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31 Oct 2024

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Michael Collins as presented by Killarney Musical Society

KILLARNEY MUSICAL SOCIETY, MICHAEL COLLINS A MUSICAL DRAMA THE GLENEAGLE INEC ARENA KILLARNEY 5th, 6th, & 7th March 2024 Adjudication...

KILLARNEY MUSICAL SOCIETY, MICHAEL COLLINS A MUSICAL DRAMA THE GLENEAGLE INEC ARENA KILLARNEY 5th, 6th, & 7th March 2024 Adjudication Performance 6th March 2024 I had the absolute pleasure of attending the lovely INEC in Killarney on the evening of the 6th of March 2024. Lashing wind and rain did not stop the audience from turning up in their droves for this performance of Michael Collins, a Musical Drama production. I looked forward to this production as I took my seat in this lovely INEC Arena, a special place for hundreds of us. Killarney is indeed a beautiful place, and after my long drive from Wexford that day, it was lovely to see such camaraderie and friendship amongst this team, with the lovely Sorcha O’Connor looking after me and making me feel so at home and so very welcome. The Front of House team was professional, huge in numbers, dressed well, all in black, and worked well together. Well done to everyone on the Front of House team. Bravo. Mr Oliver Hurley directed this production. Mr Hurley created a powerful and moving production that successfully brought history to life in a visually impacting way to the stage. Mr Hurley created lovely pictures, visually powerful storytelling, beautiful music, and solid performances. It had beautiful, intricate attention to detail and a most talented, confident cast displaying a passion in their characters, giving so much depth to the story and, indeed, the show’s success. Extensive use of the enormous stage was used beautifully and very cleverly, particularly concerning the moving staircases or steps, which were on casters and used so very effectively throughout to change a scene visually very quickly by the simple movement of one or indeed all of the staircases. The individual performances, the choral movements, the clever use of sets, and the sheer mammoth task of bringing this show to life left the audience wanting more, and that is, in my opinion, what a good Director brings to a show to knit the whole production together. Super Job. Mr Oliver Hurley was also a Choreographer for this production. The choreography here was beautifully visually, moving as one, and professional. And yet, each cast member and ensemble moved with ease with specific mention of the ensemble movement in the more significant musical numbers of the show, such as “The Call of Freedom,” powerfully moved, setting the scene and capturing the spirit of their rebellion and the utter and desire for independence. “A New Dawn” with looking forward with hope for the future. The choreography for this show was highly energetic, ideally moved with not one step out of place, and a visual exhibit of near perfection, passion, and life. Beautifully moving, strong, solid, and professional. Mr. Michael Young was the Musical Director for this show. When the show opened, a magnificent sound emanated from the pit in this fine theatre. Mr Young had a team of exceptional talent here in this group of musicians, each an expert in their field, each song, movement, overture and solo accompanying the cast beautifully, with great feeling and tone and a beautiful balance between the Orchestra and the cast entirely. Mr Young and his Orchestra beautifully brought out the best in his team, accompanying the cast through huge, robust numbers to the quieter, more emotional ones. This Orchestra was a joy to listen to. This was an assured, confident, melodic, and emotional music extravaganza. Thank you, Mr Young, for your wonderful Musical Direction with this team. Stage Managers were Mr. Frank Ashe and Ms. Pam Brosnan. A good team here. I very much liked the sets. I loved how simple they were and yet how successful they were. This is a vast production and no mean feat for any Stage Manager; however, you made this look simple, which I know it was not, having visited backstage after the show. Well done to you and your team in your role as Stage Managers—a great job and a good partnership. Sets consisted of the use of movable staircases throughout the performance. These were a) huge and b) clever and filled the vast stage of the INEC, yet they never overwhelmed the cast or were too busy. These staircases glided around the stage, moved beautifully, and very much enhanced the production, allowing the stairs to be used as seats for the cast to sit on, as speaking points such as Michael Collins speeches, as different levels of height and depth visually for the Ensemble throughout creating beautiful pictures all with the steps however all so different and enhanced continually by the glorious lighting. Every single set piece in this production worked very well and cleverly. Sound Design and Operation was by Star Systems Thurles. The sound throughout this production, from beginning to end, without any fault whatsoever, was magnificent, flawless, and powerful. This is a big venue, a big show, a big cast, a lot of music, a lot of dialogue, and a lot of people speaking, singing, moving, and dancing together across a vast stage and a whole house in a massive venue. Simply terrific. Bravo. Mr John Hurley looked after Lighting Design and Operation. Again, I will say the same as I did about the sound. Fantastic lighting throughout this show. Magnificent work on spots on individuals, beautiful colour creations, and shooting colours in scenes such as the superb red pillar light effects on the stone walls at the opening of Act 2, matching the backdrop in black with Michael Collins written in vibrant red. There are many uses for beautiful lighting throughout this show. All of this enhanced the show for its audience and cast, and I loved the contrasts used in various scenes to darken, brighten, or envelop the actors and the cast. It was simply wonderfully done. The lighting in this production was a resounding success. It was a visual picture and a treat and greatly enhanced this production from beginning to end. Well done Mr Hurley. Costumes were provided by Nomac Productions, Tralee Musical Society, Killarney Musical Society, and Val Sherlock Wigs. With a strong wardrobe team, they were appropriate, pristine, and authentic. Visually very effective. Props, under the care of Marie Maloney, Martina O’Riordan, and Stage It, Wexford showed meticulous attention to detail. I mentioned some of them to highlight a few and show how good the props were. The typewriter is so fantastic; it is a piece of history. The newspapers, the forms which had on them, typed up beautifully “Articles of Agreement Treaty between Great Britain and Ireland, specifically stating “signed in London” on the 6th of December 1921 in bold old fashioned calligraphy print. Fabulous. Magnificent attention to detail and well done, Props team. Keith Dwyer Green played Michael Collins. Tall, eloquent, and beautiful acting skills added to the success of Mr Dwyer Green as Michael Collins. In his acting, Mr Dwyer Green was a vigorous Michael Collins, and his commanding stage presence looked great. He had a lovely stage presence and rapport with his fellow actors and cast. His relationship with his best friend Harry Boland, played by Lloyd Fitzgibbon, was very well played. A vast amount of dialogue and a huge vocal role are required here in this part. I did feel that the higher range vocally in the part was a little too high