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Come From Away

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10 Sept 2025

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15 Feb 2026

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23 Oct 2025

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LATEST NEWS

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

The Addams Family as presented by Carrick-On-Suir Musical Society

Carrick-on-Suir Musical Society  The Addams Family  Wednesday 2nd April 2025  Carrick-on-Suir Musical Society experienced a very...

Carrick-on-Suir Musical Society  The Addams Family  Wednesday 2nd April 2025  Carrick-on-Suir Musical Society experienced a very difficult couple of days in the lead up to their production of ‘The Addams Family,’ as society stalwart, Fergus Power, sadly passed away. Their resilience in pulling together what was an amazingly slick and top-class   production was quite remarkable and I'm sure that Fergus would have been very proud of their wonderful performance. It was a superbly directed, very well cast show, packed full of deliciously dark humour and exceptionally professional visual elements.  Front of house in the Strand Theatre was busy but highly efficient, with a lovely, warm welcome for patrons as they entered the foyer. Fittingly, there was a framed photograph of Fergus Power over the door of the auditorium as we entered. A beautiful tribute as he watched over friends and family from his beloved society.  Andrew Holden directed with great creativity, vision and understanding of the hilariously dark humour of the show.   There was also great heart in his production, with many poignant moments throughout. There was excellent pace and wonderful attention to the narrative detail throughout. Mr. Holden did an excellent job in bringing the show to life. There were some fine touches which raised the production to a very high level. There was wonderful continuity and flow to the show and pace was always to the fore. Bringing Pugsley and   Wednesday's torture device in at the end of ‘Trapped’ was the perfect example of keeping things moving at all times. An excellently directed show overall.  Fergus Carroll did a wonderful job as musical director, assisted by chorus master Eamon O'Malley. He captured the Gothic essence of the show through its dynamic and quirky score. There was a superb sound from the orchestra and excellent choral work throughout. There was an exceptional sound from the orchestra. The highlight for me was the beautifully sympathetic accompaniment of the glorious ‘Happy Sad’ which really was a musical highlight. Lucas, Wednesday, Alice, and Mal sang brilliantly, with wonderful harmonies in their ‘Crazier Than You.’  T here was an incredible choral sound as the show drew to a close in ‘Move Towards the Darkness.’   Choreographer, Keith Dwyer-Greene, did super work, devising routines that were fun, well rehearsed and always in tune with the narrative. The very tight choreography of ‘When   You're an Addams,’ in which the rigor mortis poses elicited a huge response from the audience, was a very strong start to the show and set the bar very high for what was to come.   There was superb use of props in the choreography of ‘The Moon and Me’ which was one of many visual highlights in the show. The tango scene with Gomez and Morticia and the two couples was superbly put together and excellently performed.  Eoin Sheedy was a highly energetic Gomez, capturing the eccentricity of his character perfectly. Mr. Sheedy was a wonderful character actor with excellent comic timing. I loved his hilariously conflicted performance in ‘Trapped’ which was a comic delight. L ittle moments like the unspoken nods to the prominent attributes of Alfonso the Enormous were so well played.  His “conspiring” was hilarious as was his utter nonsense, rambling on about the fox box in full disclosure.  ‘ Happy Sad’ was beautifully poignant and added greatly to his depth of character in one of the standout moments of the show. A wonderful job!  Sandra Power exuded elegance in a very funny, macabre portrayal of the Addams matriarch, Morticia. Her expressionless demeanour and deadpan delivery were excellent. Ms. Power had superb comic timing and skilfully delivered some wonderfully subtle, understated   comedy which made her a firm audience favourite. She had a fabulous vocal which was at its best in ‘Secrets’ and the beautifully performed ‘Death is Just Around the Corner.’ Overall, this was a really impressive portrayal and the perfect role for Ms. Power’s considerable talents.   As the darkly iconic Wednesday Addams, Liadhain O'Shea had quite the journey from brooding teenager to being smitten with love for Lucas. Her signature number ‘Pulled’ was very well sung and every single word had meaning and clarity. Her impressive vocal range was showcased perfectly in this number.   Ms. O'Shea had very strong comic timing and I loved her scene with Pugsley as she tortured him, much to his delight.  Evan Boland was a wonderful Pugsley with an eternal scowl etched across his face. This was a really superb performance. I loved his bloodcurdling screams of pleasure during ‘Pulled.’ “Do it again! Do it again!” His command of dialogue was exceptionally good and he displayed great musicality too. I look forward to hearing him in future roles as his fabulous voice matures over the next few years. A wonderful performance.  