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10 Sept 2026

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4 Oct 2026

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14 Feb 2027

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23 Feb 2027

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26 Apr 2027

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LATEST NEWS

Review: The Clockmaker’s Daughter - St. Mary’s Choral Society

Society name: St. Mary’s Choral Society Show name: The Clockmaker’s Daughter Adjudicator date of attendance: 01/05/2026 St. Mary’s Choral Society presented a warm, heartfelt, and visually enchanting production of The Clockmaker’s Daughter, capturing the whimsical spirit and emotional sincerity of this beautiful musical with great care and affection. From the opening moments, the audience was drawn into a world that felt both magical and intimate, filled with warmth, humanity, and strong...

Society name: St. Mary’s Choral Society Show name: The Clockmaker’s Daughter Adjudicator date of attendance: 01/05/2026 St. Mary’s Choral Society presented a warm, heartfelt, and visually enchanting production of The Clockmaker’s Daughter, capturing the whimsical spirit and emotional sincerity of this beautiful musical with great care and affection. From the opening moments, the audience was drawn into a world that felt both magical and intimate, filled with warmth, humanity, and strong storytelling. Director Des Henn guided the production with a clear understanding of the heart of the piece, allowing the emotional narrative to unfold naturally while maintaining a lovely pace and energy throughout. The storytelling was handled thoughtfully, with quieter moments given time to breathe while still sustaining momentum. Relationships between characters felt believable and lived-in, helping to create a convincing sense of community within the village setting. The production balanced comedy and emotion particularly well. The humour never felt forced, instead emerging naturally from character interactions and situations. Scenes involving Ma Riley brought genuine warmth and laughter to the performance, providing welcome moments of levity that complemented the more emotional aspects of the story beautifully. There was a strong emotional clarity throughout much of the production, particularly in the central relationship between Constance and Will. Their connection developed with tenderness and honesty, giving the audience a relationship they could fully invest in. The wider ensemble also contributed enormously to the authenticity of the world being created onstage, with many characters feeling fully fleshed out and grounded within the village community. At times, some aspects of the physical storytelling around the set could perhaps have been defined with slightly more precision, particularly around the stream and bridge area, where distinctions between water and land occasionally became a little blurred. However, these moments were minor within an otherwise cohesive production and could easily be refined further in future performances. One particularly interesting aspect of the direction was Constance’s journey from automaton to human. The initial physicality established her mechanical nature very effectively, immediately creating a sense of “otherness.” As the production progressed, there may have been room to allow that physical transformation to unfold even more gradually, heightening the emotional impact of her development. Nonetheless, the concept was clearly considered and remained engaging throughout. Accent work across the production leaned toward a broad Irish sound rather than a clearly defined regional dialect. While consistency varied slightly, the warmth and sincerity of the performances ensured the charm of the production remained fully intact. Musically, the production was exceptionally strong. Niall Kelly’s musical direction was a major asset to the evening, with the orchestra delivering a lush and emotionally rich interpretation of the score. The flowing melodies were handled beautifully, while the more rhythmic sections maintained strong drive and energy throughout. Tempos were extremely well judged, supporting both the pacing of the storytelling and the emotional atmosphere of the piece. The positioning of the orchestra was also a particularly effective choice. Having the musicians facing stage right, with the standing Musical Director positioned to the side, ensured the audience maintained clear sightlines to the stage while still allowing excellent communication between cast and pit. It was an inventive staging solution that worked well within the venue. Vocally, the production was outstanding. The ensemble harmonies were rich, balanced, and beautifully blended, creating a glorious choral sound throughout the evening. The opening and closing numbers were especially moving, filled with emotional phrasing and excellent clarity of diction. Entrances and cut-offs remained consistently secure, demonstrating the strength of rehearsal preparation and musical discipline across the company. Barbara Meany’s choreography worked extremely effectively within what was clearly a limited stage space. Rather than overcrowding the stage, the movement remained purposeful, character-driven, and visually engaging throughout. Changing formations were used cleverly to maintain visual interest, while the choreography itself complemented the intimate nature of the musical beautifully. “Raise A Glass” stood out in particular as a wonderfully energetic and entertaining number. The cast performed it with enthusiasm and confidence, creating a lovely sense of celebration and community. Throughout the production, the ensemble appeared comfortable and well-rehearsed in the movement, contributing significantly to the warmth and vitality of the show. Saoirse Scully delivered a beautifully sincere and emotionally engaging performance as Constance. Vocally, she was strong, singing with maturity, sensitivity, and a lovely emotional nuance that suited the score. Her portrayal captured Constance’s innocence and fascination with the world beautifully. There was a wide-eyed curiosity to the performance that made the character immediately endearing. Her initial mechanical physicality was particularly effective and clearly established the character’s unique nature from the outset. As the production progressed, the transition toward more human movement perhaps developed a touch quicker than expected, though the emotional honesty of the performance ensured the audience remained fully invested throughout. Her scenes with Emmett Donlan’s