for you in a few places. . The vocal in one or two higher parts was a little strained than your lower register. This is a small remark given the complexity and massive responsibility that landed on your shoulders in this magnificent role, and indeed, you acted it with aplomb, fire, leadership, and passion However, you were an excellent Collins for all the reasons mentioned above. What endeared me to you was that you played this role from your heart and with your heart. And that was truly lovely to see. Congratulations. Clodagh Harrington played Kitty Kiernan. Visually, melodically, a joy and a lovely actress. From the moment you stepped on stage, Ms Harrington, I was impressed by your presence, the ease with which you moved about the stage, and, primarily, your gorgeous facial expression. Your eyes and your smile lit up the stage and your character. You glided around the stage in this part, and you created your Kitty Kiernan beautifully, and she was gorgeous. Your interaction in every scene, particularly with Michael, Harry, and the Players, was very well done, and “Every Heart Awaken” with these two and the Ensemble at the end of Act 1 was gorgeous. This was an excellent role for you, Ms Harrington, and suited you down to the ground. You were a lovely Kitty Kiernan, and your joy, sorrow, pain, and love for these men who entered your life were palpable, and you were a joy to watch on stage vocally and theatrically. Lloyd Fitzgibbon played the part of Harry Boland. Mr Fitzgibbon was strong in this role. Mr. Fitzgibbon, this was a wonderful part for you. You had a lovely connection with Michael Collins and had a beautiful connection with the love of your life – your Kitty Kiernan. You took this part and made it your own, Mr Fitzgibbon. Throughout this production, your energy, passion, leadership, friendship with your fellow men, connection with De Valera, lovely stage presence, emotion, and heartbreak were all too apparent. You have a beautiful voice. You sing from your soul, and your performance and the character you created made you one to remember in your role as Harry Boland, Mr Fitzgibbon—a joy. Tim Moran played the part of Eamon De Valera. Superbly cast. I am unsure if you look like De Valera or if it was an excellent wardrobe costume and makeup. Still, you were indeed visually an impeccable De Valera—you had excellent diction, crisp, authoritative, a leader, and a man who took no nonsense. You commanded the stage throughout. A significant role, Mr Moran, that suited you. You were critical to the success of this production and a key player overall with a substantial and comfortable stage presence that did work—well done. Aaron McClaren played the part of Joe Emmet. What a significant part. I had a soft spot for this lovely character from when he stepped on stage as Michael Collins's wingman and loyal, trustworthy friend and shadow. I nearly cried with you when your good friend Michael Collins was killed. It's a gorgeous part so well played, and you made it yours. You would have given your life for Michael Collins. That was obvious. With you by his side, Mr. McClaren as Joe Emmet, Michael Collins was a lucky man. Bravo. PLAYER 1 was Fiona Crowley. This was a lady who impressed me from the moment she arrived on stage with her lovely lyrical voice so well suited to this part with a beautiful warm facial expression and a stage presence that did highlight that this young lady is a natural on stage and born to be on it. Lovely acting talent, so softly yet clearly spoken, and a gorgeous vocal and an adorable accent only added to the performance as a leader and as a quartet with Players 2, 3, & 4 were a vital link in the chain of events and the story. Gerry Adams played PLAYER 2 (Peter). Again, he was a powerful presence on stage, a strong vocalist, and very eloquent. He was assured and confident in this role, again, so well-cast and again a strong link, with excellent rapport and a leader with excellent stage experience. He looked great as a part of this vital group of four and was a key player again with a lovely stage presence. Siobhan Bustin played PLAYER 3 (Delia). A lovely vocal, very well cast in this role, and again, this quartet visually and collectively had a significant impact on stage. Ms Bustin showed lovely calmness and confidence in this role. You moved beautifully and quickly around the stage and were a tremendous team player. You have a significant role, beautiful acting, and a natural love tone and warmth in your vocals in this lovely role. Derek O’Leary played PLAYER 4 (Michael), a robust and confident player in this group. Mr O’Leary looked great and was part of the strong link required by each player in this show to ensure its success. His stage presence and vocals were lovely. He was assured and confident and played this part very well. Elaine Kearney played Mother Ireland. And the haunting “Anuna” style of your vocals was so lovely. The powerful, eerie stage presence glides gracefully and beautifully around the stage slowly and carefully. Ghostlike and mysterious and a beautiful voice. A vital role in the show. Great costume, great stillness, and indeed great sadness portrayed here, Ms Kearney. It's a lovely part which you played very well. Derry Healy played Arthur Griffith's part. Again, he had physical strength in his stage presence and a great speaking voice eloquently sung with fight, passion, and power. You would inspire a turtle to run with your leadership qualities, Mr. Healy. Again, it's a fabulous part with great vocals and cast. Strong, a leader, and a great actor. Well done. Eamonn Kelly played the part of Cathal Brugha. A warrior, passionate, vocal, and intense. He has a great costume and a lovely stage presence. There is no such thing as a small part. You were indeed a vital cog in the wheel of this historical journey in this show. Abby Cronin, Sister 1, Kyla Shine Leane, Sister 2, and Charlene Brosnan, Sister 3, played the Kitty sisters— pretty, significant interaction, lovely stage presence, and a good team. Even cast as Kitty Kiernan sisters, you each individually display a wide range of emotions and, importantly, the strength of women during such a disturbing political time in Ireland. This Chorus. Wow. You blew me away with your sound, harmonies, passion, volume, and magnificent singing throughout this show under Mr. Michael Young, Musical Director, Chorus Master, and Ms. Sorcha O’Connor, Chorus Mistress, respectively. What a sound. What magnificent harmonies. What passion. What love. “Fly The Flag of Freedom” I will never forget “The Treaty Song,” “Mouth of the Flowers,” Finale, “Epilogue” Finale Act 2. The beautiful, moving, and so emotional “Every Heart Awaken” lifted the roof of the INEC in Killarney. I hope the above gives you an understanding of your power in this show. Bravo, I applaud every one of you for the sound you created and what you brought to your stage tonight to us, your audience. Congratulations. It's a fabulous venue, and what a gorgeous production you put on for your audience tonight. It was a joy. Thank you for the loveliest of evenings to you all. It was indeed delightful to be back in Killarney. It is a beautiful place, with beautiful people. And I thank you so very much for bringing your talent and show to your audiences for its duration. May you continue to prosper for a very long time to come. Bravo, and thank you. Caroline Daly Jones Sullivan Adjudicator AIMS 2023 / 2024 Some photos kindly shared by the society - Photographers: Marie Lyne Kelly, Marie Carroll O Sullivan and Valerie O Sullivan

