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LATEST NEWS

Review: Michael Collins – A Musical Drama - Limerick Musical Society

Society name: Limerick Musical Society Show name: Michael Collins – A Musical Drama Date of attendance: 21st March 2026 Limerick Musical Society presented the epic ‘Michael Collins – A Musical Drama’, a gripping dramatisation of a crucial period in Irish history, in University Concert Hall, Limerick. It is a powerful story, filled with political tension, violence, and an intriguing love triangle, charting both the political and personal life of one of Ireland’s most iconic figures, Michael...

Society name: Limerick Musical Society Show name: Michael Collins – A Musical Drama Date of attendance: 21st March 2026 Limerick Musical Society presented the epic ‘Michael Collins – A Musical Drama’, a gripping dramatisation of a crucial period in Irish history, in University Concert Hall, Limerick. It is a powerful story, filled with political tension, violence, and an intriguing love triangle, charting both the political and personal life of one of Ireland’s most iconic figures, Michael Collins, the Big Fella. This is a very special piece of theatre and those who are lucky enough to work on it always know what a privilege it is to bring it to the stage. That sense of responsibility was clearly understood by both cast and crew throughout the production. The show is a wonderful legacy to the late Bryan Flynn, whose work reflects a deep understanding of both the man at the centre of the story and the important historical context. Like Collins himself, Bryan Flynn was taken far too soon, and there is always something particularly poignant in seeing his work brought to life. There was much to admire in Limerick Musical Society’s production, with moments that captured both the scale and emotional weight of the story. While some elements could have benefited from greater polish, the overall impression was one of commitment, ambition, and a strong sense of pride in the story. With a little more attention to detail, it could have been a truly outstanding production. This was my first visit to this wonderful space and what an impressive venue it is. The large, open foyer was full of energy on arrival, with a real sense of anticipation building ahead of the performance. Front of house was handled very well, with theatre staff who were both friendly and efficient, ensuring that everything ran smoothly. A particularly nice touch was the tribute to Bryan Flynn included in the front of house announcements, setting a tone that was celebratory and poignant as well as reminding the audience of the significance of the work they were about to experience. Des Henn took on the dual role of director and movement coordinator, bringing a number of thoughtful and imaginative ideas to the production. The opening sequence of projections, featuring moments of Irish historical, political, cultural and sporting significance, was certainly striking, though it did feel slightly disconnected from the context of the story being told. The use of the extended apron was a particularly strong directorial choice, allowing action to flow continuously while new scenes were prepared on the main stage. Attention to detail was occasionally an issue. The misspelling of Eaomon (sic) de Valera on screen was an unfortunate oversight and small moments such as Harry Boland offering a toast without a drink in hand stood out more than they should have. Movement was used very effectively in places, particularly in ‘Prison Song’ which was very strong from the male ensemble, while ‘Fly the Flag of Freedom’, though vocally strong, would have benefited from more dramatic intent and connection. The Treaty debates and Civil War sequences were particularly effective, creating a great sense of drama. Some moments, however, lacked clarity, particularly in transitions of time, and sightlines were not always ideal in busier scenes. Overall, this was a solid piece of direction from Mr. Henn, with many strong ideas and moments of quality. With some tightening of detail and greater consistency in execution, it had the potential to become an excellent production. Michael Young did an excellent job as both musical director and choral director. Integrating the show’s pre-recorded tracks with a live band is no small task, presenting both technical and musical challenges. However, Mr. Young’s experience was evident throughout and he handled this balance with confidence and skill. The standard of principal singing was very high. Solos and duets were delivered with control and sensitivity and all principal performers gave strong vocal performances. Choral work was very strong throughout. The male ensemble in ‘Prison Song’ and ‘Fly the Flag of Freedom’ sounded most impressive, while numbers such as ‘Listen to the Voice of Reason’ and ‘Every Heart Awaken’ were excellent from a choral perspective. Barry Danaher took on the iconic role of Michael Collins, the Big Fella. Vocally, he was very well able for the demands of the role, with his fine tenor voice, impressive range, and a strong, confident delivery throughout. Dramatically, however, the performance took a little time to fully settle. In the earlier stages of the show, there were moments where more fire and passion were needed to capture the charismatic and commanding presence associated with Collins. That said, there were glimpses throughout of what the performance could become. There was a noticeable shift in Act Two. The scene leading into ‘Stepping Stone’, and the song itself, showed Mr. Danaher at his strongest, delivering with conviction, emotion and power. This showed his clear potential in the role. His speech in the Dáil was another highlight, full of sincerity and authority. With greater consistency and more focused collaboration with Mr. Henn this could have been elevated from a very good portrayal to an excellent one. Kellie Murphy, who appeared as a child in the original 2009 production, stepped into the role of Kitty Kiernan, the woman at the centre of the love triangle. It is not an easy role to fully realise, as despite its importance, it offers limited opportunities to navigate a clear character arc. However, Ms. Murphy proved more than equal to the challenge. A skilled and thoughtful performer, she brought depth to the role through subtle but clear character choices. Her thought processes were always visible, making Kitty feel very real. Vocally, she was excellent. Her clear soprano voice was controlled and appeared quite effortless. ‘For Nothing Else I Cared’ was performed with strong dramatic intent, while her duet with Michael, ‘Our Love Will Never End’, was a musical highlight of the evening, sung with great warmth and connection. Stephen O’Ríaín delivered a very strong performance in the role of Harry Boland. He understood the complexity of the character, capturing the inner conflict between his loyalty to Michael and his love for Kitty with wonderful sensitivity and control. Vocally, he was consistently excellent. ‘Not That Man’ stood out as a particularly memorable moment, showcasing his excellent voice, while also conveying the character’s internal struggle. Brian Curtin brought a strong sense of authority to the role of Éamon de Valera, delivering a suitably statesmanlike figure throughout. His letter scene was nicely delivered, although it felt slightly rushed at times and might have benefited from better pacing. Vocally, he was impressive, particularly in ‘Confrontation’, where he was both powerful and controlled. Mr. Curtin kept a consistently authoritative demeanour throughout, with just the right amount of political formality. Eoghan Cantillon-Mann was a standout performer in the role of Joe Emmett. This was a performance full of warmth, honesty, and emotional depth. He brought a natural ease to the stage, creating a character who felt genuine and sincere throughout. In a story filled with tension and conflict, Mr. Cantillon-Mann provided welcome moments of lightness, driven by Joe’s loyalty, good nature, and quiet strength. His heartbreaking ‘Ár nAthair’ prayer as Collins lay dying was deeply moving. One of the most distinctive features of ‘Michael Collins - A Musical Drama’ is its use of the play-within-a-play device, drawing on characters from Yeats’s ‘Cathleen Ní Houlihan’ to help narrate Collins’s story. It is a highly clever and effective theatrical idea and a key part of what gives the