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Cry Baby as presented by Roscrea Musical Society

Society Name:  Roscrea Musical Society Show Name:  Cry Baby Adjudicator Date of Attendance:  06.05.2035 Brief Overview of Show and Evaluation of Front of House Roscrea Musical Society’s Cry Baby  was a bold, brash, and unapologetically energetic production, brimming with character, colour, and cleverness. The show’s playful irreverence was embraced wholeheartedly by the creative team and cast, resulting in a high-octane performance that was as chaotic as it was charming. It was clear that the...

Society Name:  Roscrea Musical Society Show Name:  Cry Baby Adjudicator Date of Attendance:  06.05.2035 Brief Overview of Show and Evaluation of Front of House Roscrea Musical Society’s Cry Baby  was a bold, brash, and unapologetically energetic production, brimming with character, colour, and cleverness. The show’s playful irreverence was embraced wholeheartedly by the creative team and cast, resulting in a high-octane performance that was as chaotic as it was charming. It was clear that the society approached this piece with a deep understanding of its kitschy, tongue-in-cheek nature, leaning into the absurdity and delivering a fast-paced, laughter-filled evening that never lost momentum. Front of House provided a warm, welcoming environment. Staff were attentive, friendly, and efficient, helping to create a relaxed atmosphere and set the tone for what was a thoroughly enjoyable night of theatre. The space was well managed, with audience members guided with ease and courtesy, enhancing the overall sense of professionalism and community spirit within the company. Director – Direction and Production Paul Norton’s direction gave us a true theatrical romp, relentless in energy, deeply detailed, and packed with laugh-out-loud moments. The commitment to humour and storytelling was evident in every scene. Paul displayed a strong grasp of the genre’s requirements and delivered a production that felt fast, full, and fun. The characters were thoughtfully developed, and while some moments may have pushed the boundary of “too far,” they rarely strayed from the tone of the piece. The storytelling was clear, coherent, and cleverly paced. Paul demonstrated excellent visual staging and knew exactly how to get the best out of his principal performers, building strong character arcs and ensuring key relationships were felt. That said, a deeper integration of the chorus into the storytelling world could elevate the production further. Beyond the surface-level portrayal of “typical American teens,” more defined individual characterisations in the ensemble would have helped build a more immersive and believable world. Nevertheless, the direction was confident, ambitious, and undeniably entertaining. Musical Director – Direction and Orchestra Mary Rose McNally led a tight, efficient, and dynamic musical performance. The band, though small, delivered a punchy and compelling sound that matched the show’s electric energy. The musical drive remained consistent from start to finish, adding to the show’s pace and cohesion. Cues were handled with great attention, and the cast were well supported vocally throughout. Vocals across the board were strong, and while some of the harmony work occasionally felt light, it was generally well managed. The standout musical cohesion came from the male vocal quartet, who offered strong harmonies with only a handful of minor slips. Their sound was tight and stylistically appropriate. Overall, this was a musically rich production under Mary Rose’s sensitive and skillful leadership. Choreographer – Choreography Stephanie Browne delivered choreography that was infectiously energetic and era-appropriate, capturing the show's quirky, rebellious spirit. The opening numbers set a high bar for physicality and presence, and the work throughout was full of inventive staging and movement. A true highlight was the tap number involving license plates, clever, percussive, and delightfully in character. There was a noticeable divide between the more confident dancers and those less experienced. While this is often a practical necessity, it did create a slightly uneven visual impact in ensemble numbers. That said, the material suited the strengths of each group well, and with some additional choreography or movement workshops, there’s a real opportunity to bridge that gap. Overall, Stephanie’s choreography injected the show with pulse and panache. Leading Principals – Singing and Acting Wade "Cry Baby" Walker – Adam Skeffington: Adam brought charm and confidence to his portrayal of Cry Baby, embodying the role of misunderstood heartthrob with ease. He was a strong mover and a solid vocalist, though his performance would benefit from slightly more emotional depth to fully realise the arc of the character. Nonetheless, a charismatic and likeable turn. Allison Vernon-Williams – Valene Greer:  Allison gave an endearing and sincere performance. She maintained a believable character journey, blending naivety with growing independence. Her vocals were clear and tuneful, and she partnered nicely with Adam throughout. Baldwin Blandish – Colm Hogan:  Colm’s Baldwin was delightfully uptight, with a comedic performance that was well-judged. There was space to push the clingy neuroses of the character even further, but the portrayal landed successfully without tipping into discomfort. A good voice, expressive movement, and sharp timing marked this out as a polished performance. Lenora Frigid – Aoife Digan: Aoife was a comedic revelation. Her Lenora was outrageous, captivating, and laugh-out-loud funny. Digan’s commitment to facial expressions, vocal