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UPCOMING EVENTS

Calendar Girls the Musical

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1 May 2024

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Sister Act

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12 Nov 2024

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Waterford Musical Society Presents EVITA

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30 Apr 2024

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Calendar Girls

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1 May 2024

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SMMS presents, 'MADE IN DAGENHAM'

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23 Apr 2024

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LATEST NEWS

Fiddler on the Roof as presented by New Ross Musical Society

Fiddler on the Roof as presented by New Ross Musical Society Date of Adjudicated Performance: Wednesday 6th March, 2024. I have never...

Fiddler on the Roof as presented by New Ross Musical Society Date of Adjudicated Performance: Wednesday 6th March, 2024. I have never made a secret of the fact that, for various reasons, Fiddler on the Roof is one of my all-time favourite musicals, filled as it is with humour, pathos, wonderful music and a story that pulls at the heart-strings. Despite its age, the show is as pertinent today as when it was first written, as it echoes the current climate in Ukraine, and it is easy to feel the depth of the sentiments expressed and the reality of the situations in which Tevye and his family and community find themselves. For me, it is the perfect balance between the sadness of the story, and the humour of those at its centre, that makes this show work so beautifully, and when a Director shows an astute awareness of that need for balance, he or she is moving along a successful path. In the hands of Director, Derek Shannon, this was definitely the case. He showed great respect for the traditions and the compelling story of Fiddler on the Roof, presenting it in a clean, precise and no-nonsense manner, with characters well-defined and good attention to the set and the costumes. The balance between Tevye’s comedic and chatty relationship with God, and his deference towards his religious obligations, was just about perfect. The show was very nicely cast, and while most principals made a very strong impact, one or two perhaps needed a tad more work on their accents. While most of the drama was very well-realized, I did feel that the pogrom that interrupts Tzeitel’s wedding needed a bit more time to escalate before Perchik was knocked out, a circumstance that was almost missed, as it happened abruptly, and perhaps Tevye should have been given a moment to rush to the aid and protection of his family. That aside, the pace of the show was generally very good. Technically, the show benefitted from a very effective set, using angular wooden buildings that were beautifully painted and utilized. The interior of Tevye’s home was well-achieved, with great attention to detail, including the obligatory Mezuzah on the doorpost, and kudos to the props team for a wide selection of very appropriate props. I loved the novel approach to Motel’s Tailor Shop, with its moveable flats and rotating door. So simple yet very effective. Indeed, good stage planning enabled the stage team, under, Mark Hayden, to keeping everything running pretty smoothly. Lighting, including good use of colours, very effectively created atmosphere in most of the scenes, particularly during the Dream and the Wedding, but unfortunately too often atmosphere came at the expense of good key-lighting. Too often, Tevye’s monologues were beautifully back-lit, but his face was almost in shadow and in the Dream, for example, Tevye and Golde needed to be better lit amid the mayhem that dominated the stage. I was left feeling that more precise lighting and less shadow would have added more drama to the highly emotional scenes. With the exception of one or two noticeable late cues, the sound quality was very good throughout the show, and the balance between the pit and the stage was just right. And talking of the pit, we were treated to a wonderful musical accompaniment to the show from a fine assembly of musicians, under the astute leadership of Musical Director, Jimmy Brockie, who understands that with a show of this length, good pace is essential. When appropriate, he drove the music forward, keeping the livelier numbers rattling along and giving him license to pull back delightfully for the more mellow musical pieces. The work of Chorus Mistress, Claire Wilson, was very evident, with great tone and harmonies emanating from her chorus, particularly noticeable in the Sabbath Prayer, Sunrise Sunset and Anatevka. Indeed , the chorus were equally impressive in their acting and reacting to the drama around them, adding ambiance and emotion to the Wedding scene, the Dream and the Rumour. And possibly their biggest achievement was presenting the choreography of Anne Marie Cooney so cleanly on a stage that didn’t offer a great amount of space for so many bodies. Anne Marie did a great job of presenting ever-changing shapes and patterns in Tradition and the Dream, and in coming up with some energetic and efficient footwork for the bottle dance and the fast-moving To Life number. However, her nicest pieces, visually, were Matchmaker and Chavaleh, where the smaller number of performers gave a chance to see some beautiful movement and dance. There was a wonderful natural calm about Jonathan Kelly’s performance as Tevye. His frequently gentle, polite and unassuming character only served to enhance those moments when his emotions were heightened into some delightful comedy and some intense drama. I loved his control at having his traditional ideas challenged and managing to find logical reasons to accept change, but there was such sincere anguish in his dealing with the pogroms and the act of Chava betraying her faith. In his singing, also, there was a calm yet compelling quality that made you want to listen. Nothing seemed forced or showy, yet with true vocal quality, all his pieces were most impressive, and while Rich Man is always considered Tevye’s showpiece, it was the warmth and sincerity of Do You Love Me and Little Chavaleh that had perfect delivery. He was also blessed to have a feisty and robust life-partner in Lynsey Penkert’s Golde. This was a good solid performance, with strong vocal prowess, very good particularly in her scenes with Tevye, but maybe could have shown a slightly gentler side with her children on occasions. Nevertheless, she was very believable in her character. Jennifer White was a strong, capable yet vulnerable Tzeitel, wanting to please her father, but wanting more to marry her true love. There was sincerity and determination in her acting. From crying at her father’s feet to forcefully cajoling Motel to man-up, she always got the tone just right. What little singing Tzeitel has, she performed with ease and assurance. Ashley Murphy had a nice balance of passion and petulance in the role of Hodel, initially teasing and cool to Perchik, but then genuine in her love for him. Their duet was lovely. I did feel that the ‘melancholy choice’ referred to in Far From The Home I Love would have been more poignant if delivered more intimately to Tevye than to the audience, but it did display a quality voice. Niamh Cullen pitched Chava just perfectly, shy, but rebellious, and determined to fight for her principals. She sang and danced beautifully and played the conflict between family and her loved one with so much sincerity. Ester Crilly’s Yente nicely captured the old-ways, struggling to survive in an ever-changing world, and did so with good comedy that could perhaps have been a tad more exaggerated, but she was very believable. There was a good, strong mix of melancholy and mirth in the interpretation of Lazar Wolf given by Seamus Power. He lost none of the comedy of the role, but he was also so likeable that I found myself feeling sorry for his ill-fortune. He performed To Life with good confidence. Andrew Lane had a secure comedic ability to play the nervous but determined Tailor, Motel Kamzoil. He also displayed a fine voice in Miracle of Miracles, even if his jubilation was, for me, a tad over the top. The rest of his performance was more measured, delightful and sincere. Anthony Finn perhaps needed to be more relaxed and assured, and a little less deliberate in his delivery as Perchik. He performed a lovely duet with Hodel, and very much looked the part, even if his accent was questionable. Conor Lyons had the charm and the good manners as Fyedka to impress and win the affection of Chava. Very nicely played. Julie Kinsella showed much courage to be raised almost to the ceiling as Fruma Sarah and still have the composure to effectively belt out her vocals in the Dream Scene. Also making a strong impression, as the exhumed but feisty Grandma Tzeitel, was Carmel Rowe. Joe Malone, despite an accent that drifted towards the west of Europe on occasions, played a convincingly gruff and unsympathetic Constable. Phil Erskine was a suitably pompous Rabbi’s son as Mendel, while his father, well-played by Owen Cullinan, perhaps needed to be a bit more aged. There was a good busybody nature to Tim Moloney’s Avram, and a strong, self-assurance and vanity about Darragh Carroll’s Mordcha. Very good cameo performances came from Seán O’Brien as Sasha, Phyllis Smith as Shandel, and Billy Stafford as The Fiddler, even if he was slightly over-used, playing on the roof top. Aoibhinn Finn and Saoirse Penkert were charming and delightful as Bielke and Shprintze, contributing nicely to their scenes. Costuming was very good indeed, with nice compliance with the ‘traditional’ demands for skull caps, prayer shawls, etc. Russian uniforms looked well and congratulations on providing a 16-foot long nightdress that allowed Fruma Sara to virtually rise to the ceiling during the Dream sequence. It was excellent. There was good attention to make-up, not just in keeping the chorus to earth tones, but also good aging and character make-up for several characters. Most of the beards looked natural, although I might have been inclined to age the Rabbi a bit more with a full gray/white beard. I was very touched indeed by the great community spirit that emanated from this company, from on-stage to front of house and behind the scenes, and after all, isn’t that exactly what Fiddler is all about? A community, sharing in their highs and lows and making the best of every situation, even in the face of adversity. New Ross captured that emotional journey most effectively and did so in a compelling manner that had me leaving the theatre with that wonderful sense of fulfilment that this beautiful show always creates. Thank you sincerely to one and all for all your hard work. Peter Kennedy Gilbert Adjudicator AIMS 2023 / 2024 Please enjoy some photos kindly shared by Reb Mordcha - Photographer - Darragh Carroll