Will were especially touching. The chemistry between the pair felt entirely natural and believable, and together they created the emotional heart of the production. Emmett Donlan gave a wonderfully gentle and sincere performance as Will Riley. He brought an effortless warmth and authenticity to the role, creating a character that felt grounded, kind, and emotionally open. Vocally, he was superb, with a tenor voice that soared beautifully through the score while maintaining clarity, sincerity, and emotional connection. There was a lovely softness and vulnerability to his acting that suited the role perfectly. He appeared completely at ease onstage, allowing the audience to connect instantly with the character. His vocal blend with Saoirse Scully was particularly beautiful, and together they elevated many of the show’s key emotional moments. James O’Donovan delivered a thoughtful and emotionally layered portrayal of Abraham Reed. He effectively conveyed the internal conflict of a man struggling with pride, fear, responsibility, and emotional attachment. At times the performance leaned more heavily toward frustration and anger, though there were also some lovely glimpses of vulnerability that added further depth to the character. Vocally, he performed strongly throughout the evening, with “You’re Still Here” proving particularly moving and emotionally sincere. Sheena Fennessy brought tremendous humour and personality to the role of Ma Riley. Her portrayal captured the recognisable qualities of a classic Irish matriarch well, and her comic timing generated many genuine laughs throughout the evening. Her transitions between irritation, warmth, nosiness, and hospitality were handled naturally, particularly when realising there may be financial gain involved in the situation. Vocally, some of the higher material appeared slightly outside her most comfortable range, but this was more than compensated for through strong characterisation and expressive storytelling. Her emotional turn following her shooting of Will was especially well handled and brought an added layer of humanity to the character. Nicole Butler and Cormac Maher were extremely charming as Amelia Kelly and Henry Glynn. Their chemistry felt natural and relaxed, and they brought humour and warmth to the wedding dress storyline without ever overplaying it. Vocally, both blended beautifully with one another and with the wider ensemble. Cian Corcoran brought a gentle warmth to Mayor Glynn and contributed nicely to the atmosphere of the village community. While there were moments where additional vocal confidence would further strengthen the performance, the sincerity and commitment of the portrayal remained evident throughout. The group of seamstresses, Rhiannon – Eabha Morrissey, Moll – Rachel Browne, Cara – Aoibhe Condon, Jane – Nicole Kennedy, Mary – Siobhan Scanlon, and Lucille – Aine Purcell, worked wonderfully together as a unit. Their gossiping was particularly entertaining, filled with expressive reactions while remaining grounded within the world of the piece. Vocally, they blended extremely well and consistently enhanced the texture of the ensemble numbers. Featured ensemble members, Mab – Gillian Scully, Sam – Nathan Dalton, and Mr. Reed – George Barry, all contributed strongly, remaining focused and engaged throughout while integrating seamlessly into the wider company. Indeed, the ensemble as a whole was one of the greatest strengths of the production. Their singing throughout the evening was stunning, producing rich harmonies and an exceptionally well blended sound. The opening and closing numbers were especially moving, creating powerful emotional moments through the strength of the ensemble vocals. Acting within the ensemble was equally strong. Every performer appeared fully invested in the storytelling, helping to create a believable and fully realised stage world. Background interactions remained engaged and authentic throughout, while the choreography was performed confidently and with ease. Visually, the production was absolutely beautiful. The set design demonstrated enormous attention to detail and perfectly complemented the whimsical, fairytale atmosphere of the piece. The downstage houses that opened to reveal Abraham’s workshop and Ma Riley’s shop were particularly effective, while the hidden access doors built into the set, for the stage crew to rearrange the internal decor, reflected a very impressive level of technical thought and craftsmanship. The moving bridge also worked extremely well, enhancing both the storytelling and the physical environment of the show. Jimmy Trehy’s stage management was excellent throughout. Scene changes were executed swiftly and smoothly, ensuring the production maintained momentum even during larger transitions. Lighting and sound were both of an extremely high standard. The lighting design created several genuinely beautiful stage pictures, particularly during solo moments where mood and atmosphere were enhanced very effectively. The moon projected onto the back wall was a lovely touch, while the fairy lights woven across the stage through branches and rooftops created an utterly magical atmosphere for Will’s special place. Sound quality remained consistently polished throughout the evening. The balance between orchestra and vocals was excellent, particularly important in the intimate venue, and individual vocals were always clear and well supported. Costumes, hair, and makeup all complemented the production beautifully. The costume palette worked wonderfully alongside the set design, while the styling remained thoughtful and appropriate to the world of the show. Hair and makeup were neat, effective, and suitably period appropriate without becoming distracting. Front of house operations also contributed positively to the overall experience. The audience was welcomed warmly on arrival, and the organisation throughout the venue helped create a lovely atmosphere of anticipation before the performance even began. There was a clear sense of pride within the society that extended beyond the stage and into the overall audience experience. Overall, St. Mary’s Choral Society delivered a heartfelt, visually stunning, and musically accomplished production of The Clockmaker’s Daughter. The warmth and sincerity at the centre of the performance ensured the audience remained emotionally invested throughout, while the strength of the ensemble, the beauty of the score, and the detailed visual presentation combined to create a truly memorable evening of theatre. The company should be extremely proud of what they achieved with this production.