Caolán Deehy Power was a quirky and lovable Fester, eccentric in the extreme as the show’s comedic narrator. This was a larger than life, childlike portrayal which was so endearing and hilariously funny. His love story with the moon ranged from the utterly ridiculous to the beautifully poignant. His comic timing was exceptional and his wonderful facial expressions were the stuff of comedy gold. ‘The Moon and Me’ was quite possibly the highlight of the show, as Fester sang of his lunar love. A standout characterisation under difficult circumstances.  The very talented Irene Malone gave a wonderful portrayal, full of eccentricity and unpredictability, as Grandma Addams. Ms. Malone had some of the funniest lines in the show and her particularly loaded “chow down on a Grandma sandwich!” had me gasping for air. I did feel that Grandma was a little bit too sprightly on her feet for a 102-year-old, riddled with arthritis but then it occurred to me that she most likely had some sort of magic youth potion on that trolley of hers to help offset the aging process. Excellent work overall from Ms. Malone.   Cormac O'Donovan was a naive and nerdy Lucas. Vocally he was very strong with an impressive range and a very clear voice. Comic t iming was good and I loved his line “I can be impulsive! I just have to think about it first!” Mr. O'Donovan just needed to make sure that his blindfold covered his eyes in ‘Crazier Than You.’   Overall, a very strong performance.  Michael Raggett was a rigid and uptight Mal Beineke before finding his mojo at the end of the show. This was a superb comic performance with wonderfully appropriate and over-the top facial expressions which came into their own as he reacted to what was going on around him in ‘Full Disclosure.’ I loved how he slowly got drawn into the mayhem of this number.  Jordan Freeman was an excellent Alice Beineke and her journey from repressed housewife  to finding herself in the middle of Central Park was a source of great hilarity. She was a wonderful comedienne, at her hilarious best during ‘Secrets’ and when letting down her hair in the brilliant ‘Full Disclosure.’ Her strong vocal at the end of ‘Full Disclosure,’ as she hit her ’When Harry Met Sally’ moment, was quite remarkable.  Neil Bourke almost stole the show as Lurch, which is some achievement given that he didn't speak a word from start to finish.   His imposing presence and wonderful physicality was hilarious as he acted his way through monosyllabic grunts, groans, and growls. I loved his filling the Beinekes in on his backstory which could have gone on for another 10 minutes it was so funny. What a great voice he had too as he shocked us with a fantastically resonant ‘Move Towards the Darkness.’   An excellent performance.   Who knew that the Addams Family was descended from a long line of the most eclectic ancestors? The ensemble did superbly well with their myriad characters such as Laurel and Hardy, Jack the Ripper, Emily Pankhurst, and many, many more recognisable characters from history. This ensemble was hugely committed and extremely focused right through the show. They brought so much to the overall visual and I loved how they were used to bring in props, pieces of costume and were integrated into the action so well. Their energy in dance numbers was exceptional as was the precision of movement. Ensemble harmonies were also wonderful, especially in ‘Full Disclosure’ and ‘Move Towards the Darkness.’   The set was visually stunning. The stage was framed by a wonderful proscenium arch, grey, with bare trees on a dark, misty landscape. The similarly painted backdrop, which was   tracked back and forth to reveal the interior of the Addams house, was very effective. The imposing gates in the preset and the half sunken gravestones were fabulously authentic and I loved the terrifying gargoyles which looked down from above. These sliding gargoyle pieces worked very well and I loved how they came together to frame Pugsley's bed. The deliciously gothic, blood splattered interior of the Addams residence was a delight, tying in perfectly with the dark humour of the piece. The fabulous moon on stage left for ‘The Moon and Me’ looked amazing and the projected face was a touch of theatrical magic.  There was excellent stage management from start to finish. Stage Manager, Michael O’Hara, ensured that superbly timed, slick changes added to a very fast-moving show and ensured that pace was exceptional throughout.   I loved the flying of Fester which was quite spectacularly done and brilliantly timed. The tracking in and out of the backdrop was very slick too.  Lighting was exceptional. There was lots of haze and a lovely blue wash in the preset,   setting a very atmospheric, eerie, and foreboding scene. The subtle lighting changes to reflect the various moods of the overture told us that this was going to be a very cleverly lit show from the start. There was exceptional timing of cues throughout. I loved the timing for Gomez as he snapped in and out of ‘Two Things’ and ‘Three Things’ so sharply, perfectly executed. There was delightfully showy lighting for the “dance routine” in ‘Secrets.’ There was fantastic work too in ‘Full Disclosure,’ perfectly capturing the zaniness of the number.  Sound was also excellent throughout.   Underscored dialogue was always very clear and there were superbly timed cues right through the show. Vocals sat on top of accompaniment perfectly and every single word in this show could be heard clearly; no mean feat with so many people on stage.   