Elf as presented by Studio 55 Productions

STUDIO 55 PRODUCTIONS - ELF THE MUSICAL ST MARY'S HALL ARKLOW 15th – 17th December 2023 Adjudication Performance, Saturday 16th December...

STUDIO 55 PRODUCTIONS - ELF THE MUSICAL ST MARY'S HALL ARKLOW 15th – 17th December 2023 Adjudication Performance , Saturday 16th December 2023 -Matinee “After all, the best way to spread Christmas Cheer is singing loud for all to hear”. So true. St Mary's Hall Arklow was the venue for Studio 55’s production of Elf The Musical and I was very much looking forward to their production of “Elf The Musical” in this famous hall. Given this is a school, I do feel more people were needed to meet and greet as there were a lot of people in the queue and there weren't many at all to direct people to where to go. When I was shown to my seat in the auditorium I could not see a lot of the stage so to be fair to the Society I asked if there was a possibility of being moved to a different seat. Nothing was an issue. I was shown to a wonderful aisle seat bang in the centre of the hall, and I could see everything. The audience were a very enthusiastic gang, clapping loudly and creating a great buzz. I loved the Popcorn machine in the foyer, (which was producing Popcorn at the rate of knots very much in demand!!) and the lovely rotating Christmas tree in the hall of St Marys. Director for this show was Mr Stephen Acton. Mr Acton transformed this school hall into a brightly lit, colourful and welcoming venue. I particularly enjoyed Mr Acton’s development of the characters in this story. From the opening scene where Santa (played by Mr Rob Donnelly) was sitting along down stage left in a magnificent throne like very ornate chair with the stage curtain pulled behind him as he narrated the story of Elf from his book, cleverly telling people to turn off their cell phones or they would regrettably end up on Santa’s Naughty list (I think that included the adults!) and this drew the first giggle from the audience for the evening. And then – the curtains opened and bang! There were two huge bells and use of projected visual pictures to set the scenes in the background was a simple but effective touch by Mr Acton. The presents, having obviously been made, were sliding down the Shute behind the action that was on stage. There was an air of “busy” all around There were many characters here all very well developed and directed with many personalities coming to the fore and created such a brilliant contrast to the happier numbers and scenes for example, “Sparklejollytwinklejingley” – (I just LOVE that word). I will also mention the main characters in Mr Acton’s direction here as I do believe many hours were spent perfecting the roles of Walter, (Tomas Byrne), Buddy (Chris Currid), Emily (Avril O’Toole), Santa himself (Mr Rob Donnelly), and the other leading roles throughout. Mr Acton consistently can see a vision or an idea and has the great talent to create that vision on stage and in his cast. The Choreographer for this show was Ms Martina Lynch. What a joy to watch this young lady’s talent on stage with her performers and dancers. Slick, professional, catchy, and impressive are words I would use to describe Ms Lynch’s work. The Opening Number, “Here comes Santa Claus”, “Happy All the Time “ with the dancers dancing a merry dance in a circle with Santa (Rob Donnelly) in the middle had lovely dance, simple, and not a foot wrong.( Loved the “jazz hands” in this number) It is obvious that these children are very talented and love dancing, and that in turn travelled down to your audience such was the enthusiasm of the dance numbers and there were many. I must also mention the musical interlude instrumental in “Sparklejollytwinklejingley” dance / Interlude was beautifully executed. Great movement here, perfectly in time with one another and this number was yet another highlight for me in the choreography. The dancers again in the “Christmas Song Reprieve” with Buddy, (Chris Currid), Jovie, (Connie Tobin), Emily, (Avril O’Toole) Michelle, (Kate McElheron) and Ensemble was absolute brilliance. Beautiful choreography here Ms Lynch. The Musical Director was Ms Amy Penston. The show used backing tracks and though personally I do prefer a live orchestra there are productions where a decision is made or there is a specific reason for the Society to use backing tracks. The backing tracks were executed perfectly. The backing track sound was clear and well heard, and cast timing in sync with tracks was excellent. The singing was very well rehearsed and especially the young cast members who knew their parts very well. The same for principals , who were excellent in their direction and totally assured against the tracks. Great work. Sets for this show were very simple with clever use of lighting and back wall projections for some of the sets. For example the visuals of the Christmas Presents sliding down the chutes in the Santa and Elves scene, the clever use of scenes for the North Pole, with real Christmas Trees down stage left and right but the scene at the back of the stage for the North Pole was again projected. I loved the attention to detail in this particular screen with the massive green wreaths on the set walls with large red bows lit with twinkly fairy lights. Walter, Emily & Michelle’s home was another successful scene and great use again of pictures to create their high rise luxurious living room. The projections were so very well done in conjunction with physical props or sets that it just looked right! Lighting here enhanced these scenes beautifully also. The set of Walters Office, Greenway Press, the city scene where Santa (Rob Donnelly) brings his super flashy and very bling sleigh on stage. The set where Buddy meets Jovie for a date – a street with a restaurant down stage left and houses all around was another clever visual. I am aware this is a very young society and I do realise you