inflection, and body language made for a genuinely standout performance. Her solo number was a riotous triumph, and she exhibited both excellent comic instincts and vocal power. A highlight of the show. Supporting Roles – Singing and Acting Mrs. Cordelia Vernon-Williams – Siobhan Bowe:  Siobhan's portrayal showed potential, but the characterisation felt inconsistent. The switches between stern matriarch and supportive elder were unclear, which affected the audience's connection to her arc. In her musical moments, a more natural, emotionally driven stillness would enhance the performance. Less movement, more intention. Dupree W. Dupree – Paul Browne:  Paul delivered a strong supporting performance, bringing warmth, charisma, and comic timing to his role. A solid singer and engaging mover, he was a fantastic match for Cry Baby and added zest to every scene he appeared in. Mona Malnorowski – Helen Flynn:  Helen’s Mona was a fabulous mix of menace and hilarity. With great command of the stage and character voice, she struck a strong balance between caricature and credibility. Excellent vocals and a commitment to physicality made her a force onstage. Pepper Walker – Aisling Kelly:  A bubbly and confident performer, Aisling impressed with her strong vocals and natural stage presence. She brought a great energy to the trio and maintained her character effectively throughout. Wanda Woodward – Saoirse Lalor:  Saoirse gave a performance full of vitality and attitude. Her movement was sharp and confident, her vocals clean and bold. She blended beautifully with her fellow performers while also bringing a unique edge to her role. The Whiffles – Eimhin O’Meara, Aidan McColgan, Jason Fitzgerald:  The Whiffles were cohesive, charismatic, and vocally secure, despite a few minor errors. Their ability to blend harmonies while retaining individual characters added dimension to Baldwin’s world and gave the show a strong musical backbone. Judge Stone – Paul Spencer:  Paul’s Judge was played with a well-judged mix of authority and softness. He offered good contrast to the louder characters and developed a believable rapport with Cordelia. Father Officer O'Brien – John Lynch:  John brought sharp comic instincts and created two clearly defined characters in his duality. A subtle but valuable contributor to the texture of the production. Chorus/Ensemble – Singing, Acting and Choreography The ensemble gave a high-energy performance, with strong vocal commitment and visible enjoyment throughout. Their investment in the world of the show helped maintain its momentum. The split between “dancers” and “non-dancers” was quite marked, and more could be done to make all members feel more integrated in physical terms. Workshops or more unified movement design might help in closing this gap. Vocally, the chorus showed promise, though lightness in harmonies was occasionally noticeable. A bit of focused ensemble work in both vocal and movement would help bring the group to the next level. Nonetheless, the enthusiasm and spirit of the ensemble were never in doubt. Stage Management and Set Design The set was cleverly designed, with levels and flexible elements that supported storytelling and allowed for smooth transitions. The use of pop-art visuals gave the show a stylistic flair that was very appropriate. The projections, while visually appealing, were a little too dominant at times, both in brightness and in narrative exposition. Trusting the script and the cast more might reduce this reliance. Stage management was well-executed, with efficient scene changes and minimal interruption to pacing. A smooth, clean technical execution supported the show throughout. Technical – Lighting and Sound Lighting was a mixed bag. While colour choices and moving light work were effective, a significant portion of mid stage remained underlit. Taller cast members were particularly affected, with faces in shadow, which disrupted some key moments. FOH focus may need adjustment for future productions. The disparity in colour temperature between upstage and downstage was noticeable and should be addressed. Sound was better balanced, with cast and band sitting well together. A number of missed entrances were evident and should be a focus for future rehearsal processes. However, the overall sound design contributed positively to the storytelling. Visual – Costumes, Hair and Make-Up Costumes were bright, era-appropriate, and thoughtfully designed to distinguish between social groups in the narrative. The pastel vs. red/black divide was clever and visually striking. However, the overall polish was let down by a lack of ironing, creases were noticeable and slightly undermined the slickness of the visual storytelling. Hair and make-up were strong across the board. Styles were consistent, tidy, and in keeping with the time period and the heightened tone of the production. Mona’s scar, and exaggerated lipstick was particularly well done. Adjudicator’s Comments and Suggestions Roscrea Musical Society’s Cry Baby  was a riotous, high-energy production that embraced the show’s absurdity with flair and full-hearted commitment. The creative team led with strong vision, and the principal cast delivered memorable, often hilarious performances. With a few adjustments, particularly in integrating the chorus more fully, refining technical execution, and trusting the script’s simplicity over additional projections, this production could have achieved even greater coherence and impact. Continued investment in ensemble training and technical fine-tuning will serve this society well in future. The passion, talent, and commitment on display are undeniable. A night of laughter, bold choices, and joyous theatricality.