piece its unique performance style. In this production, however, that concept was adapted, with the roles divided between five actors in the Yeats play and four separate narrators. The four narrators, Emma Culhane, Aidan O’Connell, Hilary Phayer, and Thomas Coneran, gave excellent performances. Collectively, they worked beautifully, with a well-balanced blend of voices and a strong sense of shared purpose. Dramatically and musically, they were consistently superb, drawing the audience into the story with great clarity. Mary Claire Ryan delivered a truly memorable performance as Mother Ireland in the play-within-a-play. She brought a strong presence to the role, embodying the weight and turmoil of Irish history with great assurance. Her sean-nós style vocals were hauntingly delivered. Dramatically, she embraced the heightened style required, creating a character that felt otherworldly and deeply rooted in Ireland’s past. The four actors in the ‘Cathleen Ní Houlihan’ play delivered strong performances and contributed well to this important element of the production. Ber Hickey was a thoughtful Bridget, bringing a nice sense of detail and understanding to the role. Brian Quinlivan’s delivery as Peter was clear and assured, giving the character a strong presence. Josh Lyons showed good potential as Michael, with good stage presence that will no doubt continue to grow. Holly Purtill was excellent as Delia, giving a brief but confident performance in the closing stages of the show. Her final emotional release was heart-wrenching. Glen Carr brought strong presence and conviction to the role of Arthur Griffith, giving the character a clear sense of political authority. The Treaty Debates section is a particularly demanding one, and while there were a few slight slips in timing, he handled things well overall. Similarly, Garry Murphy impressed as Cathal Brugha in the same scene, carrying himself with confidence and stature. His performance was full of power and conviction, and he had a strong stage presence throughout. There was a strong supporting cast who contributed positively to the overall standard of the production. Kitty’s three sisters, Sinéad Quinn, Meadhbh O’Hara and Holly Purtill brought good energy to ‘Toast to the Host’, with their well-coordinated movement and confident vocals. Aoife Henn did well as Sinéad de Valera in the letter scene and Brendan Coleman made a strong impression as the Viceroy. There was solid work from the ensemble throughout, particularly vocally, with choral singing proving to be one of the standout strengths of the production. There was good energy in many of the larger crowd scenes, such as ‘My Grand Design’. ‘Fly the Flag of Freedom’, while musically impressive, would have benefited from greater conviction to fully match the intensity and rousing patriotic intent of the number. Ensemble members really came into their own during the Treaty Debates, bringing excellent energy, focus, and discipline. Ray Burke and his stage management team did good work in keeping the production running smoothly. The use of both the extended apron and the main stage was handled effectively, allowing for a good flow between scenes and helping to maintain momentum throughout most of the show. The physical set design was clear and thoughtful, capturing the feel of early 20th-century Dublin. The brick and stone structures created a strong sense of place and gave good historical context through Georgian-style elements, which added nicely to the overall atmosphere. It was a very practical design given the need for fluidity in this show. The space was well laid out, with the extended apron and main stage working together to allow for continuous action. This helped the flow of the production and gave the cast plenty of room, particularly in the larger ensemble scenes. The use of the upstage screen played a big role in the visual storytelling. Historical images and settings helped to place the action within a wider context and, at times, added real depth to the production. However, there were moments where the projections became too dominant, drawing focus away from the performers rather than supporting them. In ‘My Grand Design’, the use of historical footage of the real Michael Collins addressing crowds felt overly busy. The audience was being asked to invest in Mr. Danaher’s portrayal while being presented with footage of the actual Michael Collins at the same time. This risked overshadowing his performance. More jarring still were the AI-generated images used in certain sequences. One example, showing a crowd celebrating outside the GPO during ‘Every Heart Awaken’, felt out of keeping with the overall aesthetic and stood out for the wrong reasons. Overall, while there were many effective and appropriate images which complemented the set, the use of projections lacked consistency. Lighting was the technical area that required the most attention in this production. In a show like ‘Michael Collins - A Musical Drama’, where shifts in time, place, and mood are so central to the storytelling, lighting plays a crucial role in guiding the audience. At times, it felt as though insufficient technical rehearsal time had impacted the overall finish, as the lighting lacked the consistency, timing and atmosphere needed. There were, however, some effective moments. The use of green, white, and orange lighting at the end of Act One created a strong and striking image, adding a welcome sense of colour and symbolism. While there were some glimpses of effective design, lighting lacked consistency and polish overall. With more technical time and a greater focus on atmosphere and coordination, lighting could make a significant contribution to future productions. Sound was generally well handled throughout. There was effective use of sound effects, with sirens, gunshots, and explosions adding to the atmosphere and supporting the action on stage. For the most part, these were well timed, though one gunshot in ‘Dublin Killings’ wasn’t timed with the onstage action. The choral sound was a particular strength, with an excellent balance and blend across the ensemble. Cueing for dialogue and singing was always secure. At times, however, the band lacked some impact, particularly given the size of the auditorium. Some of the bigger musical moments would have benefited from a fuller, more powerful sound to really fill the space and match the scale of the production. There was good work from the costume department, with a clear effort made to reflect the period accurately. Michael’s military attire was particularly effective, capturing the look and authority of the character very well. The daywear across the ensemble also helped to establish the early 20th-century setting. There was a nice visual contrast in the more formal scenes, particularly with the tailored suits of the politicians in Dáil Éireann, which added to the sense of status and occasion. The only minor issue noted was with the Viceroy’s costume, where the trousers appeared ill-fitting and slightly distracted from an otherwise well-presented look. There was very good attention to detail in the props department that added greatly to the authenticity of the show. The weaponry in particular was very convincing. Michael Collins’ Luger was a standout detail, a small but impressive touch that did not go unnoticed. One small issue was during ‘Toast to the Host’, where cast members were ‘drinking’ from glasses and bottles that were clearly empty. This was a small detail but moments like this can stand out and break the illusion. Hair and makeup were well handled throughout, with styles that were appropriate to the period and consistent with the overall look of the production. Wigs were used effectively where required. Nothing felt out of place throughout in what was very solid work from the hair and makeup department. ‘Michael Collins - A Musical Drama’ is an ambitious piece of theatre and Limerick Musical Society approached it with the respect and commitment it deserves. There was much to admire in this production. While there were areas that would have benefited from greater consistency and attention to detail, particularly on the technical side, the foundations of a very strong production were always there. What stood out most was the immense sense of pride and dedication from all involved as they flew the flag whilst telling this hugely important story. Pat McElwain Sullivan Adjudicator 2025/2026