There was exceptional balance in the pit, with the band being   superbly mixed. ‘Full Disclosure’ highlighted the excellent sound design and operation of this show. It's a number that can be very challenging but, on this occasion, there was a brilliant j ob in balancing the ensemble, the principals, and the orchestra quite perfectly.  ‘The Addams Family’ is, of course, a very quirky show when it comes to props and this production was no different. There was great attention to detail and much resourcefulness had been shown. Gomez's sword, Grandma's acremonium, the distressed red tablecloth, the sacred chalice, the ancestors candles, parasols for ‘The Moon and Me’, Wednesday's   crossbow, Pugsley's black duvet, Lurch's brilliant payphone and, of course, Fester's jetpack were just a few of the excellently chosen props which added hugely to the exceptional visual quality of this show.   There was outstanding work done on costuming. Every single principal character was meticulously turned out, remaining true to these iconic characters. I loved Gomez's pinstripe suit and spats. Lurch's enhanced footwear was perfect as was Mal’s Grateful Dead t-shirt.   The ancestors were the most amazing creations, a motley crew of stock characters from the ages, and I know that a huge amount of work must have gone into getting these exactly right.   Sometimes, it's the small things that catch your eye and to this end I loved the detail of Pugsley's one sock up, one sock down choice. Whether intended or not, it gave me great entertainment.   There was also exceptional work in the hair and makeup department creating some highly original and striking characters. The ancestors were amazing in their ‘Avatar-esque,’ blue makeup.   I’m sure that they are still trying to wash it off themselves. Lurch's prominent forehead stood out (literally!). Pugsley's centre parting was perfect and Fester’s amazing look was perfectly accurate for the iconic role. There was great attention to detail with Morticia's sleek black hair and Grandma's wild grey locks. A fabulous job overall!  This was an excellently produced version of ‘The Addams Family’ from Carrick-on-Suir Musical Society. Technically and visually, it was most impressive and the society was blessed with a such a creative production team and a superbly talented cast. To rally around like they did, under such difficult circumstances, speaks volumes for the wonderful support networks that we are so lucky to experience in our musical theatre circles. Family first and family last, indeed.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photos by John Murphy Photography

Seussical as presented by UL Musical Theatre Society

Society name: UL Musical Theatre Society Show name:  Seussical Adjudicator date of attendance: 28/03/2025 Brief Overview of Show and...

Society name: UL Musical Theatre Society Show name:  Seussical Adjudicator date of attendance: 28/03/2025 Brief Overview of Show and Evaluation of Front of House UL Musical Theatre Society’s production of Seussical  was a colourful, whimsical, and at times, profoundly moving exploration of the beloved world of Dr. Seuss. A challenging piece to mount for any society, Seussical  presents unique demands in tone, staging, and energy, requiring a fusion of imagination, cohesion, and unrelenting momentum. This college production not only embraced these demands, but it also met many of them with real flair and intelligence. From the outset, the audience was welcomed with a warm and friendly front-of-house team, who were well-prepared and efficient, contributing to an inviting pre-show atmosphere. The foyer space was well decorated to reflect the playful aesthetic of the show itself. There was clear attention to detail here, which helped set the tone before a single note was sung. Director – Direction and Production Sean McInerney’s directorial debut can only be described as a triumph. With Seussical  being an episodic and often eccentric piece, strong narrative cohesion is essential, and Sean ensured a seamless storytelling arc from beginning to end. The energy of the production never flagged, and each scene transitioned smoothly into the next, a testament to not only clever blocking but also clear, confident vision. There was a quirky intelligence at play throughout the direction. Little moments, such as the mannerisms of background characters or the imaginative staging of minor transitions, added charm and depth. Sean showed a real aptitude for character development, drawing nuanced and varied performances from his cast. There was also notable attention paid to pacing; the show had rhythm, dynamism, and breath, allowing both comedy and emotional beats to resonate effectively. A particularly inspired choice was the interpretation of General Genghis-Khan Schmitz as German, adding both humour and distinctive characterisation that worked brilliantly in the context of the production. Similarly, the creative use of space was admirable. Working within the limitations of a college theatre environment, Sean’s direction maximised levels, angles, and movement to offer visual interest and variety. If there is any constructive note to offer, it would be to further consider the integration between direction and choreography. While each department was clearly strong, there were moments where transitions into or out of choreographed sections could have been more organically embedded into the scenes. A deeper level of collaboration here could elevate future productions even