Les Miserables School Edition as presented by Bellvue Academy of Performing Arts

BELLEVUE ACADEMY OF PERFORMING ARTS, CLONMEL CO TIPPERARY. “LES MISERABLES (SCHOOL EDITION) 21st February – 25th February 2024...

BELLEVUE ACADEMY OF PERFORMING ARTS, CLONMEL CO TIPPERARY. “LES MISERABLES (SCHOOL EDITION) 21st February – 25th February 2024 Adjudication Performance 23rd February 2024 The White Memorial Theatre is in the town of Clonmel, with an atmosphere of peace in this building and a treasure chest of memories of previous shows adorning every single wall of the entrance and along the halls leading to the auditorium, which was so lovely to see and I was struck by the quirkiness and the warmth of The White Memorial Theatre from the moment I stepped into this hidden gem in Clonmel. Bellevue Academy is just eight years old with an abundance of talent within it and this evenings Performance was a real treat. The Director of this show is Ms. Lisa Kelly. The Producer was Ms Ellen Foley. They are a good team. Ms. Kelly displayed strong leadership skills and a remarkable talent in guiding the cast and company through the challenges of staging such a detailed and complex production in a tiny space. It is evident throughout this show that Ms. Kelly's brought out the best in this very young cast, and along with Ms. Foley's Production, these combined resulted in a memorable performance that the audience loved. You could hear a pin drop in many of the scenes. “On My Own,” “A Heart Full of Love,” “Bring Him Home,” and “Stars.” Each of these numbers was so emotionally charged, with Ms. Kelly's direction and Ms Foley’s Production, with enormous attention to detail throughout. There were also many moving elements, such as Gavroche being shot, Fantine’s' solo, and her love for Marius. “On My Own” Jean Valjean’s death was heart-breaking and hauntingly beautiful, along with a lovely Chorus. I loved the attention to detail when the chorus ladies were wrapping bandages into little rounds and placing them in baskets, preparing for the upcoming upheaval and bloodshed in the battle at the Barricade. The lovely placing of the chorus ensemble consistently in little pockets or groups, “Do you Hear the People Sing,” “Master of the House,” and “One Day More.” The Full Company looked fantastic on stage, beautifully placed, and acted and sang. Well done, Ms Kelly & Ms Foley. You have a lovely flair in your Direction, which I like, and I congratulate you. The choreographer was Ms Claire O’Hara (also Stage Manager). Ms. O’Hara had quite a difficult task, having seen the backstage space of this pretty theatre, and believe me, I know there was very little space on and off the stage, as already mentioned. “Do You Hear the People Sing” was beautifully moved, with the cast moving surrounding Enjolras, circling him slowly as they sang, danced, and moved, slowly moving off the stage upstage right in movement, disappearing into the wings delicately. “Master of The House” was a highlight of the show. What fun, life, colour, and energy. Beautifully moved, it was a joy to watch with not a foot wrong by the cast and principals in this lovely number. It was very well rehearsed and a visual treat. Choreography throughout was slick professional and enhanced this show continuously. Well done Ms O’Hara on your lovely Choreography throughout. Visually a treat and perfectly blended into this show effectively. Musical Director was Niall Kelly. This Orchestra was in front of the stage in the traditional “pit” with Mr Kelly at the helm conducting. This was an extremely professional and beautifully sounding Orchestra. A confident, sweet, controlled group of very talented people who brought this show to life beautifully. Not a note out of place. Never too loud, it produced this beautiful warm tone and sound consistently throughout the theatre for the complete duration with no weak link. It was a seamless melodic, gorgeous tone and an excellent accompaniment for this very young cast of actors, and under Mr. Kelly's Musical Direction, every song built on that success. “Bring Him Home,” “Stars,” “One Day More,” “A Heart Full of Love,” and “On My Own” to the loud boom of the “Barricade” back to the soulful “Empty Chairs at Empty Tables” was breath-taking in sound and musicality. The Orchestra and Musical Director here, I must say, were a highlight of the performance. Thanks to the skill and dedication of Mr Kelly. You brought the world of 19th-century France to life. The Stage Manager was Ms. Claire O’Hara, again, I refer to this theatre's confined spaces behind and on both sides of the stage. Yet, there was a lot of “Set,” loads of movement of the Sets on and off, regularly, with many, many changes from Cosette's Death Bed to the Barricade to the slummy, dank, dismal foggy scene of The Docks, The Inn, The Bridge for Javerts Suicide, The Café, Rue Pummet and The Sewers, And of course that Barricade which was a massive success. The arrival of the Gates showing the entrance to Jean Valjean's house allows Eponine to sing from behind them, for Marius and Cosette to sing in front of them, and then seamlessly move off stage at the end of the scene. So many areas involving Ms O’Hara in her Stage Manager role were so effective, yet it looked simple, which I know it most definitely was not. From what I saw after the show, your organizational skills were top-notch, which in turn showed your dedication and professionalism to your role, and you succeeded magnificently in this—well done. Sets, Set Design and Construction was by Anthony Lawless. The rifles, each hand-made, the attention to detail here was astounding, the gates into the sewers, the movable stairs used for many scenes, the excellent barricade. There is incredible attention to detail here. The plaster peeling off the walls, Cosette's bedroom window stage lit up beautifully, the bridge Javert jumps from, the stonewall the width of the back of the stage, I could go on. The sets for this production were practical, and a huge success. Congratulations, Mr Lawless. The Sound Engineer was Mr Pat Murnane. The sound was balanced throughout for the most part. I felt that some of the sound when the actors spoke was a little lost once or twice. And I could not hear the dialogue and, in some parts, the singing, particularly with Jean Valjean in Act 1, where I lost some of the vocals and speaking lines. The sound notwithstanding the above was very good, particularly in the Ensemble Full Company numbers, where the roof was lifted. In the quieter moments in some parts of the show, I again struggled to hear some of the lines, which were a bit distracting. Chorus and Company made a great sound vocally, particularly in the more significant ensemble numbers and for the characters such as Javert, Eponine, and Little Cosette. Lighting Design and Operator was Alan McCormack. I loved the lighting throughout. The blue hue on the stage floor and the magnificent spots on the entrances to the Sewers in Act 2 were very clever and successful. The Barricade with the flashing lights, spots moving, the lights on the Company for the battle, the beautiful lighting on Jean Valjean in the Barricade scene where everyone else seemed to fade into the shadows, and he sat there face haunted, shook, bewildered and numb. The lighting here was simply superb. Eponine's solo “On My Own” was a highlight, so sympathetic to the sadness of her singing and her unrequited love for Marius, she knew she would never be his. The lighting created lovely shadows and did have a significant effect on this show's success. It played a massive part in the emotional side of the story, drawing the audience into the scenes of sadness, fun, death, sorrow, and, most of all, love. Costumes, Hair & Makeup and Props. This production excelled in each of these areas. The costumes were authentic and appropriate, great visually, and overall superb. The Costumes were a vision of colour in places and a vision of sadness and death in other parts. I particularly loved the Costumes of Monsieur Thenardier (the shoes and hat!) and Madame Thenardier’ “Frock” to mention but two. Principals' and Chorus' costumes alike were brilliant and added an extra dimension to the show's success. The hair was fabulous, with great attention to detail and appropriateness. Props by Andrew Lawless and Bellevue Academy, with Props Master Liadhain O’Shea, were very good. The Flag, the baskets of wrapped bandages made by the ladies during the Barricade scenes, the mincer machine! The humble candlesticks in the sewer in Paris were very well done, creating a visually encaptivating world for your audience and adding beautifully to the visual overall. Hair and Makeup was by Gillian Scully and Nicole Breen. Great attention to detail here, particularly with Cosette's wig when her hair was chopped to pieces in the Docks Scene, along with Mdme Thernardier's