Review: We Will Rock You - Mitchelstown Musical Society

Society name: Mitchelstown Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/03/2026 Mitchelstown Musical Society took on the formidable challenge of We Will Rock You with clear ambition, enthusiasm, and a willingness to embrace the scale and style of one of musical theatre’s most demanding modern rock scores. This is a show that asks a great deal of every department: bold performances, relentless pace, high-octane vocals, slick technical execution, and a strong...

Society name: Mitchelstown Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/03/2026 Mitchelstown Musical Society took on the formidable challenge of We Will Rock You with clear ambition, enthusiasm, and a willingness to embrace the scale and style of one of musical theatre’s most demanding modern rock scores. This is a show that asks a great deal of every department: bold performances, relentless pace, high-octane vocals, slick technical execution, and a strong visual identity are all essential if the piece is to fully achieve its intended impact. It was evident throughout the evening that the company approached the production with commitment and genuine passion, and while there were areas that would benefit from further refinement, the effort and ambition behind the undertaking were undeniable. Director Lisa Kelly delivered a production with a clear understanding of the narrative arc of the piece, and there was a strong sense that the company had been guided carefully through the world of the show. The blocking was generally well considered, with logical physical journeys and thoughtful use of the playing space. Sightlines were well managed, and performers were staged with clear awareness of one another, ensuring that the action remained visually coherent throughout. There was also a consistent understanding of character across the cast, suggesting that considerable directorial work had gone into defining the world and tone of the piece for the performers. The principal area where the direction could be strengthened is in pacing. We Will Rock You is a show that thrives on speed, sharp wit, and relentless energy, and unfortunately the production often moved at a slower pace than the material demands. This was particularly noticeable in Act One, where the dialogue scenes felt overextended and the momentum of the storytelling occasionally stalled. Some of the comic timing was diminished as a result. This is a show that needs to drive constantly forward, and with a firmer hand on pace and transitions, the entire production would gain considerably in impact. Musically, the production was underpinned by a strong musical performance from the band led by Eamon O’Malley. The rock sound was full, energetic, and stylistically appropriate throughout, successfully capturing the essence of Queen’s iconic score. The band provided strong support to the performers and maintained momentum where needed, with well-judged tempi that frequently helped reinvigorate the pace following slower dialogue scenes. There was clear musical discipline and preparation evident in the band’s performance, and they should be commended for delivering the power and drive required for such a vocally and instrumentally demanding score. What could be heard of the vocal work suggested similarly strong preparation, with evidence of harmonies and layered ensemble vocals throughout. Unfortunately, much of this detail was obscured by issues in the sound balance, making it difficult to fully appreciate the musical work that had clearly been done in rehearsal. Nonetheless, the musical foundations of the production were strong, and the orchestra provided an excellent backbone to the evening. Henry James Fitzgerald’s choreography showed awareness of the capabilities of the company and was sensibly tailored to suit the performers available. We Will Rock You presents particular challenges for choreographers when working with a cast that may not be dance-led, and credit should be given for creating movement material that was achievable and accessible for the ensemble. That said, the choreography would benefit from greater polish and sharper execution to fully realise the futuristic, stylised world of the show. Much of the movement lacked the precision and attack needed for the cyber aesthetic, with timing inconsistencies and untidy shaping reducing the overall visual impact. The opening number in particular needed more punch and dynamic energy to establish the production’s world strongly from the outset. As the audience’s first major visual introduction to the show, this moment needs to make an immediate and commanding statement. Spacing and stage pictures would also benefit from further refinement, with some imbalance apparent in formations and positioning. Additionally, greater integration between choreography and set could help improve flow; adapting routines around existing furniture and scenic elements rather than pausing to clear and reset the stage would maintain momentum more effectively. The Bohemians in particular felt somewhat underused choreographically and could perhaps have been given a more distinctive movement vocabulary to help define their world more clearly in contrast to the Yuppies. Among the principals, Emmet Donlan delivered a vocally excellent performance as Galileo, demonstrating impressive range, control, and vocal assurance throughout. He handled the demands of the score with confidence and consistency, clearly possessing the vocal skill required for the role. Dramatically the performance felt understated. Galileo is a character who benefits from youthful impulsiveness, emotional vulnerability, and charismatic unpredictability, and while Emmet’s vocal work was extremely strong, the dramatic portrayal remained a little restrained. In particular, the central connection with Scaramouche would benefit from deeper development to strengthen the emotional core of the story. Kate Hennessy gave a strong vocal performance as Scaramouche, bringing power and security to the role’s challenging musical demands. Her singing was consistently assured, and she clearly possesses the vocal technique necessary for the part. Her performance captured some of the character’s outsider quality and rebellious spirit, and she worked hard to establish a relationship with Galileo. At times the character’s trademark sarcasm and wit did not land quite as sharply as they might, due largely to a slightly slower pace of delivery and a somewhat reserved performance style. Leaning further into the eccentricity, bite, and confidence of the character would help create a more vibrant and distinctive portrayal. Michelle Vaughan brought commanding stage presence to Killer Queen and held attention effectively whenever onstage. Vocally, she handled the material confidently and delivered the songs securely. To elevate the portrayal further, the characterisation could benefit from greater menace and theatrical danger. Killer Queen must feel utterly dominant and almost untouchably powerful within the world of the show, and while Michelle had authority, pushing further into the character’s villainy and embracing a more ruthless intensity would create an even more impactful performance. Brian O’Riordan gave a committed and vocally confident performance as Khashoggi, with “Seven Seas of Rhye” particularly well delivered. His interpretation was entertaining and energetic, though the role would benefit from greater darkness and threat to fully establish Khashoggi as a genuinely intimidating antagonist. More severe physical choices and a heightened sense of menace would strengthen the character considerably. Charlie Barry delivered an excellent performance as Brit, combining strong vocal work with highly effective physicality and consistent accent work. He brought warmth, energy, and excellent characterisation to the role, creating a highly believable and engaging stage presence. His connection with Oz was particularly effective, helping to ground their relationship in genuine warmth and sincerity. Aideen O’Connor was a standout throughout the evening as Oz. She brought exceptional energy, charisma, and warmth to the role, consistently elevating every scene in which she appeared. Vocally, she was powerful and controlled, with excellent technique and commanding stage confidence. Her performance was vibrant, engaging, and full of personality, making her one of the evening’s strongest assets. The performance of the night came from Diarmuid Vaughan as Buddy. His comic timing was exceptional, his audience connection was instinctive, and his understanding of the role was complete. He fully embodied the character from first entrance to final bow and demonstrated superb confidence and precision in his comedic delivery. His performance was polished, hugely entertaining, and a joy to watch. Mary O’Callaghan’s Teacher/Tina Turner would benefit from a more grounded and truthful approach in future performances. The characterisation leaned heavily into exaggeration and caricature. While We Will Rock You is undoubtedly heightened in style, broad comedy remains most effective when rooted in recognisable truth. A more measured and sincere approach would likely make the character more engaging and effective. The ensemble gave an enthusiastic and committed performance throughout, and it was clear they were fully invested in the production. The Bohemians in particular brought warmth, joy, and a strong sense of camaraderie to the stage, creating a believable collective identity. Their movement work would benefit from greater precision and uniformity. The Yuppie ensemble similarly required further cleaning to improve timing and synchronicity. Acting styles across the ensemble varied considerably, with some performers leaning toward over-exaggeration while others appeared more restrained. Focused ensemble acting workshops could help unify performance style and create a stronger sense of consistency across the company. Due to the sound issues, it was unfortunately difficult to make a fair assessment of ensemble vocals. Stage management under Hannah Myers was efficient and well handled, with scene changes completed smoothly and with minimal disruption. The set design was practical and functional, facilitating fluid movement between locations. While visually clean, the design lacked some textural richness and depth, which caused it at times to appear somewhat flat under the lighting. The aesthetic sat somewhat between the sterile corporate world and the anarchic Bohemian world without fully committing to either. The moving staircase was an excellent scenic element and could perhaps have been utilised even more to create varied staging and visual interest. The motorbike was a particularly effective visual moment and added considerable theatrical impact. Projections were visually strong and of high quality, though several cueing errors and mistimed transitions in Act Two detracted from their effectiveness. Lighting was one of the production’s strongest technical achievements. The rig was used creatively and effectively, with several striking stage pictures created throughout the evening. The use of blinders and sunstrips particularly supported the concert-style atmosphere of the piece and enhanced the rock aesthetic very successfully. Front of House focus did require some adjustment, with a noticeable lighting gap stage right leaving performers underlit in certain moments. Sound was the area most in need of attention. The overall level was excessively loud for the venue, particularly given the natural reverb of the space, resulting in a harsh and often uncomfortable listening experience. Principal microphones sat consistently close to feedback, while balance across the mix was problematic throughout. Principals were often overwhelmingly loud, while ensemble vocals were largely lost, severely diminishing the impact of group numbers. There were also several occasions where the Musical Director’s voice was audible through the sound desk monitor, which proved distracting. This is an area that would benefit significantly from review, as improved sound balance would dramatically enhance the audience’s ability to appreciate the strong musical work being done onstage. Costume design presented a mixed but often effective visual palette. The Yuppie costumes lacked some of the boldness and polish required for the futuristic Globalsoft aesthetic, with several appearing somewhat plain or ill-fitting. In contrast, the Gaga Girls and guards helped inject visual excitement into the production, with the latter particularly effective in establishing the post-apocalyptic aesthetic. The Bohemian costumes were the clear standout, richly detailed and imaginative, strongly supporting the world-building of the production. Some principal costume choices could be reconsidered, particularly Galileo’s corset, which appeared ill-fitted and visually incongruous, and Scaramouche’s all-white opening costume, which did not clearly support her outsider narrative. Hair and make-up work was strong overall, with excellent detailing among the Bohemians and particularly effective use of hairpieces. Front of House deserves particular commendation for the welcoming and efficient atmosphere created on arrival. Audience members were greeted warmly, seating was handled smoothly, and the pre-show environment was inviting and well organised. The display inside the entrance was especially noteworthy, an imaginative and detailed homage to rock memorabilia that immediately immersed patrons in the spirit of the show. Such thoughtful touches greatly enhance the audience experience and reflect a society that clearly values presentation and hospitality. Overall, Mitchelstown Musical Society should be commended for taking on such a challenging and stylistically demanding production. We Will Rock You is a difficult show to execute successfully, and this production demonstrated considerable ambition, strong musical foundations, several standout performances, and clear commitment from the entire company. With greater attention to pace, polish, and technical balance this company has all the ingredients necessary to elevate future productions to an even higher standard. There is much talent within this society, and with continued refinement and development, they are well placed for continued success in future seasons.

Review: Hadestown: Teen Edition - Bellvue Academy

Society name: Bellvue Academy Show name: Hadestown: Teen Edition Date of attendance: 28th February 2026 _______________________________________________________________________ From the opening bars of Bellvue Academy’s ‘Hadestown: Teen Edition’, it was immediately clear that this wasn’t going to be any ordinary production. Staged in Gaelcholáiste Chéitinn, Clonmel, what unfolded was an extraordinary piece of theatre underpinned by remarkable maturity, musicality and storytelling craft. It was...