further. Musical Director – Direction and Orchestra Coordinated by chorus master, Jared Nadin, the vocal delivery across the board was remarkably strong, particularly impressive given that Seussical  is a sung-through show, and the demands of diction, harmony, and energy are relentless. The performers rose to the challenge commendably. Choreographer – Choreography Stephen O’Riain brought a light and quirky touch to the choreography, which suited the tone of the show well. The movement vocabulary was often playful and character-driven, an appropriate choice for Seussical , where dance serves more as a storytelling tool than a showcase of technical prowess. There were some inventive moments, like the charming hand gesture motif for the Whos, using circled fingers over the eyes to mimic eye-pieces. It was an effective piece of visual storytelling, though it would have been even stronger had it recurred as a unifying motif throughout the show. While the choreography served the show’s energy well, there were moments where it could have been pushed further—both in complexity and in how it interacted with the stage space. The available levels and platforms provided ample opportunity for vertical layering and dynamic tableaux, which were occasionally underused. Additionally, the choreographic transitions occasionally lacked fluidity, suggesting that a tighter dialogue between direction and choreography would have strengthened these moments. With that said, the ensemble remained committed, and the routines were performed with enthusiasm and characterisation. Leading Principles – Singing and Acting Horton the Elephant – Daniel Tuohy: Daniel delivered a performance full of warmth and quiet strength. Horton is a character of empathy and patience, and Daniel embodied these qualities with understated grace. His vocal delivery was gentle and lyrical, never forced or overdone, perfectly suited to Horton’s introspective nature. The characterisation was consistent and emotionally honest, making the audience root for him from the start. JoJo – Caitlin Griffin: Caitlin’s portrayal of JoJo was full of youthful wonder and imaginative energy. The physicality of the character was especially strong, she captured the small, curious child with authenticity and never once broke the illusion. Vocally, she was confident, expressive, and clear, effortlessly navigating the score’s rhythmic challenges. Her chemistry with Horton was especially touching, grounding the story’s more whimsical elements in emotional truth. Cat in the Hat – Ethan Doyle:  Ethan’s take on the Cat was bold, camp, and unapologetically exuberant. While the performance undoubtedly delighted the audience and kept energy levels high, the portrayal leaned heavily into flamboyance. This interpretation risks reducing the Cat’s quirky mischief into a stereotype, and the performance edged close to caricature at times. Nevertheless, Ethan brought significant charisma to the role, with sharp comedic timing and strong vocals. His role as narrator and “cat”alyst was well executed, and he maintained control of the stage whenever he appeared. Gertrude McFuzz – Sally Fox:  A true standout. Sally took Gertrude on a full emotional journey, and the audience followed every step with investment and joy. She beautifully portrayed the awkward self-doubt of Gertrude’s early scenes and built toward the confident, courageous figure the character becomes. Her vocals were crystalline, technically secure across all registers and emotionally resonant. Each time she stepped on stage, she brought vitality and sincerity, marking her as a performer of real presence and promise. Mayzie LaBird – Julita Fox:  A dynamic and scene-stealing performance. Julita brought sass, wit, and confidence to Mayzie, presenting her as a figure of glamorous self-importance with just enough vulnerability to keep her human. Her physicality was particularly strong; she moved with total awareness of how to inhabit the stage and draw the eye. Her vocal performance was equally powerful—clear, strong, and expressive. Mr. Mayor – Jared Nadin:  Jared struck the right note of puffed-up parental pride and confused moral compass. His portrayal captured the performative concern of a parent who wants his child to behave more than be understood. His mellow vocal tone added warmth to the role, even as he maintained the character’s comic blindness. Mrs. Mayor – Hannah Gilligan:  A bold and amusing choice to portray Mrs. Mayor as a slightly inebriated, disengaged trophy wife. This added an unexpected layer of comedy and critique to the parents’ dynamic. Hannah maintained her characterisation consistently and complemented Jared’s performance well. Her aloof detachment was played for laughs but never descended into pantomime, a tricky balance she handled deftly. Supporting Roles – Singing and Acting Sour Kangaroo – Silver Chukwuemeka:  Silver showcased an outstanding voice, rich, dynamic, and incredibly powerful. Her opening vocals immediately grabbed the audience’s attention, and her stage presence was commanding. Her characterisation as the sour, overbearing matriarch was strong until a noticeable slip on stage appeared to shake her confidence. While the moment passed quickly, it was disappointing to see her retreat into herself rather than recover fully in character. A reminder that professionalism lies not in perfection but in resilience. Aside from this minor lapse, her performance was vocally exceptional. General Genghis-Khan Schmitz – Cian Ryan:  Cian