A more balanced output would have greatly enhanced the immersive quality of the production. Visual – Costumes, Hair, and Make-Up Costumes were one of the production’s standout features. The attention to detail was impressive, with designs that felt appropriate for the biblical setting while still having fun with the show’s more stylised moments. The narrators’ all-white outfits created a clean visual contrast, and the Egyptian costumes were particularly impressive. Hair and make-up were strong across the board, with Pharaoh’s court offering a standout example of theatrical styling at its best. Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances. Enniscorthy Musical Society should be extremely proud of this production. It was an imaginative, energetic, and well-paced show with standout performances across the board. With minor improvements in sound balance, lighting coverage, and bolder staging choices in some key comic scenes, this could easily become a benchmark production. The direction, musical vision, and cast commitment were all of a very high standard. This was community theatre at its most joyful, polished, and collaborative – and a wonderful example of what this society is capable of achieving. Photos by Peter Gaynor Photography

Everybody's Talking About Jamie as presented by Quay Players MDS

Quay Players Everybody’s Talking About Jamie Saturday 19 th  April 2025 ‘Everybody's Talking About Jamie’ is the kind of show that would...

Quay Players Everybody’s Talking About Jamie Saturday 19 th  April 2025 ‘Everybody's Talking About Jamie’ is the kind of show that would probably never have seen the light of day in this country twenty-five years ago.   Based on a true story, its themes of bigotry, bullying, homophobia, strained father-son relationships, and parental rejection may have been too much for an Irish audience.   But it is a story that has needed to be told for a long time.   Visibility is everything and any young person struggling with identity could only have been inspired by Waterford’s Quay Players’ hard-hitting, funny, and truly uplifting production.  Theatre has great power  and this group is to be commended for its bravery and talent in bringing this very important and special show to the stage.  There was a very warm welcome front of house in the lovely Garter Lane Theatre.   Everything was exceptionally slick and well organised as audience members arrived and took their seats for what we knew was going to be an exciting presentation. Director David Hennessy’s casting was just about perfect and what a joy it must have been for Mr. Hennessy to work with such a team of gifted performers. He got the irreverent humour of the show, its unique style of comedy and hilarious one-liners, but it was the raw emotion and authenticity of this true story that Mr. Hennessy captured so beautifully. And boy, did it resonate with the audience. ‘Everybody's Talking about Jamie’ focuses on relationships and Mr. Hennessy excelled at painting some deep and complex relationships between the show's main characters. The central character Jamie's relationships with his mother, his estranged father, and his best friend, Pritti, were beautifully explored by the director.   The opening scene featured much familiar classroom banter.   I loved how Jamie initially blended into the mayhem, an indication perhaps that sometimes when someone is different, they can be lost and fade into the background.   The wonderfully original introduction of young Jamie was a very thoughtful touch. However, I did feel that more could have been done with lighting to emphasise those throwback sequences as we observed young Jamie's pivotal moments.   The projected, moving stars on the screens during ‘It Means Beautiful’ were gorgeous and so effective and I did wonder if more projection could have been used throughout the show. Overall, a really strong piece of direction, particularly when teasing out the really important relationships and dynamics between the central characters.  Musical director Jimmy Brockie played in and conducted a seven-piece band, which were housed on the upper level of the set behind screens. There was an excellent sound from the band, generally, with good balance between instruments for the most part. However, on occasion, the band was too loud and overpowered vocalists.   Mr. Brockie and his musicians captured Dan Gillespie Sells’ score so well, with its catchy, upbeat, high-energy numbers and its heartfelt emotional ballads.   Offstage vocals in ‘The Wall in My Head’ were exceptionally good, as were the ensemble vocals in ‘Spotlight.’ Offstage vocals were too high in the mix for ‘The Legend of Loco Chanelle.’   Principal singing was of a really high standard throughout. A super job overall by Mr. Brockie. Michelle Condon brought a wealth of experience to the show as choreographer.   Her choreography was raw and real, harnessing teenage angst and hormonal energy. I loved the high-energy, raw movement of ‘And You Don't Even Know It’ with its brilliant use of the school desks. It was like ‘Matilda’ on stimulants.  S o slick, so synchronised, so powerful and so gritty.   Slickness was to be seen in all aspects of Ms. Condon's choreography.   