hair. The aging of Jean Valjean with the hairpiece attached to the back of his head worked and certainly made him appear much older. Bravo, team Costumes, Hair, and Makeup; props on your success here. Nathan Dalton played the part of Jean Valjean. Mr Dalton delivered a heartfelt and emotional performance. Overall, he had a charming stage presence, good vocals although a little light in places, but this was a massive sing for Mr Dalton at his young age and a role he played very well. Mr Dalton’s lovely character and the emotional depth of his portrayal of this character shone through creating a Jean Valjean to be proud of at this young age. Mr Dalton showed a strong understanding of this role and maturity beyond his years. You were a character to be loved. To be respected. And the critical role in this massive production, and I commend you, Mr. Dalton, you were a fabulous Jean Valjean, and your character was someone I endeared myself to immediately. Cathal Walsh played the part of Javert. Mr. Walsh played a vital role so very well. The lovely, intense vocal. “Stars” was a highlight sung with pleasant emotion, perfect tone of voice, and enjoyable rapport with yourself and Jean Valjean. Again, it is hard to believe your age playing this massive and considerable role vocally. You were commanding in relentlessly pursuing justice and unbending dedication to the law. You had an air of authority, and your rich, resonant voice only added to your character. Your solos, particularly “Stars,” was immense, and you delivered a standout performance. You brought Javert to life darkly and memorably, and you enhanced this production greatly with your emotional strength and acting skills. You had an outstanding stage presence and maintained that relentless pursuit of Jean Valjean until you died by your hand. A powerful Javert, Mr Walsh. Millie O’Sullivan played the part of Fantine. A gorgeous, pretty character with a glorious voice, particularly in your beautiful version of “I Dreamed a Dream.” Your love for your daughter Cosette was unending. You looked great, with lovely costumes and a voice like honey that endeared me to you greatly from the moment you arrived on stage. Your voice is eloquent and natural with a great range, and you sang from your heart I sincerely applaud you on the lovely Fantine you were throughout. Well done Ms O’Sullivan. Keenan Scully played Monsieur Thenardier. Fantastic costume, wit, stage appearance, dance moves, and what total and absolute fun you were in this role, Mr Scully. You were a beacon of light in the darkness from the moment you stepped on stage. A “scallywag,” as you would be called in Wexford, you had an impishness about you that I loved. “Master of The House” brought the house down, and rightly so. Great facial expression, very agile and stage light, moved about very freely, and I think you enjoyed this part immensely, Mr Scully, and it showed. You are a natural on stage. Well done, and I hope you remain involved in the future, as you have the appearance and the talent. Caitlin Fanning played Madame Thenardier. You lit up the stage with your bubbly character, joie de vivre, the somewhat quirky yet lovely relationship with your husband Monsieur Thenardier, great comedy, and an infectious smile. You had an adorable expression: shock, pity, happiness, disdain, horror, or comedy. Again, I remind myself of your age. You were fabulous. Great costume, lovely singing voice, an adorable couple you made with Monsieur Thenardier, and an enjoyable rapport together. You hit off one another and watching you in this role was a joy. Fabulous costume again, and you moved around that stage like you were born on it, with such ease and fluidity. A significant role played by a great young lady. Ódhran Williams played the Bishop of Digne. That lovely cameo part was well played with great empathy shown in your character for Jean Valjean, and you were a crucial part in the story and the success of the show with beautiful, eloquent, and clear diction. You were a wise, kind character with a strong faith, trying to bring hope and forgiveness to a dark and cruel world in your quest to save Jean Valjean from the gallows. Aoibhe Condon played Cosette. What a gorgeous character you were, Ms Condon, in your role as Cosette. Magnificent vocally, pretty, dressed beautifully, a love like no other for Jean Valjean, and the love for Marius was heartfelt. You were a sweet character, longing for love and a better life. Your innocence was so lovely, and yet you were brave. Your vocals were stunning, and the scene where you had to say goodbye to your beloved Papa, Jean Valjean, was heart-breaking and beautiful. Your voice was as clear as a star on a cloudless night, and I loved you in this role again; it's hard to believe again, you are so young—well done. Ms Condon. Saoirse Scully played Eponine. Again, it was beautifully played. What an actress and singer. Your song “On My Own” was a highlight of this performance. You looked great. Your costumes were perfect. A tomboyishness about you endeared me to you from the moment you arrived on stage. There was a quality to your voice that was so crystal clear and melodic. I loved it, massive congratulations to you in this role, Ms Scully. And I do hope you enjoyed being Eponine, as your audience enjoyed you in the role. Cormac O’Donovan played Marius. A powerful Marius again with a lovely vocal and stage appearance. This was a part played with emotion, love, and passion. Furthermore, an enjoyable verbal and magnificent stage rapport with Eponine, and the love of your passion, Cosette, and indeed the respect and love you had for Jean Valjean and he for you showed you in this role as a gentleman friend and protector, and you were simply superb. I loved this character and the part you made of it from start to finish; Mr O’Donovan, again wiser than your years, played this part beautifully. Sean Savage played the part of Gavroche. What a lively young man you are, Mr Savage. A gorgeous stage presence and a wonderful cheeky chappie with charm oozing from your bones. I LOVED your part, Mr Savage, and I and many others were so genuinely sad when you died in the arms of your friends in the Barricade. You were a shining star in this production, Mr Savage. The part was made for you, and I sincerely hope you continue your Theatre and your stages for a long time to come, as you most certainly have the talent. Ciaran Cotter played Enjolras. What a fantastic, strong stage presence this young man possesses. Vocally superb. A leader. A warrior. And a fighter. Passionate, courageous, and strong, you held your position with conviction and unwavering commitment to your fight for freedom and justice. You were a hero with a fantastic voice and an excellent stage presence who inspired others to stand up and fight. Other parts contributing to this show's overall performance and success were Little Cosette and Little Eponine, played by Lucy Corcoran and Doireann Scully, Cora O’Flynn, and Kate Murphy, respectively. Stars. There are many smaller cameo parts in this production too many to list here, but you all had a massive part to play in this performance and its success with lovely vocals and enhanced the production wonderfully. As a group and individually you were all absolutely magnificent. The Chorus Mistress was Ms Mary Rose McNally. Congratulations, Ms McNally, on the trojan work done here with all the musical numbers in this show, all sung beautifully and with emotion and passion. Songs such as “One Day More,” “Do You Hear the People Sing,” “The Barricade,” and “Master of the House” the list of songs goes on and on. Yet, the balance and sound remained the same – truly lovely in tone and musicality throughout and no mean achievement given the actual amount of Chorus numbers in the show. Working as Chorus Mistress with this company, their singing brought colour and life to this performance and you sounded adorable as a unit. Well done to Ms Mc Nally and you all. A wonderful Chorus. And indeed, a highlight throughout. Congratulations. You are all so young! (And then some a little older!) ….With so much talent in adults and students. I had a charming evening in this beautiful theatre you call home, and I was sad to leave as I was made to feel so welcome. Bravo to everyone and thank you so much for making my journey so memorable and unique from the moment I stepped into “The White Memorial Theatre,” your home. I applaud all of you and wish you all well and continued success. It was indeed a pleasure to be with you all this evening. I wish you nothing but happiness and an abundance of successful years in the future to continue in the vision you produced here in Clonmel. Congratulations. Caroline Daly Jones Sullivan Adjudicator 2023 / 2024 Some photos kindly shared by the society - Photographers - John Kelly / Cathy Murphy