brought both comedic flair and military gravitas to his role. The decision to play the character with a Germanic stiffness was an inspired one, and he followed it through with vocal and physical consistency. He handled his song with confidence and stayed committed to his troops (and the accent) throughout. Young Kangaroo – Aoife Murray:  Aoife played an excellent foil to Sour Kangaroo, mirroring her petulance and sass with youthful precision. Her delivery was sharp, her timing spot-on, and she clearly enjoyed the character’s bratty boldness. Wickersham Brothers – EvaRose Kiely, Josh Lyons O’Neill, Declan Ross:  This trio had a strong ensemble rapport and good musical blend. They captured the menace and swagger of the Wickersham’s, although their physicality could have leaned further into primate territory. Even more crouched stances or monkey-like movement could have enhanced their animalistic presence. Still, their vocal work was strong, and they committed well to their roles. Bird Girls – Aibhe Tierney, Nicole Buckley, Emma Wright:   The Bird Girls were generally well-matched vocally and added much visual and musical colour to the production. However, performance energy varied across the trio. While Nicole and Emma offered bright expressions and confident movement, Aibhe appeared slightly less assured in her choreography and energy. With more confidence and polish, she could easily rise to match her peers. Chorus/Ensemble – Singing, Acting and Choreography The ensemble was one of the production’s greatest assets. Their commitment to characterisation was exceptional, each performer brought individuality to their role, while still working cohesively as a group. Whether playing jungle animals, citizens of Whoville, or background elements, they contributed texture and depth to every scene. Vocally, the ensemble was very strong. Harmonies were clear, well-blended, and confidently delivered. Movement-wise, they showed strong potential, although there was a sense that they could have been challenged further. Their ability is clearly there—it just needed choreography that would fully test and utilise it. Stage Management & Set Design The set design was clever, colourful, and effective. The rainbow covers over the scaffolding structures were a playful way to transform practical staging into something aesthetically vibrant. The central platforms gave the show strong verticality, allowing for varied scene compositions. The smaller scenic pieces were decorated and painted with care and flair, helping transport the audience into the quirky world of Seuss. Stage management was generally solid, although there were a couple of moments where the presence of the stage manager was visible. These instances, while minor, can break the audience’s immersion. In a production like Seussical , where the world is so stylised, set transitions can often be delegated to in-character ensemble members, keeping the illusion intact. Technical – Light and Sound Lighting was well-designed and sensitively executed. The rig was used to good effect, offering colourful worlds that matched the show’s shifting tones. Each distinct setting had its own visual identity, thanks to smart lighting choices. A small note: the top platform lighting (specials) occasionally missed its mark, leaving some performers in partial shadow. This can be easily addressed with clearer spike marks or blocking adjustments. Sound was a real highlight. The balance between vocals and orchestra was spot-on, a particularly difficult feat in a sung-through score. Microphones were well-managed, and there were no missed cues. Clarity of diction and harmony was maintained throughout, indicating both strong technical support and cast discipline. Visual – Costumes, Hair and Make Up The visual elements of this production were bursting with creativity. Costumes were clever and cohesive, rather than literal animal costumes, each look offered a stylised, character-based interpretation. The yellow palette for the Whos was effective in visually unifying them, and the detail of broken umbrellas after the fall was a delightful touch of storytelling-through-prop. Makeup was expressive and imaginative, enhancing the Seussian world without becoming too heavy-handed. Hair choices were similarly smart, quirky, controlled, and always off the face, ensuring that performers’ expressions and vocals remained clear. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. UL Musical Theatre Society’s Seussical  was a bold, joyful, and imaginative production that celebrated the eccentricity of Dr. Seuss’s world while grounding it in human emotion. Strong performances from the principals, inventive direction, and a committed ensemble made this a truly enjoyable evening of theatre. To build on this success, future productions might look to deepen the integration between departments—especially between choreography and direction—and push ensemble movement further. Ensuring cast members maintain professionalism even in the face of small slips will also raise the level. Ultimately, this production was a testament to the potential of student theatre when driven by vision, heart, and talent. It was a thoroughly enjoyable and uplifting night, and the entire company should be very proud of their achievement. Photos by Desirée McMahon

Hot Mikado as presented by Thurles Musical Society

Thurles Musical Society  Hot Mikado  Saturday 29th March 2025  ‘Hot Mikado’ made a welcome, roaring return to the AIMS circuit this year...