Beauty and the Beast as presented by St. Mary's Choral Clonmel

St. Mary’s Choral Society, Clonmel  Beauty and the Beast Saturday 19 th  April 2025 A couple of months ago, if someone had asked me if...

St. Mary’s Choral Society, Clonmel  Beauty and the Beast Saturday 19 th  April 2025 A couple of months ago, if someone had asked me if ‘Beauty and the Beast’ could be staged in the White Memorial Theatre, Clonmel, I would most likely have responded with a resounding “no.” With practically non-existent wing space to accommodate the required set pieces and oversized costumery, I’d have been fairly confident in my assertion. It just couldn't be done. Or could it?  Well, St. Mary's Choral Society showed me. And how delighted I was to be proved wrong! Channelling the creativity and resourcefulness that I have witnessed up and down the country this season, they overcame all of the challenges, thanks to some ingenious work from their set designer, and produced a thoroughly entertaining production of the Disney classic. There was an exceptionally warm welcome from the house management team who did a great job in keeping things moving in the foyer and ensuring that patrons were all looked after. I attended a matinee performance and there were lots of children in attendance.  It was lovely to see how well l ooked after they were. Director Des Henn gave us an entertaining, generally slick, and well-directed production.   There were some very nice touches, like the levitation of the enchantress at the top of the show which, combined with great lighting, gave us a wonderfully magical and theatrical moment. Characterisations were generally strong, particularly the leading characters of Beast, Belle, and Gaston. The first number of castle scenes lacked flow, with what felt like numerous, unnecessary blackouts interrupting fluidity.   Pace suffered quite a bit due to overly long pauses, particularly in the castle scenes. Sight lines were an issue at times. Belle and Beast were obscured by the balustrade during ‘Home (Reprise 2)’ so we couldn't see Belle's face, which was unfortunate in such a dramatic moment. Niall Kelly was musical director and there was an exquisite sound from his magnificent orchestra which brought Alan Menken's wonderful score to life.   Along with Laura Cotter, chorus mistress, they got a very impressive choral sound from the cast, particularly in ‘Be Our Guest’ and ‘Human Again.’   What was most notable about both of these numbers was the exceptionally good balance between vocal parts. This was particularly evident also in the rousing final chorus of the title song, ‘Beauty and the Beast.’ Principal singing was equally good, with Beast and Belle giving exceptional vocal performances in songs such as ‘If I Can't Love Her’ and ‘Home.’  Barbara Meany's choreography was well rehearsed and dynamic.  ‘ Belle’ was a nicely moved but somewhat limited by a lack of depth downstage of the village set. Gaston was a great number, very well-rehearsed and full of life.   However, the cast appeared precariously close to the pit at times. I loved their wonderful percussive work with the tankards in what was one of the stand-out routines of the show. ‘Be Our Guest’ was a visual delight, moved very well with great use of the space.   ‘The Mob Song’ was exceptionally strong, with great energy and violent intent from the ensemble, who were totally committed.   Wonderful work from Ms. Meany overall. Eighteen-year-old Saoirse Scully turned in an amazing performance as Belle.   She encapsulated the iconic Disney character with her charming stage presence and sweet voice. Ms. Scully was a very clever actress with excellent emotional depth, which laid bare her innermost struggles and aspirations. Vocally, Ms. Scully was so strong and tuneful. ‘ A Change in Me’ was a vocal highlight of the show, with exceptionally good control in what was an incredibly mature performance. ‘Home’ was equally mesmerising, not just vocally, but in the dramatic intent behind the song, in which she showed remarkable strength and determination.   A superb all-round performance from a young lady that we will definitely be hearing lots more about in the future. The wonderfully talented Emmet Donlan gave a fabulous portrayal of Beast.   His portrayal was ferocious, yet vulnerable; cruel, yet sympathetic.   Mr. Donlan had a wonderful rapport with Ms. Scully, and together they gave us some of the show's most dramatic and comedic highlights. Mr. Donlan's voice was exceptionally expressive. ‘If I can't love her,’ highlighted his fabulously rich, resonant baritone; one of the musical and dramatic highlights of the show.  Cormac Maher gave a cartoonish portrayal of the misogynistic, muscle-bound cad Gaston. This was a very funny performance, dripping of narcissism and egotism. Mr. Maher got the perfect balance between Gaston as villain and his more comedic side. His over-the-top posturing and preening was quite hilarious, as he strutted and swaggered around the stage in his very narcissistic performance of ‘Me.’  Cian Corcoran was a delightfully eccentric Lumiere, the irrepressible candelabra. This was a performance with great comic potential. Mr. Corcoran’s accent and facial expressions were super. Pace and cueing were not always secure though and Mr. Corcoran just needed to be a little bit quicker to pick up his cues. His signature tune ‘Be Our Guest’ was performed with great energy and theatricality as he introduced the various groupings. Kevin Fahey gave an excellent comic performance of the stuffy, self-important Cogsworth. This was a very funny portrayal, full of bluster and over the top silliness. Mr. Fahey had great presence and deliciously clipped diction that gave him a perfect air of superiority. He provided good vocal support in choral numbers and solo lines were secure and accurate in ‘Human Again.’ Niamh Healy had a gorgeous disposition as a very warm and maternal Mrs. Potts. Her rapport with Chip was most endearing. Ms. Healy’s performance of the title song, ‘Beauty and the Beast,’ was suitably heartfelt and her beautiful, crystal-clear voice was most impressive. Overall, a captivating performance of an iconic role. George Barry played Belle's bumbling father, Maurice, with a touching believability. He was a most sympathetic character and his fatherly love for Belle was genuine. ‘No Matter What’ was delivered with a beautiful sincerity and warmth. Mr. Barry’s scenes with Ms. Scully were so tender and believable. I loved how his character developed throughout the show, descending into panic as he tried to protect Belle from harm. Cathal Walsh played everybody's favourite punchbag LeFou with unrestrained energy. Mr. Walsh was clearly very talented, with great accent, facial expressions, and physicality. However, I felt that, even though he had great capacity and timing for physical comedy, direction avoided much of the slapstick comedy that we often associate with LeFou. Nevertheless, Mr. Walsh gave a strong portrayal. It would have been nice to see him really throw himself about though. He sang very well in ‘Gaston’ bringing great energy and comic understanding to the number. Doireann Scully was a delightful Chip. Her fabulous expression was always in tune with what was going on around her. She was always acting and always reacting to other characters' lines. She had wonderfully clear diction and beautifully expressive delivery of dialogue. What a fabulous voice she had too in ‘Human Again.’ A standout performance from a young lady with enormous potential. Rachel Browne was quite the flirtatious minx as Babette. This was a great display of character acting, with Ms. Browne throwing herself into the role with a vibrant energy that made her a most likable character. Her French accent, wonderful expression and sharp comic timing made her a firm favourite. Nicole Butler was a suitably dramatic and very funny Madame de la Grande Bouche. What a fabulously operatic voice she had too! Ms. Butler’s crystal-clear soprano soared in ‘Human Again.’ How she managed to negotiate her way around side-stage in that costume is beyond me but serious kudos is due for her efforts. Cole Flanagan was a very ominous looking but softly spoken Monsieur D’Arque. He looked wonderful but needed more edge and projection behind his voice to marry this strong look with the required, sinister characterisation. Éabha Morrissey, Aoibhe Condon, and Katy Judge were hilariously funny as the Silly Girls. Their obsession with Gaston was clear, and they were suitably over the top in their adulation and idolisation.The ensemble was very strong throughout. There was great commitment and focus in village scenes and they danced very well in the bigger production numbers like ‘Gaston’ and ‘Be Our Guest.’ ‘Human Again’ was another great number and ‘The Mob Song’ was sinister and ominous, with the ensemble showing great strength and violent intent. Their choral singing was exceptionally good with great balance and exceptionally good tone. I loved their dismissive reactions to Maurice telling them about the Beast. Overall, great work which added layers of authenticity to the production. Unfortunately, stage manager Jimmy Trehy didn't have the best show on the afternoon that I attended. It seemed to be one of those performances where one thing led to another: a domino effect. In spite of the few unfortunate mishaps, there were some strong moments too, however. The petals falling from the enchanted rose were brilliantly timed. The use of low fog was visually impressive and very well timed, and the petals from the vent in the theatre ceiling were a touch of magic and theatrical genius.  There was a very impressive set which worked perfectly within the space. We had a fabulously gothic castle complete with the most wonderful gargoyles in the proscenium arch.There was amazing attention to detail with windows lit from behind. The winding staircase upstage left on the revolve was excellent. The large castle double doors upstage right were suitably imposing and I loved the clever fold-out, hinged pieces to create the village, which looked just like a storybook with its wonderfully detailed, colourful houses. Beast's library looked fabulous. Overall, an exceptionally good job from a very talented designer and builder with great attention to detail and excellent scenic artistry. Lighting was exceptionally good. From the very opening with the rose beautifully lit in the preset by a single beam cutting through the haze, we knew that attention to detail was going to be all over this lighting plot. It was highly atmospheric, bright, and bold when it needed to be, shadowy and ominous when required. Lighting contributed hugely to the climactic, magical moment of transformation which, not for the first time during this performance, drew an audible gasp from the children (and this adult!) in the audience. Sound was excellent throughout. I was very impressed with the balance between orchestra, principals, and ensemble. Underscored dialogue was particularly impressive, always clear, even with more dynamic, dramatic accompaniment. We could hear every single word. Beast's dialogue was full and warm with just the right amount of reverb to set him apart from everybody else. Choral balance was exceptional and there was great use of well-chosen and well-timed sound effects all through the show, adding layers of realism, excitement, and magic. There was an excellent array of props throughout. The bookseller's stack of books in ‘Belle’ looked wonderful. Gaston's blunderbuss was visually impressive, as was Maurice's fabulous invention which seemed to have a mind of its own and almost ended up in the pit at one point. The tankards in the tavern scene were a great addition to the ‘Gaston’ number and there was good attention to detail with things like the cakes on Chip's trolley, the goblets, and candles on the Beast's table. Lanterns, brooms and even an axe were used to good effect in ‘The Mob Song.’ Beauty and the Beast is a show that requires incredible work in the costume department and I'm glad to say that an excellent job was done by the team here in creating the Disney magic that is expected. Belle's iconic yellow dress drew yet another audible gasp from children at the matinee performance. It was so lovely to hear. Overall, superb attention to detail in what is a very challenging costume plot to get right. Hair and makeup were excellent. Again, the iconic looks for each of the characters had been given great attention. Wigs were very well chosen, adding so much to the overall visual impact of the show. Beast's mask was a superb creation. It was dramatic and grotesque but it still allowed Mr. Donlan to be expressive. I loved Cogsworth's moustache which cleverly replicated the hands of the clock. Excellent work from all.  Overall, a highly entertaining production of Disney’s “tale as old of time.” There was a really strong sense of a hugely supportive community at work in the theatre, from the wonderful house management team to the crew, to the cast, to the audience. The talent on stage, especially the young up and coming talent, was wonderful and I am excited to see what lies ahead for the society with such marvellous talent at its disposal.  Pat McElwain Gilbert Adjudicator 2024/2025

