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Sweeney Todd - The Demon Barbar of Fleet Street

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16 Feb 2026

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14 Apr 2026

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17 Feb 2026

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20 Nov 2025

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LATEST NEWS

Review: Into the Woods - NWMT

Society name: North Wexford Musical Theatre Show name: Into the Woods Adjudicator date of attendance: 20/09/2025  North Wexford Musical Theatre’s Into the Woods  was a confident, intelligent, and impressively cohesive interpretation of one of Sondheim’s most intricate works. This was a production that understood the heart of its material, its wit, its complexity, and its humanity, and presented it with a warmth and polish that reflected both respect for the text and enthusiasm for the...

Society name: North Wexford Musical Theatre Show name: Into the Woods Adjudicator date of attendance: 20/09/2025  North Wexford Musical Theatre’s Into the Woods  was a confident, intelligent, and impressively cohesive interpretation of one of Sondheim’s most intricate works. This was a production that understood the heart of its material, its wit, its complexity, and its humanity, and presented it with a warmth and polish that reflected both respect for the text and enthusiasm for the storytelling. The company tackled the show’s challenges with assurance, creating an evening that balanced humour, poignancy, and visual creativity. It is no easy task to stage Into the Woods  effectively, but North Wexford managed to craft a production that was both thought-provoking and thoroughly entertaining. From the opening moments, it was clear that this was a team working in harmony. The pacing rarely faltered, and despite Sondheim’s famously difficult rhythms and intricate lyrics, the story flowed fluidly from one moment to the next. There was a sense of unity within the ensemble, with each performer contributing to the shared world rather than existing as individuals on a stage. The result was a show that felt cohesive and well-shaped, with every element, from design to performance, supporting the narrative rather than distracting from it. At the helm, director Róisín Currid guided the piece with intelligence and flair. Her direction was full of energy and invention, always driven by a clear sense of story. The transitions between the musical’s lighter fairytale moments and its darker, introspective turns were managed with care, and there was never a sense of confusion about tone or intention. Róisín showed an acute understanding of Sondheim’s layered writing, ensuring that the emotional throughlines remained visible even when the plot twisted and interwove. The visual composition of the production was frequently striking. The stage pictures she created had both beauty and purpose, evoking the feel of a storybook world without resorting to excess. The use of levels and multiple entrances brought the forest to life as a living, breathing environment, and the blocking ensured that even during ensemble moments, the focus and energy remained sharp. Characters felt grounded within the space, connected not only to each other but also to their surroundings, and the visual storytelling supported the lyrical and emotional material seamlessly. Character development was a clear strength. The relationships on stage were drawn with authenticity and emotional intelligence. Róisín’s communication with her creative and technical departments also shone through. Lighting and set worked in harmony, supporting her vision and enhancing the transitions between the show’s many tones and moods. Her idea for Milky White, realised through puppetry, was charmingly inventive, though it would benefit from more detailed work on synchronisation between the two puppeteers to fully sell the illusion. A greater sense of shared rhythm and awareness between them would elevate an already lovely concept. The only significant moment that felt underexplored was Cinderella’s emotional transition between fleeing her Prince and later deciding to marry him, a crucial beat that might have clarified her moral hesitation and inner conflict. However, this was a minor gap in an otherwise cohesive and beautifully directed production. Musical direction by Conor McCarthy was exceptional. Under his guidance, both cast and orchestra handled Sondheim’s demanding score with precision and confidence. The band produced a rich, balanced sound that captured the music’s complexity while maintaining a sense of playfulness and emotional drive. Each instrument had clarity, and Conor achieved an impressive equilibrium between pit and stage, no small feat given the intricacy of Sondheim’s orchestrations. Vocally, the company showed evidence of careful coaching. Harmonies were clean and secure, with a strong sense of blend that supported the lyrics rather than competing with them. Numbers such as “Prologue” and “Ever After” were executed with clarity and cohesion, and the tight cuing between stage and pit ensured seamless flow throughout. The only persistent issue lay in diction during the faster, more complex lyrical sections, where overlapping lines sometimes became blurred. In a score where every syllable carries meaning and humour, crisp articulation is essential. Nevertheless, this was a musically rich and well-disciplined performance, and Conor’s leadership undoubtedly elevated the standard of the entire production. Movement in Into the Woods  is seldom overtly choreographic, but Róisín Currid’s approach to movement direction was elegant and effective. Every gesture felt purposeful. She used formations and transitions thoughtfully, ensuring that movement enhanced rather than overshadowed the storytelling. The flow between dialogue and song was natural, and the ensemble always felt in rhythm with one another. Her decision to keep choreography understated proved wise, as it preserved the integrity of the lyrics while maintaining a sense of visual energy. The principal cast delivered an engaging mix of warmth, humour, and emotional sincerity. Chris Currid as the Baker was heartfelt and compelling, capturing both the neurotic tendencies and deep vulnerability of the role. His performance felt lived-in and truthful, marked by subtle humour and touching moments of introspection. His voice was strong and expressive, though one sensed he had still more power to give. His chemistry with Megan Mitten as the Baker’s Wife was deeply convincing, their partnership full of love, frustration, and mutual reliance. Megan Mitten’s Baker’s Wife was one of the evening’s highlights. She gave a natural, nuanced portrayal that revealed both the character’s longing and her emotional intelligence. “Moments in the Woods” was delivered with delicacy and control, sung with effortless warmth and clarity. Megan’s performance was both relatable and grounded, embodying a character who is morally complex yet entirely sympathetic. April Kelly as the Witch brought striking theatricality and vocal power to the stage. Her portrayal was bold, dramatic, and committed, with “Witch’s Lament” standing out as a particularly moving moment. At times, her delivery tipped a little toward the shrill, where a more controlled menace might have revealed greater depth and emotional nuance. Nevertheless, her performance was magnetic, and she captured both the character’s ferocity and underlying humanity. Caoimhe Boyle’s Little Red was a delight, cheeky, funny, and full of spark. She handled the humour with excellent timing and facial expression, managing to find the balance between innocence and impishness.  