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UPCOMING EVENTS

Teachers' Musical Society

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9 Mar 2027

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The Prince of Egypt

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22 Nov 2026

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Sister Act

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21 Apr 2026

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Calamity Jane

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28 Apr 2026

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The Clockmaker's Daughter

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27 Apr 2026

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LATEST NEWS

Review: Hello Dolly! - Carnew Musical Society

Society name: Carnew Musical Society Show name: Hello Dolly Adjudicator date of attendance: 28/11/2025  Carnew Musical Society approached Hello Dolly!  with evident enthusiasm and a genuine desire to present a colourful, traditional interpretation of this much-loved musical. It is a show that places significant demands on a company, musically, visually, and in terms of performance style, and while this production did not always manage to meet those demands successfully, there was a consistent...

Society name: Carnew Musical Society Show name: Hello Dolly Adjudicator date of attendance: 28/11/2025  Carnew Musical Society approached Hello Dolly!  with evident enthusiasm and a genuine desire to present a colourful, traditional interpretation of this much-loved musical. It is a show that places significant demands on a company, musically, visually, and in terms of performance style, and while this production did not always manage to meet those demands successfully, there was a consistent sense of goodwill and effort underpinning the evening. That sense of care and commitment was present throughout, even when elements of the production struggled to come together cohesively. The front of house experience was particularly pleasing. Costumes and decorative elements adorning the foyer were a genuinely lovely touch, immediately helping to establish the period and atmosphere of the show. These visual details demonstrated thoughtfulness and attention, contributing positively to the audience’s sense of anticipation. Creating this sense of occasion before the curtain rises is an important part of the overall theatrical experience, and Carnew Musical Society handled this aspect with warmth and charm. Michael Dunbar’s direction resulted in a production that, on a structural level, held together reasonably well. The show maintained a decent sense of flow and progression and rarely felt as though it completely stalled or lost momentum. This is no small achievement in Hello Dolly,  a piece that can easily feel episodic or overly long if not carefully managed. The production often lacked refinement, particularly in the shaping of character work and tonal consistency. Several performances were allowed to move too far into heightened or exaggerated territory, resulting in moments that felt awkward or overly “eggy” rather than charming or witty. The humour of Hello Dolly!  relies heavily on nuance, social observation, and lightness of touch; when characters are pushed too broadly, comedy can lose both its elegance and its impact. There were also moments where closer collaboration between direction, stage management, and the technical team would have strengthened visual clarity. Performer placement in relation to set pieces and lighting specials was not always consistent, which occasionally undermined key moments. Greater attention to spatial consistency would have added polish and security, while clearer guidance around finding and trusting light would have prevented performers drifting in and out of focus during important scenes. Musically, the production found its greatest strength. Under the musical direction of Emer Hartnett, the orchestra provided a solid and confident foundation throughout the evening. Despite the brass-heavy nature of the score, balance was well maintained, and the band never overwhelmed the performers on stage. There was a brief moment where ensemble and orchestra slipped slightly out of sync, but this was handled calmly and efficiently, with momentum quickly restored. Tempos were well judged and contributed positively to the overall pacing of the show, preventing the score from feeling heavy or laboured. Vocal work across the cast was of a notably high standard. Harmonies were rich and full, and there was a strong understanding of dynamic shaping and musical phrasing. Breath control and diction were consistently good, allowing lyrics to be clearly heard and musical lines to feel considered rather than rushed. This level of musical preparation was evident and should be recognised as a genuine strength of the production. Choreographically the production struggled to find consistent footing. The opening number lacked clarity in its staging, which unfortunately set an uncertain tone from the outset. First impressions are crucial in musical theatre, and a stronger sense of structure and visual cohesion here would have helped establish confidence both onstage and in the auditorium. “The Waiters’ Gallop” contained some interesting ideas and moments of excitement, but the overall effect leaned more toward chaos than controlled exuberance. Rather than feeling intentionally high-energy, the number often felt precarious, as though it could unravel at any moment. By contrast, the polka was more successful: energetic, lively, and better matched to the abilities of the cast. Overall, the choreography would have benefitted from more rehearsal time and refinement. There