Society name: Bellvue Academy Show name: Hadestown: Teen Edition Date of attendance: 28th February 2026 _______________________________________________________________________ From the opening bars of Bellvue Academy’s ‘Hadestown: Teen Edition’, it was immediately clear that this wasn’t going to be any ordinary production. Staged in Gaelcholáiste Chéitinn, Clonmel, what unfolded was an extraordinary piece of theatre underpinned by remarkable maturity, musicality and storytelling craft. It was not just impressive for a cast of young performers. It was impressive by any standard. The quality of the performance was made all the more noteworthy given the circumstances surrounding the production. With their usual home, The White Memorial Theatre, closed for renovations, Bellvue Academy were required to reimagine their staging within the confines of a school hall. They rose to that challenge and then some. Through clever design, thoughtful use of space and a very clear vision, they transformed Gaelcholáiste Chéitinn into an atmospheric, theatrical space. Their talented creative team guided a cast of extraordinary ability, giving us a production of the highest quality. It was testament to what can be achieved when talent meets expert guidance. Before the show began, there was a palpable sense of occasion. A warm and genuine welcome front of house set the tone for the evening, with friendly volunteers ensuring everything ran smoothly and efficiently. It was a pleasure to meet members of the organising team and to hear about the group’s journey to date, as well as the challenges they had navigated in relocating from their usual home in The White Memorial Theatre, which was closed for renovations. That sense of pride and positivity was reflected in a wonderful buzz among the audience, creating a warm atmosphere of anticipation ahead of the performance. Lisa Kelly’s direction was excellent throughout. ‘Hadestown’ can present narrative challenges but Ms. Kelly guided her cast with impressive assurance. There was exceptional clarity throughout, with each moment carefully shaped and every element of the story given the attention it required. Attention to detail was evident across all aspects of the production. This extended into the technical elements of the show, where it was clear that a significant amount of detailed preparation had taken place behind the scenes. The inclusion of a remarkable, fully functional revolve provided a wealth of staging opportunities. Similarly, the lift to Hadestown was another triumph, delivering some of the production’s key visual moments. The staging was both visually engaging and theatrically interesting. There was a strong sense of stagecraft evident among the cast at all times. There was a great understanding of space, focus and intention that is not easily achieved, particularly with younger performers. This does not happen by accident. It must be carefully instilled and it stood out as one of the Ms. Kelly’s most significant strengths as a director. Excellent work overall. Musical direction, under the expert guidance of Niall Kelly, with Mary Rose McNally as chorus mistress, was of an exceptionally high standard throughout. It was a very musically assured interpretation of Anais Mitchell’s score. The band, thoughtfully integrated into the staging, became a visible part of the storytelling. Particularly noteworthy was the band’s handling of improv elements in the score, testament to both the skill of the musicians and Mr. Kelly’s leadership. The only minor musical issue arose during ‘Chant’, where the heavier, lower end accompaniment occasionally competed with the vocal lines. However, this was a small point in an otherwise superbly balanced and controlled musical performance. Choral work was a particular strength of the production. The ensemble was exceptionally strong, with excellent diction and control. The tricky, discordant harmonies at the top of ‘Chant (reprise)’ were executed with great precision, while ‘Road to Hell (reprise)’ and ‘We Raise Our Cups’ were other choral highlights. Perhaps the most musically impressive moment came from the three Fates, whose a cappella performance of ‘Nothing Changes’ was simply exceptional. Their blend, balance and control were superb. Excellent work from all involved. Choreography, by Keith Dwyer Greene, was a standout element of the production, showcasing both creativity and a great understanding of the show’s style. Working with a highly capable and committed cast, he created movement that was visually engaging and always driving both character and story. ‘Livin’ It Up On Top’ was a highlight, combining free, character-driven movement with sharp, choreographed sequences to excellent effect. ‘Chant’ was particularly impressive. It was a powerful, highly theatrical sequence that captured the industrial identity of the workers. The choreography worked perfectly with the revolve, lighting and vocals to create a moment of incredible impact, both visually and dramatically. Another standout came in ‘Wait For Me’, where the integration of headtorches and large swinging fibreglass lights, lowered from above, created a striking visual spectacle. ‘Papers’ featured an intentionally brutal dance break in which Orpheus was set upon by the workers. There was a strong sense of discipline in the ensemble movement, with cast showing excellent commitment to the piece. In the leading role of Orpheus, eighteen-year-old Jake Whybrow gave a truly exceptional performance, capturing the character’s naive idealism and quiet determination. There was a sincerity and openness to his portrayal that drew us in from the start. Vocally, this was a performance of remarkable quality. Mr. Whybrow had a stunning, soaring tenor voice which could seamlessly move into a beautifully controlled falsetto when required. His vocal range was hugely impressive but it was his musicality and emotional connection that really set him apart. As an actor, Mr. Whybrow showed a level of maturity and understanding that was striking. There were moments that brought to mind a young Killian Donnelly, such was his instinctive timing and the quality of his performance. His work in more emotionally demanding scenes was especially strong. A truly outstanding performance, not simply impressive for an eighteen-year-old, but impressive by any standard. Jake Whybrow. Remember the name. Zara O’Mahoney delivered an excellent performance as Eurydice, bringing impressive vocals and emotional depth to the role. From the outset, we knew that Eurydice had experienced hardship and Ms. O’Mahoney gave us a very real character who was focused on survival, providing a strong contrast to Orpheus’ idealism. Vocally, she had a most beautiful and expressive tone, using it with great sensitivity throughout. ‘Any Way the Wind Blows’, Eurydice’s reflection of challenging lifestyle, was beautifully delivered, immediately establishing her character and the atmosphere. Ms. O’Mahoney had excellent onstage chemistry with Mr. Whybrow and the relationship between the two characters felt genuinely authentic. A thoughtful and intelligent performer, she brought nuance and clarity to the role, delivering a performance of real quality. Keenan Scully gave a highly polished performance as Hermes, with confidence, charisma and a strong understanding of the narrative. From his first appearance, standing in silence for what felt like an extended moment before addressing the audience, he showed an exceptional level of stage presence and composure. Mr. Scully was a natural storyteller, guiding us through the story with clarity and warmth. Vocally, Mr. Scully was strong, with an impressive range. His musical performance and onstage confidence, made Hermes not just a narrator, but a real presence in his own right. His beautifully judged emotional response at the end of the show was understated but deeply moving; a moment of real authenticity and sensitivity. Nathan Dalton delivered a stunning performance as Hades, one that displayed a level of maturity and control far beyond his years. He commanded the stage with authority, impressively embodying the imposing and enigmatic ruler of the underworld. Vocally, this was a truly exceptional performance. Mr. Dalton had a richly resonant bass voice with remarkable depth and quality. ‘Hey Little Songbird’ was a standout moment, his lower register delivered with ease, control and a beautiful tone that was both powerful and hypnotic. Equally impressive was his work in ‘Why We Build the Wall’, where he demonstrated a surprising and highly effective upper register, moving from bass into tenor with remarkable ease and musicality. Mr. Dalton brought exceptional stage presence to the role. He understood the weight of the character and carried it with confidence. His understanding of the text was clear throughout and there was always great intelligence and awareness to his portrayal. Seventeen-year-old Faye Flavin was a very strong Persephone, bringing charisma and a strong sense of theatrical flair to the role. She had excellent stage presence and was a superb mover. Vocally, she was equally impressive, with a powerful and characterful voice that suited the musical style beautifully. Her performance of ‘Our Lady of the Underground’ was a standout moment, thanks to Ms. Flavin’s energy, confidence and a playful cabaret flair. Her duet with Hades, ‘How Long?’, revealed a more emotional side to the character. The connection between the two performers was strong, and Ms. Flavin played the scene with great confidence and sensitivity. She had a very clear understanding of the narrative throughout. Overall, this was a charismatic and confident portrayal and one that really belied Ms. Flavin’s years. The Greek chorus of