Andrew O’Grady gave a touching and humorous portrayal of Jack. His innocence and guileless enthusiasm made him instantly endearing, and his scenes with Milky White were genuinely affecting. Vocally, he brought sincerity and warmth to his songs, making his journey both believable and touching. Éimear Wolohan’s Cinderella was refreshingly modern, intelligent, poised, and questioning. Her vocal work was strong and clear, though her portrayal felt emotionally guarded at times. While one admired her strength and self-possession, a little more openness might have deepened the audience’s empathy for her. The two Princes, played by Conor Lyons and Richard O’Toole, offered contrasting interpretations that complemented one another well. Conor’s Prince was playful and energetic, if occasionally more boisterous than charming, while Richard’s smoother, velvet-toned delivery provided an elegant counterpoint. Their duet “Agony” was entertaining, even if the vocal blend wasn’t entirely balanced. Among the supporting cast, Aine Kinch’s Rapunzel was expressive and sympathetic, her frustration and fragility well conveyed. Maria Forrest, as Jack’s Mother, brought emotional truth to her scenes despite vocal strain; her off book acting and maternal presence grounded her performance beautifully. The trio of the Stepmother and Stepsisters—Erin Hogan, Kacey Mooney, and Fia Duffy—struggled somewhat with cohesion. Their vocal tuning was occasionally uncertain, and their dynamic lacked the comic precision needed to elevate their scenes. However, their energy was good, and moments of humour shone through toward the end. With a stronger sense of shared rhythm and character interplay, this group could make a greater impact. Paudie Breen’s Narrator was calm, engaging, and well-paced. He struck the right balance between storyteller and participant, weaving the scenes together seamlessly. Colin Doran’s Wolf was another standout, physically expressive, darkly humorous, and perfectly on the line between charm and threat. His vocal tone suited the character’s slyness, and his physical presence was magnetic. Rónán P. Byrne as the Mysterious Man offered delightful comic energy and impeccable timing, providing lightness at just the right moments.  Rónán Ó’Dubhghaill was suitably subservient as the Steward, lending his energy effortlessly to the whims of the Prince.  Jessica De Burca’s Granny had strong intent and humour but could improve her diction and placement for greater connection within her scenes. Brian Cooney as Second Wolf supported the Wolf sequence with liveliness and focus, while Louisa McCabe’s tender “Cinderella at the Grave” added a note of warmth and purity as Cinderella’s Mother. Brendan Sheridan, as Cinderella’s Father, played the drunken fool with great comic precision, finding humour without descending into caricature. Smaller ensemble parts, including the Three Little Pigs, Snow White and Sleeping Beauty, were handled with charm and precision. The inventive use of the Pigs during scene transitions was particularly inspired, keeping the momentum playful and fluid. As an ensemble, the company displayed strong discipline and unity. Their harmonies were well blended, their movement synchronised, and their focus consistent. A touch more clarity in diction during the more rhythmically complex ensemble sections would have raised the polish further, but their collective sense of purpose was undeniable. The set design was one of the production’s great triumphs. Lush and atmospheric, it balanced function and fantasy beautifully. The forest world felt rich and textured without crowding the stage, and the earthy colour palette grounded the action while preserving its magic. The use of levels gave the director endless possibilities for composition, and the cast-managed transitions, led by stage manager Nigel May, were slick and theatrically satisfying, never breaking the illusion of the world. Lighting was handled with subtle artistry. The design elevated the storytelling, often appearing simple on the surface while revealing real sophistication in how it enhanced mood and focus. The “Witch’s Lament” sequence was a particular highlight, combining visual restraint with emotional depth. Sound quality was equally impressive. The balance between the ten-piece band and the cast was finely judged, allowing the intricacies of Sondheim’s score to shine. Cueing and coordination were tight throughout, demonstrating the professionalism of both the technical and musical teams. Visually, the costume design succeeded in creating a coherent world that felt both familiar and contemporary. The palette of muted, vintage-inspired tones complemented the set and lighting beautifully. However, a few costumes, particularly Cinderella’s Act II dress and those of the stepfamily, felt out of step with the rest of the design concept, sitting awkwardly between modern and traditional styles. Adjusting these would strengthen the visual unity. Hair and makeup were well executed across the board, with only the stepfamily again appearing less integrated. Overall, the visual language of the production supported the tone and atmosphere consistently and effectively. Finally, the Front of House experience reflected the same professionalism and care evident on stage. The team were organised, friendly, and efficient, greeting patrons warmly and managing the audience with ease. From the moment guests arrived, they were made to feel welcome and comfortable, contributing to an evening that felt both polished and personal. North Wexford Musical Theatre’s Into the Woods  was, in every sense, a thoughtful and rewarding production. It combined creative ambition with technical skill, offering a show that was rich in intelligence, humour, and heart. The society can be proud of this achievement, a production that captured both the complexity and the compassion of Sondheim’s masterpiece and left its audience both entertained and genuinely moved. Photos by Darragh C