was noticeable variance in energy levels across the ensemble and a lack of unified performance quality. Some performers committed fully to the physical and expressive demands of the numbers, while others appeared hesitant or disconnected. A stronger focus on performativity and storytelling through movement, rather than simply executing steps, would have elevated these moments considerably. Jennifer Byrne approached the central role of Dolly Levi Gallagher with confidence and commitment, but the portrayal ultimately lacked the subtlety that makes the character truly effective. Dolly’s strength lies in her ability to manipulate situations while appearing entirely benign, yet in this production her scheming was often too overt, which diminished both the humour and warmth of the role. The performance leaned heavily into broadness and overacting, resulting in moments that felt awkward rather than slyly comic. Vocally, there was a noticeable disparity between chest and head voice, and the upper range appeared to sit slightly beyond her most secure placement. John Young delivered a very strong and enjoyable performance as Horace Vandergelder. His accent work was excellent and remained consistent even through sung passages, which is commendable. He captured the blustery, self-important nature of the character with confidence while keeping the performance grounded and believable. Vocally, his tone was warm and pleasant, and he appeared entirely comfortable in the role, making this one of the evening’s more satisfying portrayals. Ashley Murphy emerged as the strongest performer of the night in her role as Irene Molloy. Her portrayal was subtle, poised, and quietly flirtatious, avoiding unnecessary exaggeration. “Ribbons Down My Back” was one of the standout musical moments of the production, delivered with control and emotional clarity. Vocally, she possessed the strongest voice of the evening, combining technical assurance with expressive warmth. While the romantic arc with Cornelius was not always fully convincing, her individual performance was a clear highlight. Louisa McCabe offered a pleasant, girlish portrayal of Minnie Fay. She moved well and sang nicely, though there was a persistent sense of breathlessness that occasionally affected her delivery. With greater breath support and vocal confidence, this could develop into a much stronger role. Richard O’Toole’s Cornelius Hackl was played at a very heightened level, leaning heavily into exaggerated physicality and behaviour. This resulted in a character that was portrayed with an excessive sense of juvenility, rather than the shy, excitable romantic lead the role requires. As a consequence, the central romantic relationship was difficult to believe. A lighter, more restrained comic approach would have served both the character and the narrative more effectively. Vocally the performance was strong. John Donohoe gave a pleasing and understated performance as Barnaby Tucker. Although the character is written as a teenager, his portrayal felt more mature, which ultimately worked in his favour. His performance was natural, grounded, and quietly enjoyable. In supporting roles, Erin Hogan delivered exactly what was required of Ernestina Money: brash, loud, and unapologetically over the top. While the accent slipped at times, the character was clearly defined and confidently played. Tim Connaughton as Ambrose Kemper and Lorna Matthews as Ermengarde were both fully committed to their roles and contributed positively to the storytelling, with clear and consistent character work. The ensemble was vocally extremely strong and represented one of the production’s greatest assets. Harmonies were confident and well balanced, and the collective sound was rich and satisfying. This musical cohesion was impressive and indicative of thorough preparation. In terms of movement and staging, however, the ensemble work was much weaker. Frequent directional errors and moments of untidiness suggested deeper issues than simple performance nerves. Acting choices often felt overly “performed,” rather than grounded and human, which detracted from the overall believability of scenes. Stage management under Raymond Brennan was excellent. Scene changes were swift, well controlled, and smoothly executed. The decision to involve cast members in set changes worked effectively, though costuming visible stage crew may have helped maintain visual consistency. The set design itself was a real strength. The wraparound balcony was simple yet highly effective, and the movable corner units were used intelligently to create a variety of spaces. Additional set pieces were well finished and thoughtfully detailed, contributing positively to the overall aesthetic. The lighting design showed real potential, with several attractive stage pictures created. However, front-of-house focus was inconsistent, with visible gaps in warm coverage filled by stark, cool LED light, creating distracting contrasts. Focus did not drop low enough to catch performers entering from below, and several specials missed their intended marks due to a lack of spiking. Sound, by contrast, was excellent throughout. Vocals were well balanced against the orchestra and remained clear and consistent, with overall levels well judged. Costumes were period-appropriate, neat, and well presented. Hair and make-up were similarly well handled, cleanly applied, and suitable for the style of the show, contributing positively to the overall visual coherence of the production. Hello Dolly ultimately offered audiences an enjoyable encounter with a well-loved classic, presented with enthusiasm, musical strength, and evident dedication from Carnew Musical Society. Photography by Eamonn Doran & Lorna Doran McEvoy