Fates was brought to life with exceptional skill by the very talented trio of Aoibheann Kennedy, Doireann Scully and Millie O’Sullivan. Together, they delivered a remarkable performance, combining a strong collective presence with precisely synchronised movement and beautifully controlled vocal harmonies. Their blend of voices was particularly impressive, creating a sound that was rich and finely balanced in songs such as ‘Any Way the Wind Blows’, where their wonderful musicality added so much atmosphere to the piece. There were brief moments where the natural strength of individual performers momentarily drew focus from the collective, though this was a testament to the calibre of talent on stage and was quickly reabsorbed into an otherwise excellent ensemble blend. However, it was in ‘Nothing Changes’ that they truly excelled. Their a cappella singing in this number was simply outstanding, with a blend and balance that was nothing short of exquisite. The ensemble was a significant strength of the production, demonstrating excellent focus, commitment and a clear understanding of their role within the narrative. Vocally, they were consistently strong, while their movement work was equally impressive. It was clear that everyone on stage was fully invested in the production team’s vision. The movement of chairs and other furniture was carried out with precision and fluidity, allowing transitions to flow seamlessly and keeping the momentum of the show throughout. Musically, there were many standout moments. ‘If It’s True’ had an exceptional choral sound and ‘Wait For Me (reprise)’ was wonderfully expressive and beautifully balanced. The beautifully judged stillness during ‘Promises’ was particularly effective, with subtle reactions and a quiet observation that was perfectly appropriate. In contrast, their portrayal of the workers in ‘Chant’ was powerful and precise, with tightly controlled movement that reinforced the intensity of the number. Stage management, led by Claire O’Hara, was of a very high standard, providing a strong backbone to this technically ambitious production. Much of the crew’s work was, by its nature, invisible to an audience, but its impact was evident throughout in the smooth and efficient running of the performance. The management of the revolve was a significant technical achievement, requiring careful timing and coordination to ensure both safety and fluidity in performance. Similarly, the operation of the lift to Hadestown was very well timed. In the absence of flying facilities, the team not only found a way to lower the large lamps for ‘Wait For Me’ but also managed to adjust them in real time, contributing to one of the production’s most visually striking sequences. With a large cast navigating what was a challenging backstage environment, Ms. O’Hara and her team ensured that everything flowed smoothly. Set design was minimalist. The worn look to the proscenium frame and the inclusion of the large red carnation as a focal point was very effective. The upstage balcony provided strong staging opportunities, as did the stage left apron and steps which were used to good effect throughout. Placing the musicians on raised platforms left and right framed the action beautifully. The inclusion of a fully functional revolve was a standout feature. Its successful incorporation was both ambitious and highly effective. Equally impressive was the lift to Hadestown, which provided a highly theatrical means of transitioning between worlds. This was a bold technical choice that paid off brilliantly. The use of large fibreglass lamps in ‘Wait For Me’, was another inspired design choice. Overall, this was a very successful set with a highly ambitious vision, which transformed a school hall into a very impressive theatrical space. Lighting design and operation were exceptional, playing a central role in the success of the production. In ‘Hadestown: Teen Edition’, where atmosphere and mood are so important, lighting is an essential storytelling tool. The precision of cueing in response to the score was superb, with transitions and effects landing with great accuracy. The strong backlighting during the dance break in ‘All I’ve Ever Known’ created a striking visual picture, while ‘Chant’ was brilliantly theatrical, with dramatic beams slicing through smoke and haze to evoke the oppressive, industrial environment of Hadestown. ‘Wait For Me’ was a particular highlight from a lighting perspective, with swirling moving lights working in perfect harmony with the industrialised choreography, headtorches and swinging lamps to create a sequence of real scale and impact. One of the most memorable moments came in ‘Doubt Comes In’, where a striking ‘wall’ of light and smoke was created upstage, allowing Eurydice to appear almost magically before dissolving once more into the background. It was a beautifully realised effect, both technically and theatrically. The timing of the pivotal moment as Orpheus turned to look at Eurydice, one of the most dramatic moments in the show, was executed to perfection, demonstrating a deep understanding of both the music and the narrative. Sound design and operation were of an exceptionally high standard, with clarity, balance and sensitivity throughout. There was an excellent blend within the band, with instruments carefully balanced and subtly brought forward for solo moments, allowing key musical lines to shine. Vocal balance was equally impressive. The ensemble numbers were well mixed, with a strong choral sound that was clear and well-supported at all times. Particular credit must go to the handling of the three Fates, whose intricate harmonies were beautifully balanced at all times, especially during their a capella section of ‘Nothing Changes’. Overall, this was excellent work from the sound department which supported the musical and dramatic requirements of the production in a highly professional manner throughout. There was excellent work from the props department in creating the symbolic world of ‘Hadestown’. In a piece where objects often carry as much meaning as the text itself, props were handled with great care, contributing greatly to the overall visual of the production. The musical instruments and lamps associated with the Fates symbolised their roles as both narrators and manipulators of destiny. The iconic red carnation, so synonymous with ‘Hadestown’, evoked the themes of romance, longing and hope. Persephone’s distinctive round hip flask felt entirely authentic, while Orpheus’ guitar was appropriately worn, reflecting his lifestyle. These kinds of small details added so much to the production. Head torches, seamlessly worked into the workers’ choreography, were an inspired touch. Costumes were a key contributor to the overall look of the production, helping to define character and status very clearly. The Fates were particularly well costumed. Their greyscale costumes created the required uniformity and, along with carefully chosen accessories and headpieces, gave them an otherworldly quality that suited their roles perfectly. Orpheus looked very well with his simple shirt, braces and red bandana reflecting both his innocence and his connection to music and storytelling. Hermes’ look was equally effective, with a stylish waistcoat and tailored look that gave him authority and a touch of showmanship. In contrast, Hades was an imposing figure. His darker costume, complete with long leather coat and sharp pinstripe suit, reflected his status and power very effectively. Persephone provided a welcome burst of colour in her stunning green dress reflecting her connection to the natural world and giving a nice contrast to the darker tones of Hadestown. The workers were costumed with dungarees, muted tones and goggles, creating a believable sense of overworked labourers. Hair and makeup were well handled, with good attention to detail in evidence throughout. Hermes’ slightly greyed hair added a sense of age and wisdom to his role as narrator, while Hades’ perfectly slicked hairstyle gave him an authoritative presence. Orpheus’ bloodied appearance following ‘Papers’ was particularly well realised. It looked very natural and was a small but important detail. The Fates were especially striking, with their bold lip colour and eye makeup giving them a very distinctive look. Overall, nothing appeared out of place, and the overall standard was very polished. This was an exceptional production of ‘Hadestown: Teen Edition’, demonstrating the wonderful talent of its young cast, the power of expert guidance and outstanding commitment from all. What Bellvue Academy achieved in Gaelcholáiste Chéitinn was quite special. They approached this new venue with confidence, transforming the school hall into a very impressive theatrical space. Across all departments, the quality was consistently high. It might be easy to attribute the success of this production to the availability of ‘Hadestown: Teen Edition’ to youth groups. However, such a view overlooks the reality of what was achieved here. Access to material is only a starting point. It is the work, the discipline and the talent of those involved that bring it to life. This production succeeded not because of opportunity alone, but because of the extraordinary standard to which that opportunity was realised. Opportunity may open the door but talent is what walks through it. Perhaps most encouraging of all is what this production represents for the future. If this is the level of work being produced by Bellvue Academy and its young performers, then the future of musical theatre is in exceptionally safe hands. It was theatre of the highest quality. A truly memorable production. Pat McElwain Sullivan Adjudicator 2025/2026 Photos by Cathy Murphy.