The title number ‘Everybody's Talking About Jamie’ was a brilliant routine, full of energy and powerful performances from the remarkable year 11s. ‘Out of the Darkness’ was equally strong and I loved the bows which were so cleverly staged. A superbly choreographed show from Ms. Condon that captured the gritty, raw subject matter in such a clever way.  Andrew O’Grady was the emotional core of the show as Jamie New.   This was an incredibly raw, real, and believable performance as the 16-year-old, openly gay teenager in working-class Sheffield, who follows his dream to become a drag queen.   Mr. O'Grady's performance was something very special. He was full of vulnerability, determination, and an emotional range that was quite astonishing. It was a beautifully balanced performance.  His Jamie wasn't always the most likable character.   His treatment of his mother left a lot to be desired. “ It's no wonder Dad left you!” cut deep. His best friend, Pritti, told him how self-centered he was.   But these elements of Jamie's character, played with such truth by Mr. O'Grady, made him more real, more relatable, more authentic.   And it was the honesty and authenticity of this performance that really caught the audience's imagination.  Jamie's mother Margaret was played by the exceptionally talented Greta Rochford. This was a powerful, nuanced performance, which laid bare all of the anxiety, the emotions, and concerns of a single mother whose child faces life's enormous challenges.   There was an incredibly real chemistry with Jamie.  ‘ If I Met Myself Again’ was beautifully sung and performed by Ms. Rochford.   But it was the stunning vocals and deep meaning of ‘He's My Boy’ provided the most memorable, incredibly heart-wrenching moment of the show. It was a masterclass in storytelling through song as she poured out her anguish and emotion. Aoife O'Connor delivered a sensational performance as Pritti, Jamie's best friend and most lovable “fag hag.” She too was an outcast, different because she was clever.   Ms. O'Connor played Pritti as an utterly sensible foil to Jamie's dream-filled mind.  She brought layers of vulnerability and strength to the role in what was an incredibly intelligent interpretation. Her performance in ‘Spotlight’ was outstanding. The greatest compliment that I can give Ms. O'Connor is that I couldn't see her acting. I believed every word that came out of her mouth.  ‘ It Means Beautiful’ was a stunning vocal performance, utterly believable.   An excellent all-round performance from a young lady with enormous potential. Jenny Clooney gave a wonderful performance, with impeccable comic timing as Margaret's emotional support and best friend Ray.   This was a very real and funny portrayal and her uncensored, expletive-heavy outbursts were simply hilarious. But not for the easily offended, mind you! Her singing was very strong in ‘Limited Edition Prom Night Special.’   A superbly rounded performance overall. Jennifer White was a suitably stern and humourless schoolteacher, Miss Hedge, who tried to quash Jamie's aspirations, suggesting that he might be more suited to driving a forklift.   Her no-nonsense portrayal contrasted brilliantly with her highly theatrical performance of ‘Work of Art,’ which hit us between the eyes with her highly energetic take. She was at her dramatic best in her meeting with Margaret, Ray, and Jamie in her office and it was nice that she got to redeem herself by the end of the show.   A super performance from Ms. White. Conor Lyons brought great authenticity and heart to the role of Hugo/Loco Chanelle, the retired drag queen.   His Hugo was genuine, tender, and compassionate, seeing so much of himself in Jamie.   His Loco Chanelle was larger than life, full of glamour and charisma.   There was beautiful support for Jamie after he was beaten by bullies.   You just knew that Hugo had been in the exact same situation at Jamie's age.   This was a most gorgeous scene so sensitively played by Mr. Lyons.   A superb portrayal. Jack McGrath, Fionnán Dunphy and Brian Flynn were a marvellous trio of drag queens as the outrageously flamboyant Tray Sophisticay, Sandra Bollock, and Laika Virgin.   This hilarious threesome brought so much comedy to proceedings, with their irreverent and often vulgar delivery. They looked incredible thanks to some excellent work in the hair and makeup department and commanded the stage for all of their scenes. Their performance in ‘Over the Top’ at the end of Act One was superb. Bill Stafford was perfectly cast in the role of the narrow-minded, absent father who sees Jamie's lack of manliness as a source of personal insult and embarrassment.   He questioned his son being a “real boy.” I loved his excellent reaction as Jamie thanked him for the flowers and dress that he never sent.   He was completely devoid of emotional intelligence.   A really strong portrayal. It is almost impossible to deal with the exceptional group of young performers who made up the Year 11 students individually.   