will build on this going forward as it would be nice if you did have some stage set built for your next production if at all possible. For this show, the projections worked and allowed the audience to immediately know where we were. Lighting was the responsibility of Cathal Donoghue and this area was superb. Wonderful lighting in every scene, with many highlights throughout for lighting alone, including, “Happy All the Time”, and ” A Christmas Song” I loved the four green / blue spots high in the set for the City Scene with the news reporter and the white spots highlighting the company. In many numbers the lights travelled down through the audience into the aisle of the theatre which created like a halo or a golden pathway effect through the audience and back up to the stage. Again, lovely lighting in Santa’s Cabin at the end of the show where Buddy, Jovie and their new baby and indeed Santa all gather for the Finale. This was beautifully lit and one of the highlights of the evening for me in this area. Thank you and well-done Mr Donoghue. Sound was by Jason Fallon. This was a tale of two halves. In the first half the cast mics were too low. It was a struggle at times to hear clearly especially against the much stronger backing track . There were many lines lost where it appeared some of the speakers had no mics at all or maybe they were not turned on but many lines both verbally and vocally could not be heard from a lot of the main characters and again especially where there were a group of people on stage. However, when Act 2 began, boy was there a massive change for the better. Well done to whomever sorted this issue out at the interval because the sound for the second half of the show was louder, clearer and simply super. I think with the sound being turned up for the 2nd half to a wonderful level where the audience and indeed probably the cast could hear absolutely everything, they put an extra pep in the Cast and there was an energy in the 2nd half of the show that was so much stronger than the first half. Costumes and props by Natasha Byrne were superb. The colour, the layers, the attention to detail (love) was excellent. The Elves Costumes, the gold dresses, Buddy’s fabulous costume, Walter’s suit starched to within an inch of its life with the shirt sleeves pulled up was spot on. Michelle’s (Kate McElheron) had gorgeous and very age-appropriate clothes throughout right down to your gorgeous bobbly hat and your Ugg’s. The fabulous white costumes the front line wore for the Act 2 Finale were a sight to behold. Everyone in white (except Santa and Buddy) was a glorious picture. Jovie’s gorgeous red coat and Buddy’s work suit. The yellow leggings, the Green coat, the cutest hat, to Santa (Rob Donnelly) braces, the red trousers, the pointy green and red shoes, the Christmas shirt, - to the green elf costumes and the pippy long stocking effect of the white socks for the dancers. I could go on but such a great overall job on costuming. Well done Ms Byrne, Wonderful job. Hair & Makeup was the responsibility of Sharon Hershee. This young lady had a lot of work and responsibility. From Santa Clause to Buddy, to Jovies sophisticated gorgeous hairstyle to Buddy’s change of hair colour. Makeup in all areas was very detailed and very good. The many reporters working in Greenway had all their hair in a tight bun at the back of their heads, hairstyles were always neat and tidy and tied back. A lot of responsibility here Ms Hershee and excellently done. Buddy was played by Chris Currid. From the moment he burst onto the stage dressed in his green coat, red curls hat on his head, yellow leggings, brown boots and that smile that would light up a room I found Mr Currid’s role in this production as Buddy very endearing and I warmed to his character immediately. A smile that lit up the stage. Great rapport with his cast, young and old, gorgeous voice and lovely stage presence Mr Currid was wonderful as Buddy. There was an innocence about you in a childlike way that I loved about the character here that you created. Your singing was gorgeous and enhanced this show so much by your presence all through. Your song “World’s Greatest Dad” was so beautifully sung, again I must mention by favourite word in the show “Sparkejollytwinklejingley with Manager (Eoghan Kinsella) and the ensemble was brilliant. Vocally a highlight for yourself Mr Currid. “Just like him” “A Christmas Song”, “The Story of Buddy”, “Christmas Song Reprise” and of course your “Happy All the Time” was a fantastic number. A special moment for me was when you were talking to everyone about when everything would be covered in snow, and there and then the snow started falling. Your facial expression of surprise and shock and love was just so lovely. As the song goes “You really were happy all the time”. Wonderful. I loved your performance in this role Mr Currid, Congratulations and well done. Santa Clause was played by Rob Donnelly. From the opening seconds of this show where Santa was sitting in his (gorgeous) armchair down stage left, I knew this Santa Clause was going to be special. And indeed, he was. Mr Donnelly’s hair, beard, braces, Christmas shirt, red trousers, and a lovely soft speaking voice gave a beautiful opening to the show for the audience and this role did suit you very much Mr Donnelly. I did miss one or two of your lines during Act 1 but this was in no way an error on your behalf whatsoever as explained already I just wished the mic’s could have been louder. You were a lovely Santa Clause Mr Donnelly. Your opening song “Happy All the Time with the children (elves) showed off your singing voice which was indeed perfect for this role. You have a lovely stage presence Mr Donnelly, very easy going, calm and strong on stage with a lovely singing voice and a character that was quite endearing to us your audience. I wanted to give you a hug at the end for being such a lovely