The Addams Family as presented by Aghada Centre Theatre Group

AGHADA CENTRE THEATRE GROUP – THE ADDAMS FAMILY MUSICAL AGHADA COMMUNITY CENTRE, EAST CORK TUESDAY 13TH – SUNDAY 18TH FEBRUARY 2024...

AGHADA CENTRE THEATRE GROUP – THE ADDAMS FAMILY MUSICAL AGHADA COMMUNITY CENTRE, EAST CORK TUESDAY 13TH – SUNDAY 18TH FEBRUARY 2024 Adjudication Performance Sunday 18th February. “True happiness comes from being who we want to be, no matter what the norm and its expectations are, and being authentically honest in who you are, no matter what the expectation of others, is enough”.  Aghada is the most picturesque and tranquil of places in the lovely East Cork, a few miles from Midleton, which I was lucky to visit on my AIMS journey this year. A new Society to AIMS, it was a joy to meet the lovely cast, crew, and locals of this beautiful place, which has been their 10th Production since being founded. “The Addams Family”. I am so happy to have the honour of being your first Adjudicator. Aghada Centre Theatre group is an exceptional group of people who, every year for the past ten years, donate ALL of their surplus funds after expenses to charity. Truly Special. Upon my arrival, I was greeted by Le-Anne Tynan, Ann-Marie O’Keeffe, Chairpersons of the Theatre Group and Helen Walsh and Front of House team. I watched the dry ice beginning to billow out from the Theatre into my path, with the cobwebs and eeriness enveloping me once I stepped into the Foyer. This foyer was decorated beautifully, so one could be forgiven for believing you were on the stage rather than the entrance. The attention to detail was so intricate, complex, and vast, with beautiful lighting and a cavernous atmosphere, which I was immediately taken by. I was given the most lovely goodie bag with both chocolate and crisps promoting local producers in the area, a precious gift bag with a big gold bow, and, of course, my program. A buzz of pride and excitement, laughter and chatter, of the patrons immediately surrounded me. Indeed, the Community of Aghada's massive support for this group was evident as I waited for the show to begin. A beautiful welcome. Director and producer Sinead Dunlea has been involved with ACTG for ten years. This is a small stage, with every available space like gold dust and a big cast. Ms Dunlea worked this venue very well. Ms. Dunlea brought to life the dark humour and quirkiness of the Addams family with some perfect comedy moments throughout, which can indeed be difficult to marry the two effectively sometimes. However, this production had a lovely balance and worked well, bringing the show and the Addams Family story together seamlessly and effectively. Ms Dunlea’s attention to detail is everywhere in this production, from the eerie sound effects to the interactions between the various characters with their needs, struggles, and desires. The cast were very well suited to each other visually and vocally. I loved the cascading dry ice flowing off the stage for the Overture. The entrance of the Addams family and the introductions to each character, the family dinner was superb, with the cast members coming up out of the audience to be seated along a huge intricately designed dinner table the width of the stage, and it was seamlessly moved. Everyone in place very quickly yet without rush. I loved how the cast under Ms Dunlea's direction moved slowly, smoothly, creepily, and eerily throughout. There was never a rushing or quick movement, and a relaxing ambiance was created throughout the production. It did occur to me that your direction, along with the rest of your Production team, really did have a real family feel here- pardon the pun- on and off the stage, and it was a joy to watch. There was a lovely atmosphere all around me, but in particular, what stood out for me in your role as Director were the intricacies of building your show with a small space and lots of people, along with telling the story of The Addams family. The direction here was a treat and a success for all of the above reasons, and I do say very well done to a gorgeous show and it certainly worked. The choreographer was Aileen McMurtry. Choreography lifted this show with energy in the darkness and gloom. “Full Disclosure” was super, a significant number, slick, professional, and dramatic. “When You’re an Addams.” Gomez's moves in this were excellent, and his connection with Morticia highlighted the superb chemistry between these two actors; he moved excellently, as did Wednesday with her sharper, more rebellious movements, yet lovely all the same. The choreography showed the characters and the differences between everyone in great detail in their dance movements. The choreography added an extra layer to the ghoulish, spooky atmosphere that had already emanated from the beginning of the Overture. “When You’re an Addams,” the opening number with the Addams family introducing themselves, was an explosion of light drama, dance, and sound. “Not Today” with Gomez and Ensemble was simple and gorgeous, with the movements all around making this number a picture, a vision, and a scene of beauty. Choreography by Ms McMurtry was inventive, engaging, and seamlessly integrated into the storytelling. Attention to detail and the varying dance styles, from tango, as mentioned above, to more modern, was a visual treat for the audience and enhanced the whole production beautifully. Well, done, Ms McMurtry. Your talent in this show shone through your cast. Beautiful job. The Musical Director was Mr Robbie Pender. Upon my arrival, I didn’t see the Orchestra in the pit; however, I did not expect to find them high up backstage on a platform built over the stage similar to the mezzanine level, looking down on the cast and the proceedings. This was a work of art and such a clever idea, and it worked beautifully, enhancing the show. The Orchestra was on stage the whole time, only up high and shielded from the cast with the various objects described above so as not to distract from the on-stage performances of the Cast “Full Disclosure” was a superb number in its chaos and comedy. “Death is just Around the Corner” with Uncle Fester, with his lovely cheerful disposition and sweet vocal, immediately caught my attention, and “Crazier than You” with Wednesday and Lucas these all were highly memorable moments in the show with beautiful emphatic accompaniment and sound with colossal respect and rapport with and for the performers beneath their feet every single second of the show. Principal cast and chorus were well rehearsed and showed confidence in their Musical director . It was obvious that great attention to detail was also done on a one to one basis as well as the ensemble. Well done. The Stage Manager was Aoife Ryan. Design and Construction Managers were Tony O’Shea and Leonard Ryan, with the Set Construction Team, Tony O’Shea, Mili Rilov, Justin Dunlea, Declan Devoy Martin Ryan, Jason Ryan, Declan Ryan, Dave O’Shea, Bill Steele, Austin Broderick and Midleton Men’s Shed. This is a vast group and team effort, and the Set was a considerable success in-depth, solidity, and appropriateness. Given the tight space around the stage hall and backstage, the Set Design worked very well with clever use of the stage, such as placing the Orchestra above the stage, with a very secure balcony/plinth purpose-built. The sets moved smoothly, and a good team worked very well together. The sets had a very successful gothic architecture, and despite the darkness, they were glamorous. The sets were authentic. The rack-like ladder down stage right where Pugsley resided for a few moments in Act 1, was very detailed, again giving more depth to the stage, and this visually was very effective, thorough, and clever in its design and practicality. The panelled effect walls the width of the back of the stage painted in brown with the drab but gothic grey door in between them used as an entrance was very clever and, again, great attention to detail here. So well done to you, Ms Ryan, and the Design and Construction Management team. A great success indeed in this area. The lighting and Design Engineer was David James (D2K Ltd). This lighting from the moment the curtains opened was excellent. Magnificent use of spots and colour, and no one was ever in the shadows. From the lighting of The Addams Family home to the yellows and reds in Act 1 of Morticia’s scene, they were so lovely and practical. They were lifting the darkness superbly. The scene with Gomez and Mal Beineke was lit beautifully again, with excellent use of spots, bringing the spots down through the middle aisle into the audience. I loved using the dim lighting to exaggerate the dull, gloomy, eerie atmosphere in complete contrast to the brighter lighting described above in other areas and scenes. The use of beautiful colour in the many scenes, with particular mention again for the clever use of spots, was very well done—beautiful lighting design throughout, Mr James. Sound Engineer (D2K Ltd) Florent Sabarros, Back Stage Engineer (D2K Ltd) Luciano Costa, with Mic Caller Paul Ryan. The sound was generally excellent overall; however, there were moments during the show, particularly in Wednesday's and Morticia's dialogue, that I could not hear properly, which was