The Clockmaker's Daughter as presented by Tralee Musical Society

Public Adjudication Tralee MS The Clockmaker’s Daughter Friday 18 th  April 2025 The Irish premiere of ‘The Clockmaker's Daughter’ was...

Public Adjudication Tralee MS The Clockmaker’s Daughter Friday 18 th  April 2025 The Irish premiere of ‘The Clockmaker's Daughter’ was the show of choice for Tralee Musical Society this season. Staged in the wonderful Siamsa Tíre Theatre, this was an extraordinary theatrical presentation which blended fantasy and realism in a most thought-provoking presentation.   It is a tale with nods to a myriad fairytales and even a musical or two. ‘Pinocchio,’ ‘Frankenstein,’ ‘Beauty and the Beast’ and even ‘My Fair Lady’ are all in there somewhere. In spite of familiar elements, there is something beautifully unique and magical about ‘The Clockmaker’s Daughter.’ It is a very original tale with many hard-hitting themes, such as mob mentality and the isolation of people we perceive as being different. Tralee Musical Society’s production was beautifully presented by a top-notch cast and a production team at the top of their game.The Siamsa Tíre Theatre has to be one of my favourite venues in the country.   It is a stunning theatre and there was a huge air of anticipation as we arrived in the foyer for the society's penultimate performance.   Word had travelled far and wide that this was a very special production and word wasn't wrong. There was a very warm welcome and everything was highly organised front of house.   The very talented Oliver Hurley brought great clarity to this fantastical tale as he tapped into its magic, its fantasy, its supernatural undertones, whilst carefully dealing with themes of prejudice, bigotry and the ease with which people can be influenced by group dynamics. It was epic in its presentation and its scale.   Mr. Hurley utilised the excellent set so well and there was wonderful use of space throughout. One of his great strengths as a director was his use of ensemble, whose business was always meaningful and purposeful. There was great pace throughout and comedic business was nicely balanced with more poignant moments.   It was an exceptionally well-directed show, a huge undertaking to create the largest production of this show that has ever been staged and one to be extremely proud of. Musical director Michael Young did a superb job with this wonderful Webborn and Finn score.   The show’s music is well worth listening to if you haven't had the chance to do so already.   Influences of folk and traditional are in there, with love songs, power ballads and some incredibly uplifting, up-tempo choral pieces that lift the spirits.   The complex layered harmonies were brilliantly performed and much credit is due to Mr. Young and choral assistant Sorcha O'Connor, who did sterling work on this show. Mr. Young brought this most gorgeous orchestration to life with his very talented musicians.   The opening number, ‘The Turning of the Key,’ was remarkable in its energy, choral layers, and crystal-clear diction. ‘Spindlewood’ was another hugely impressive choral number and ‘If You Could See My Heart’ featured stunning principal and offstage vocals which were perfectly balanced and one of the many musical highlights of the show.  Oliver Hurley and Justin Walsh did a wonderful job with the choreography of this show. What struck me most about the opening number, ‘The Turning of the Key,’ was its simplicity of movement, yet it was so together, so sharp, so in tune with the narrative.  It was s uch a joyous opening, giving me ‘Come From Away’ vibes with its energetic realism.  ‘ A Modest Modiste’ featured lovely movement, incorporating props, in Ma Riley's dress shop, beautifully performed by the seamstresses. ‘Spindlewood’ saw the town coming to life with beautifully choreographed movement and, again, great use of props which added layers of authenticity and realism to proceedings.   ‘Keep It to Yourself’ had shades of ‘The Rumour’ in ‘Fiddler on the Roof,’ with exceptionally sharp, funny movement. I loved the incorporation of bodhráns into ‘Raise a Glass,’ the rousing finale to Act One, but perhaps the most impressive choreography was in ‘Fears and Whispers,’ with the clock-like movement of the ensemble being quite stunning.  Helena Brosnan Donnellon excelled in the central role of Constance.   For the uninitiated, Spindlewood's clockmaker, Abraham, creates a replacement for his daughter who has passed away and the result is far beyond his expectations, with his creation, Constance, able to walk, talk and think for herself. Of course, she is hungry for new experiences and her curiosity leads her to venture outside , against her father's wishes.   Ms. Brosnan Donnellon played the wide-eyed innocence beautifully as Constance experienced acceptance, joy, love, but ultimately exclusion. She brought an astonishing physicality to the role.   Constance begins and ends the show as a statue in Spindlewood’s town square.  Her  physicality was quite astounding and her stillness for long periods, as a statue, was quite mind-blowing. Her mechanical deportment as she came to life and the consistency of this physicality was brilliantly studied. Ms. Brosnan Donnellon was a mechanical entity, of that there was no doubt,  b ut she balanced this mechanical inhumanity of Constance with an almost childlike, beautifully endearing humanity. She also had the most beautiful melodious voice and every single note and word had meaning as she conveyed the emotions and dynamics of this beautiful score. ‘A Story of My Own’ was full of heartfelt longing, with a most stunning vocal and ‘Where You'll Be,’ with Will, was a moving, memorable duet.   Ms. Brosnan Donnellon had an incredible emotional range and her upset at Will's death and her beautiful vocal in ‘Clockwork’ rounded off what was an exceptional performance. Michael-Anthony Greene was the perfect match for Constance as Will Riley and the storyteller.   Part narrator, part leading man, Mr. Greene delivered a top-notch performance as Constance's love interest. “All great legends are born in truth,” Mr. Greene narrated, as he went on to paint the picture of Constance and the legend that surrounded her.   This was such a thoughtful performance, played with great sincerity and exceptional comic timing. Mr. Greene was a wonderfully clever storyteller, relaxed and charismatic.   He also has the most beautiful tenor voice.   As mentioned, ‘Where You'll Be’ was a stunningly gorgeous duet with Ms. Brosnan Donnellon.   Mr. Greene had exceptionally natural stagecraft.   Every action had meaning and thought behind it.   I won't ruin the unexpected twist in the tale which centres around Will at the end of the show, but it was heartbreaking and, I must admit, brought a tear to my eye, thanks to Mr. Greene’s sincerity. Alan Teahan was very strong as Spindlewood’s clockmaker, Abraham Reed, who struggles to come to terms with the death of his daughter and creates a mechanical replication to combat his loss and loneliness.   Mr. Teahan balanced many complex and conflicted sides to Abraham's character.   