Review: The Wizard of Oz - Oyster Lane Theatre Group

Society name: Oyster Lane Theatre Group Show name: The Wizard of Oz Adjudicator date of attendance: 26/11/2025  Oyster Lane Theatre Group delivered a visually spectacular and warmly engaging production of The Wizard of Oz , a show that clearly benefited from careful preparation, strong design choices, and a committed cast spanning a wide range of ages. From the moment the curtain opened, it was clear that this would be a visually led storytelling experience, with colour, movement, and...

Society name: Oyster Lane Theatre Group Show name: The Wizard of Oz Adjudicator date of attendance: 26/11/2025  Oyster Lane Theatre Group delivered a visually spectacular and warmly engaging production of The Wizard of Oz , a show that clearly benefited from careful preparation, strong design choices, and a committed cast spanning a wide range of ages. From the moment the curtain opened, it was clear that this would be a visually led storytelling experience, with colour, movement, and atmosphere playing a central role in shaping the world of Oz. The scale of the production felt ambitious yet well judged, and the company’s confidence in handling such a well-known and frequently produced title was evident throughout. The Wizard of Oz  can sometimes feel episodic or overly long if pacing and visual variety are not carefully managed, but this production maintained forward momentum and a clear sense of flow. Transitions were slick, visual storytelling was strong, and the audience was consistently offered something to engage with, whether through movement, projection, or performance. While there were moments where narrative clarity could be deepened, particularly in linking Dorothy’s dream world more explicitly to her real life, the overall experience was one of polish, warmth, and genuine theatrical enjoyment. Jonny Smith’s direction showed imagination, confidence, and a strong visual eye. The decision to open the show in a 1920s cinema rather than on the Kansas farm was a particularly inspired choice, immediately reframing the story as one rooted in escapism, fantasy, and the magic of storytelling itself. This concept provided a clever lens through which to view Dorothy’s journey and worked especially well in the early stages of the production. The choice not to fully return to this idea at the end slightly weakened its impact. The absence of the three friends transforming back into ushers, combined with the omission of Miss Gulch and the Peddlar earlier on, meant that the traditional emotional payoff, where Dorothy recognises the parallels between her real life and her dream, was less clearly articulated. While the story still functioned, this missing connection softened some of the emotional resonance that makes the piece so enduring. There were also moments where staging choices created distance between performers and audience. A significant amount of action took place very far upstage, particularly in scenes involving fewer characters. This was most noticeable in the final scene, where greater intimacy would have heightened the emotional impact. Eyeline choices further compounded this distance, with much of the cast’s focus directed towards the stalls. For audience members seated in the balcony, this resulted in a sense of exclusion from the exchange of energy. A more conscious use of lifted eyelines and spatial awareness would help ensure the storytelling reaches the full auditorium. That said, character development across the show was generally strong, with performances feeling natural, grounded, and well connected. The pacing was well managed, and despite the length of the show, it never felt overly drawn out. The use of a puppet for Toto was a particularly charming touch, adding originality and warmth. While a few off-focus moments needed more attention, the concept itself worked very effectively. Musically, Patrick Clancy’s direction was a definite strength of the production. The orchestra produced a full, rich sound that supported the singers beautifully without overwhelming them, aided by the acoustic qualities of the space. Tempos were well judged, maintaining energy while allowing key moments to breathe. Vocal performances across the cast were strong, with clear, well-balanced harmonies. The inclusion of pit singers added body and clarity to the choral sound, and diction was generally very good, allowing lyrics and storytelling to come through clearly. The relationship between pit and stage felt secure and responsive, suggesting thorough rehearsal and a strong rapport between musical leadership and performers. Jonny Smith’s choreography was visually beautiful and executed to a high standard. Movement throughout the show was clean, well-rehearsed, and thoughtfully arranged, making excellent use of the space and the diverse abilities within the cast. Performers were given choreography that suited their strengths, and the integration of different age groups felt natural rather than segmented. There were moments, however, where choreography leaned more towards aesthetic impact than storytelling. In the Scarecrow’s number, the crow choreography felt visually engaging but did not fully serve the narrative. A similar issue arose in the