Santa Clause. I genuinely did. You were so perfectly cast in this role, such a key role, and it worked very well. Congratulations Mr Donnelly on a wonderful performance as Santa Clause. The part of Jovie was played by Connie Tobin. What a glorious singing voice this young lady has and a lovely stage presence with superb comedic timing – scene with Buddy, cross and miserable and he was just an annoyance!) to the beautiful couple at the end with your new-born baby son. Costumes were fabulous Ms Tobin. Your singing voice is so strong and your diction so clear and eloquent. Your solo “Never fall in love with an Elf” in Act 2 was where you really came into your own and this number was a highlight of the show for me. “A Christmas Song” with Buddy and Ensemble in Act 1. Great costumes, but it was your singing voice that really was where you came into your own. Gorgeous part, beautifully played, with lots of emotions and lovely characterisation. So well done. The part of Walter was played by Tomas Byrne. Great character here. Very strong stage presence, and great vocal speaking and singing. Your singing “In the Way” with Deb, Emily and Ensemble was gorgeous. “Just like him” with Buddy Deb, and the ensemble was also beautifully sung and acted but it was the song “The Story of Buddy” that was simply gorgeous. You were a lovely Walter. I really liked you in this role. Well done. The part of Emily, Walter’s wife was played by Avril O’Toole. Again, a lovely part beautifully played. Ms O’Toole was a very strong Emily. I loved your sweet voice, your lovely connection with your daughter - lovely relationship here, being calm, kind, and so lovely to Buddy when he arrived in your lives. Great stage presence again, and lovely voice e.g. “In the Way” with Walter Deb and ensemble was a memorable moment in the evening. “There is Santa Clause” between yourself and Michelle (played by Katie McElheron) was so moving and beautifully performed and as a duet it was a highlight of Act 2 for me. You brought this lovely lady that was Emily to life, made her yours and acted this part in such a kind and empathic way that comes naturally to you. Well done Ms O’Toole. The part of Michelle, Walter and Emily’s daughter and Buddy’s half sibling was played by the very talented Ms Katie McElheron. A lovely presence on stage, Ms McElheron moved gracefully around with ease, playing a lovely young lady with the capacity to love greatly. A gorgeous lyrical singing voice that was so sweet to listen to, particularly in the duet with Emily as mentioned above “I’ll believe in you”. Beautiful. Your second duet with Emily in Act 2 “There is a Santa Claus” was as equally strong. You both as a team worked very well together, there was a lovely connection between you both on stage and it really was lovely to watch. I hope you continue to a part of the Musical Theatre world Ms McElheron. You certainly have the talent. Well done! Deb, secretary to Walter, was played by Fiona Walker. A small part but again an important one. Great diction and lovely accent. I particularly enjoyed the story and your adaptation of the one-legged boy – and Walter’s reaction to it was even funnier - he was apoplectic!! Costume was very business-like and appropriate and you spoke clearly, I could hear every word. Lovely stage presence. Greenway boss and owner of the paper was played by Ian Parle. A very strong presence on stage in height alone. Great costume and quite abrupt in your way like Walter – or maybe this was just your reaction to him. Nonetheless a part played well. I did feel that you dropped your accent a little in some places but other than that a fine stage performance and a lovely vocal which we heard in the song “The Story of Buddy '' with Buddy, Walter, Michelle and Ensemble. I liked you in this role. You were a leader on stage. You were a high-powered boss and knew it. If Walter was scary, Mr Greenway's arrival even scared Walter! Great acting by Mr Parle here as this character. Chadwick was played by Brian Harty, and Mathews played by Fionn Dalton. Employees of the building (Empire State Building) where the story is set. Good costumes and performed well in both these roles. Well done. Manager was Mr Eoghan Kinsella. This young man had a solid presence on stage and very clear diction. Very business-like and created a lovely rapport with Buddy in this show. Played very well Mr Kinsella. Chorus numbers were many. As I said I really did wish the sound was louder in Act 1. One or two of the higher notes were a little strained, however, you have a very strong Chorus here with and without the principal roles. There were many songs to sing, big numbers such as all mentioned above, but also, “In the Way”, “Just Like Him”, “A Christmas Song”, “World’s Greatest Dad reprise”, and “Sparklejollytwinklejimgley” were brilliant. For such a very young cast you have a huge amount of talent and have so many other talents to boot, as in dancing, acting, movement, set moving, the list goes on. Well done to you all. I so enjoyed the Chorus in this lovely show. As I am writing this Adjudication “Happy All the Time” keeps appearing in my head and I am sitting here humming it!! Brilliant number. Well done all. I love “collecting” new words, like Supercalifragilisticexpialidocious” in Mary Poppins or “Oopsadaisies”, but my newest and most favourite word in my own vocabulary now and I’m taking it with me from this show is……………..“SPARKLEJOLLYTWINKLEJINGLEY”!!!! Love it! You are a fabulous group of people who brought Christmas joy to your audience. There is a lovely vibe from this Society, along with talent in bucket loads and I hope you build on that and on the team you have going forward. Your world of shows is an open book and I wish you all well. Thank you, Studio 55 Productions. It was a joy. Caroline Daly Jones Sullivan Adjudicator 2023 / 2024 Some photos kindly shared by the society Photographer credit Thomas Clare