There was fatherly concern as he endeavoured to keep Constance safe but there was desperation in his fear of losing a loved one again, which gave rise to anger when Constance disobeyed him by sneaking into the town without his permission. ‘You're Still Here’ was beautifully heartfelt as he recalled his late daughter.   Whilst he struggled slightly in the upper register, most likely because of vocal tiredness towards the end of the run, it was a beautifully poignant interpretation of the song.   I loved Mr. Teahan's wonder at seeing Constance’s very first movements. It was akin to a father holding his baby for the first time and his realisation that she was cognitive was beautifully played. Siobhain Bustin was a wonderfully natural actress in the role of Amelia.   Her diction and presence were excellent  and h er beautifully expressive voice was showcased perfectly in ‘Raise a Glass’ at the end of Act One.   Her strength as an actress and her emotional range was evident as Amelia stood up for Constance.  A n excellent performance from Miss Buston. Lauralee Curtin played the show's antagonist, Ma Riley.   This was a very well-played role which at times bordered on villainous caricature but always managed to stay on the right side of believability.   Ms. Curtin played Ma as a self-centered, greedy businesswoman.   We were immediately aware of her avarice when she changed her tune so quickly in her opening scene at the prospect of making a few bob. In spite of Ma Riley's negative traits, Ms. Curtin got a lot of comedy out of the role too.   I loved her thundering looks towards Constance at the wedding, disgusted by her presence. And things turned quite dark as we became aware of her deviousness in trying to convince the townspeople that Constance had shot Will.  Tim Moran had excellent presence and wonderful diction as Mayor Glynn.   His fabulous voice was evident in ‘Market Day’ and he was exceptionally strong presiding over ‘A Town Meeting’ with his authoritative voice and his wonderful vocal. Aaron McLarnon was equally strong as the mayor's son, Henry.   Mr. McLarnon had some beautiful moments.   He was beautifully naive in Ma's dress shop pleading for something to be done with Amelia's soiled dress.   The thought process behind him offering her the watch that his father had given him was very well played with plenty of subtext.   Mr. McLarnon was a natural actor, nothing forced, very sincere.  A very  impressive portrayal overall. Anne Marie Earley was a neurotic Mab, Mayor Glynn’s assistant, and Mike Lynch was strong as Mr. Reece who arrived in Spindlewood to offer Constance a dressmaking position in the city. The seamstresses in Ma Riley's shop were played by Sarah Brett as Cara, Tracy O'Keeffe as Rhiannon, Sharon Walsh as Lucille, Amy Naughton as Moll, and Deirdre Houlihan as Jane.   This was a very strong quintet and I loved their collective performance in the beautifully moved ‘A Modest Modiste’   Ms. O'Keeffe was an excellent actress and as Rhiannon she ultimately stood up to Ma Riley, as she tried to implicate Constance in Will's shooting. Ms. Naughton had an exceptional vocal as Moll in ‘Market Day.’ There was great joy as she recalled the dress being made for her by Constance. She was strong and forthright coming to Amelia's aid as both stood up for Constance.   The ensemble was exceptionally strong throughout. I noted the faces of every individual on stage during the show’s joyous opening, The Turning of the Key.’   There were no passengers.   Every one  was acting, reacting, and performing out of their skins. Their timing, focus, and commitment throughout the show was exceptional.  And, of course, a ll was very positive until the mob mentality kicked in during ‘A Town Meeting.’   Wonderful work from all. Stage management, in the very capable hands of Des Hurley, was extremely strong. There was great handling of the stage left and stage right revolves which opened out seamlessly and were timed to perfection. Fly pieces were cued perfectly and everything flowed with exceptional ease. The bridge piece slid on effortlessly and all of the trucked items were so professionally handled and moved.  The set, with its theme of clockwork and time, had a highly professional aesthetic based on the inner workings of a clock. There were cogs and wheels everywhere and the concept for the set was quite stunning. I loved the reveal of Spindlewood's statue at the top of the show. The stage right and stage left revolves which housed Abraham's workshop and Ma Riley's dress shop were fabulously constructed.   The centre stage bridge complete with cog detail and the steps all looked wonderful. The rotating cogs which combined with sound effects were a very clever way of covering scene changes.   Lighting was excellent from the start. It was wonderfully appropriate, creating the perfect atmosphere and focus throughout.   There was great use of follow spots and amazingly fluid transitions from one state to another.  ‘ Raise a Glass’ had stunning lighting for the wedding hooley.   There simply aren't enough superlatives to describe what was an outstanding lighting plot from start to finish.   Sound was equally good with very good sound quality throughout.   The orchestra was perfectly balanced and the sound technician had a difficult job with so many soloists and chorus members and even live musicians on stage.   But this was an excellent job.   There was exceptional sound quality and mixing in the larger choral numbers and the band never overpowered the vocals which were always heard and were allowed to drive the narrative. Exactly as it should be.  There were some brilliantly chosen graphics which added great depth to the set with some beautifully evocative stills as well as some animated sequences which added so much authenticity to the overall aesthetic.  There was superb attention to detail in the props department.   Ma Riley's dress shop had measuring tapes, tailor's dummies, and rolls of material.   There were fabulously authentic tools and clocks in Abraham's workshop.   Care needed to be taken with the positioning of the large lamp on Mayor Glynn’s desk, which blocked his face as he was sitting down in his opening scene with Henry.   There were very authentic tools, baskets, etc.   for the townsfolk and I loved the turf cutters which again brought great authenticity to proceedings.  Costumes were superb from the modern-day look of the opening, which was colourful and bright, to the period-specific, 19th century, rustic feel. Costuming reflected the social status and professions of the citizens of Spindlewood and Constance’s look set her nicely apart from the ‘real’ people. Overall, everything appeared to be historically accurate, with good attention to detail in the costume plot overall.   A great job all round.There was great attention to detail also in the hair and makeup department with everything appearing to be era-appropriate and nothing appearing out of place. This was an exceptional theatrical experience with an excellent cast and production team. Tralee Musical Society created a truly epic production; one which will be remembered and spoken about for many years to come. The bar has been set for future productions of this beautiful tale and I expect it is a show that will become very popular on the AIMS circuit in the years ahead. It was a privilege to attend. Pat McElwain Gilbert Adjudicator 2024/2025 Photo by Jim Sheehy