Thurles Musical Society  Hot Mikado  Saturday 29th March 2025  ‘Hot Mikado’ made a welcome, roaring return to the AIMS circuit this year with Thurles Musical Society taking on the upbeat adaptation of the Gilbert and Sullivan classic in the Premier Hall. This version of the satirical G&S operetta retains the language and wit of the original, renowned for its convoluted plot twists. However, the Rob Bowman score is a jazzy,   high-octane interpretation, drawing on gospel, blues, and swing influences which ‘heat’ the source material to. It’s a show that features romance, comedy, an inexperienced executioner, and no flirting. None whatsoever. Thanks to skilled direction and intelligent performances, this was a very impressive take on a show that, a quarter of a century ago, was one of the most produced shows on the AIMS calendar.  Front of house had fabulous Japanese-themed displays which set a great tone. I received a lovely, warm welcome and it was great to catch up with some AIMS stalwarts as they met and greeted with a smile.   The Premier Hall was festooned with beautiful paper lanterns,   adding to a wonderfully immersive atmosphere. Tiered seating had been installed since my last visit to Thurles, making the theatre experience all the more special.  Oliver Hurley directed this feast of comedy, choreography and colour with great flair and pizzazz. There were some lovely touches in this highly energetic and pacy show. Ko-Ko arriving through the audience on his bicycle was a funny addition, as was Katisha's dramatic arrival, bursting through a Japanese screen. There was an incredible pace to scenes and very good focus on principal characterisations. There was a very impressive, ‘animated’ cast freeze during Katisha's superb ‘Hour of Gladness’ and what a triumphant moment it was when Katisha appeared at the end of Act One, descending from above on an enormous Japanese soribashi bridge, spanning the width of the stage. A most unexpected but   delightful moment of theatrical and technical wizardry.  Mary Rose McNally did a wonderful job as musical director. Her band, cleverly hidden   behind a sliding screen on the upper level, displayed exceptional musicianship. There was very strong vocal work throughout the show. Diction in the ‘Sit in solemn silence’ section of ‘I Am So Proud’ was exceptionally good, as was the harmony work from the trio. There was an exceptional choral sound in ‘For He's Gonna Marry Yum-Yum and the finale of Act One was fabulous, especially the basses and tenors as they were featured. The ensemble sound during ‘Braid the Raven Hair’ was glorious, with exceptional balance between vocal parts. Similarly, there were wonderful vocal dynamics and superb balance in ‘Swing a Merry Madrigal’ with both the quartet and the chorus excelling in what was one of the musical highlights of the show.  Oliver Hurley also took on the role of choreographer, supported by Dance Captain Siobhán King. The one thing that shone through the choreography was that, even though there were  varying abilities of dance and technical abilities across the cast, there was huge energy throughout from a very large ensemble and everything was performed to a high standard.  The execution (sorry!) of ‘We Are Gentlemen of Japan’ could have been a little bit more   precise from the male ensemble but, overall, it was a very well choreographed number with good formations and great use of the playing space. There was very clever work in ‘I Am So   Proud,’ with the passing of the letter combining strong movement and comedic business whilst maintaining the accuracy of the narrative. ‘Let the Throng Our Joy Advance’ was a wonderful ensemble number full of energy and great performance levels. ‘The Sun and I,’ did   not work for me personally. I felt that the two dancers, one representing the sun and one representing the moon, took away from Yum-Yum’s beautiful, heartfelt vocal performance. It was a lovely idea, beautifully performed by the dancers, but I felt that it was too busy and distracting when our focus should have been on the lyrics and Ms. Kirby's beautiful   interpretation and sentiment rather than a literal commentary through dance. ‘Mikado Song’   was a wonderful number with fabulous tap dancing and excellent performance levels. Likewise, ‘Sing a Merry Madrigal’ was sharp and full of synchronised, joyous choreography.   The finale number was excellent, a fitting finish to what was a superbly choreographed and danced show throughout.   