Oklahoma as presented by St. Michael's Theatre Musical Society

ST. MICHEALS THEATRE MUSICAL SOCIETY – OKLAHOMA TUESDAY 21ST NOVEMBER 2023 – SATURDAY 25TH NOVEMBER 2023 Adjudication Performance 25th...

ST. MICHEALS THEATRE MUSICAL SOCIETY – OKLAHOMA TUESDAY 21ST NOVEMBER 2023 – SATURDAY 25TH NOVEMBER 2023 Adjudication Performance 25th November 2023 St Michael's Musical Society New Ross was founded in 2008, a Society that is blessed to have the beautiful St Michael’s Theatre as its home for their productions. This journey for me personally was just a short hop up the road, and I was looking forward to this show immensely having played the part of Laurey myself many years ago with my own home Society, a show that I loved and still to this day hold close to my heart. Thank you to Mr Tomas Kavanagh, the first person I met inside the Theatre, for the lovely welcome. I was looked after brilliantly by the Front of House team. So, to the welcoming Front of House Team, Mary Heffernan, Stephanie Rixon, Vivian Lee, Sue Henry, Caoimhe Doyle, Paschal Bolger, Billy Ronan, Brendan Kelly, Richie Kirwan, the Theatre Staff and may I also add the Stewards who are Voluntary Staff thank you so very much for making me feel so at home in your lovely St Michael's Theatre. This show is special, beautifully written, and the music continues to this day to be known worldwide, instilled in the hearts of millions such as “People Will Say We’re in Love”, “Oklahoma”, and the oh so lovely “Oh What a Beautiful Morning” along with many other numbers too many to mention. I was delighted to be taking my seat to watch St Michael’s Musical Society New Ross final performance of this sell out show in my home County. I was not disappointed. Director for this show was Mr Kevin Kennedy. There was a lovely flow to this show, from set changes to costume changes, dance movements, a diverse cast in age, and a huge amount of both musical numbers and dance numbers. Mr Kennedy absolutely brought out the very best in each cast member and despite the show being quite long, it flowed beautifully from start to finish. The only small piece of criticism I had and indeed it was only small, and it may not have been possible to cut, were a couple of the longer dance scene instrumentals and sequences which personally I believe could have been cut shorter. I understand that sometimes this is not possible but there were a few of these scenes that were a bit too long and distracted somewhat from the flow of the overall show. This observation is no reflection on the dancers – magnificent talent here and more on that later. The movement of the main characters was beautifully done with main characters Aunt Eller, Laurey, Curly, all moving about seamlessly on this stage. I felt that direction with Judd Fry was particularly good which in turn brought out great drama. There was a very natural vibe to this whole production that you only get when the Director is clear, concise, and has a vision for his or her show, and this most definitely was the case here. Well done Mr Kennedy, a very strong and talented leader of your Society and I loved your work in bringing this show to life. Beautiful. Musical Director for this show was Mr Philip Kennedy. Another very talented gentleman, and brother of Mr Kevin Kennedy above. This duo is superb together. I loved the sound of the Orchestra from the first note. The Orchestra was up tempo, and bright, producing a glorious sound throughout the show. It was also lovely to see Mr Philip Kennedy conduct the performance as Musical Director, with Mr Kevin Kennedy as Director above, also in the pit playing Piano. Other members of this warm, beautiful sounding Orchestra throughout were, Eimear Heeney on Violin, Gerri Dunne on Cello, Ann Wickham on Reed 1, Vicky Clancy on Reed 2, Emmet Donlan on Trumpet, Greg Samla, on Keyboards, Keith McDonald on Bass, and Rory Cooper on Drums. The Musical Direction here of Mr Kennedy lifted the show to a greater level with the beauty of the sound they made throughout the entirety of the show. Well done and congratulations to the full team here under Mr Kennedys’ Musical Director. A joy to listen to. Congratulations. Ms Claire Kickham was the Choreographer for this show. Lots of dance, and lots of movement, as mentioned above I did feel that some of the dance sequences with instrumental music could have been cut a little as they were a tad long in parts, however apart from this, dancing was secure, slick and polished. Simple but effective, with mention to “Kansas City”, and the super “The Farmer and The Cowman” and “Many a New Day “was a joy. A particular mention to the Men’s Chorus - dancing to the movement of “Surrey with the Fringe on Top” was superb. Not a foot out of place. Well done lads. Ms Wickham enhanced the story and the emotions throughout this show with their movements and also empathy for each storyline and this overall was extremely effective. Well done. Stage Manager for this Production was Ms Lizzy Heffernan, with the backstage team consisting of Crew, Mark Hayden, Mick Bailey, Les Rixon and Philip Carr. Set Design / Paint along with responsibility for Special Effects was Mr Ray Shannon along with Lighting, Bobby Kavanagh, and Sound Tomas Kavanagh. This team was very effective – there were several set changes throughout this show. This set was practical and massive use was made of every single piece of space on stage to also allow the cast to move more freely. I particularly liked the front lawn of Laureys Farmhouse, but also, I must mention “The Smokehouse” where Jud resided. It was quite dark and ominous and without Jud having to say a word but just looking at the Set, it most definitely set the tone for the whole scene and indeed throughout. It was a magnificent contrast to the bright bubbly pretty Farmhouse of Laureys. Well done to each one of you. Costumes were provided by NOMAC Productions, with Hair by Mary Kennedy Ryan, & Brid Moloney. Makeup was by Caoimhe Kennedy Ryan, Kitty Warren and Mikaela Miskella. Costumes from NOMAC were great, looked lovely, with beautiful colour and very appropriate. Special mention to Ali Hakims Costumes – fabulous! Hair and Makeup was subtle yet professional, and very in keeping with the era, Aunt Eller’s hair was super, and Laureys hair at all times was just right. Visually this show was lovely. I am a stickler for attention to detail and it was the small things like Jud Frys Smokehouse, and Aunt Eller’s costume when she sits down to put the garters on showed magnificent attention to detail and was indeed very funny. Props by Patty Casas, and Wardrobe by Ann Marie Heffernan, Grainne Ryan, and Pauline O’Riordan was faultless. Well done team! Eryn Buckley played the part of Laurey Williams. A lovely stage presence with such a sweet tender voice, maybe a little light on the higher notes in one or two of the numbers, such as the end of “People Will Say We’re in Love” however, overall very fine and polished performance by this young lady.. “The Surrey with the Fringe on Top” and “Many a New Day” were two highlights of this show. Ms Buckley also has a lovely gentle graceful way of acting and speaking, with her voice as clear as a bell and her love for “her” Curly a joy to watch as the show and indeed their love for one another progressed. Ms Buckley and Aunt Eller played by Teresa Buckley had a magical connection when they were together on stage, and there were some particularly touching and special moments to remember for each of these two ladies throughout the show. Ms Buckley has a lovely facial expression, and a gorgeous stage presence. She is a talented young actress who really did this role justice in her portrayal of Laurey. Ms Buckley’s hairstyle was perfect and so pretty and I loved the small subtle nod from Aunt Eller when she sees Curly and Laurey together before exiting the stage in Act 1. Some very poignant moments for this lovely actress, and I wish you much luck in your future stage performances as I am sure there will be many. Well done Ms Buckley. You were indeed a beautiful Laurey. The part of Curly was played by Timmy Moloney. Great stage presence and a lovely voice and great casting for Mr Moloney in this role. Your connection with Laurey was beautifully played. Mr Moloney has a lovely soft sweet sounding lyrical voice, and a nice stage presence. A lovely connection with Laurey, and these two actors were well cast together and looked