Jitterbug sequence, where the idea of the characters being exhausted through forced dancing did not come across as clearly as it might have. In contrast, the Tornado sequence was utterly stunning, capturing chaos and movement with remarkable clarity. The use of a Dorothy double on silks was inspired and elevated the scene significantly. Formation changes were handled well throughout, keeping the stage picture dynamic and engaging. As Dorothy Gale, Holly Rossiter delivered a gorgeous, natural performance. Her journey felt emotionally grounded and genuine, allowing the audience to invest fully in her experience. She built strong, believable relationships with the other characters, and her reactions were consistently truthful and present. Vocally, she sang with confidence and warmth, leaning more into belt and chest voice than traditional legit style, a choice that suited her voice well. She anchored the production with assurance and heart. Daniel Furlong’s Scarecrow was warm and engaging, with a pleasant vocal quality and a solid foundation of character work. The physicality of the role could be pushed further and sustained more consistently, as some opportunities for comedy were missed. The character has rich comedic potential, and leaning more boldly into physical exaggeration would add variety and energy, but overall, the performance was appealing and sincere. Michael O’Gorman was very funny as the Cowardly Lion, bringing strong characterisation from his first entrance. His accent work was excellent, and he maintained his character choices throughout. A few jokes were slightly rushed, resulting in missed laughs, but his relationship with Dorothy was particularly lovely and added warmth to the role. Vocally, his songs were excellent, showcasing a rich, expressive baritone. This was a highly enjoyable and memorable performance. Conor Lyons delivered a competent Tin Man, with a nice vocal performance and a strong tap section in his featured number. The physical stiffness required for the role was not fully realised, which reduced the clarity of the character, though his interactions with the other principals were strong and showed genuine camaraderie. A firmer commitment to the physical demands of the role would significantly enhance the character’s presence. In the supporting roles, Ami Stahlut captured the warm, guiding essence of Glinda effectively. Her legit soprano voice was crystal clear and well suited to the role, and she delivered the character’s message with confidence and assurance. Joyce Varley’s Wicked Witch leaned towards a cooler, more restrained interpretation. While this is a valid choice, there were moments where the character felt underpowered. Remaining very upstage during her first scene weakened the impact of her entrance; stepping forward and fully claiming the space would establish greater authority and menace. Neal O’Leary gave a very strong and charismatic performance as the Wizard, balancing bumbling humour with underlying charm. His scenes were enjoyable and well played. Joshua Higginbotham brought great energy and strong comedy to the role of the Oz Guard. Facing out more frequently and lifting his eyeline would allow his performance to fully reach the balcony, but his presence added significant humour. Finn Collins handled the role of Toto very well, engaging consistently with the puppet and understanding how to direct the audience’s focus. Joey Lynch contributed effectively as Nikko, adding energy and life to the scenes he appeared in. The ensemble was outstanding: tight, well-rehearsed, and fully engaged throughout. Energy levels were consistently high, vocals were strong, and harmonies were beautifully balanced. Their commitment to storytelling elevated every scene they were part of and played a crucial role in the production’s success. Stage management, led by Colin Murphy, was excellent, with swift, efficient scene changes that maintained momentum. The set design was impressive, featuring large moving pieces with a high-quality finish. A minor issue with visible black theatre legs inside the additional fabric legs slightly detracted from the overall picture, but projections were stunning and added depth and atmosphere. Lighting created some beautiful images, particularly the Yellow Brick Road, and Sound was strong overall, with only a few missed entrances. Costumes were fabulous and well designed, with Emerald City and Jitterbug costumes standing out. Hair and make-up were neat and appropriate, though slightly more shading for the Tin Man and the Witch would add dimension under stage lighting. Front of House supported the experience effectively, with the audience arriving into a space that felt ready and welcoming. There was a palpable sense of anticipation, and the feeling of being invited into a carefully considered theatrical world helped establish expectations early.  Overall, this was a strong, visually impressive production that demonstrated ambition, creativity, and a high level of commitment. With a little more attention to narrative clarity, spatial connection, and storytelling within movement, Oyster Lane Theatre Group are well placed to build on this work and reach an even higher standard in future productions. Photos by Paula Malone Carty