Review: West Side Story - Roscrea Musical Society

Society name: Roscrea Musical Society Show name: West Side Story Adjudicator date of attendance: 28/04/2026 One of the things that has struck me most over the past season has been the standard of productions being staged in every type of venue imaginable. I've sat in purpose-built theatres, arts centres, school halls and parish halls and I've come away from many of them thinking exactly the same thing. Great theatre isn't about the building, it's about the people. Roscrea Musical Society's...

Society name: Roscrea Musical Society Show name: West Side Story Adjudicator date of attendance: 28/04/2026 One of the things that has struck me most over the past season has been the standard of productions being staged in every type of venue imaginable. I've sat in purpose-built theatres, arts centres, school halls and parish halls and I've come away from many of them thinking exactly the same thing. Great theatre isn't about the building, it's about the people. Roscrea Musical Society's production of 'West Side Story' in the Abbey Hall was a perfect example of that. Taking on one of the most iconic and demanding musicals ever written is a challenge in any venue but, from the outset, it was clear that this cast and crew knew exactly what they wanted to achieve. Through excellent direction, impressive musical standards, exhilarating choreography and excellent collaboration across every department, they created a production that never felt limited by its humble surroundings. It was everything that is good about amateur musical theatre in this country. I was greeted with a very warm welcome at the Abbey Hall. The front of house team set a very positive tone for the evening from the moment people arrived. The atmosphere was friendly, efficient and well organised. A very minor seating issue arose on arrival but it was handled with great discretion, professionalism and good humour. I was particularly appreciative of this. Nothing was a problem and the team ensured that everything ran smoothly and without fuss. There was a real sense of excitement in the hall ahead of the performance and a feeling that something special was about to happen. As it transpired, that feeling proved to be entirely justified. Stephanie Browne directed with a clear understanding of the shows themes and dramatic demands. The standard of acting across the cast was excellent throughout. The relationship between Tony and Maria was beautifully developed. Simple moments such as a gentle touch, Tony fixing Maria's hair, a kiss on the head or a lingering look helped to create a most believable relationship. The build-up to the rumble was superbly handled. Performance levels during the ‘Tonight (Quintet)’ were exceptional, particularly amongst the gang members whose energy drove the sequence forward. This intensity and commitment made the number so thrilling. The rumble itself was one of the strongest scenes in the production. It was raw, dangerous and believable. There were so many clever storytelling decisions throughout. Most powerful of all was the final stage picture. Maria left alone with the gun. Nothing was overplayed. Nothing was forced. This image simply posed a question and trusted us, the audience, with it. Storytelling of the highest quality from Ms. Browne and intelligent direction that played a big part in making this such a successful production. Mary Rose McNally brought a wealth of experience to her role as musical director, taking on a score which is still one of the greatest in musical theatre. The music is demanding but under Ms. McNally’s leadership, things were consistently strong. The standard of principal singing was excellent, with Maria and Tony leading from the front. Ensemble singing was also of a very high standard throughout. Their work in 'Somewhere' was particularly beautiful. The sound was warm, balanced and full of feeling. The ‘Tonight (Quintet)’ was exceptional. It is one of the most challenging numbers in musical theatre but the blend and balance between the vocal lines was quite stunning. The orchestra produced an excellent overall sound. Balance was generally very good and there was some particularly lovely violin playing throughout. Excellent work all round from Ms. McNally. Strong collaboration between director and choreographer is always essential in musical theatre. Having Stephanie Browne overseeing both aspects had a huge impact on the production. The integration of dance and conflict was excellent. The fight sequences were raw and aggressive but perfectly controlled. The dance at the gym was another highlight, full of exhilarating energy. ‘America’ brought a different flavour altogether, with great vibrancy and athleticism. Energy was off the charts, with the cast fully embracing the Latin influences. ‘Cool’ was another great sequence, with excellent use of the furniture in what was a very explosive number, sharply focused on storytelling. ‘Gee, Officer Krupke’ was full of comedy and very inventive. I particularly enjoyed the moment where a gang member was rolled in a barrel while the others jumped over it. A simple idea that added greatly to the raw energy of the sequence. Eva McNally gave an outstanding performance as Maria. There was a warmth and sincerity to the portrayal that made it impossible not to invest in her journey. Her relationship with Tony was beautifully played and it felt completely believable that Maria had fallen deeply in love with someone from the other side. Ms. McNally’s singing was wonderful. Her glorious clear soprano was quite stunning. 'Tonight' was captivating, thanks to her pure tone and what felt like effortless control. Technically and emotionally, this was a vocal performance of a very high standard throughout. Her character arc was quite impressive too. The contrast between her initial shyness and the Maria we see by the end of the show was handled with great skill. Colm Hogan gave a wonderful performance as Tony, bringing warmth, sincerity and a lovely sense of optimism to the role. There was a lovely honesty to his performance that made him a very real and authentic character. Mr. Hogan sang so well throughout. ‘Something's Coming’ was particularly impressive, full of energy and excitement for what lay ahead. His performance of ‘Maria’ was another highlight. His beautiful tenor voice was so impressive in ‘Tonight’ and the blend between himself and Ms. McNally was just lovely. Indeed, their chemistry was one of the show’s great strengths. Simple gestures such as fixing Maria's hair said so much. Whether planned or instinctive, it made their love story all the more convincing. Overall, a very strong portrayal of one of musical theatre's most iconic leading men. Ciara Finlay was excellent as Anita, bringing wonderful energy and attitude to the role. Ms. Finlay captured Anita’s strong personality wonderfully. She had superb stage presence throughout and was more than capable of handling gang leader Bernardo. She was a very strong singer. ‘America’ was excellent and Ms. Finlay led the number brilliantly, with plenty of fire and humour while also showing off her impressive vocal ability. For me, her best work came later in the show in 'A Boy Like That/I Have a Love'. Her anger and heartbreak were so believable and this was one of the show’s most moving moments as a result. Her acting was top-notch and one of the most powerful scenes of the show was Anita's encounter with the Jets in Doc’s drugstore. Her performance in this scene was truly powerful. Adam Skeffington gave one of the standout performances of the show as Riff. He was completely believable as the leader of the Jets. Mr. Skeffington made excellent use of dialogue and movement throughout. Everything he said or did felt considered. He carried himself like someone who had spent his life on the streets. Vocally, he was also very strong. His work in 'Jet Song' was very impressive, driving the energy of the number and establishing Riff's authority and leadership. Helen Nolan was excellent as Anybody's. Ms. Nolan captured Anybody’s need to belong and to be accepted by the Jets while constantly on the outside looking in. That struggle was beautifully played. No matter how often she was dismissed or pushed away, Ms. Nolan showed how determined Anybody’s was to prove herself. She was more than just a comic character. We cared about her and wanted her to succeed. This made the disturbing scene in Doc's drugstore all the more poignant, as Anybody's emotional reaction to Anita being set upon was genuinely heartbreaking. Jason Fitzgerald had great presence in the role of Bernardo and gave a very convincing performance throughout. He carried himself with great confidence