great. Mr Moloney is a strong lead. The only one small part I would mention as something maybe to work on in the future is that in some places there was a tendency to slur between notes in one or two of your songs, but it was only on a few occasions and did not in any overshadow the strength of your part in this show and your excellent portrayal of the leading ma. In the scene in the smokehouse both Curly and Jud came into their own. Very well-done Mr Moloney. Aunt Eller was played by Teresa Buckley. Ms Buckley lit up the stage with her performance as Aunt Eller. Lovely expression, a great and very funny dry humour, perfect timing, beautiful movement and a stage presence that not only enhanced her own performance but also that of her fellow cast members and the Company. Ms Buckley was a pure joy to watch, a force to be reckoned with, an undeniable maternal bond with Laurey, and a lovely genuine sweet affection for Curly. In every single scene Ms Buckley was such a strong character. Great hair, makeup, and costumes, and a gentle yet fierce character that endeared me to her immediately. “The Farmer and The Cowman” was just an amazing number. Ms Buckley, I applaud you for your role as Aunt Eller here, for all the above reasons. I loved watching you in this role, and your gift of stage sincerely touches the heart. An excellent performance. Congratulations. The part of Will Parker was played by Anthony Finn. What a great role this young man played. Full of life and fun and bounced around the stage full of devilment! “Kansas City” was superb. Mr Finn had the bubbly persona, was a happy chap and loved Ado Annie. There was a lovely chemistry between himself and Ado Annie, and I loved each time you arrived on stage with your bubble of pure positivity, and happiness. Acting was spot on especially in your interactions with Ali Hakim and of course your love for Ado Annie, and indeed with the rest of the Company. Well Done. Ado Annie was played by Jennifer White. A strong character, a super actress, with a beautiful memorable stage presence. I have adjudicated Ms White already this season and on the night I attended I immediately noticed her voice did appear to me to be a little hoarse. I know it was also the final performance after a long week. When you’ve such an amazing voice as I know Ms White has, then for me it was noticeable. Ms White as Ado Annie had a lovely connection with Laurey. Will Parker (Anthony Finn) and yourself looked splendid together on stage. I absolutely loved the way you sidled up to him, knowing he would do anything for you and the comedy element here was also very funny. You had him wrapped around your little finger! Again, you looked fabulous, and acting was flawless. You really are a wonderful talent on stage. Great costumes again, brilliant accent, and you oozed personality. I loved what you did with this role Ms White, and you most certainly made it your own and it was a huge success. So very well done. The part of Ali Hakim was played by Phil Erskine. What a superb actor. So funny, so eloquent, - never missed a word with great timing and as they say in Wexford a pure chancer!!!! Your whole demeanour as this great character was adorable. You made us – your audience love you from the moment you arrived on stage. “It’s a Scandal! It’s an Outrage” was a ball of lyrics fun and energy. “All Er Nothin” with Ado Annie was a showstopper moment! A great duo together. Wonderful comedic timing, excellent diction, and wonderful movement on stage, with again, fabulous costumes. You were a wonderful Ali Hakim Mr Erskine. I do believe the comedy roles really suit you and I hope to see you involved in many more productions doing just that. Your strength is your comedic timing. You can’t learn that. It comes from within your soul. And you have it in bucketloads. Bravo. Jud Fry was played by Keith Flanagan. Mr Flanagan created the darkness in the light of this show very well. A dark sullen, resentful, angry insolent character with a creepy fixation on Laurey was clear for all to see here in this dart sinister part creating a marvellous contrast to the rest of the show's liveliness, love and happiness. Mr Flanagan is an excellent actor with a lovely singing voice. I will admit and be honest that when the part of the show came and you caught Laurey and tried to kiss her, I found it raw, which is exactly how it is supposed to be. “Lonely Room” was as scary as hell, but sung beautifully. You have a gorgeous singing voice, and this number very much suited you. Jud is a huge part of this show as its good versus evil and of course good always wins, and you Mr Flanagan played this part with gusto, anger, envy, resentment, emotion, and raw talent and you did a great job. Bravo. A wonderful strong performance. Mr David Burke played the part of Mr Andrew Carnes. A formidable character with great charm who instilled great “fear” (particularly with his encounter with Ali Hakim and the shotgun!) but there was also a softness about this lovely character that Mr Burke played that very much endeared me to him throughout this show. A gentleman with an excellent stage presence and a rare comedic timing that was perfect. There is no such thing as a small part and this part emphasises the importance of key roles in shows like Oklahoma and others that are not necessarily the largest ones. Mr Burke congratulations on your role as Ado Annie’s Pa, a fearsome character, great costume and an excellent all round, pivotal part in a role that was small, yet you made your own and put your own stamp on it. You were a great Mr Carnes, and I am sure you enjoyed this part, as much as we, your audience enjoyed the character you created and the comedy and indeed the seriousness of it that you brought to this role. Congratulations. The part of Gertie was played by Sophie Blaney-Parslow. I can still hear that laugh. I know every person who plays this role must have that famous laugh but yours, yours was up there with the best. It was the ear-splitting high octave kind of a sound that was also shrill, high, getting louder and also - never-ending!!! Brilliant!!! Great part, great character, fantastic and consistently memorable laugh throughout the show and you were perfect!!!! Great costume also, super performance and well done. The part of Cord Elam was played by James Dobbs. Firstly – fantastic costumes. Super character Mr Dobbs. You stood out on stage with your movements, dance, facial expressions, and I particularly loved the black top hat and the spindly glasses. No stranger to stage this was a superb part beautifully played by your talented self. A very solid performance. Loved you in this role. Well done. Ike Skidmore was played by Steve Carley, again a great part well cast, very comfortable on stage and again costume very good. A lovely role. Congratulations. The parts of Fred played by Jesse McGrath, Slim- Ger O’Riordan, Ellen- Michaela White, Kate-Abby O’Sullivan, Vivian- Sarah Mackey, Mike- Fionn Bennett and Joe played by Kevin Phelan, what a great addition to this show you all were. Movements, diction, sound and acting and of course your costumes were all spot on and you all enhanced this lovely musical beautifully. The Society are blessed to have each and every one of you as a part of their team and well done to you all on your roles and performances. A beautiful sounding chorus for all numbers. I will mention that “Kansas City” with Will Parker, Aunt Eller and the Boys still stands out for me as a highlight here for the singing, the dance, and the actual number of male Chorus on stage – as already mentioned the envy of many societies. Well done to everyone involved in this brilliant number. The Finale Ultimo with the Full Company was simply awesome. What a magnificent sound along with the wonderful Orchestra accompanying you, this whole Company so well deserved the long standing ovation from your audience. Finally, it was indeed so lovely to be back again in this historic and indeed beautiful St Michael's Theatre, after many years, but in a different capacity this time in my new role as Adjudicator. I thank you all for allowing me the honour of being there with each of you, on what was your final performance of the magic that is Oklahoma. Congratulations to you all. A truly wonderful evening. Thank you. Caroline Daly Jones Sullivan Adjudicator 2023/24 Some photos kindly shared by the society Photographer : Darragh Carroll