Review: Sister Act - St. Michael's Theatre MS

Society name: St. Michael’s Theatre Musical Society Show name: Sister Act Date of attendance: 19 th  November 2025 There are few modern musicals with a feel-good factor as great as ‘Sister Act’. With its energy, comedy and 1970s Motown-inspired score, there is always great potential for an uplifting, entertaining spectacle. It’s a perfect show for musical societies with a large female ensemble and it gives opportunities to shine to a wide range of ages. St. Michael’s Theatre Musical Society,...

Society name: St. Michael’s Theatre Musical Society Show name: Sister Act Date of attendance: 19 th  November 2025 There are few modern musicals with a feel-good factor as great as ‘Sister Act’. With its energy, comedy and 1970s Motown-inspired score, there is always great potential for an uplifting, entertaining spectacle. It’s a perfect show for musical societies with a large female ensemble and it gives opportunities to shine to a wide range of ages. St. Michael’s Theatre Musical Society, New Ross, embraced the joy with great enthusiasm and charm. For the most part, the evening delivered, with some very strong performances, a really tight orchestra and a wonderfully energised ensemble. There were several shortcomings in lighting and stage management which, I felt, hampered the overall look and flow of the production. These did not eclipse the cast’s obvious talent or the heart of the show. However, they did, on occasion, take away from the storytelling. Nonetheless, enthusiasm and talent compensated greatly, ensuring that the audience was still treated to a very enjoyable night of theatre from a dedicated, hard-working cast. Front of house at St. Michael’s Theatre was busy and efficient. ‘Religious personnel’ kept a close eye on proceedings as the audience entered and used their influence well, in selling programmes and, no doubt, a raffle ticket or two. Front of house volunteers did very well, setting a warm, welcoming tone and ensuring that things moved along as the foyer filled up in the minutes before curtain up. The live front of house announcements were great fun, priming us for what lay ahead, with the “Amen!” call and response getting the audience well warmed up.  Kevin Kennedy’s direction was generally strong. There were many comedic highlights and a good understanding of the show’s heart. There was good work with principals and some fine ensemble work, particularly from the nuns’ chorus members who were always engaged and full of purpose. There was clever use of the downstage left and right apron areas, which allowed for scene changes on the mainstage while action continued. Fluidity between scenes was problematic at times, as was the overall lighting design. It’s a briskly paced show and transitions need to flow as seamlessly as possible to maintain the required energy and momentum. As well as directing the show, the talented Mr. Kennedy was also a valuable orchestra member. I would suggest that, had he been out front observing the show, he would have been better poised to notice the elements which needed attention and could have made the necessary tweaks to elevate this from a good production to a very good production.  Musical direction by Philip Kennedy was very solid throughout. Mr Kennedy had assembled a fine orchestra, providing us with a polished sound that was faithful to the show’s 1970s Motown feel. There was impressive balance within the orchestra and an excellent stage/pit blend, which ensured that singers were always heard, without ever being overwhelmed by the bigger, ‘brassier’ arrangements. Mr. Kennedy’s work with the ensemble was excellent. The nuns’ choral moments, in particular, were absolute showstoppers, with superb harmonisation, dynamics and balance. The Latin chorus, leading into ‘Take Me To Heaven’ was beautifully atmospheric and the bigger dance routines never lost vocal accuracy, despite the very energetic choreography. Solo singing was very strong across the board and the orchestra’s accompaniment was sensitive, when required.  