and authority. His aggressive nature and willingness to resort to violence were always there but never overplayed. He moved with confidence and purpose and always looked very comfortable on stage. Bernardo may not have large amounts of dialogue but Mr. Fitzgerald used his physicality and intelligence as a performer to flesh out his characterisation. Paul Browne gave an exceptional performance as Action, creating one of the most believable and fully rounded characters on stage. Mr. Browne was most convincing as a young man dealing with years of frustration and resentment and we knew that Action was always on the cusp of exploding. That unpredictability made him fascinating to watch. What impressed me most, however, was the character's journey. There was a subtle maturity and understanding that came with being forced into leadership. A thoughtful, intelligent performance which explored the anger and humanity of Action so well. Harry Moriarty was wonderful as Chino. In his first scene in the bridal shop, he was shy and slightly nervous, creating a strong contrast with the man we would eventually see by the end of the show.. His reaction upon learning about Maria and Tony was very well played and it was easy to understand how he found himself driven towards such a tragic act. His entrance through the audience carrying the gun was very unsettling. The sight of his hand shaking as he gripped the gun told us everything we needed to know about Chino's state of mind. Paul Spencer gave an excellent performance as Doc, with a warmth and kindness that was most endearing. He had a very believable relationship with Tony and there was a lovely ease between the two characters. The contrast between the gentle, unassuming Doc in the early scenes and the man consumed by frustration and anger after Anita's attack in the drugstore, underlined Mr. Spencer’s great strength as an actor. A very skilled and thoughtful portrayal. Gráinne Scullane was impressive as the soloist in ‘Somewhere’, which was one of the most beautiful moments in the show. Her singing was gorgeous, bringing a beautiful expressive quality to the very effective dream sequence. Mick Kilheeney made a strong contribution in the dual roles of Gladhand and Officer Krupke. As Gladhand, he was funny and excitable trying desperately to keep order at the dance. He also did well as Officer Krupke, the unfortunate target of the Jets' mockery. A very enjoyable performance in both roles. Proinnsias Loughnane was excellent as Lieutenant Schrank, mixing authority and menace in a very strong performance. Mr. Loughnane played Schrank as a most intimidating figure whose presence immediately changed the atmosphere whenever he appeared. In his scene in the bridal shop following the deaths of Riff and Bernardo, there was a real sense of unease as he questioned Maria, and his intimidating presence cast a shadow over the entire scene. There was excellent work throughout from the ensemble. Relationships felt genuine, reactions were natural and they worked together exceptionally well. James Kelly was exceptionally good as Baby John. He was a very strong actor and an impressive mover. Aidan McColgan was also excellent as A-Rab, bringing plenty of energy and commitment to the role. All of the other gang members were very strong throughout. Sophie Fitzgerald as Consuelo, Gráinne Scullane as Rosalia and Mai Marnell as Francisca all brought great personality to their roles and were particularly enjoyable during ‘I Feel Pretty’. The ensemble work in ‘Somewhere’ was excellent. This was one of the most moving moments of the evening thanks to great commitment from everyone involved. There was also excellent commitment shown during the ‘Tonight (Quintet)’. Stage management was exceptional throughout. Ian Hanrahan and his team did outstanding work in keeping a demanding production moving seamlessly from one scene to the next. The show moves between numerous locations, often in quick succession, and this production never lost momentum. Scene changes were slick, efficient and very well organised. Whether handled by cast members or crew, every movement was carefully planned and well-rehearsed. The level of organisation behind the scenes was evident at every turn. This was a most impressive piece of work from Ian Hanrahan and his team. Set design was very effective. Brickwork, fire escapes and graffiti added to a believable urban New York setting. The central playing area was largely open, which allowed space for the many choreographed sequences. Various levels were used brilliantly throughout the evening, with gang members climbing, sitting and hanging from the set as if it was a natural part of their environment. The design was also very clever from a practical point of view. Hinged sections allowed the set to transform quickly and effectively into a variety of locations, including the bridal shop and Doc’s drugstore. The mechanics of this worked beautifully and allowed scenes to flow naturally into one another without interrupting the pace of the storytelling. The lighting design was outstanding and played a great role in creating the mood and atmosphere of the production. The first meeting between Tony and Maria was beautifully lit. The lighting helped to effectively isolate them from the world around them. There was also some excellent work during ‘America’, where the lighting transitions complemented the choreography perfectly. Cueing during ‘Cool’ was superb. The precision and coordination between lighting, music and movement really added to the tension. The aftermath of the rumble was another standout moment. The stark lighting used to reveal the bodies created a powerful image. There was equally good work in ‘Somewhere’, especially for the re-enactment of the rumble, in which dramatic lighting helped create a most unsettling atmosphere. The sound design was equally strong throughout. The balance within the orchestra itself was very good, while the overall stage-pit balance was very strong throughout the evening. Dialogue was warm and clear at all times and both singing and dialogue benefited from well-judged EQ settings. The ‘Tonight (Quintet)’ was most impressive from a sound perspective. It is a hugely challenging number for any sound designer but it was handled superbly here and every vocal line was wonderfully clear. Cueing was flawless, with no missed cues or noticeable issues throughout the performance. The costume department did a very good job giving context to the period and distinguishing the different groups. I really liked the distinction between the Jets and the Sharks. The Jets' costumes had subtle nods to red, white and blue and the Sharks were dressed in darker, richer colours, creating a contrast between the two groups. Maria’s iconic white dress with the red ribbon looked beautiful and suited her innocence. I felt that the top hat used by Tony in the bridal shop looked slightly less convincing than the rest of the costume plot from a size and quality perspective. This was, however, a very minor point in an otherwise excellent costume plot. This wasn’t a show that relied heavily on props but those that were used were carefully chosen and looked authentic. One thing I particularly liked was how many of the props became part of the action. The green barrel, for example, was used to help create the street environment but also became a part of the choreography in ‘Gee, Officer Krupke’. The bridal shop was especially well dressed. Items such as the sewing machine, mirror, mannequins and wedding accessories created a convincing working environment. Hair and makeup were very well looked after. The overall look was appropriate to the era. Hairstyles suited both the period and the individual personalities of the characters. Maria's styling complemented her youth and optimism, while Anita's look reflected her confidence. The male characters were equally convincing and the Jets and Sharks each had a distinct look. Great work from all involved. ‘West Side Story’ continues to be one of the greatest musicals ever written. More than sixty years after it first appeared on stage, its themes still resonate strongly. It is a very challenging show to stage, on so many levels and Roscrea Musical Society met those demands with great confidence and skill. Excellent acting, thoughtful direction, exciting choreography, strong technical work and wonderful ensemble performances made this a highly impressive production. Great theatre is about the people involved and their willingness to work together in pursuit of a shared vision. Roscrea Musical Society demonstrated that wonderfully with this production. Pat McElwain Sullivan Adjudicator 2025/2026 Photo credit: Roscrea Musical Society