slightly distracting. This mainly was in Act 1. I would have liked the mics / Radio mics to have been louder for these two characters – singing-wise, both vocals were powerful. However, it was the dialogue that I missed quite a bit of, particularly mentioning the scene with Wednesday and Lucas. And Gomez and Morticia. I still understood the story and could follow. I would have liked the speaking voices to be louder because of the balance in several numbers. Also, when the above were singing, their voices were a little lost by the sound of the Orchestra. This was no fault of the Orchestra whatsoever. I found it difficult to hear the dialogue, which is a pity as the show was glorious from beginning to end. Radio Mics could have been louder here also; however, it was only a small number of incidences that I struggled to hear. Make-up artists and Assistants were a hell of a team. What an array of responsibility on your shoulders here to create the visions for this show, The Addams Family. The makeup was brilliant and a huge success! Gomez, Morticia, Pugsley, Grandmother, Wednesday, Uncle Festers specifically, of course, and the Chorus's makeup was sensational. I think of how many hours it took to get this right every evening in such superb detail. Bravo. Costumes and Props & Wigs. The Costume Designer was Mary Collier and her team of Angela Barry, Magdolna Kiss, Roisin O’Sullivan, Mary Collier, Liz Callery, and Fiona Devoy. Mary and her team made beautiful costumes together from materials kindly donated by James Cooney and adapted costumes obtained from various other sources. The costumes were on point, appropriate, very professional, and authentic. I loved Gomez's dapper pinstripe suit and Morticia gown. The costumes overall were excellent, Ms Collier and team. The props were also all super throughout. Well done to the team involved in the above regions; whether your role was big or small, it does not matter. It was a huge success. Well done to every one of you. Brian O’Riordan played Gomez. What a charming character Mr O’Riordan made of this character. Tall, brooding, dark, funny, eloquent, dramatic, and adorable all in one with a lovely singing voice and acting skills superbly cast in this vital role, he took it and made it his own, and it was a success. He is a lovely character and has a sweet connection with Morticia and his family in Wednesday, Pugsley, and Grandma Addams. An anchor character in the overall story, his love for his family and other eccentricities endeared me to him immediately—his lovely singing tone and marvellous stage presence. Well, done, Mr. O’Riordan, you were a fantastic and likable Gomez. Congratulations. Julie Buckley played the part of Morticia Addams, Gomez's wife and mother to Pugsley and Wednesday. Visually, you were so very striking, Ms Buckley, with costume, hair makeup, props, vocals, and oh-so-wonderful dramatic facial expressions with eyes like pools of water with lovely vocals and expressions. You were a very striking Morticia, Ms Buckley, and a very successful one. You made it your own. Your relationships with your children Wednesday and Pugsley were adorable, and your face when you gave the look of disdain to anything you did not like was class! All it took was one withering look from yourself, and everyone crumbled to your wishes, demands, and rules: superb facial expression here, Ms Buckley. You were a lovely leading lady to Gomez, an excellent vocalist, and a fantastic visual. Bravo. Willow Buckley played the part of Wednesday Addams. This young lady possesses a lovely stage presence and glorious voice and is so suited to this enjoyable role. I loved your voice. It has a clear, beautiful tone, lovely diction, and musicality, and you are very at ease in your singing and acting, Ms Buckley. Strong-willed and with your Father wrapped around your little finger, you were a firm Wednesday Addams. I did mention already under sound that I did find it hard to hear some of your lines in Act 1. Your voice could have been a little louder as I missed some of your lines – however, without hesitation, I can say your voice is gorgeous. You were a powerful link in the overall success of this show, Ms Buckley, in so many ways, as mentioned above, and I hope you continue to be a part of stage life in the future. You were indeed especially vocally a beautiful Wednesday Addams, and congratulations. I thoroughly enjoyed your performance. Layla Rose O’Shea played Pugsley Addams and what a lovely character, Ms O’Shea. From the moment you arrived on stage, I was taken by your expression, especially your eyes, your costume and your makeup. Along with this, you were so relaxed in every part of this show; you suited this part very well and were very well directed, and I believe that you enjoyed this role immensely from what I saw. At 12 years of age, and this being your very first Musical production, you are a natural on stage. Mischievous and lovable, you were a lovely Pugsley Addams, and I hope you continue your journey on stage now after your first Musical here with this lovely group. Well, you're done, Ms O’Shea. It is a joy to watch you in this role as Pugsley Addams. Patrick Kirwan played the part of Uncle Fester Addams. Beautiful role. You have a lovely character, great costume, and beautiful vocals, Mr Kirwan. You were a delight each time you came on stage to sing or to act. Your song To the Moon was a highlight of the show for me. It was so softly sung with such feeling with the ensemble around you, and your song of love was simply so moving, bright, and full of love. With your contrast to the darkness of the Addams family story, you created a balance that knitted the emotions of this show together to create its success. This was a fantastic role for you, Mr Kirwan. Well, you were done. Orla Burke played the part of Grandma Addams. Magnificent role, Ms Burke. Your hair, costume, walk, stoop, teeth, and voice all added to a Grandma Addams, who was beautiful on stage and an exceptional character in this lovely show. You moved so quickly around the stage that it's obvious you are no stranger to it, and your costume was so well made it stood out. Quirky, scary (the makeup!), vocal, able to stand up for yourself without fear, and a charming stage presence. This was such an enjoyable cameo role in this show that you performed an exceptionally high acting talent and stagecraft. You were awesome, Ms Burke, in every way in this role. Congratulations. Milivoj Rilov played the part of Lurch. What a scary Lurch you made from the word go. That hand on your shoulder was marvellous but very scary at the same time. Your height alone gave you an excellent visual stage presence, and you were very influential in your role. It was your voice. Your unique bass voice blew me away when you sang. There was a strength, force, and quality behind your voice here that is rare. It was wonderful. What a fabulous part you played here, Mr Rilov. Magnificent in this role. Bravo. Elvira Walsh played the part of Alice. Firstly, you had a lovely stage appearance, softly spoken and mannerly. I loved your yellow dress like a beacon in the darkness, and this part suited you. With stunning acting and gorgeous singing voices, you and Mal, your husband, played by Wayne McSweeney, were a lovely couple on stage with excellent rapport and stage chemistry between you both. Nothing seemed to disturb or perplex you about the Addams family, and you also had a lovely singing voice. I liked your role in this, Ms Walsh. There is a complete contrast in nearly every aspect of your character compared to the Addams family. It didn’t take a whisker out of you. It was a significant part, a lovely role, acted and sung beautifully, Ms Walsh, and well done. Wayne McSweeney played the part of Mal Beineke. This was a lovely role, imposing business-like character and Lucas's Dad and husband to Alice. Trying to do the best for your son, meet the future in-laws, behave accordingly, and try not to be shocked by many of the intricate running’s of the Addams family themselves. Lovely movement on stage, confident and assured, and impeccably dressed. Lovely voice. Well, you done, McSweeney. You were a wonderful Mal Beineke. Congratulations on a charming performance all around. Jack O’Leary played the part of Lucas. In love with Wednesday Addams, the contrast created between yourself and Wednesday initially was very well done. You dressed as a city gentleman and Wednesday in her dark gothic-like character, but you did look good together, and you both had a lovely rapport. Perfectly cast, it was a joy to watch you on stage, and I enjoyed what you made of this lovely role. I wish you well and hope you continue participating in Theatre / Musical life in the future. I was genuinely amazed at this group's care, honour, and generosity, raising much-needed funds for various Charities for the last ten years and this year is no different. Thank you for allowing me to witness your show, and I wish you many years of continued success from the bottom of my heart. You are a unique bunch, and I will never forget you. Bravo. It was indeed a pleasure. Caroline Daly Jones Sullivan Adjudicator AIMS 2023 / 2024 Some photos kindly shared by the society - Photographer - TamasHaasz