The Addams Family as presented by Carnew Musical Society

The Addams Family, as presented by Carnew Musical Society Date of Adjudicated Performance: Thursday 30th November, 2023 While most of us...

The Addams Family, as presented by Carnew Musical Society Date of Adjudicated Performance: Thursday 30 th November, 2023 While most of us were under pressure to start putting up the Christmas decorations at the end of November, Carnew Musical Society were having problems shaking off Halloween, so deeply were they engrossed with decorating the front of house and the stage of St.Brigid’s hall with all manner of ghosts, ghouls, cobwebs and other morbid items and symbols. And what an awesome job they did, decking the halls with everything Addams Family, tantalizing the audiences even before the first familiar notes emanated from the orchestra, setting the scene and creating the perfect ambiance for a night of haunting humour.  Such good attention to detail was a mark of Director, Michael Dunbar’s approach to the whole show, treating us to a fast-moving, well-rehearsed and very confident presentation. Design and artwork of the set were both very good, and a wide variety of excellent props helped to give the place a hammer-horror ambiance. The chair of truth, the rack for Pugsley, the furniture that ‘floated’ into position, carried by ghostly ancestors, the gateway to the family crypt, etc, were all well designed and effectively employed throughout the show. The director also used the limited stage space very effectively without it ever looking over crowded, while also putting great work into the characterization of his performers. Lurch being consistently a few beats behind everyone else with his slow-motion actions and steps was a lovely touch. Possibly a little more time was needed to tighten up the lighting plot, which despite being largely atmospheric and very creative, did have some scenes where principals missed the tight special areas and played in half-shadow. As mentioned, the set was very attractive (in a haunted manner), and Stage Manager, Nigel May, and his team, did a good job of keeping things moving at a good pace. The quality of sound was good throughout, with a stage to pit balance that allowed all the vocals to be clearly heard.  And what a good job, Musical Director, Conor McCarthy, had done in thoroughly preparing his chorus with fine harmonies and a robust sound. Principals were similarly capable vocally, and the orchestra, led by Conor on keyboards, gave a fine display of musicianship, with good tone and tempi throughout.  As well as their good vocal quality, the Chorus were also very expressive as actors and reactors during their scenes, playing well to the focal point. They also had great energy and enthusiasm to cope with the imaginative and energetic routines from choreographer, Graham Finnerty, who showed great variety in his work, from the strong and strident opening to the stylized elegance of the Live Before We Die/Tango de Amor sequence. There was a lovely Pas-de-Deux between himself (as Fester) and a delightful female moon, beautifully danced, even if the song missed that little bit of magic that normally makes it a stand-out number.  And speaking of Mr. Finnerty, he very much led by example with his fleet-of-foot abilities in the roll of a very dynamic Fester. He played the role as a street-wise and cunning character, manipulating situations to bring the story to a happy conclusion. His rapport with the  audience was great and he sang and moved with effortless expression. This was a refreshing and very amusing interpretation of the role.  John Young gave a solid and confident performance as Gomez Addams, suitably in awe of his dominant wife and equally in love with his sadistic daughter. He captured the sentiments of each scene most successfully, displaying good comedic timing and a confident singing voice.  Erin Hogan, as Morticia, had a delightfully sinister quality as the dominatrix of her home and as the over-protective mother to a love-struck daughter. Her realization that Wednesday is just like her was very well played, as was her comical love/tolerance of Gomez. Death is Just Around The Corner was delivered with panache.  A fiery and feisty performance was given by Ashley Murphy as Wednesday, suitably deadpan even in her protestations of love and resplendent in her delivery of Pulled In A New Direction. This was a very complete performance.  An older than usual Pugsley was given strong character in the hands of John Donohoe, who, despite his age, got the unsettled, angst-ridden, problem child characteristics quite perfectly. Mary Doran’s Grandma was aptly grotty and befuddled and she made the most of her comedic opportunities, while Lurch was played with towering menace and a good element of slow-motioned comedy by a very capable Alex Murphy, who also performed Move Towards The Darkness convincingly.  Stephen Keegan cut a fine figure as Wednesday’s love interest, Lucas Beineke, full of charm and confidence and a mighty fine singing voice. This is a young man who’ll be capable of much more in the future.  Rory Robinson, as his father, and brilliantly cast as Mal Beineke, was a right grumpy old git for most of the show, and then turned on the schmooze as he rediscovered his younger self in the final scenes. Beautifully played.  As his long-suffering wife, Alice, Jennifer Byrne performed her poetry with nervous agitation and then exploded with drunk exuberance and comedy in the Full Disclosure scene, singing with passion and timing her reactions beautifully.  There were many very capably captured cameo performances from several members of the chorus, adding their contribution to a generally very strong cast.  Hand in hand with the very good dressing of the Front of House and the stage, the company were also very nicely dressed in appropriate and individual outfits, and thanks to excellent make-up, the chorus always looked delightfully deathly. The make-up of Fester, Lurch and Grandma were particularly noteworthy, and the various wigs and hair-pieces were all very well worn. In fact, the whole presentation of the show brought a colourful, flamboyant and  hauntingly horrifying, but deliciously comedic end to the Halloween season, and I am indebted to Carnew Musical Society for their hospitality and their high level of entertainment. Peter Kennedy, Gilbert Adjudicator Some photos kindly shared by the society, Photographer: Eamonn Doran