Review: The Prince of Egypt - Tralee Musical Society

Society name: Tralee Musical Society Show name: The Prince of Egypt Adjudicator date of attendance: 17/04/2026 Tralee Musical Society’s production of The Prince of Egypt was an ambitious, heartfelt and visually engaging interpretation of a demanding musical. This is a show that requires scale, precision and emotional depth, asking a society to balance spectacle with intimacy. Tralee Musical Society met that challenge with confidence, delivering a production full of strong storytelling,...

Society name: Tralee Musical Society Show name: The Prince of Egypt Adjudicator date of attendance: 17/04/2026 Tralee Musical Society’s production of The Prince of Egypt was an ambitious, heartfelt and visually engaging interpretation of a demanding musical. This is a show that requires scale, precision and emotional depth, asking a society to balance spectacle with intimacy. Tralee Musical Society met that challenge with confidence, delivering a production full of strong storytelling, impressive ensemble work and a clear understanding of the emotional heart of the piece. Oliver Hurley’s direction showed excellent theatrical instinct. The story was always clear, with each character’s physical and emotional journey carefully guided. The production maintained a lovely flow, and the momentum never faltered. Scene transitions were smooth and purposeful, allowing the narrative to move forward without losing important emotional detail. The chariot race was especially exciting, staged with real energy and imagination. It felt dynamic, dangerous and theatrical, and stood out as one of the most memorable moments of the evening. One of the most effective choices was the use of the chorus as part of the physical world of the production. The ensemble became water, sand dunes, buildings and different communities, creating a visual language that was both clever and deeply theatrical. This choice gave the show a constant sense of movement and life. The set pieces were also used very intelligently, shifting fluidly to create different locations and support the storytelling. Moses and Ramses had a particularly clear relationship arc, although Moses often felt like the older brother rather than the younger. Whether intentional or not, it created an interesting shift in their dynamic. Musically, the production was extremely strong. Michael Young, alongside Chorus Masters Mick Lynch and Mairead Morales, achieved a beautiful sound from both orchestra and ensemble. The score’s driving rhythms and soaring melodies were captured very well, and the orchestra remained impressively secure, particularly given that the band was split on either side of the stage. The music consistently supported the emotion and scale of the story. The chorus singing was a major highlight. “Deliver Us” was a hair-raising opening, immediately establishing the emotional weight of the production. The Act Two finale was equally powerful. Harmonies were rich, full and well balanced, with excellent diction throughout. The ensemble sound filled the auditorium with warmth and resonance, and the musical team should be commended for achieving such a polished and emotionally charged choral standard. Justin Walsh’s choreography was beautiful, precise and deeply connected to the world of the show. The movement language suited the piece wonderfully, and choreography flowed seamlessly in and out of the scene work. It never felt added on for effect; rather, it was part of the storytelling. The chorus were used extremely well, with choreography designed to suit varying levels of ability while still creating a cohesive and impressive whole. The movement had drive, energy and clarity, and the ensemble performed it with great discipline. Gary Murphy gave a strong and centered performance as Moses. He brought calm authority to the role and acted as a steady presence at the centre of the production. His relationship with Ramses was particularly effective, both in the warmth of their brotherhood and in the pain of their later conflict. Vocally, he was very secure, and the material sat comfortably in his range. His voice blended especially well with Tracy O’Keeffe’s Tzipporah, creating lovely musical chemistry. Michael Anthony Greene gave Ramses a youthful, emotionally conflicted quality. His performance captured the character’s struggle between love for his brother and the pressure of legacy, duty, Hotep, and his father’s memory. There was petulance at times, but also vulnerability, which made his journey engaging. Vocally, he was strong overall, with commitment and detail in his performance. Tracy O’Keeffe created a strong Tzipporah, charting a believable emotional journey from anger and resistance to love and trust. She sang with warmth and blended beautifully with Moses. At times, the movement felt a little stiff, and the role would benefit from a more fluid, sinuous physicality, but her character work and emotional sincerity were clear throughout. Michael Lynch brought real command to Seti, presenting a ruler who loved his sons but loved his kingdom more. He had excellent presence and a believable relationship with Tuya. Tim Landers gave a strong performance as Hotep, capturing the character’s ambition and underhand dealings, supported by a rich baritone voice. Anna Curtin was lovely as Queen Tuya, offering warmth, care and emotional resonance. Siobhan Burke’s Nefertari was stoic and dignified, and her grief over her son’s body was quietly heartbreaking because of the restraint she brought to the moment. The supporting roles were also well handled. Amy Naughton was strong and energetic as Miriam, bringing conviction and passion to the role. Padraig Harrington’s Aaron provided a thoughtful contrast, more cautious and resistant, which balanced Miriam’s certainty well. Lloyd Fitzgibbon brought warmth and joviality to Jethro, creating a strong sense of community in the Midian scenes. Sharon Walsh was especially moving as Yocheved, releasing Moses into the river with beautiful restraint and emotional truth. Molly Casey and Aoibhin Commane were both lovely as Keturah and Leah, bringing innocence, sweetness and clear vocal confidence. The ensemble were one of the production’s greatest strengths. They were fully invested at all times, whether singing, dancing, moving set pieces or creating the physical environment of the story. Vocally, they were outstanding, with lush harmonies, strong dynamics and a rich collective sound. Their acting commitment helped create a fully realised world, and their choreography was clean and confident across all ability levels. It was very clear that this company had been well rehearsed and that every member understood their role in the wider storytelling. The set design was clever, versatile, and highly effective. Simple painted moving pieces created a variety of locations, and the integration of the ensemble into the visual design gave the staging real imagination. The projections were of a high quality and worked well with the physical set. Des Hurley’s stage management was fluid and well-coordinated. Much of the movement was carried out by the cast, allowing transitions to feel choreographed rather than interrupted. This helped maintain the production’s momentum beautifully. Technically, the lighting created some attractive pictures and used a colour palette that complemented the costumes and sandy visual world. There were no major issues, but there were areas that could be strengthened. The most extreme downstage section was not fully covered by the front-of-house wash, meaning that principals occasionally dipped in and out of facial light during crowded scenes. The lighting supported the production well, though there were few real “wow” moments. Future productions might benefit from slightly bolder choices or greater contrast at key dramatic points. Sound was well balanced overall, with good cueing and no missed lines. Visually, the production was excellent. The chorus costumes were particularly clever, allowing performers to represent multiple groups without requiring constant changes. The neutral palette suited the desert world beautifully, while texture and shaping added interest. The Egyptian and principal costumes were suitably opulent and decorative, giving strong contrast and status. Hair and makeup were also completed to a high standard, finishing the overall visual world very effectively. Front of House created a warm and organised welcome for the audience. Patrons were greeted efficiently and pleasantly, and there was a lovely sense of occasion before the performance began. These details are important, as they shape the audience experience from the moment they arrive, and Tralee Musical Society should be commended for presenting such a welcoming and professional atmosphere. Overall, this was a highly accomplished production of a challenging musical. Tralee Musical Society delivered strong storytelling, beautiful music, excellent ensemble work and a clear emotional connection to the material. While small technical refinements could enhance future productions, particularly in lighting coverage and dramatic visual impact, this was a production full of imagination, commitment and heart. Congratulations to all involved on a moving, ambitious and memorable Prince of Egypt.

Review: Beauty & The Beast - Ennis Musical Society

Society: Ennis Musical Society Show: Beauty and the Beast Date of Attendance: 04/04/2026 Ennis Musical Society took on the ambitious challenge of Disney's Beauty and the Beast, a musical that demands not only strong vocals and visual spectacle, but also emotional depth, character development and technical precision. This production showed clear enthusiasm and commitment from all involved, and while there were areas that would benefit from greater refinement and cohesion, there was also plenty...