Review: Come From Away - Shannon Musical Society

Public Adjudication Society name: Shannon Musical Society Show name: Come From Away Date of attendance: 21st February 2026 One of the most joyful aspects of this role is getting to see, week in and week out, the extraordinary ability of groups across the country to create productions of real quality in the most diverse and often modest venues. From parish halls to community centres and school auditoriums, it is always amazing to be transported into theatrical worlds that can sometimes rival...

Public Adjudication Society name: Shannon Musical Society Show name: Come From Away Date of attendance: 21st February 2026 One of the most joyful aspects of this role is getting to see, week in and week out, the extraordinary ability of groups across the country to create productions of real quality in the most diverse and often modest venues. From parish halls to community centres and school auditoriums, it is always amazing to be transported into theatrical worlds that can sometimes rival professional productions. There is something quite special about seeing such polished productions in surroundings that, on paper at least, might seem unlikely theatrical spaces. This was very much the case with Shannon Musical Society’s production of ‘Come From Away’, staged in the school hall of St. Patrick’s Comprehensive School. It was a production of impressive confidence, clarity and professionalism. There was also something wonderfully appropriate about experiencing this particular story in Shannon. With one of Ireland’s main international airports located just minutes away, the themes of global travel, unexpected arrivals and the coming together of strangers resonated in a particularly meaningful way. Front of house operations in Shannon are always something of an event in themselves and have become a hallmark of productions by the society. We were immediately immersed in the world of ‘Come From Away’ thanks to the transformation of the foyer space. A large map of the world prominently displayed with a simple ‘You Are Here’ marker immediately set the context of the story. A cleverly assembled baggage reclaim area complete with suitcases and a luggage trolley was a particularly nice visual touch. Signage directing us towards ‘Arrivals’ added to the authenticity. Attention to detail created a nice sense of occasion. A large and highly visible front of house team greeted people throughout the venue, ensuring the evening began with warmth and efficiency. The very talented Michael Anthony-Greene directed with considerable flair and imagination. Mr. Greene had a very clear sense of the narrative, delivering an exceptional production that was full of heart, humour and technical polish. Mr. Greene’s direction showed a very strong understanding of the rhythm and storytelling style that makes ‘Come From Away’ so effective. Throughout the show, the use of chairs, so integral to the staging of this musical, was beautifully coordinated, transforming the playing space with speed and clarity as locations moved between multiple locations. The physical space of the hall itself was also used with imagination. Steps leading into the auditorium allowed the action to spill naturally beyond the stage, extending the playing area and drawing the audience further into the story. Mr. Greene’s work with the cast was exceptional across the board. The principals delivered wonderful performances. The ensemble showed great confidence and focus throughout, testament to hours of careful rehearsal. A most touching moment was the appearance of a young firefighter emerging through the trapdoor with a white balloon to join Hannah following her devastating news. It was a simple but profoundly moving image which captured the heart of the story. It was one of many beautiful moments in what was a most thoughtful, piece of direction overall. Musical Director Carmel Griffin, supported by Vocal Director Karen Barrett, did superb work bringing the score to life. Particularly noteworthy was the band’s percussionist, who had previously performed in the West End production of the show. His bodhrán playing drove many of the musical numbers with energy and authenticity, ensuring that unmistakable Celtic sound was always to the fore. Due to an unavoidable availability issue, the band was missing a fiddle player. This was an unfortunate absence for those familiar with the score, as the fiddle playing is so central to the show’s musical flavour. However, to be fair, the remaining musicians worked extremely well to compensate and the quality of musicianship on display ensured that the overall musical standard remained extremely high. Vocally, the choral work was excellent for the most part, demonstrating careful preparation and musical discipline. There was clear attention to dynamics within the ensemble numbers, with excellent diction and a well-balanced blend between the vocal parts. One area that particularly impressed was Ms. Griffin’s handling of the underscoring throughout the show. Her sensitivity to the performers on stage ensured that every word of dialogue remained audible. Choreographer Stephen O'Ríain had an obvious understanding of the style of movement required for this show. The choreography was rooted in narrative-driven movement, with scenes flowing seamlessly from one to the next in a way that suggested close collaboration with Mr. Greene to bring their joint vision to life. The ensemble’s commitment to this storytelling was exceptional. One particularly memorable moment came during ‘38 Planes’, where a simple yet beautifully executed torch sequence created a striking visual image. Equally effective was the subtle incorporation of sign language early in the show. Mr. O’Ríain also demonstrated great skill in integrating props into the choreography. The carefully synchronised ensemble work during ‘Costume Party’ as the ensemble gradually donned donated clothing, became a simple but deeply effective piece of visual storytelling. The aeroplane sequences throughout the show were another highlight, with the sharp precision of the ensemble suggesting significant rehearsal. In ‘On the Edge’ the choreography captured the rising tension and emotion so well. In contrast, the final céilí section was full of exuberant energy. In fact there was little sense that anyone was acting during that piece, such was the authenticity of their energy and joy. Annette, the local schoolteacher, was played with great warmth and humour by Gráinne Hartnett. She really looked the part, thanks to great hair styling and well-chosen costuming and she embodied the character’s enthusiasm perfectly. Her ongoing obsession with Captain Bristol was played with great humour, with Ms. Hartnett delivering the lines with just the right mixture of excitement and exaggeration. Vocally she also made a strong contribution to the ensemble numbers. Beulah, the head of the Gander Legion, was played with warmth and authority by Edel McFadden, who delivered one of the standout performances of the production. Ms. McFadden captured the character beautifully, nailing a convincing Newfoundland accent that was consistent throughout. She brought a strong sense of presence and authority to the role, while also appearing wonderfully comfortable for narrative moments, addressing the audience directly with confidence and ease. Overall, she gave Beulah genuine emotional depth. Her scenes with Hannah were particularly touching, exploring the shared bond of two mothers with firefighter sons with sensitivity and sincerity. Grace O’Connor delivered a strong performance as Bonnie, the head of the Gander SPCA. Bonnie’s determination to ensure the safety of the animals stranded in the aircraft holds was portrayed with convincing conviction and Ms. O’Connor captured the character’s practical, no-nonsense nature very effectively. She also showed the softer side of Bonnie with great sensitivity, especially in her touching connection with the chimpanzee in her care. These moments were handled with warmth and sincerity as we saw the compassion beneath the character’s determined exterior. Martin McNelis brought impressive presence and authority to the role of Claude, the mayor of Gander. From the start, he established himself as a natural, steady leader. His connection with the audience was there from the outset, drawing us into the narrative from the very beginning. He also brought terrific energy to the chaos of ‘Screech In’ driving the sequence forward with great confidence. Mr. McNelis balanced the humour and authority of the role very well. His interactions with the ensemble reinforced the sense of a community coming together under his capable leadership. One of the show’s most moving moments came during ‘Something’s Missing’ as Claude reflected on the emotional aftermath of the “plane people” leaving Gander. Ryan O’Sullivan Glynn gave a confident performance as Doug, the Gander air traffic controller tasked with handling the unprecedented influx of diverted aircraft. He brought strong characterisation to the role. His delivery throughout was smooth and assured. His relaxed stage presence made the character very believable as a calm and professional presence in such a high-pressure environment. His scenes with Bonnie worked very well, with a convincing rapport between the two. Sally Fox gave a most engaging performance as Janice, the fledgling television reporter who finds herself unexpectedly thrust into the centre of an extraordinary story on her very first day on the job. Ms. Fox captured the character’s mixture of nervousness, determination and growing confidence very effectively, giving a genuine and relatable portrayal throughout. Her sincerity allowed us to connect easily with Janice as events unfolded. Her delivery was clear, well-paced and had just the right level of urgency that the character needed to guide us through the timeline of events. She also displayed a strong comedic touch, finding the humour in Janice’s inexperience without ever overplaying. Brian Roche delivered a wonderful performance as Oz, one half of Gander’s small police force. Mr. Roche commanded the stage with impressive authority and his wonderfully consistent Newfoundland accent brought immediate context and authenticity to the role. His delivery of dialogue was very confident and he handled the narrative pieces with relaxed ease, addressing the audience directly with clarity and a natural conversational style. Whether at the centre of a scene or contributing to the group dynamic, Mr. Roche was completely engaged with the unfolding story, always connected to the action around him. Denise Broderick took on the role of Beverley Bass, the pioneering first female captain for American Airlines, delivering