Review: All Shook Up - Jack Cunningham Productions

Society name: Jack Cunningham Productions Show name: All Shook Up Adjudicator date of attendance: 06/09/2025 Jack Cunningham Productions’ All Shook Up was a lively, colourful, and good-humoured staging of this jukebox musical. While it never quite achieved its full potential, it still provided a light-hearted evening of entertainment. There was much to enjoy: strong vocal work, spirited choreography, and a company who clearly invested endless amounts of energy and enthusiasm. Some...

Society name: Jack Cunningham Productions Show name: All Shook Up Adjudicator date of attendance: 06/09/2025 Jack Cunningham Productions’ All Shook Up was a lively, colourful, and good-humoured staging of this jukebox musical. While it never quite achieved its full potential, it still provided a light-hearted evening of entertainment. There was much to enjoy: strong vocal work, spirited choreography, and a company who clearly invested endless amounts of energy and enthusiasm. Some moments of imprecision and a lack of detailed storytelling meant the production sometimes fell short of being truly fabulous. The production moved at a good pace, driven by musical strength and cast commitment. Though characterisation was sometimes superficial, the show remained engaging and accessible, balancing moments of enjoyment with areas for growth. Direction from Jack Cunningham ensured the story flowed clearly, with smooth transitions and rarely any stagnation. Greater attention to blocking, character arcs, and comedy would have given the show more depth. Blocking was occasionally awkward, with characters speaking upstage and losing connection with the audience. The bar set piece, placed upstage centre, created some of these issues; possibly repositioning it downstage right or left would allow actors to play forward more effectively. The balcony audience was neglected, with performers directing energy solely toward the stalls. Coaching to lift eyelines would include the whole auditorium and strengthen connection. Character development also lacked detail. While broad strokes suit the show’s archetypes, the relationships and motivations need more nuance. The comedy, so central to All Shook Up, often felt underplayed. Leaning into parody would heighten humour and unlock the script’s potential. Despite these critiques, the production was coherent and rhythmic. With sharper focus on detail and stronger emphasis on character journeys, the direction could rise from good to excellent. Andrew Lane’s musical direction was the evening’s highlight. Under his guidance, the cast delivered beautifully blended harmonies with warmth and precision. Ensemble singing was rich, balanced, and well-rehearsed, providing a solid musical foundation. Andrew kept tempos steady and ensured the band supported the cast without overpowering them. However, the band’s full sound was not consistently reinforced through the PA. The absence of amplified brass left the bigger numbers less impactful than they should have been. For a show fuelled by Elvis’s bold energy, this was a missed opportunity. Still, the clarity of direction and the cast’s strong vocal ability made the musical element a consistent strength. With fuller use of amplification, the score could become truly electrifying. Jack Cunningham’s choreography was lively and clean, especially from the core dancers, whose precision brought real flair. Routines were well-structured and visually appealing, filling the stage with energy. At times over-reliance on certain moves, particularly high kicks, made the choreography feel a little repetitive. Variety would keep the visual storytelling fresher. The opening number, while energetic, lacked the punch needed to establish the musical’s world with full impact. In Let Yourself Go the choreography for the statues felt stylistically out of place, disrupting cohesion. A noticeable divide existed between strong dancers and the wider ensemble. Choreography should aim to integrate performers of varying abilities, so the ensemble appears unified while still challenging the most advanced dancers. A strong front line led this ensemble. Jordan Bass in the role of Chad showed clear ability but was somewhat hampered by direction. His consistent scowl-like expression felt mismatched to Chad’s charismatic persona, softening stage presence. Vocally very competent, he especially shone in I Don’t Want To, though the role did not show the full potential of his voice. An affected accent through gritted teeth made dialogue unclear at times, and the lack of a lifted eyeline beyond the stalls left balcony audiences disengaged. With clearer diction, raised eyelines, and more swagger, this role could become a standout. Jenna Dunphy as Natalie / Ed