Legally Blonde as presented by MIDAS

Society Name:  MIDAS Show Name:  Legally Blonde Adjudicator Date of Attendance:  04/04/2025 Brief Overview of Show and Evaluation of...

Society Name:  MIDAS Show Name:  Legally Blonde Adjudicator Date of Attendance:  04/04/2025 Brief Overview of Show and Evaluation of Front of House MIDAS’s production of Legally Blonde  was a lively and engaging evening of student-led musical theatre, presented with energy, colour, and a clear affection for the material. This fast-paced and pop-fuelled musical, based on the cult classic film, is a high-octane challenge for any company, and MIDAS tackled it with a commendable level of commitment and spirit. The Front of House team set a welcoming tone from the moment patrons entered the venue. Staff were friendly, efficient, and helpful, contributing to an enjoyable pre-show experience. Audience seating was well-managed, and the auditorium buzzed with excitement. The atmosphere created was one of celebration and support, which perfectly complemented the show’s themes of empowerment and self-discovery. Director – Direction and Production For a directorial debut, this was a solid and confident attempt by Melissa Flaherty. She approached the story with clarity, ensuring that the narrative was easy to follow even for audience members unfamiliar with the source material. The characters were well-drawn, and while the script naturally centres Elle’s journey, Melissa found meaningful moments for the supporting cast too. Blocking was sensible and considered, helping to establish visual interest across the wide range of locations in the show. The pace was well maintained, and the flow between scenes was largely effective. That said, there were opportunities for greater consistency in the execution of scene transitions. At times, the changes felt stylistically disconnected, switching between live changes, blue-outs, and full blackouts without an evident rationale. Picking a single approach and integrating it as a repeated visual trope could help reinforce the overall aesthetic and maintain the show’s rhythm. Nonetheless, the production had heart, clarity, and vibrancy—evidence of a thoughtful director guiding her cast with care and vision. Musical Director – Direction and Orchestra Musical Director Michael Young brought strong vocal cohesion to the production. The cast demonstrated excellent diction and dynamic control, which helped elevate the musical numbers and communicated both energy and emotion effectively. Harmonies were tight and consistent, with the ensemble producing a well-balanced choral sound that enriched the score. However, the balance between the band and cast was problematic throughout the performance. The band, particularly the drummer, was frequently too loud, and this resulted in vocal lines being overpowered, especially during group numbers and quieter solo moments. Sound issues aside, the musical preparation was evidently thorough. With more sensitive control of the orchestra’s volume and some careful attention to cue execution, this element of the show could have been even stronger. Choreographer – Choreography Grace Bourke’s choreography was vibrant, stylish, and well suited to the upbeat, youthful nature of the show. The routines were clearly well-rehearsed and brought energy and colour to the stage. Much of the movement flowed naturally from the storytelling, and the choreography supported character development and ensemble unity. Spacing and formations occasionally lacked precision, particularly in larger group numbers. Some visual patterns felt muddled, which slightly undercut the impact of otherwise well-executed routines. With more attention to detail in how bodies are arranged and how movement patterns are reinforced, these issues could be quickly resolved. One particular choreographic choice, the dancing couples in the restaurant scene, felt slightly out of place and disconnected from the emotional tone. In that moment, the dance seemed inserted rather than organic. While the overall standard was high, future numbers might benefit from a closer alignment between movement and character motivation. Leading Principles – Singing and Acting Elle Woods – Nicole Fitzgerald:  Nicole gave a strong leading performance. Her vocal ability was clearly up to the demands of the role, with a bright tone and confident delivery. Occasionally her top notes veered into a screechier quality, which may have been exacerbated by an over-loud microphone. Nonetheless, she embodied Elle with warmth, charisma, and intelligence. Her arc from superficial sorority queen to empowered law student was thoughtfully drawn and emotionally resonant. A commanding and endearing presence. Emmett Forrest – Ethan Cassley:  Ethan was a lovely counterpoint to Elle’s exuberance. Understated and grounded, his portrayal felt sincere and emotionally connected. He brought a sense of stillness and strength that anchored many of his scenes. Vocally, he had a smooth, rich tone and impressive power when required. A gentle, compelling performance that added depth to the production. Paulette Buonufonte – Maebh O’Mahony:  Maebh delivered a charming and funny performance as Paulette. Her comedic timing was sharp, and she found both the brassy exterior and the softer interior of the character with skill. There were moments where her mic crackled or fizzed, making it difficult to determine if her voice was under strain. Nonetheless, she committed fully to the role, and her New Jersey accent remained consistent and effective throughout. Warner Huntington III – Nathan Canning:  Nathan nailed the role of Warner. He exuded entitled arrogance with ease, using physicality and vocal inflection to great effect. His singing was confident and well-pitched, and he moved fluidly through scenes with charm and smugness in equal measure. An enjoyable, well-cast performance. Brooke Wyndham – Ciara Riedy:  Ciara gave a powerhouse performance. “Whipped Into Shape” is one of the most demanding numbers in the show, and she executed it with athleticism and breath control that was genuinely impressive. Her characterisation was bold and energised, making her scenes some of the most memorable in the show. Professor Callahan – Eoin Griffin:  Eoin’s performance grew stronger as the show progressed. His first appearance leaned towards camp rather than the controlled menace usually associated with Callahan, but he settled into the role and gave it more gravity in later scenes. His vocals were smooth and assured. A stronger sense of intimidation and control would elevate future portrayals of this character. Vivienne Kensington – Aoife McNelis: Aoife gave a beautifully performed Vivienne. She embodied the snobbish superiority of the character while allowing her transformation to emerge organically. Her vocals were clear and commanding. She gave us a “bitchy” Vivienne without ever losing the audience’s ability to connect to her. A strong and memorable performance. Supporting Roles – Singing and Acting Serena – Siofra Cantillon Mann, Margot – Shauna Byrne, Pilar – Sarah Connelly:  This trio was dynamic and vocally strong. They balanced each other beautifully and brought individuality to their characters without disrupting the cohesion of their scenes. Energetic and characterful. Enid Hoops – Grace Guilfoyle:  A wonderfully committed performance. Grace brought humour and conviction to Enid’s feminist firebrand persona, offering a strong contrast to the other female characters. A clear and distinctive presence. Aaron Schultz – Matthew O’Rourke:  Matthew gave a serviceable portrayal of Aaron. He captured the preppy smugness of the character well. I enjoyed disliking him.  Kyle B. O’Boyle – Andrew Keegan:  Andrew’s performance was a crowd-pleaser. His arrival always garnered a big reaction. With a bit more swagger and comic bravado, this already fun performance could become a real highlight. Kate – Emma Fry:  Emma matched the energy and vocal strength of the main trio with ease. A consistent and impressive supporting performance. Chorus/Ensemble – Singing, Acting and Choreography The ensemble was a definite strength of the production. Their vocal unity was impressive, with harmonies that were tight and delivered with precision. Each member created a distinct character, which helped flesh out the world of the show and keep visual interest high throughout. Particularly strong were the Delta Nus, whose group scenes pulsed with energy and character commitment. The choreography was well-executed and performed with gusto, though occasionally the formations lost their clarity. Overall, this was a confident, characterful, and cohesive ensemble. Stage Management & Set Design The central set piece was a clever and versatile choice. It allowed for multiple locations to be suggested with efficiency and minimal disruption to the flow of the piece. Furniture was well-chosen and functional. However, some finishing touches could have elevated the visual world, for example, Elle’s bedroom lacked the over-the-top pink aesthetic that audiences expect. Stage management was slick, precise, and professional. Scene changes were handled swiftly and effectively. For future shows, closer collaboration with the director could help unify the approach to transitions. If live scene changes are used, stage crew should be costumed to integrate them into the action. Technical – Lighting and Sound Lighting design offered some visually appealing stage pictures, and the rig was used effectively to establish mood and location. However, focus issues with the front of house wash resulted in distracting hot spots and shadowy patches. These inconsistencies disrupted the otherwise attractive visual palette. Sound was unfortunately the weakest technical area. Multiple microphone malfunctions, dropped cues, and imbalanced levels (especially between the band and the vocals) plagued the performance. Off-stage noise bleed and audibility of backstage conversation added to the distractions. A more rigorous tech run, and sound check would be advisable in future to ensure smoother execution. Visual –  Costumes, Hair and Make-Up Costumes were colourful, well-fitted, and strongly in keeping with the characters. They helped communicate social status, personality, and setting effectively. A special mention must be made of the quick-change attempt for Elle, though it didn’t come off on this occasion, the ambition and preparation were evident. Hair and make-up were neat and age-appropriate. Elle’s wig occasionally slipped over her face and might have benefited from extra clips or pins, but otherwise, the look was maintained well across the cast. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. MIDAS’s Legally Blonde  was a bright, enthusiastic, and engaging production led by a clearly passionate team. It was a strong achievement, particularly considering the scale of the show and the age and experience level of the cast and creatives. There is room for technical refinement, especially in sound balancing, lighting focus, and scene change consistency, but the core performance work was vibrant and effective. With more experience and continued focus on detail and cohesion, this company is well-placed to continue producing ambitious, entertaining, and heartfelt theatre. An impressive debut from a new director, a committed cast, and a thoroughly enjoyable night at the theatre.