Young Frankenstein as Presented by Tipperary Musical Society

Young Frankenstein as presented by Tipperary MS Date of Adjudicated Performance: Wednesday 14th February 2024. As musical comedies go,...

Young Frankenstein as presented by Tipperary MS Date of Adjudicated Performance: Wednesday 14th February 2024. As musical comedies go, Young Frankenstein is not for the faint-hearted nor the prudish, for it combines Mary Shelley’s wonderful horror story with Mel Brook’s somewhat irreverent sense of humour. Sex, it has to be said, is frequently and fairly graphically referenced throughout the show, albeit in a hilarious manner, and no better man to be responsible for guiding this production onto the stage than director Paul Norton, who is not one to shy away from anything controversial. I am at a loss to imagine how one could present a sanitized version of this show, but in Paul’s hands, that was never going to be an issue. What he did present us with was a well-thought out, well-rehearsed, beautifully prepared piece of irreverence, with lots of personal touches thrown in along the way. Having a good set with added projections was a great bonus. The screens were used most effectively in the journey through the woods, where pantomime horses pulled a hay-rick along the road of a moving forest landscape. There was great detail too in the laboratory scenes, with lots of fancy looking electrical switches, a wonderful rising platform, and good technical effects. The Puttin’ on the Ritz sequence was another strong technical achievement, very cleverly using a gauze and back lighting. Under Stage Manager, Alma Quinn, the stage crew worked hard to limit the blackouts during scene changes and did well, given the amount of movement required. The walk-through wall, cut in the shape of the Monster when he enters the Hermits cabin was another piece of clever and witty creation. What also contributed to the success of this production was an unexpected excellent musical score, full of good choruses, varied styles and rhythms, and wonderful orchestrations that the very accomplished orchestra, under Musical Director, Mary Rose McNally, really got their teeth into. Puttin’ on the Ritz was the only very familiar number, but there were great comedy songs, a smattering of G&S-ish patter, and village choruses reminiscent of Beauty and the Beast. The chorus were very strong in bringing all their numbers to life, true in their harmonies and crystal clear with their lyrics. Likewise, the principals were obviously very well prepared musically, as several of their numbers were very demanding. The musical balance of each number was very good and tone and tempi always seemed appropriate in what was a musical feast. That most of the choral pieces were performed while negotiating Stephanie Browne’s energetic dance routines was a tribute to the determination of the performers. Stephanie did a great job of creating routines that captured the moment; strong and driven when the villagers were in pursuit of the monster, light and airy when they were singing happy songs, but without question, the number of the show was the combination of comedy, technology and terpsichorean treasure that was Puttin’ on the Ritz. But the real success of this show was the faith that the cast put in their director. Paul Norton asked them for some pretty outrageous behavior, some very inelegant poses and positions and some frightfully crass gestures and gesticulations, and they did not disappoint him. The show succeeded because everyone seemed to be singing off the same song sheet. There were one or two silent moments when some of the close-up, visual gags from the movie did not have quite the same comedic impact when played out on stage, but they were few and far between. As for the performances, Kevin Reade showed that he had the acting, the comedy, the fancy footwork, and the singing required to successfully play the demanding central role of Dr. Fredrick von Frankenstein. With very good facial expression, he related the transition from denial of his family name to a crazed reawakening of his Grandfathers genes, as he progressed through the series of events. His vocal delivery was very strong, with perfect diction to allow the wordy patter-style numbers to be clearly understood. Emmet Donlan got great physical comedy out of the role of Igor, stooped and awkward, but always light on his feet. His Vocals were consistently good, and he pointed his verbal comedy very effectively. His relationship with Frankenstein was particularly strong. The highlight of a wonderful outing from Emma Sunderland, as Inga, was her vocally brilliant yodeling, but it was her willingness to be flamboyantly unrestrained in her lust-laden encounters with Frankenstein that brought out the strength of her acting and comedy. It is not a comment I would make often, but her flexibility was certainly a benefit to this excellent performance. And talking of excellence, perhaps the comedic performance of the night came from Deirdre Ryan as Frau Blücher. Both physically and verbally, she inhabited her character, making the most of every look and every gesture, and showing a great understanding of comedic timing, and if all that was not enough, her rendition of He Vas My Boyfriend was hilarious and show-stopping. Rachael Breen brought an arrogance and heaps of comical vanity to the character of Elizabeth Benning. Please Don’t Touch Me and Deep Love were delivered with panache, but perhaps her finest comedic moments came with her commitment to being ravished by the Monster. Adam Skeffington had great fun with the role of the Monster, grunting and moaning through his scenes. His gait and stature were effective and with his built-up boots, effective costume, and excellent make-up, he certainly made the required impression, but it was a brilliantly delivered Puttin’ on the Ritz that was the highlight of his performance. Derek Ryan used his wealth of experience to make the most of the physical comedy of Inspector Kemp, with his effective limp and well-timed business with his prosthetic arm. His stature combined with his vocal gravitas made him the perfect authoritative figure among the villagers. James O’Donovan created a gentle yet comedic Hermit, secure in the delivery of his delightfully funny Please Send Me Someone and Eimhin O’Meara displayed an appropriate befuddled vacancy in portraying village idiot, Ziggy. Last but not least, Cole Flanagan impressed greatly as Victor von Frankenstein, leading the mad scientists with a strong voice and great dance ability in Join the Family Business. As mentioned, the gauze lighting was excellent, as was the use of projections, and for the most part, general lighting was very atmospheric and appealing with good variations in colour and tone. Only occasionally were pieces of principal action muted by low light level, but overall, very well done. The coordination of the many sound effects was crisp and assured, and levels were well maintained throughout the show. Cueing of radio mics was most satisfactory, with only a rare grumbling mic, most likely caused by costume disruption during the ‘frolicking’ scenes. Combined with these technical achievements, the visuals for the show were top-notch, with universally excellent costumes, from scientists to villagers to a great display of principal outfits that were totally appropriate to the character of each individual. More impressive still were the wigs and make-up, with the monster looking very impressive, and the usually elegant and demure Deirdre Ryan being hideously transformed into something sinister and unappealing, which richly enhanced her character. Hats off to the props team too, who ensured that the vast array of props and furniture were appropriate to the era. I suppose when you combine the comedy genius of Mel Brooks with the devil-may-care attitude of Director, Paul Norton, you should not be at all surprised if the result is something that walks the tightrope between sanity and insanity. On this occasion, the outcome was an insanely funny, albeit extremely risqué, piece of mischievous, musical magic, and it was a pleasure to attend and enjoy the efforts of all concerned in the performance and production. Peter Kennedy Gilbert Adjudicator 2023 / 2024 Some photos kindly shared by the society - Photos by William O'Brien

The Little Mermaid as Presented by Shannon Musical Society

The Little Mermaid as presented by Shannon Musical Society: Date of Adjudicated Performance: Tuesday 13th February, 2024. What is the...