performed with charm and confidence. A strong mover and singer, she delivered both aspects well. The contrast between Natalie and Ed was possibly a little too subtle; sharper distinctions in physicality and vocal tone would strengthen the comedy and highlight the role’s central transformation. Timmy Moloney was endearing and believable as Dennis, with sweet vocals blending well with the company. The character’s quirkiness and comedic potential, though, were underexplored. More eccentricity would have added extra humour. Carrie Mullane has a pleasant voice but perhaps lacked the power and flamboyance Miss Sandra requires. The role thrives on bold sexuality and comedy, which were lightly touched upon. Greater freedom in embracing these aspects would lift her portrayal. Lyndsey Penkert’s Sylvia was one of the strongest performances of the night, with commanding vocals and natural stage presence. Relationships with Lorraine and Jim were convincing, though comedy was again slightly restrained. With more exaggeration, her performance could soar even higher. Fionnan Dunphy was utterly charming as Jim, embodying the bumbling father with warmth and humour. His relationship with Natalie was tender, his characterisation consistent, and his comedic timing excellent. A thoroughly enjoyable performance. Ella Fewer displayed a powerful voice and impressive riffs as Lorraine. She blended beautifully in duets, though her characterisation was too restrained. Lorraine needs more drive and sparkle to fully capture Dean’s attention. Liam Steenson’s Dean Hyde was suitably gentle and sweet, pairing well vocally with Lorraine. His meekness worked, but his defiance of his mother could have been more pronounced for dramatic contrast. Anne-Marie Collins delivered a stern, strict portrayal of Mayor Matilda, with strong interactions and humorous facial expressions. Vocally competent, she occasionally struggled with range transitions. Greater smoothness would enhance an otherwise solid performance. Jonathan Kelly was a comedic highlight as Sheriff Earl. With few words, he achieved much, delivering humour through subtle timing and precision. Sophie Reynolds was vocally outstanding as Henrietta in Heartbreak Hotel. Her powerhouse delivery made a strong impression despite limited stage time. The ensemble brought energy, strong harmonies, and consistent engagement. Their singing was powerful and well-balanced, contributing significantly to the overall atmosphere. The execution of the choreography was sharp across the board. A core group of dancers excelled at the tricker routines. It was a shame that the rest of the chorus weren’t utilised more, some remaining out of the bulk of the choreography. More integration of the choreography would allow all ensemble members to shine while maintaining uniformity. The set was simple but effective, with versatile, dual-purpose pieces that moved smoothly and maximised limited space. However the set pieces sometimes felt a little bare, particularly The Honky Tonk, which would have benefitted from more set dressing. Scene changes, carried out by the cast, usually flowed well but occasionally lacked precision. When done in full light, they must be treated as choreography to maintain the slickness needed to ensure the flow of the show is maintained. Lighting was thoughtfully designed, with a colour palette that supported storytelling. The transition from sepia tones to brighter colours, matching the changes in costume, was particularly striking. Cueing was tight, though additional front-of-house coverage was needed for extreme downstage corners where the cast occasionally strayed. Sound was nicely balanced for vocals, with harmonies clear and well-mixed. The main issue was the absence of the full band in the PA, which left brass-heavy numbers lacking impact. Stronger integration of live band and cast would add much-needed power. Visually, the production was excellent. Costumes were carefully chosen, with warm brown tones in the opening, leading to striking contrasts later. Hair was immaculate, with accurate period styling, and make-up was suitably designed to enhance believability. This department’s attention to detail contributed greatly to the show’s overall polish. Front of House presentation was slightly less polished. The team were polite and accommodating, but with some improved systems, the welcome could be as strong as the work on stage. Overall, All Shook Up was a very enjoyable evening’s entertainment that the company should be proud of. Jack Cunningham Productions has a strong solid foundation that with time and a little more attention to small details will be a group to be reckoned with.

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

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