The very talented Conor McNelis brought an infectious energy and likeability to the role of Ko-Ko. He was a wonderful, natural comedian, physically, facially, and vocally. Comedic timing was exceptionally good. Mr. McNelis was such a clever performer. His w onderfully intelligent delivery brought welcome clarity to the convoluted narrative of the very wordy ‘Here's a Howdy-Do.’ He was very funny indeed wooing Katisha in the hilarious ‘Tit Willow.’   He had a great voice and displayed a natural musicality as he cleverly negotiated the higher notes of the chorus in ‘Beauty in the Bellow.’ A tour-de-force comic performance.  Marie-Therese Kirby was an excellent Yum-Yum, caught in a convoluted love triangle and torn between complying with her duty to wed Ko-Ko and her affection for Nanki-Poo. Ms.   Kirby very much played up the comic elements of Yum-Yum's character and it really worked, as she used her wonderful intelligence as an actress to get great comic mileage from the role. Her presence and stagecraft were wonderful and her diction was exceptionally strong. She shone in all of her duets and trios, displaying a lovely vocal tone and strong musicality. ‘The Sun and I’ was a stunning performance, vocally. A wonderful all-round performance from Miss Kirby.  Danielle Martin did very well as Pitti-Sing. She had very strong stage presence and did well with her gospel-style, vocal riffs in ‘For He's Gonna Marry Yum-Yum.’ Her determined ‘sing off’ with Katisha brought a fiery edge to her portrayal which really worked.  Denise King completed this strong trio of ‘little maids from school.’ A very skilled comedienne, Ms. King played the role with an energetic ditziness and wonderful comedic delivery in what was a very charming performance. I particularly liked her facial expressions and funny delivery during the “burial alive” scene. She too sang very well, particularly during ‘Three Little Maids and with its challenging, close harmony.  Mark O’Gorman played wayward son of the Mikado, Nanki-Poo. He had a fabulous tenor voice with a great range. He had good comic timing and his accent was generally secure. I did feel that he needed more direction, at times, to really get the most out of his performance. I felt that he needed to tell the story more in ‘Here's a Howdy-Do.’ Yes, it's challenging in its wordiness but the storytelling is key and a little bit more investment in the words would have transformed a good performance into a great performance. Mr. O’Gorman is s till very young and I think that he has a wonderful future ahead. I really look forward to seeing him build on this performance and shining in future roles.   Ben Collins was a very strong Pish-Tush. Mr. Collins  was an excellent actor and brought infectious energy to the role, whilst also standing out in ensemble numbers as a wonderful performer. He was superb in ‘I Am So Proud’ and did exceptionally well in ‘Braid the Raven Hair,’ showcasing his crystal clear, soaring tenor voice in what was a very impressive performance.   I loved David McElgunn’s performance of a very intimidating Mikado.  His mafioso-style delivery with commanding presence, excellent comic timing and exceptional diction, made him a firm audience favourite, in spite of his psychotic tendencies.   He really did own the stage for his scenes. And what a superb voice he had too, really nailing the ‘Mikado Song’.   Not content with just singing well, he also had a star turn when it came to tap dancing. An excellent all-round performance.   The character of Pooh-Bah shines a satirical light on those who might abuse power for personal gain  (imagine!). Lord High Everything Else was played with great aplomb by Frank Tuohy. Mr. Tuohy had strong command of dialogue generally, although he was a little hesitant with lines at times. He displayed great pomposity as the greedy, open-to-corruption politician-type, with a finger in every pie. He had a superb baritone voice in ‘I Am So Bad.’ I felt that he really needed to commit to each of his ‘personae’ when switching between   accents. Some accents were strong and humorous, whilst others appeared a bit nondescript and apologetic, even though it was clear that he was well able. I felt that he needed to hit each one full on and not hold back. To borrow one of his own lines, “ Don't stint yourself, do it well.” I loved his wonderfully long held note at the end of his “long life to you” toast.   