Society: Ennis Musical Society Show: Beauty and the Beast Date of Attendance: 04/04/2026 Ennis Musical Society took on the ambitious challenge of Disney's Beauty and the Beast, a musical that demands not only strong vocals and visual spectacle, but also emotional depth, character development and technical precision. This production showed clear enthusiasm and commitment from all involved, and while there were areas that would benefit from greater refinement and cohesion, there was also plenty of evidence of hard work and potential throughout the company. Under the direction of Jessica Bray, the production had a solid structural framework, and the pacing generally moved along well without any major drops in momentum. The cast's accent work was notably consistent, suggesting careful preparation. However, the production would have benefited from a more layered and detailed directorial approach. At times the staging felt functional rather than fully organic, with performers appearing to follow blocking rather than fully inhabit their characters and relationships. More focus on intention, emotional connection and naturalistic movement would have strengthened the storytelling considerably. The opening number in particular required clearer visual storytelling, as it was often difficult to identify featured characters and focal points within the stage picture. Throughout the production, entrances, exits and movement around the castle space occasionally lacked motivation or logic, making the world feel less believable than it could have been. Greater attention to character journeys and relationships would have helped deepen the emotional impact of the piece, especially in relation to the Beast's transformation, which needed stronger contrast between his harsher early behaviour and his later vulnerability. Musically, the production was on firmer ground. Under the baton of Carmel Griffin, assisted by Chorus Mistress Eilís O'Neill, the orchestra produced a rich and confident sound throughout much of the evening, with clear evidence of careful musical preparation. The score was handled capably by both orchestra and cast, and the musical atmosphere supported the production well overall. While there were occasional moments where soloists became slightly overpowered by the band, the general standard remained strong. Ensemble harmonies were pleasant and secure, although some larger company numbers would have benefited from greater vocal attack and dynamic energy to fully lift the musical moments. Entrances and cut-offs were handled confidently, and the chorus clearly knew their material well. Stephen O'Ríain's choreography showed flashes of creativity, particularly during "Gaston," where the mug choreography and interactions hinted at stronger possibilities within the cast. The company was clearly enthusiastic and physically capable, but much of the movement overall felt somewhat safe. "Be Our Guest," one of the show's major theatrical highlights, lacked some of the flair, excitement and escalating energy audiences expect from the number. Similarly, the wolf attack scenes needed stronger storytelling through movement to create tension and narrative clarity. With more ambitious choreographic choices and a greater emphasis on physical storytelling, the production could have achieved much greater theatrical impact. Aoife Ní Ghormáin delivered a vocally assured performance as Belle, singing with a lovely clear tone and excellent control throughout the evening. Her vocal work was polished and reliable, and she handled the demands of the score confidently. Dramatically the performance needed greater emotional spontaneity and warmth. At times the acting felt slightly over-considered, which prevented the character from feeling entirely natural in the moment. In particular, the relationship with Maurice required stronger emotional grounding, as the father-daughter connection is central to the heart of the story. Nevertheless, Aoife's vocal ability was undeniable, and with increased confidence in emotional expression she has the potential to create a much more layered interpretation of the role. Feargal Kearney sang the role of the Beast strongly and sincerely, with several genuinely touching moments emerging during the quieter scenes, especially in the library. His softer interactions showed warmth and vulnerability, but the character's earlier menace and volatility needed to be more clearly established in order for the transformation arc to fully land dramatically. The emotional journey lacked some contrast, though Feargal's commitment and vocal delivery remained solid throughout. As Gaston, Rhys McNamara brought good physical confidence and captured much of the swagger required for the role. He moved well and maintained strong stage presence throughout. There were moments where greater confidence in comic timing and stillness would have strengthened the humour further, and some interactions with LeFou could have been pushed more theatrically. Vocally, there were occasional challenges in the upper register, but Rhys remained committed and energetic throughout. Lorcan McAuliffe gave one of the evening's strongest character performances as Lumière. His physicality, accent work, and confident stage presence combined to create a charming and engaging interpretation. His interactions with Babette were playful and entertaining, and "Be Our Guest" was delivered with confidence and style. Ruan Kent was a likeable and assured Cogsworth, capturing the role's stiff-upper-lip personality effectively while also finding enjoyable comic moments, particularly during his distress over the winding key on his back. There was perhaps even more comedic potential waiting to emerge, but this was nonetheless an engaging performance. Ruth Fogarty brought warmth and sincerity to Mrs. Potts, with "Tale as Old as Time" proving one of the more emotionally successful moments of the evening. Her relationship with Chip felt believable and affectionate, and she provided a calm emotional centre to the production. Among the supporting cast, James Cullinan gave an energetic and animated performance as LeFou. His instincts for comedy were evident, although greater subtlety and variation at times would have added more depth to the role. Claire Curtin was thoroughly entertaining as Madame de la Grande Bouche, maintaining strong vocal and facial characterisation despite the limitations of the costume. Her operatic vocals, strong accent work and colourful stage presence made for a memorable performance. Des Sullivan approached Maurice with sincerity, though greater awareness of stagecraft and audience sightlines would have strengthened the portrayal considerably, as much of the dialogue was delivered side-on or facing away from the audience. Sarah Alley brought lively energy and strong physicality to Babette, working particularly well alongside Lumière, while Jack Previllon created a suitably sinister Monsieur D'Arque with solid accent work and stage presence. The Silly Girls — Karinah Lek Houlihan, Keelin Clune, Elle Noughton, Molly Cantwell, Rachel Hunt and Zoe Halpin — worked very effectively as a unit, delivering strong harmonies, good facial expressions and plenty of enthusiastic energy. Kate Murphy as Chip also gave a very sweet performance, with a believable relationship established with Mrs. Potts. The ensemble clearly worked hard throughout the production and brought plenty of enthusiasm to the stage. Vocally the company was generally secure, although diction occasionally affected clarity in larger ensemble numbers. Chorus acting would benefit from more workshopping around naturalistic reactions and stage awareness, as performances occasionally became overly exaggerated. The finale, however, demonstrated stronger ensemble cohesion and provided one of the company's best moments collectively. Visually, the production had many attractive elements. The set design featured some particularly effective pieces, including the village trucks and castle setting, while the uplighting against the brickwork added pleasing texture and atmosphere. Scenic dressing was finished to a high standard, especially the banquet table and the wisteria detailing along the downstage walls, which added elegance to the stage picture. The opening projections were incredibly well designed and proved to be a strong opening to the show. Stage management overall appeared organised, though some scene changes became unnecessarily distracting, particularly when taking place during large musical numbers. Greater collaboration between stage management, lighting and musical direction would help transitions feel smoother and less intrusive. Costumes were undoubtedly one of the production's strongest assets. The visual standard achieved by the costume department was excellent, with the ensemble costumes and finale looks creating especially strong stage pictures. The Beast's costumes were also highly effective and helped establish the character successfully. Hair and wigs were neat and well styled throughout, particularly those worn by the Silly Girls, while make-up was generally well applied and appropriate for stage. Lighting proved to be the weakest technical aspect of the production. Inconsistent stage coverage, mismatched colour temperatures and imprecise cueing all impacted the overall visual cohesion of the show. Several principals drifted in and out of specials, and there were few moments of strong theatrical atmosphere or visual impact. Some effects, such as the glitterball projection missing the stage and landing in the audience, reduced the polish of the presentation. The sound design was more successful overall, maintaining reasonable clarity despite a few balance issues. The vocal effect used for the Beast, however, felt inconsistent and ultimately unnecessary. Before the production itself even began, Ennis Musical Society succeeded in creating a warm and inviting atmosphere through their Front of House presentation. The decorative floral details throughout the venue were beautifully done and immediately established the fairytale tone of the evening. It was also lovely to see the Front of House volunteers appropriately costumed, adding an extra touch of immersion and charm for the audience. These thoughtful details reflected the care and pride the society clearly takes in audience experience. Overall, Beauty and the Beast was a production with evident ambition and commitment behind it. While there are areas that would benefit from greater attention to detail, stronger storytelling and more cohesive technical execution, there is also a solid foundation of talent within the society. The visual presentation, musical preparation and several of the principal performances showed genuine promise, and with continued development and a deeper focus on emotional truth and theatrical detail, Ennis Musical Society has the potential to build very successfully on this production in future seasons. Photos by Owen Courtney