Claire Kickham’s choreography was very well rehearsed and suited the cast’s level perfectly. Creating movement for a large, mixed ability ensemble, which looks synchronised and impressive, is a real skill and Ms. Kickham did exactly that, without ever losing the sense of fun which is at the heart of the show. The nuns, in particular, were very well drilled, from the simplest of gestures to the full-on production numbers. Unfortunately, I felt that many of the bigger production numbers suffered from what was, in my opinion, weak lighting design which didn’t complement the cast’s onstage energy. Ms. Kickham did a really good job and, with stronger lighting, her work would have been elevated even higher. Michaela White delivered a commanding performance as ‘nun on the run’, Deloris Van Cartier. Ms. White had great charisma and a sense of fun which endeared her to the audience throughout. From the opening scene, we knew that Deloris was more than comfortable in the spotlight. She was confident and brash, yet never appeared arrogant. Ms. White gave her character the necessary relatability, which ensured that the audience was rooting for her from the outset. Vocally, Ms. White was perfectly cast. She had great tone and a most impressive belt which soared, even against the fullest of orchestral accompaniment. It’s a demanding sing for Deloris but Ms. White made it appear effortless. Her vocal consistency in dance numbers was excellent and her softer moments demonstrated some lovely colour and control. A ‘fabulous’ performance overall. Timmy Moloney’s portrayal of Eddie Souther was one of the highlights of the evening, for me. Mr. Moloney embraced Eddie’s awkwardness with a light comic touch that was so sincere and he never crossed the line into caricature. He had a wonderful physicality that communicated Eddie’s lack of confidence and this was consistently maintained throughout. Vocally, Mr. Moloney was very strong. But it wasn’t just his voice and musicality that impressed when singing. His emotional connection with the lyrics in ‘I Could Be That Guy’ breathed life into the number that I haven’t experienced before. From his initial self-doubt, to his bold confidence and back again, it was a very clever interpretation full of humour and heart. Overall, a textbook example of how restraint and intelligent acting can elevate a supporting role into a memorable performance. Eryn Buckley  gave a truly wonderful vocal performance as the convent’s postulant, Sr. Mary Robert. ‘The Life I Never Led’ was beautifully sung and quite flawless. Her exquisite control, excellent phrasing and effortless delivery were well deserved of the extended applause from an audience which knew they had just heard something deeply moving and quite special. I felt that additional work could have been done with the director to push the character’s initial shyness and social anxiety even more. These characteristics were certainly there but, I felt, they needed some fine-tuning to really capture the shift from timidity to self-belief, which was there musically but needed more focus emotionally and physically, in my opinion.  Joanne McCabe was a strong Sr. Mary Patrick full of joy, energy and enthusiasm. She captured the character’s boundless enthusiasm very well, fully committing to the childlike delight that we expect from the role. Comic timing was sharp and her expressive, wide-eyed reactions were suitably animated and funny. Ms. McCabe was well able for the role’s vocal requirements, always maintaining character when singing.  Julie Kinsella was an outstanding Sr. Mary Lazarus, the convent’s dry-witted choir conductor. This was a very funny performance indeed. Ms. Kinsella got every last morsel out of the script, with unhurried delivery which allowed the humour to land and breathe, to hilarious effect. Her vocal performance was equally strong, especially her rapping, which was delivered with great confidence and comic flair.  Teresa Buckley had exceptional stage presence as the authoritative Mother Superior. From her first appearance, her stillness and control were striking. Her ability to tell a story, whether through script or song, was highly impressive. Her scenes with Deloris were particularly strong, as we were so aware of her struggle to balance tradition with the changing environment around her. Ms. Buckley’s emotional range, from sheer frustration with Deloris to genuine warmth and care, was wonderful. ‘I Haven’t Got A Prayer’ was a masterclass in storytelling and inner conflict.  