Charlie & The Chocolate Factory as presented by Limerick Musical Society

Society Name:  Limerick Musical Society Show Name:   Charlie and the Chocolate Factory Adjudicator Date of Attendance:  03/04/2025 Brief...

Society Name:  Limerick Musical Society Show Name:   Charlie and the Chocolate Factory Adjudicator Date of Attendance:  03/04/2025 Brief Overview of Show and Evaluation of Front of House Limerick Musical Society’s production of Charlie and the Chocolate Factory  brought this colourful and whimsical tale to the stage with clear effort and a spirit of community collaboration. While the production faced a number of significant challenges, it still succeeded in capturing the imagination of its audience through flashes of strong performances, vibrant costuming, and enthusiastic ensemble work. The Front of House team were warm and accommodating, greeting guests with smiles and a clear sense of hospitality. Patrons were guided efficiently to their seats and well looked after throughout the evening.  Director – Direction and Production Des Henn’s direction embraced the broad, cartoonish quality of Dahl’s world and attempted to structure the show around that style. The overall narrative was clear and accessible to the audience, which is no small task given the episodic nature of the script. While the production lacked finesse in blocking and struggled with momentum at times, it was evident that the director worked hard to shepherd a large cast through a complex and layered script. A more developed focus on character arcs and dynamics would have deepened the experience. Many characters remained on the surface emotionally, and some potentially rich comic moments went underplayed. That said, the show moved from scene to scene, and some strong directorial choices—especially in the handling of group numbers like the Oompa Loompa sequences—offered bright sparks of success. Musical Director – Direction and Orchestra Niall Kelly did commendable work with a challenging and often divisive score. The band, when audible, created a pleasing soundscape that supported the performers well. Although Act 1 experienced major sound issues which meant the orchestra was not coming through the PA system, the tempos and cueing throughout both acts were tight and responsive. Despite the sound imbalance, the vocal direction was focused, and harmonies were generally well delivered by both the principals and the ensemble. The musical structure held strong, even when the technical elements faltered around it. Choreographer – Choreography Amanda Pierce brought some real magic to the production through her choreography, particularly in the cleverly crafted Oompa Loompa numbers. These sequences were dynamic, well-rehearsed, and visually compelling. The incorporation of stylised movement created entertaining tableaux that elevated the storytelling. While some other musical numbers lacked the same spark, and choreography at times seemed simplified, the final tap number during the bows was a joyous highlight, full of energy and polish. With more consistent staging across all songs, this area could have shone even brighter, but Amanda’s choreographic choices showed clear vision and understanding of the tone required. Leading Principles – Singing and Acting Charlie – Aibhín McMullen:  Aibhín approached the role of Charlie with sincerity. Her voice was well-suited to the material, and she remained within her comfortable vocal range. While the emotional delivery in the songs felt somewhat restrained and the performance a bit static, the character’s heart was present throughout. With greater direction, Aibhín could certainly grow into future roles further. Wonka – Barry Danaher:  Barry’s vocals were a real asset to the production, rich, smooth, and confident. His portrayal of Wonka leaned toward the flamboyant, though at times lacked the underlying mystery and edge that gives the character weight. With a touch more nuance, his strong vocal talent could have been matched by a more layered character portrayal. Grandpa Joe – Brian Henry:  Brian was a standout, lighting up the stage with infectious joy and enthusiasm. His characterisation felt honest and heartwarming, offering the audience a compelling anchor in the Bucket household. While some vocal moments stretched his comfort zone, the energy and commitment in his performance more than compensated. Violet Beauregarde – Holly Purtill:  Holly was an energetic force on stage. She delivered her role with impressive confidence, strong vocals, and punchy physicality. Her solo number was one of the production’s highlights, and she embodied the brash, fast-talking energy of her character with great success. Veruca Salt – Jane Henry:  Jane struck a lovely balance between spoiled petulance and theatrical charm. Her performance of “When Veruca Says” was sharp and well-acted, and the stylised ballet movements were delightfully tongue-in-cheek. A consistent accent and clear commitment to character made Jane’s portrayal one of the stronger elements in the principal cast. Mike Teevee – Luke Sweeney Crehan:  Luke’s portrayal brought a controlled chaos to Mike Teevee that was entertaining and believable. His physicality was especially strong, and he maintained just the right level of energy throughout. His contribution to the duet “That Little Man of Mine” was confidently handled and well supported vocally. Augustus Gloop – Harry Moriarty:  Harry’s comedic timing was a real treat. With a constant smile and consistent accent work, he delivered a very funny and charming performance. His presence on stage was full of character, making him one of the more memorable children in the tour group. Supporting Roles – Singing and Acting Mr. Salt – Aidan O’Connell:  Aidan delivered a well-pitched portrayal of the indulgent father. His comic timing and chemistry with Veruca were excellent, and he was a highlight in their shared scenes. Mrs. Gloop – Ber Hickey:  Ber’s performance was vocally solid and thematically appropriate. While the comedic aspects didn’t fully land, this felt more a result of staging than acting. “More Of Him To Love” was well within her vocal range and nicely delivered. Mr. Beauregarde – Martin Pierce:  Martin’s performance fell a little short of the slick showman archetype the role demands. Some additional energy and exaggeration in character would have helped here, as the role can easily steal scenes when fully embraced. Mrs. Teevee – Emma Culhane:  Emma gave a nicely controlled performance of the Munchausen leaning character, offering a grounded version of a sometimes-overplayed role. Her vocal work in “That Little Man Of Mine” was well pitched and emotionally resonant. Mrs. Bucket – Alison Kearney:  Alison delivered a sincere performance. Her number, “If Your Father Were Here,” would have benefitted from greater physical and emotional variation, though she sang it competently and with good intention. Grandma Josephina, Georgina & Grandpa George – Danni Farrell, Sue Sheridan & Brian Quinlivan:  These three added light comic touches and were convincing as octogenarians. Their commitment to character detail was appreciated and added colour to the household scenes. Mrs. Green – Gillian Hunt, Cherry Sundae – Aoife Henn, Jerry Jubilee – Thomas Coneran:  All three made the most of their ensemble roles with good energy and clear characterisation. Their contributions helped create the larger world of the show and supported key scenes well. Chorus/Ensemble – Singing, Acting and Choreography The ensemble’s performance varied in consistency, but there were clear pockets of strength throughout. Vocally, the chorus sections were generally secure and well-rehearsed. The Oompa Loompa numbers were a definite high point, with strong commitment, tight movement, and creative visual execution. Other numbers required more polish, particularly in synchronisation and spatial awareness, but the enthusiasm and energy of the group were evident. Stage Management & Set Design The design carried some creative flourishes, such as the printed cog flats and colourful stage floor, which were effective in establishing the whimsical world of Wonka’s factory. However, some set elements presented practical challenges. The Buckets’ home, though finished attractively, restricted sightlines and interactions, often pulling key scenes upstage. The Great Glass Elevator, while visually striking, appeared unsafe due to the lack of guardrails or visible supports. The projections were a real highlight of the design. Stylistically they were consistent and really aided in the storytelling. A particular standout was the Mike Tevee section.  Stage management was one of the weaker aspects of the evening. Scene transitions were slow and frequently exposed, with crew members often caught in the lights. A clearer system of backstage coordination and improved transition choreography would significantly enhance future performances. Technical – Lighting and Sound Lighting design struggled to support the action effectively. The front metre of the stage was unlit, placing much of the dialogue in shadow. Cue timing was often off, and special spotlights rarely landed as intended. Sound issues were especially pronounced in Act 1, with the band entirely missing from the PA mix. This improved somewhat in Act 2, though mic cueing remained inconsistent. There were also moments when offstage conversations could be heard through the system, disrupting the performance. Visual – Costumes, Hair and Make-Up Costumes were a clear highlight of the production. The colour palette was vivid and playful, matching the larger-than-life tone of the piece. The Oompa Loompas, in particular, were visually striking, with clever choices in wardrobe and make-up that stood out in every scene. Hair and make-up were tidy and effective, helping to support character differentiation and stage presence throughout. Adjudicator’s Suggestions / Comments – Overall Comments on the Production and Comments to Enhance the Standard for Future Performances This was a production full of potential and commitment, with many individual performances standing tall amidst broader structural and technical challenges. The cast clearly cared about the material and brought a strong sense of teamwork to the stage. Stronger direction, more efficient stage management, and technical refinements would go a long way toward lifting the overall standard of the production. With more attention to detail in lighting, sound balance, and blocking, and with a firmer hand guiding emotional storytelling, Limerick Musical Society has the capacity to grow this production style into something truly memorable. The passion is there, what’s needed now is cohesion, confidence, and craft. Photos by Brendan Coleman

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