a confident and engaging portrayal. She demonstrated a strong command of dialogue throughout, conveying the character’s professionalism and determination with clarity. While the Texan accent could perhaps have been pushed a little further for authenticity, Ms. Broderick nonetheless captured the essence of the character very well. Her big number, ‘Me and the Sky’, was delivered with real power and commitment. Vocally, it is a demanding piece in terms of range and stamina, and while it presents challenges for any performer, Ms. Broderick’s strength lay in her clear connection to the lyrics and her understanding of the character’s story. I was very impressed by the performance of Niamh Roche as Bob, a role typically played by a male-presenting performer. Ms. Roche offered a refreshingly different interpretation, making the character entirely her own as a sharp, sassy New Yorker who views the unexpected detour to Gander with deep suspicion. She was a very strong actress, displaying excellent comic timing. As the story unfolded, the gradual softening of her scepticism felt very believable. Jimmy Arbab, a secondary school student in St. Patrick’s Comprehensive School itself, delivered a remarkably mature and thoughtful performance as Ali. From the start, he showed a clear understanding of the character’s place within the story, playing Ali with sensitivity and intelligence. His expressive face and natural stage presence allowed him to communicate Ali’s inner turmoil very well. One of the most poignant moments came as he described being pulled out of line at the airport and the humiliation of the ensuing body search, which Mr. Arbab played with great restraint and sincerity. Lorraine Owens gave a wonderfully nuanced performance as Diane, the American divorcee whose unexpected stay in Gander becomes a journey of rediscovery. Ms. Owens portrayed the character with warmth and sincerity, capturing Diane’s initial anxiety as she worries that her son may have been on one of the planes during the attacks. As the story unfolded, she gave us a nicely judged, gradual transformation, revealing a more spontaneous and adventurous side as Diane embraced her circumstances. Her developing relationship with Nick was one of the most compelling and heartwarming elements of this production. This connection was most clearly realised in ‘Stop the World’ which was performed with touching sincerity. Olivia Parkinson’s performance as Hannah, the mother of a Manhattan firefighter, was very moving as she anxiously awaited news of her son. She brought great sincerity and emotional honesty to the role. She had a lovely vocal quality and her impressive voice was at its very best in ‘I Am Here’, which was performed with great tenderness and emotion, making it one of the most poignant moments of the production. Hannah’s connection with Beulah, as they shared a common bond, was so well played and their emotional, final phone call was quite heart-wrenching. Tom Barrett was excellent as Kevin T., the head of an environmental energy company whose unexpected diversion to Gander becomes an opportunity for some personal reflection. Mr. Barrett was completely at ease on stage, particularly during the show’s narrative passages, where he addressed the audience with confidence and natural charm. He also showed a natural flair for comedy, finding humour in the text without ever pushing it too far. He had a lovely vocal tone in the beautifully reflective ‘Prayer’. Mr. Barrett also shone during ensemble moments, always focused, committed and in tune with the narrative. Kevin T.’s long-suffering boyfriend (and secretary!) Kevin J. was played with great comic flair by Ethan Doyle. Doyle brought sharp wit and sarcasm to the role, perfectly capturing his exasperation at the chaos around him. His excellent delivery of dialogue allowed the humour to land naturally whilst keeping the irritation and impatience that defines Kevin J. His memorable outburst with the “hot mess” on board their flight was very funny and his visible disgust at his boyfriend’s antics in the bar was perfectly played. Brian Henry gave an outstanding performance as Nick, the nervy Englishman who finds himself unexpectedly falling for Diane during their enforced stay in Gander. Mr. Henry brought a wonderfully gentle quality to the role, capturing Nick’s reserved nature while also allowing the character’s warmth and comedic side to shine. For me, it was one of the standout performances of the night; another shining star in an already stellar lineup. ‘Come From Away’ relies heavily on the strength of its ensemble, and Shannon Musical Society was fortunate to have a wonderfully committed group of performers who worked tirelessly to maintain the relentless pace and flow of the storytelling from start to finish. The ensemble was essentially the engine of the production, moving furniture, transforming locations and creating new spaces with precision and confidence. Their focus and commitment were excellent, ensuring that transitions were slick and that the momentum never slowed. Together, this ensemble created a real sense of community and coming together; a central theme of the show. Stage management in ‘Come From Away’ can appear deceptively straightforward sometimes. There are no major scene changes in the traditional sense, which might lead to the assumption that the demands on the stage management team are minimal. In reality, the opposite is often true. Stage Manager Denis McNelis and his crew clearly had a great deal to coordinate backstage to maintain the polished flow that the audience experienced. With a large cast constantly entering and exiting, often while quickly grabbing props or costume pieces, the potential for confusion is always there. That none of this was visible to the audience is a credit to Mr. McNelis and his team. The set design was visually striking, creating a strong sense of place and allowing the flexibility required for this fast-moving show. Two large, curved structures framed the playing space, giving the stage a great sense of depth and providing an excellent canvas for lighting effects. A large, wooden backdrop displaying a world map was a reminder of the show’s global context. Side masking was provided by tall towers with horizontal timber slats which were deliberately charred; a tying together, perhaps, of the rugged environment of Gander with the destruction at Ground Zero. The unexpected trapdoor was integrated cleverly into the set. Overall, the design struck an excellent balance between visual impact and simplicity, creating a flexible space that supported the narrative beautifully. Lighting was nothing short of exceptional, both in terms of design and operation. Considerable thought had clearly gone into creating a design that supported the storytelling at every turn. There was a very clear sense of close collaboration with the director. The lighting design helped to create stunning stage pictures, capture dramatic moments and present beautifully atmospheric states throughout. Lighting played a very important role in maintaining the fluidity that is a hallmark of this show. With locations shifting rapidly and scenes flowing from one to the next, the lighting design guided us through transitions seamlessly. The timing of cues was particularly impressive, with changes executed flawlessly. Superb work from everyone involved! The sound design and operation was exceptional across the board, playing a crucial role in supporting the story and musicality of the production. Achieving the correct balance in a show like this is no small task, but the sound team handled it with impressive skill. The blend within the band was excellent, allowing the rich Celtic influences of the score to shine through without ever overwhelming the vocal lines. Equally impressive was the balance between band and performers, with vocals always sitting comfortably above the orchestration. The ensemble sound, in particular, was beautifully managed. Harmonies were clear and balanced at all times. There was one brief technical glitch when Oz’s microphone crackled. It amounted to little more than a moment of turbulence in what was otherwise an exceptionally smooth flight. There was excellent attention to detail in the props department, helping to create a very authentic and believable world for the show. I loved the use of sky-blue chairs, which offered a welcome and appropriate variation on the traditional staging while still maintaining the simplicity that the show requires. Some props contributed strongly to the show’s visual comedy. The enormous box of toilet paper was a nicely exaggerated image and impressively realistic cod fish was so convincing that you could almost smell it. Mobile phones felt appropriate to the era and Ali’s beautifully detailed prayer mat added cultural authenticity to the ‘Prayer’ scene. The superb ugly stick was both functional and visually impressive. Costumes were excellent throughout, helping to establish both the period of the story and the sense of community required. The overall design was authentic to the early 2000s and each character was clearly defined while still blending into the ensemble. Some costume choices also reflected personality and status. There were also some comedic costuming elements, such as the cardiologists’ coats, which added visual humour to their scene. Hair and make-up were very well managed throughout. In a show such as ‘Come From Away’, where performers often appear in busy ensemble scenes, these details play an important role in helping the audience quickly identify characters. Overall, the hair/makeup department ensured that good attention to detail was shown and that performers looked appropriate to both their character and their setting. Another great storytelling tool used to great effect. This was a superb production from Shannon Musical Society, produced with remarkable confidence and skill. From the thoughtful direction and fluid choreography to the superb musical standards and striking technical work, every department contributed to a production that was polished and heartfelt. To see a production of such professionalism staged within the simple surroundings of a school hall was a reminder of the extraordinary dedication and talent that exists within the AIMS community. ‘Come From Away’ is a story about kindness, generosity and the positive things that can happen when communities come together in difficult times. Shannon Musical Society captured that spirit beautifully. It was an uplifting and wonderfully executed piece of theatre that left a lasting impression and deserved the enthusiastic response it received from the audience. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Sweeney Todd - Tipperary Musical Society