The Little Mermaid as presented by Shannon Musical Society:   Date of Adjudicated Performance: Tuesday 13 th February, 2024.   What is the world coming too? Never did I imagine that I would someday witness a show where people play fish with wheels, crabs, and all manner of weird sea-creatures, where a woman with a false moustache would play a demented Chef and where a cross-dressing man would play an octopus, looking like a monstrous cross between Caitlin Jenner and Cruella de Ville. It was almost enough to completely addle my brain. Who knew that The Little Mermaid could provide a canvass for such an extreme display of flamboyance and creative imagination? The man behind this flight of fancy was Director, Tony Finnegan, and, call me ‘woke’, but I think he’s perfectly entitled to put his unique stamp on what is, after all, a surreal and fantastical fairy-tale. Tony pulled out all the stops to bring this Disney classic to life on the stage. From excellent water and wave effects, using material and lights, to mermaids who ‘glided’ on wheels instead of walking, to flamboyantly dressed characters to a dazzling set, from gentle focus on the romantic elements of the story to outrageously brilliant exaggeration of the comical characters, his attention to every aspect of the production was most impressive. The finale of Act One was a prime example of vision, choreography, technical wizardry and spectacle all rolled together as Ariel found her feet and swam higher and higher to find dry land, and it epitomized the great creative thinking behind this whole production. From the beautifully designed, painted and utilized set, to a neatly plotted lighting design, this was such a well-presented show. Tony handled the atmosphere of the underwater world with a combination of great visuals, appropriate movement and excellent sound effects. The gently babbling water throughout created its own perfect ambiance, and indeed the sound levels generally were very even and well-cued. The bubble lighting effects worked particularly well on the gently wafting net curtains, and there was a strong and sensitive use of good colour washes and combinations. The only slight hiccup in the lighting plot was the few occasions when moving heads were used as follow spots and had trouble keeping pace with the swiftly moving actors, but they did always get them in the end. Movement of props and scenic pieces was tidy and timely, in the safe hands of Stage Manager, Ted Germaine and an efficient team. The challenge for Choreographer, Karen Barrett, was to create routines that captured the type of creatures being featured in each number; seagulls moving like birds, mermaids moving like fish, etc, and what a great job she did. The wheels worn by the mermaids helped considerably in making them glide, rather than walking, and they performed their beautiful routines with great skill. The birds flapped and flustered through their comedic number, and the humans, fortune to have legs, were extremely polished in their sailor and townsfolk routines. Karen put so much thought into every dance, but it was the superb fusion of costumes, make-up, scenery and the wonderfully imaginative, ever-changing patterns that made Under The Sea an absolute show-stopper. Of course, it might all have fallen flat had she not been fortunate enough to have a highly talented chorus to bring it to life. Discipline was of the essence with so much activity and exaggerated costumes, and their every move, whether in dance or as scene-shifters, was meticulously choreographed so that the stage never appeared over-crowded. And it didn’t end there. I’m quite sure Musical Director, Carmel Griffin, was just as impressed with their dedication to strong, clear harmonies and perfect diction. Carmel also led a very finely tuned orchestra from the piano. Their tone and tempi throughout were spot on, and the balance between pit and stage was well-maintained. As with the chorus, great work had also been done on principal vocals, always capturing the right tone for each number. And what a gifted line-up of principals was on show. Sally Fox and Eoghan Mann could not have been better cast as Ariel and Prince Eric, encapsulating the qualities required for the Disney-style romantic couple. She, the sweet, innocent yet vulnerable Princess, fair of face and with an angelic quality to her voice, and he, the impetuous, boyishly handsome young Prince, in search of true love, with a well-sung song in his heart. These two worked as beautifully together as individually, strongly realizing the characters that are so loved by Disney aficionados. High quality recordings of Sally singing were used when Ariel was mute, to which she mimed her emotions beautifully. At only 15 years of age, James Cullinan took to the role of Flounder like a duck…well, like a fish to water, and in the presence of much more experienced players, he most certainly didn’t flounder, not even for a second. Like the cheeky-chap of his character, he beamed with confidence, securely presented his comedic abilities, and dynamically led the mersisters in an excellent rendition of She’s in Love. Very well-played. Sebastian, the red Jamaican crab, (for those who misguidedly think he might be a lobster), was brilliantly realized by Brian Roche, whose accent throughout (including welcoming the audience) was spot on, as was his comedy. No crusty crustacean here, but a vibrant, hyper thyroid of a crab who rocked the house as the front man for the show-stopping Under The Sea. In an excellent flamboyant costume, Julita Fox the role of the scatterbrained Scuttle, a sea bird with an overactive imagination and a flair for inventing her own vocabulary. Played with superb character, Julita strutted the stage with terrific comedic charm and raised the roof with a delightfully, delirious Positoovity. Colm McGuinness, attired in a fabulous costume and wig, played the role of King Triton with poise and authority. His acting was sincere, and while the women in the audience seemed mostly enamored by his rippling muscular chest, (yes, he was topless!), it was the quality of his vocals that impressed me most, both velvety in tone and strong and secure in delivery. Eoin Sheedy gave a stalwart and steadfast performance as Grimsby, full of pomp and circumstance but with a likeable, gentler side. Very nicely played. Then there was the sextet of fishy femininity, the mesmerizing Mersisters, delightfully portrayed by Kim Burke, (Aquata), Holly Dunphy, (Allana), Lauren O’Brien, (Arista), Jane Henry, (Atina), Jaymee Carrig, (Adella) and Kate Barrett, (Andrina). Collectively, they performed so well together, wheeling and dancing around the stage with great stealth, and vocally, except when they were deliberately unpleasant, they were extremely accomplished. Furthermore, they all managed to have little individual traits that made them identifiable. Beautifully attired, they were such an impressive and talented team. And from the sublime to the ridiculous. I’m almost lost for words in describing how disturbing Aodan Fox’s first appearance was. Considering the role of Disney’s Ursula is believed to have been modelled on Drag Queen, Divine, I shouldn’t have been at all surprised that Tony Finnegan chose to have it recreated by Aodan, who was anything BUT divine, but this was a performance out of the very top drawer of character/comedy, helped along by a brilliant costume, a toxic wig and superbly grotesque make-up. But it was the acting of Aodan himself, and his ability to deliver lyrics with just the right level of vim and verve, that made this such a memorable performance. Not to be out-done in the cross-dressing stakes, Anna Maria Barrett, (Aodan’s wife) donned a chef’s hat and a fake moustache to create a hilarious cameo role as Chef Louie, obsessed with fish dishes and intimidating crabs. Anna Maria’s delivery of Les Poissons created great mirth in the audience, as did her delightfully comical appearance. Alison Coady and Ciara Lynch made easy work of controlling the puppets for Flotsam and Jetsam, the electric eels who assisted Ursula with her dirty work. As well as good movement, the girls impressed with some strong vocals in their numbers. Darren O’Dea was a secure and reliable Pilot in the ship scenes and Ethan Cassley and Shane O’Donnell, as well as dancing in the choruses, also contributed comedy and character as footmen, Leeward and Winward. Various chorus members also played a variety of cameos, including Child maids, Maeve McGuirk and Phoebe O’Mahony, who performed sign language with Ariel during her mute scenes. You really could sense Disney written all over this production, and particularly in the visual spectacle on display. I’ve already mentioned the vibrant and highly colourful scenery and the beautiful lighting of the net curtains, but the costumes were really what caught the eye, from the beautiful floaty outfits of the mermaids to the colourful creations of the fish, from the craziest crab garb to the hideously superb octopus. Even the sailors and the members of Prince Eric’s court were immaculate in their attire. I can only wonder at the time it must have taken to attend to the make-up and wigs each night, as the amount of detail in all the non human characters was superb. It says something about this company’s team spirit that the Front of House display and hospitality is always on the same level as their commitment to putting a great show on the stage. The foyer was beautifully adorned with facts, features, photos and, on this occasion, fish. Great work. I’m quite sure this is a show that could easily be done badly, for it needs a high level of magic and mystery to make a cartoon believable in a live performance venue, but I feel assured that not only did Tony bring out the best of this story, but it also brought out the best of him. Thanks to all involved. Job done! Peter Kennedy Gilbert Adjudicator 2023 / 2024 Some photos kindly shared by the society - Photos by Jim Rocks

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