As a group, they were outstanding. They worked as one and they truly were a revelation in their singing, acting, and dancing. Alex Kavanagh as Becca, Saoirse Lehane as Bex, Eva Leech as Fatimah, Samantha O'Regan as Vicki, Adam O'Neill as Sayid, Adam Du Plessis as Cy, Kingsley Ekedozie as Levi, and Fionn McGrath as Mickey were a sensational group, hugely impactful and believable as the teenage students.   Exceptional performances from all. Sean Murphy was equally brilliant as the aggressive school bully Dean Paxton.This was a very strong performance underpinned by intelligent acting and marvellous presence.  Mr. Murphy  was cutting, cruel and everything that encapsulates a school bully without ever overplaying it to the point of caricature.   I cannot let this review go without mentioning young Jamie, played by Danny White Keane.   He never uttered a word and was used sparingly, but his contribution, his presence, and his ability to convey confusion and hurt in his fleeting appearances was exemplary. It was a very brave and powerful performance communicating so much and Danny should be very proud of his important performance. The small ensemble did very well with excellent offstage vocals and a very good contribution to numbers such as ‘Work of Art.’ Stage manager Brian Collins cleverly utilised cast to move a lot of set pieces.   Scene changes were generally slick and everything flowed quite seamlessly. There was a simple double-height stage.   This worked very well, creating a flexible, fluid playing space.  W hilst there were minimal set pieces used, I felt that things could have been pared back even more, particularly bearing in mind the limited sized stage space in Garter Lane.   Margaret's kitchen was very detailed and looked like a typically working-class kitchen.   Hugo’s shop was beautifully dressed with fabulous dummies and costumes, although the misspelled ‘Fairwell Tour’ poster kept catching my eye.   The band was set behind the imposing screens that provided good options for lighting. In the original production, the band silhouettes were cleverly used to suggest kids in an adjoining classroom. But we weren't as aware of the band in this production.   The grey school desks transforming into the lit-up catwalk were very effective, as was the school bathroom truck complete with window.  Lighting was generally very good in the big production numbers with lots of colour and movement adding to the raw energy of the choreography.   There was an ongoing issue with some moving lights, which hadn't been programmed correctly.   This was an unfortunate pattern with moving lights sweeping across the audience on numerous occasions before settling on their spot on stage.   This really should have been addressed early in the run.   There was very good use of haze creating good atmosphere.   I did feel that the throwback moments to young Jamie could have been more creatively lit to suggest a more ‘out of body’ experience. Sound was generally very good. There was great use of appropriate sound effects such as the school bell, traffic, etc.  The bell ringing a s Jamie entered Hugo's shop was a nice touch.However, it didn't ring as he left. Balance was generally good in the band. On occasion, there were issues with balance between band and vocalists.   However, in the softer moments and songs which were less ‘brass heavy,’ things were very well balanced.  There was a fine array of props in this show.   I loved Jamie's flamboyant school bag.   The birthday card (supposedly from his dad) with ‘Full Throttle Birthday’ was beautifully awkward.I loved the quirky detail of Hugo's Princess Di mug and the branded bags, Victor's Secret. Ms. Hedges' name plaque would never have had quotation marks. There was excellent attention to detail in the costume department from Jamie's scarlet stilettoes to the outrageous attire of the drag queens. Nothing was left to chance.   I loved the dull school uniforms which were a perfect indication of the mundane world Jamie wanted to escape from. Margaret and Ray's dowdiness reflected the reality of working-class Sheffield.Loco's fabulous red dress, as she came out of retirement, was stunning, as was Mr. Lyons' leather pants, feather headdress and blue sparkly jacket.   Costumes were a huge part of the visual success of this show.  Hair and makeup were exceptional. The drag queens' outrageous looks were so well created and a credit to the team.   Mr. Dunphy's mustache for ‘The Legend of Loco Chanelle’ was a strange choice, however. Maybe it just needed a trim.   I loved Loco's fabulous red wig, and, of course, Jamie's pink lashes.   Huge congrats to the team. ‘Everybody is Talking about Jamie’ has an important, inspiring message for teenagers (or indeed anyone engaged in a process of self-discovery) with its war cry of “Celebrate yourself and f*** the begrudgers!”   This was a brilliant production which got that message across clearly and emphatically. Yes, everybody IS talking about Jamie and everybody will be talking about this production for years to come! Bravo to all.  Pat McElwain Gilbert Adjudicator 2024/2025

Legally Blonde as presented by Bray Musical Society

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

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

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