Society name: Tipperary Musical Society Show name: Sweeney Todd Adjudicator date of attendance: 19/02/2026 Tipperary Musical Society took on the formidable challenge of Stephen Sondheim’s Sweeney Todd , a dark and atmospheric musical thriller that demands musical precision, confident storytelling, and a strong understanding of its unsettling world. It is a work that blends horror, satire, and social commentary, requiring careful attention to pacing, character psychology and visual...

Society name: Tipperary Musical Society Show name: Sweeney Todd Adjudicator date of attendance: 19/02/2026 Tipperary Musical Society took on the formidable challenge of Stephen Sondheim’s Sweeney Todd, a dark and atmospheric musical thriller that demands musical precision, confident storytelling, and a strong understanding of its unsettling world. It is a work that blends horror, satire, and social commentary, requiring careful attention to pacing, character psychology and visual storytelling. When successfully realised, the show becomes a powerful theatrical experience, and the company should be commended for tackling such a complex and demanding piece. From the moment the audience entered the theatre, the visual world of Victorian London was clearly established. The set created an immediate sense of place and atmosphere, setting the tone for the grim narrative ahead. It was evident that a great deal of work had gone into creating the physical environment of the story, and this provided a strong framework for the performance that followed. Directing Sweeney Todd presents a particular challenge because of its layered structure and shifting locations. David Hennessey approached the production with a concept that allowed the story to unfold in a coherent way. The staging was generally clear and functional, enabling the audience to follow the narrative without difficulty. Performers were positioned in ways that allowed the scenes to play effectively, and the overall flow of the production was steady and understandable. At times, the physical journeys of performers could have benefited from additional refinement. In several instances, characters crossed through areas of the stage that were representing different locations within the same scene. This occasionally created a small degree of visual confusion regarding where the action was taking place. With a show that frequently depicts multiple locations simultaneously, careful mapping of the stage space can be particularly helpful in maintaining clarity. This was most noticeable in the sequence spanning from “Kiss Me” to “Epiphany,” where three separate locations exist at once. These moments offer wonderful opportunities for dynamic staging but require precise placement of performers and scenic elements. With a little more attention to how each playing area is defined, these scenes could become even more visually striking and easier for the audience to read. The overall concept of the production was solid and recognisable. While the interpretation remained fairly traditional rather than radically reimagined, it served the narrative well and created a dependable framework for the story. One staging choice that slightly diluted the dramatic impact was the use of Johanna’s room during some chorus sequences. As Johanna’s room represents her imprisonment, allowing other characters to occupy that space reduced the sense of isolation that defines her situation. Reserving that area solely for Johanna might heighten the emotional impact of her scenes. Another aspect that might be explored further is the social hierarchy within the world of the show. Victorian London was defined by sharp contrasts between wealth and poverty, and this contrast can add great depth to the storytelling in Sweeney Todd. In this production, most characters appeared to inhabit the lower social bracket. Introducing a clearer distinction between classes, both visually and through characterisation, could help reinforce the societal tensions that underpin the narrative. Character development across the production also presented opportunities for deeper exploration. Many characters remained within a fairly consistent emotional register throughout the performance. The drama of Sweeney Todd becomes particularly compelling when characters move through contrasting emotional states, moments of tenderness, humour, obsession, and despair. Greater emphasis on these contrasts would help create richer dramatic arcs. Musically, the production was one of the evening’s strongest aspects. Under the musical direction of Mary Rose McNally, the orchestra handled Sondheim’s famously intricate score with confidence. The band produced a rich, full sound that captured the dark intensity of the music. Instrumental balance was carefully managed, allowing the distinctive colours of the orchestration to emerge clearly while supporting the singers on stage. There were occasional moments where a slightly stronger sense of drive might have heightened the dramatic momentum, but these were relatively minor observations within an otherwise impressive musical presentation. The ensemble singing was particularly strong, with harmonies well balanced and diction generally clear, an important achievement in a Sondheim score where the text carries so much of the storytelling. Choreography in Sweeney Todd tends to rely less on traditional dance and more on stylised movement, and Amanda Kearns approached this with sensitivity to the tone of the piece. Movement throughout the show complemented the drama effectively rather than drawing attention away from it. The Ball sequence provided a lighter visual moment within the darker world of the show, and the movement in the Fogg’s Asylum and Fogg’s Passacaglia sequences was particularly effective. These moments demonstrated a thoughtful approach to physical storytelling and were executed confidently by the performers. The principal performances provided a strong centre for the production. Derek Ryan took on the demanding title role of Sweeney Todd and delivered a powerful vocal performance. His voice carried well throughout the theatre and brought considerable presence to the role. At times, the vocal delivery featured a pronounced vibrato which occasionally overshadowed the clarity of the text. Allowing some notes to sit more simply in the voice could help highlight the storytelling within the music. Dramatically, the character maintained a strong sense of anger and intensity throughout. Introducing more emotional contrast, moments of vulnerability or reflection, could further deepen the character’s journey and make the climactic moments even more powerful. Derek also dealt admirably with an unexpected technical issue when the lever of the barber’s chair broke in his hand, continuing seamlessly and ensuring the action of the scenes remained intact. Deirdre Ryan’s Mrs. Lovett brought a solid vocal presence to the stage. Her lower register was particularly strong and well suited to the character. In the higher register, the transition between chest voice and head voice occasionally became noticeable, and smoothing this shift might further strengthen the vocal line. Mrs. Lovett is often a wonderfully eccentric character and exploring more of her quirky and unpredictable nature could provide additional humour and colour. There were moments where the role felt slightly restrained, and pushing the character’s darker comic energy further might create even stronger stage moments. Developing a greater sense of playful interaction between Lovett and Sweeney could also enhance their partnership on stage. Paul Finn delivered Judge Turpin with confidence and handled the music comfortably within his range. The role offers opportunities to explore a deeply unsettling duality between outward authority and inner corruption. Emphasising the darker aspects of this character could have heightened the tension of his interactions, particularly with Johanna. Jamie Sheehan’s Tobias Ragg was a touching and sincere portrayal. His voice carried a mature tonal quality that contrasted slightly with his youthful appearance, but his delivery was warm and engaging. His rendition of “Not While I’m Around” was particularly moving and resonated strongly with the audience. Sheehan also captured Tobias’s emotional journey well, with his descent into madness towards the end of the show portrayed convincingly. Rachel Breen’s Beggar Woman stood out as one of the most compelling performances of the evening. She fully embraced the physical and emotional complexity of the role, creating a vivid and unsettling presence on stage. Her movement was highly effective, and her vocal interpretation demonstrated strong control over phrasing and dynamics. She captured both the fragility and madness of the character, bringing depth and authenticity to the production. Among the supporting roles, James O’Donovan’s Beadle Bamford was confidently sung and clearly presented. Further exploration of the character’s more menacing qualities could add additional theatrical impact. Cathal Walsh approached Anthony Hope with enthusiasm and energy. At times, the performance leaned toward a heightened theatrical style, but focusing more on the character’s sincerity and romantic innocence could strengthen the believability of the relationship with Johanna. Jordan Freeman delivered Johanna with sensitivity, though the higher notes occasionally sounded slightly breathy. With additional vocal support in the upper register, these moments could become more secure. Strengthening the chemistry between Johanna and Anthony would also help deepen the emotional connection of their scenes. Cole Flanagan sang the role of Adolfo Pirelli extremely well and displayed a strong vocal presence. The character’s sensual macho showmanship could perhaps have been pushed further to reinforce the idea that he captivates the public around him. Connie Withero contributed well as Jonas Fogg, though refining the staging of his death could have helped maintain the dramatic illusion. Eimhin O’Meara’s Bird Seller was a pleasant cameo performance, with further work on accent consistency needed to help integrate the character more fully into the London setting. The chorus produced a powerful and cohesive vocal sound throughout the evening, and their musical contribution was one of the production’s strengths. Harmonies were strong and well balanced, creating a rich ensemble texture. In terms of performance style, some members fully embraced the dark atmosphere of the show while others appeared slightly less immersed in the dramatic world. Encouraging the entire ensemble to commit fully to the tone of each scene would help create a more unified stage picture. Movement within the chorus was executed confidently and served the production well. Visually, the set design was impressive and clearly the result of a great deal of craftsmanship. The large arch structure provided a striking focal point and framed the action effectively. Rotating scenic elements added visual interest and helped facilitate transitions between locations. A few design choices raised small questions in terms of storytelling, for example, the staircase leading to Johanna’s room somewhat undermined the sense that she was inaccessible. Similarly, the large meat grinder appeared only briefly before a smaller one attached to the table was used instead. The back platform also felt slightly underused and occupied space that might otherwise have allowed for more staging flexibility. The placement of the barber’s chair and side table created some practical challenges for the staging of the slide mechanism, and unfortunately the lever malfunction on the evening made the moment slightly more difficult to execute. Nonetheless, the production continued smoothly. Stage manager Alma Quinn oversaw the running of the show effectively. Scene changes were generally swift and well-coordinated with the lighting cues. It was particularly pleasing to see cast members assisting with transitions, helping to maintain the pace of the performance. The idea of having crew largely in costume was a thoughtful touch, though maintaining a more consistent visual approach, such as disguising headsets or ensuring all crew were similarly dressed, would further preserve the illusion of the stage world. Technically, the production was extremely strong. The lighting design was particularly impressive, creating a dark, shadowy atmosphere that suited the gothic tone of the show beautifully. The use of colour and angle helped define different locations clearly, and practical lighting elements added realism and depth to the stage picture. Cueing was sharp and precise, demonstrating a high level of technical control. Sound design was equally well handled. The balance between orchestra and singers was carefully maintained, allowing both to be heard clearly. The brass section in particular was very well integrated into the mix, and cues were executed reliably throughout the performance. Costumes were well made and visually effective, contributing strongly to the period atmosphere of the production. Introducing a wider range of upper-class costumes within the ensemble could further emphasise the social divisions of Victorian society. Small details such as extending Johanna’s nightdress to floor length might also reinforce aspects of the story. Hair styling was appropriate, and make-up was well applied, though extending coverage to areas such as the neck and behind the ears would ensure consistency. The Front of House team also deserves recognition for the welcoming environment they created for the audience. From the moment patrons arrived at the theatre, there was a clear sense of organisation and hospitality. Audiences were greeted warmly, and seating arrangements appeared well managed. The atmosphere in the foyer-built anticipation for the performance and contributed positively to the overall theatre-going experience. Tipperary Musical Society should be commended for undertaking such a demanding work. Sweeney Todd requires a high level of musical skill, strong design work, and performers willing to explore its darker themes. This production displayed many notable strengths, particularly in its musical performance and technical design. With continued exploration of character depth, social context and staging clarity, future productions will undoubtedly continue to grow in confidence and impact. ---- All photo credits are Mark Fitzell.

SOUTH-WEST SOCIETIES

Below is our comprehensive list of SOUTH-WEST societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

Society
MTU Musical Society
Aghada Centre Theatre Group
Bellvue Academy of Performing Arts
Carrick-on-Suir Musical Society
Carrigaline Musical Society
Cecilian Musical Society, Limerick
Cork City Musical Society
Creative Minds Productions
Ennis Musical Society
Fermoy Musical Society
Killarney Musical Society
Kilrush Choral Society
Light Opera Society of Tralee (LOST)
Limerick Musical Society
Mallow Musical Society
Mary I Dramatic Arts Society
Mitchelstown Musical Society
Muse Productions
NOVA Theatre Group
Nenagh Choral Society Ltd
Nenagh Choral Society Youth Academy
Newcastlewest Musical Society
Pantaloons
Phoenix Productions
Roscrea Musical Society
Shannon Musical Society
St. Mary's Choral Society, Clonmel
Thurles Musical Society
Tipperary Musical Society
Tralee Musical Society
Tralee Musical Society Youths
UCC Musical Theatre Society
University of Limerick Musical Theatre Society
Youghal Musical Society
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