Peter O’Connor was a warm Monsignor O’Hara with a nicely understated authority. He avoided caricature with his naturalistic delivery, steering clear of the temptation to overplay. This provided a fine contrast to Mother Superior and ensured that his comic impact in the wonderful ‘Sunday Morning Fever’ was even stronger. His spoken delivery in this number was clear and very funny. He had a light comic touch, at his best in the very humorous confessional scene. A thoughtful, well-judged performance. Jamie Lyster had a tuneful voice in the role of the villainous Curtis Jackson. He made the most of his vocal opportunities and he was generally secure in those, apart from a momentary struggle with the melody In ‘When I Find My Baby’. More attention to the character’s menacing side could have transformed Mr. Lyster’s performance. It felt like all of the skills were there but the necessary tension wasn’t always apparent. It was a very competent portrayal but not quite the frightening presence that the narrative might suggest. Mr. Lyster was supported by a superbly colourful trio of henchmen. James Dobbs brought great energy to the role of Pablo, with his exaggerated physicality and hilarious facial expressions. Vocally, he blended well whilst always maintaining consistency of character and a focus on the comedic intent. Keith Flanagan was a very funny TJ, with excellent comic timing and expression. Every reaction landed thanks to Mr. Flanagan’s strength as a comedian. He combined his excellent comic instincts with a most impressive singing performance and he was a fine mover too. Jonathan Kelly was equally strong as a threatening, but very humorous, Joey. Mr. Kelly used his excellent stage presence and understanding of the show’s comedic tone to give a performance which complemented the dynamic portrayals of his fellow henchmen. He, too, had a great range of well-timed facial expressions and he was clearly comfortable with physical comedy. He sang well and was very comfortable with harmony.  There was great support from Norma Doyle as Sr. Mary Martin of Tours and Joan Deegan as Sr. Mary Theresa. Úna Hayden and Claire Kickham, as Tina and Michelle, were vocally secure and moved very well in their opening nightclub scene. However, I felt that they needed to work more on their characterisations to bring some larger-than-life showbiz pizazz and flamboyance to their roles as seasoned nightclub performers. Greater projection of confidence and more exaggerated performance levels during those opening sequences, would have added greatly to their portrayals.  Ensemble performances were strong throughout. From the police station to the bar, the eclectic mix of characters was always in keeping with the comic tone of the show. They always moved with purpose and had a clear understanding of the narrative, adding depth to the production with each appearance. The nuns’ ensemble was superb. They demonstrated great unity and infectious energy, which was most uplifting. Their rich harmonies, strong movement and boundless enthusiasm, elevated the show with every appearance.  The set design suited the St. Michael’s stage quite well. The stone-effect side flats suggested an ecclesiastical environment which was sometimes set against a black backdrop. This backdrop was a star cloth which was used at various key points. It caused quite a few issues for the stage crew, as it didn’t always fly in to floor level and occasionally got caught when flying in and out. It also needed to be stretched as it bunched and its unsightly folds were highly visible when lit. The large, gothic, stained glass windows, downstage left and right, were very striking, especially when lit from behind. A glitter curtain was used to great effect, infusing the glitzier numbers with energy and glamour.  