Review: Carrie the musical - UCC Musical Theatre Society

Society name: UCC Musical Theatre Society Show name: Carrie the Musical Date of attendance: 4th April 2026 ________________________________________________________________________ ‘Carrie the Musical’ has had quite the unusual history. When it first opened on Broadway in 1988, it closed very quickly and became known as a bit of a disaster at the time. But over the years, the show has been reworked and has found a new life, especially with student and youth groups. In its revised form, it...

Society name: UCC Musical Theatre Society Show name: Carrie the Musical Date of attendance: 4th April 2026 ________________________________________________________________________ ‘Carrie the Musical’ has had quite the unusual history. When it first opened on Broadway in 1988, it closed very quickly and became known as a bit of a disaster at the time. But over the years, the show has been reworked and has found a new life, especially with student and youth groups. In its revised form, it connects much more clearly, with themes like isolation, bullying, identity and the need to belong coming to the fore. It’s easy to see why it has become such a popular choice for younger performers. UCC Musical Theatre Society’s production, performed in the Smurfit Theatre at Dance Cork Firkin Crane, felt very much in line with that. There’s something very natural about a student cast taking on ‘Carrie’. Friendships, pressures, feeling like you don’t fit in, are all things that resonate strongly at that stage of life. This gave the production a sense of honesty that really helped it to connect. Front of house was a very positive experience. We were very well looked after from the moment we arrived, with a friendly and welcoming liaison person on hand, which always makes a difference. A particularly nice touch was the interactive element before the show, where audience members were invited to vote for the prom king and queen from a selection of headshots. The results were then announced at the interval. It was a simple idea, but a really effective one. James O’Connor directed, with Róisín O’Callaghan as assistant director, and there was a lot to admire in how the piece was put together. There was a strong sense of movement throughout, with the cast used well to create some really striking stage pictures. The slow-motion sequences and ensemble freezes were particularly effective, creating some bold visual pictures during key moments. The flow of the show was well handled too. Furniture was often struck by the cast as part of the action, which kept things moving nicely and avoided interruption. The final scene between Carrie and Margaret was especially strong. It was unsettling, intense and didn’t hold back. It felt genuinely disturbing and left a real impact. There were times where background action could have been pulled back slightly. The ensemble were clearly very committed and full of energy but at times drew focus away from where the audience’s attention was meant to be. Overall though, this was very strong direction, especially given the demands of the piece. ‘ Emmeline Turley took on the role of musical director, working closely with conductor Alice Murray. Together they got a huge amount from a student band that was clearly very capable. The group, made up of drums, bass, two keyboards, two guitars and cello, played with confidence throughout and gave the show a very strong musical foundation. There were just some minor feedback issues with the bass at times which caused distraction. It wasn’t constant but it did stand out when it happened. Choral singing was excellent across the board. There were also some lovely musical touches throughout. The guitar underscoring leading into ‘You Shine’ was especially effective. Overall, this was very strong work musically, with a clear sense of care and attention from everyone involved. Michael Healy was choreographer, assisted by Ava Gough and their work was a real highlight of the production. From the opening number, the tone was set clearly. It felt raw, full of energy, and rooted in that sense of teenage frustration and angst that runs through the piece. The movement had real bite to it and it was performed with great accuracy and commitment. ‘The World According to Chris’ stood out as a particularly strong number, tightly choreographed and full of attitude. ‘A Night We’ll Never Forget’ captured the excitement and anticipation of the prom beautifully. It had great energy, a real sense of build, and some impressive athleticism from the cast, all leading into a very effective final photo pose. Overall, choreography added hugely to the overall impact of the show. Ciara Walsh Kilkenny took on the role of Carrie, the isolated and troubled teenager at the centre of the story and delivered a really impressive performance. She captured that sense of a young girl completely at odds with the world around her, a real tortured soul. There was a lovely honesty to her work. She showed a wide emotional range throughout the night, moving convincingly from vulnerability and confusion to moments of real strength. Vocally, she was excellent. ‘And Eve Was Weak’, her duet with Margaret, was particularly powerful, full of intensity and control, while ‘Why Not Me?’ was another standout, filled with raw emotion. Excellent work from a very talented performer and a central performance that held the production together. Sofia Tinné gave a very mature and assured performance as Margaret, Carrie’s deeply troubled mother. It was a strong portrayal of a woman completely blind to her daughter’s needs, driven by a rigid and extreme belief system. From the outset, there was a sense of control and authority about her but also something far more unstable simmering underneath. Vocally, she was very impressive. ‘And Eve Was Weak’, her duet with Carrie, was a real standout, intense, unsettling and at times almost unhinged, as she grappled with the reality of Carrie becoming a woman. It gave a clear glimpse into her fractured state of mind. There were some very dark moments in her performance, none more so than the physical violence towards Carrie. This was a very powerful portrayal, very unsettling and fully committed to from start to finish. Zoe Gibson was another standout performer in the role of Sue Snell, a character who plays a key role in guiding us through the story. From her first appearance being interrogated by police, there was a visible sense of guilt and pain etched on her face. She looked like someone deeply affected by what had happened. She was a very strong actress throughout. We saw her inner conflict clearly, as she struggled between wanting to fit in with her peers and her growing sense that something isn’t right. Vocally, she was excellent. ‘Once You See’ was a real highlight, thoughtful, controlled and beautifully delivered. A very accomplished performance overall which was well judged, emotionally aware, and consistently strong throughout. Éanna Marren gave a really lovely performance as Tommy Ross. There was a sincerity to the portrayal that made the character feel completely genuine. Mr Marren gave us a real, thoughtful young man simply trying to do the right thing. His kindness towards Carrie felt so natural, which made their interactions all the more believable. You could clearly see his growing understanding of her, and the development of that connection was handled very nicely. His singing was also very impressive. ‘Dreamer in Disguise’ was beautifully delivered, with a warmth and ease that really suited the character. ‘You Shine’, his duet with Sue, was another standout moment, full of sincerity. Ellen Jacob was very impressive in the role of Chris, delivering a performance full of attitude and sharp, cutting energy. She set the tone for the group and expected others to follow suit. Her portrayal captured her own idea that it was “better to whip than to be whipped”. A very skilled actress, Ms Jacob was always in control, always a step ahead. There was a strong sense of scheming running through the performance, particularly in how she manipulated those around her and pushed events in a darker direction. She also brought great energy to the