The Producers as presented by Oyster Lane Theatre Group

The Producers, as presented by Oyster Lane Theatre Group: Date of Adjudicated Performance: Wednesday 29th November, 2023. A venue such as...

The Producers, as presented by Oyster Lane Theatre Group:  Date of Adjudicated Performance: Wednesday 29 th November, 2023.  A venue such as The National Opera House, Wexford almost demands that a company make a very special effort with their presentation, regardless of the type of show, and I’m very pleased to report that Oyster Lane Theatre Group rose to the challenge by filling that wonderful stage with a resplendent set and a stunning array of perfectly appropriate costumes to give The Producers all that such a show requires. The Mel Brooks masterpiece falls into a category that comprises, 42nd Street, Singing in the Rain, Anything Goes and Crazy For You, the big theatrical showcases that cry out for spectacle, glitz and glamour, and that’s exactly what Oyster Lane had to offer. Director Stephen Actor, took a safe approach in presenting the show just as one might have expected Mel Brooks himself to have presented it, and in so doing, there was little to criticize. It all worked beautifully, with one small caveat. By its nature, The Producers flourished on being scandalously risqué and more than a little outrageous, and I’m not at all sure that today’s audiences are quite as outraged as in days of yore, leaving the script and the comedy feeling slightly dated or jaded. This is why, despite a luxuriously stylish production, I felt myself longing for a bit more of Stephen Acton’s personal energy and individuality to influence the production. That said, I can only adjudicate what he did, not what he didn’t do, and what he did was to deliver a wonderfully tight and meticulously executed show. As well as excellent and lavish sets, the show benefitted from efficient stage management, under SM, Colin Murphy and his team, ensuring an uninterrupted flow of action. A myriad of well-selected props also graced the settings, with great attention to detail. Good lighting, with sharp focus and good balance of colours and effects, enhanced the on-stage action and the sound system was tip-top throughout. But a polished presentation counts for little if it’s let down by poor performances. No such worries here. Paudie Breen as Bialystock and Conor Lyons as Bloom were as joined at the hip and as dynamic a duo as Morecambe and Wise, Abbot and Costello or Hope and Crosby. Paudie had all the schmaltz and schmooze, while Conor had the panache and the pizazz. As soloists, they made a big impact, especially with Bloom’s I Wanna Be a Producer and Bialystock’s Betrayed, but it was as a team that they shone most brightly, bouncing off of each other with perfectly timed and delivered comedy. While many of the other characters made sizeable impacts on the show, it was these two who knitted it all together. Roisin Currid provided the allure of femininity to the tale with a scintillating performance as Ulla, deliciously suggestive in her movement, top-notch in her comedy and robust in her vocal ability. When you’ve got It, Flaunt it! And she certainly did. Ronan P. Byrne played the ridiculous Franz Liebkind with great comedy, a strong physical presence and a voice and accent that were perfect for the role. Der Guten Tag Hop-Clop was delightfully silly and matched by an equally zany Haben Sie Gehort Das Deutsche Band. Not to be outdone in the silliness scale, Kevin Reade, both as the all-singing, all-dancing Hitler of Springtime, and as third rate director, Roger DeBris, commanded the stage with self-assurance, swagger and charisma. He looked splendid in his Chrysler Building gown. When it comes to ‘Keeping it Gay”, streets ahead of all around him was Michael Cruz’s camper-than-a-boy’s-scout-jamboree performance as Carmen Ghia. Lighter on his feet than a lemon soufflé and just as tart and tangy, this was a very funny performance from a very talented performer. The elegant and charming Majella Londra transformed herself into a sex-crazed geriatric in the role of Hold Me-Touch Me with great comedic effect, making the most of the exaggerated character, and she was strongly supported by Ruth Kirwan as Lick Me-Bite Me and Caroline O’Connell as Kiss Me-Feel Me. Daniel Furlong conformed delightfully to the stereotype of the blonde haired, Aryan, Nazi Youth soldier, and added good vocal quality and stage presence to his solo in Springtime For Hitler. Brandon Cogley, Michael O’Gorman, Michael Smith and Rebecca Rice added flounce and fun to the Keep It Gay sequences as Kevin, Bryan, Scott and Shirley, getting good comedy from their characterizations. Whether as theatre patrons or as dancing grannies or Nazis, the chorus gave 100% to all of their involvement in the show. Their standard of dance and movement was very high, courtesy of excellent choreography from Jonny Smith, who painted the stage with flashy tap routines, sparkling chorus lines and ever-changing patterns and pictures. Harmony and Diction were the keys to success for the vocal choruses, with Musical Director, Patrick Clancy, having everyone well-disciplined and in-tune. He was equally successful in presenting a comfortable, confident and precise orchestra who played the show with vigour and vitality, making the overall musical impact of the show a tremendous accomplishment. Everything about this Oyster Lane Theatre Group production hit the target, making it slick and entertaining, true to the era and certainly very pleasing to a most appreciative audience. My sincere thanks to all concerned for the hospitality and for the wonderful theatrical experience. Peter Kennedy, Gilbert Adjudicator Some photos kindly shared by the society - Photographer - Paula Malone Carty

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