The nature of live theatre is that things can go wrong. As much as we strive for perfection, there will always be something that doesn’t quite go to plan. On the night that I attended, it appeared that the stage crew, led by stage manager Lizzy Heffernan, didn’t have their best night. I’m very conscious that, had I been at another performance, I may have witnessed something very different. That is the nature of the technical side of what we do. Communication between stage management and the lighting operator seemed inconsistent. Multiple scenes began with crew members still onstage when lights came up, pulling us out of the story. The star cloth was not properly rigged, leaving a visible gap along the bottom centre at times. A potentially dangerous incident with the door truck in Act 2, as it visibly wobbled and came close to toppling over, suggested insufficient rehearsal time with crew. With tighter coordination, additional rehearsal time for crew and better cueing, a lot of these issues could be resolved for future productions. Lighting was, unfortunately, a weak link in this production. I felt that many other strong aspects of the show were let down by the lack of the bold, colourful, dynamic lighting design that is expected when producing a vibrant, energetic show like ‘Sister Act’. Many of the nuns’ big ensemble numbers, where bright colours and dramatic cue changes would have enhanced the energetic choreography, were lit in basic washes that had no sense of the energy or dynamism that is required. There were many missed opportunities for using lighting to enhance the storytelling. Had the lighting design matched the music, choreography and set, this production would have had a much stronger impact overall. Sound design was very strong, with suitable levels of amplification and a very good balance between vocals and band. Dialogue was clear and rarely overshadowed by underscoring. Cueing was very well handled throughout, demonstrating a comfort and familiarity with the show. Ensemble balance during full-cast numbers was excellent, with superb harmonies uplifting all of those scenes. ‘Raise Your Voice’ and ‘Take Me to Heaven’ were wonderful in this regard and this was all the more impressive given the amount of bodies on stage. A superb job all round. The props team did good work, with thoughtful attention to detail throughout. The convent items, such as hymnals, statues and wooden bowls were authentic. The police station was well-dressed and random items like the shopping trolley, the retro TV set and the street lamp all helped to add depth to the show’s world. There was strong attention to the period in costuming. The 1970s styling was very impressive and appropriately over the top. TJ’s brown suit, Deloris’s leopard print dress and Curtis’s red suit all ticked the loud and gaudy box perfectly. The nuns’ habits looked very well and the tabards for their transformation moments were excellent, adding great visual excitement to those moments. Eddie’s wonderful costume reveal was perfectly achieved and was one of the comedic highlights of the show. Time does pass between Act 1 and Act 2 and that needed to be considered in creating the costume plot, as some main characters wore the same ‘daywear’ throughout the show. ‘Spread the Love Around’ looked fabulous (baby!) with its visually stunning silver and white theme. Hair and makeup were generally good. Deloris’s wig was delightfully dramatic, perfect for her character. Her makeup was consistently strong throughout. However, I felt that several of the nuns were overly made up for the convent setting. This did not take away from their performances but it did affect the authenticity of the storytelling somewhat. Tina and Michelle’s identical red wigs, whilst visually striking, felt odd, and I thought that more distinctiveness would have been appropriate. Pablo’s enormous moustache and sideburns were hilarious. His look may have bordered on caricature but, given the tone of the show, it really worked. Overall, good work in creating an authentic 1970s look.  This was a most enjoyable production overall. The energy, enthusiasm and spirited choreography suggested an evident love for the material. The cast worked hard, putting their hearts and souls into every moment. There were some excellent, truly memorable principal performances. However, I did feel that the show was prevented from reaching its full potential due to stage management and lighting issues. All of that said, there was much heart and humour in the production, which carried us along on a wave of joy. Full credit to the very committed cast who ensured that the audience left laughing and singing. Pat McElwain Sullivan Adjudicator 2025/2026

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.

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