role. In ‘The World According to Chris’, she drove the number with great confidence. Oisín Smith took on the role of Billy Nolan, Chris’s boyfriend and partner in crime, and delivered a strong and convincing performance. Mr Smith maintained a dark presence within the group. There was an edge to the performance that made him feel genuinely intimidating. He played the role with a sense of quiet menace, particularly in the lead-up to the prom. He carried himself with a confidence that suited the character and the dangerous dynamic between himself and Chris was so well played. Ciara O’Brien was excellent as Ms. Gardner, the teacher who shows genuine kindness and care towards Carrie. In a story where so much of what we see is harsh and unforgiving, her presence brought a real sense of warmth and humanity. She was a very strong actress and that came through in the quiet, supportive way she interacted with Carrie throughout. ‘Unsuspecting Hearts’ was a standout musical moment. She had a stunning voice and told the story through the song beautifully. There was a real connection to the lyrics and she delivered the number with excellent control. Seán Casey brought a lovely lightness to the role of Mr. Stevens, playing him with a gentle comic touch that was so well suited to the role. As the slightly awkward, nerdy teacher, he provided some welcome moments of humour amidst the trauma. He had strong stage presence and made the most of every appearance. The comedy felt natural, adding some balance to some of the darker elements of the show. There was great strength right across the ensemble, with a number of performers making strong individual contributions while still working well within the group. Jessica Moloney stood out as Norma, bringing great presence to the role. Her flirtation with Mr. Stevens was particularly funny and full of character. There was also solid work from Amy Wallace as Frieda, Emma Coakley as Helen, Cian Sprague as George, Colm Gleeson as Freddy and Mikey Lane as Stokes. Each played their part in contributing to the wonderful energy on stage. The wider ensemble was particularly strong throughout. Choreography was tight and precise and the performance levels were excellent. The female ensemble fully embraced the ‘mean girls’ dynamic, led by Chris, and that mob mentality came across very clearly. Vocally, the group was very strong, with a lovely choral sound. There was also some very effective background work at the prom, helping to build the atmosphere of the scene. At times, however, the movement became a little too busy and more control would have helped to keep the focus where it needed to be. The epilogue was a real highlight, with a stunning choral sound that brought the show to a powerful conclusion. Stage managers Conor Walsh and Katie Cashman ran a very tight ship, ensuring the show moved along at a strong and steady pace. With minimal set changes and much of the movement of furniture and smaller pieces handled by the cast, there was a real sense of flow throughout. Everything felt well organised and coordinated, with transitions handled smoothly and without fuss. The set design was simple but effective, making good use of the space without overcomplicating things. The brick-style backdrop gave a slightly cold, urban feel, which suited the show well. The use of furniture such as benches, tables and the sofa, helped to establish setting when needed, without slowing the pace. The upstage platforms were a particularly useful feature. They added levels to the stage, creating more interesting stage pictures and giving opportunities to separate action when needed. It was a thoughtful and practical design. It may have been quite minimal but it served the production well and allowed the performances and atmosphere to take centre stage. Lighting did some very strong work in creating the mood throughout. In a show like ‘Carrie’, where emotions run high and the tone can shift quickly, that support is so important. Even before the action began, the red wash on the front of house tabs was a nice touch, subtly foreshadowing what was to come. There was excellent use of side lighting throughout, which, combined with generous use of haze, created an eerie, almost otherworldly feel at times. The snap cues into Sue’s interrogation sequences were well timed with sound effects, while slower fades into some blackouts allowed emotional moments to land properly without feeling rushed. For the most part, sound was handled well. There was a good balance within the band, with certain instruments brought forward when needed and a nice overall blend between pit and stage. Mic levels were generally well set, allowing vocals to come through clearly without being overwhelmed. The ensemble sound in the bigger choral moments was particularly strong, with a well-balanced overall sound. Sound effects were also used effectively. There were, however, some issues in the first half, with the bass guitar which produced a noticeable feedback that cut through the mix at times. It wasn’t constant but it did become distracting when it occurred. This settled as the show went on and it was much less of an issue in the second act. Apart from that minor issue, this was solid work, with very good balance and control across most elements. Costumes were well thought out overall and helped to define characters clearly. There was a strong sense of the school environment, with a fairly natural, everyday look for the students that felt appropriate. Carrie’s more conservative dress sense stood out in contrast to those around her, which worked very well in highlighting her isolation and difference. Chris’s Guns N’ Roses t-shirt was a nice touch, giving her an added edge and reinforcing her rebellious, dominant personality within the group. The prom sequence looked particularly strong, with dresses and suits creating a clear shift in tone and helping to mark that moment as something special within the story. At times, some of the darker costumes were slightly lost against the black background, particularly in lower lighting. Good work from the costume department overall, with clear thought given to character and setting, and some nice touches throughout. Props were handled well throughout. It’s not a show that relies heavily on them, but what was used felt appropriate. The radio, for example, was a nice, authentic touch and the prominently displayed picture of Jesus was a clear nod to Margaret’s obsessive beliefs, helping to reinforce her character. There was just one small moment where an ensemble member ‘poured’ from a bottle that still had the cork in it. It was nothing major but this is the kind of detail that stands out when everything else is so good. Hair and makeup appeared to be in very good hands throughout. From what could be seen, everything was clean, consistent, and appropriate to the show. There was a clear contrast between characters where needed. Carrie’s more natural, understated look contrasted well against the more styled appearance of the other girls and that helped support the storytelling. Nothing jarred or felt out of place, which is always a good sign. ‘Carrie’ is not an easy show to stage and it is certainly not the kind of piece you’d expect to see in a local church hall. It demands a lot, emotionally, technically, and stylistically and that’s exactly what made it so refreshing to see a student society embrace it so fully. There was a real sense of ambition running through the entire production. From the strength of the central performances to the energy of the ensemble, from the thoughtful direction to the atmosphere created through lighting and design, it was clear that this was a group willing to take risks and push themselves and that in itself is something to be celebrated. It is always encouraging to see student productions going where others might hesitate to go and this was a perfect example of that. A very strong piece of work from UCC Musical Theatre Society and a most thought-provoking night at the theatre. Pat McElwain Sullivan Adjudicator 2025/2026

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
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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