Linda Ryan gave a fabulous performance full of depth and complexity as the jilted Katisha. Ms. Ryan was hilariously intimidating but she also brought a layer of vulnerability to the role,   which was refreshing. We loathed her, we laughed at her antics but we pitied her also. ‘ Alone and Yet Alive’ was a fabulous, goosebump-inducing performance with exceptionally good control as the song built to its climax. Ms. Ryan’s scenes with Ko-Ko were top notch,   comedy gold, with ‘Tit Willow’ and ‘Beauty in the Bellow’ being standout numbers in a superbly funny , all-round performance.   There was great work from the large, well-rehearsed and focused ensemble. I loved the wonderful reactions from the gentlemen in their opening scenes. There were great reactions too as Katisha returned to claim Nanki Poo. Kudos to all for their very effective freeze during ‘The Hour of Gladness,’ although one or two needed to be a little bit more disciplined with their timing going into the freeze. There was exceptionally good work in the Mikado scene as he regaled them with tales of executions and boiling oil. The sharpness of their reactions as they came up and down during that scene was exceptionally good and so well directed.  Stage manager Anthony Kirby did a very impressive job all night with what can only be described as a colossal set.   Scene changes were slick throughout. Everything flowed so well   and crew members operated with military precision. Katisha's bridge, flying in at the end of Act 1, was an absolute triumph of design and operation. The only slight hitch was with the torii gate, specifically the stage right piece, which didn't make it on for its first scene. There was no issue in subsequent scenes and  this is a small point in what was very strong stage management overall, coping with an enormous set and a huge cast.  You always know when you attend a Thurles MS show that the set is going to be full of surprises and on a very large scale. ‘ Hot Mikado’ was no exception.   I couldn't get enough of the gloriously lit pre-set with its beautifully fanned floor and its giant fans with gorgeous blossom detail. Scenic artistry was superb in this finely detailed set. The backlit, sliding   screens, so evocative of Japanese architecture, added greatly to the overall aesthetic.   The ramps from stage left and stage right provided great opportunities for levels and for entrances and exits. Whilst the torii gate looked wonderful, with its impressive size and beautiful finish, I did wonder if it was entirely necessary and if it added anything to the flow of the show. With everything else looking so well, I felt, at times, that it might have been an unnecessary addition, causing distraction during its entrances and exits when an open stage might have sufficed.   Just a small observation.   Lighting for this show was exceptional, with excellent use of colour to complement the vibrancy of the costumes and sets. There were stunning pictures created in ‘I Am So Proud’ and great use of haze right throughout the show to accentuate strong, dramatic beams   which created some stunningly theatrical states. There great use of colour and moving lights in the finale of Act 1 to help maintain an upbeat, joyous, and celebratory feel. ‘Alone and Yet Alive’ was a triumph of lighting, music, and wonderful acting from Ms. Ryan, with each   element complementing the other on stage.   Sound was exceptionally good. The band was perfectly mixed and levels were really well managed throughout.   There was superb balance amongst performers. Ensemble vocals were a joy to listen to with every single harmony line clear and balanced. The very challenging ‘For He's Gonna Marry Yum-Yum’ was outstanding in this regard. There was also stunning balance between the quartet in ‘Swing a Merry Madrigal.’  A ll dialogue was very well cued and EQ levels on mics were appropriate, with a warm, full sound from all performers.   There was great attention to detail in the props department, with the obligatory fans, a not so-little list, and parasols, which were used to great effect at the end of Act 1. The Mikado's rickshaw was a fine vehicle and I loved the myriad props which added to the comic business, including the puppets in ‘Tit Willow’ and Ko-Ko's wonderfully constructed extended arm.   Hair and makeup were very well looked after. The fabulously detailed hairstyles and headdresses of the little maids were a visual treat and even Ko-Ko’s carefully tousled hair complemented his bumbling character. Of course, the highlight was Katisha, whose over the-top severity of makeup and superbly dramatic wig added so much to her character. Very good work from all involved.   Costumes were excellent from the brightly colored suits of the gentlemen of Japan to the ladies equally colorful dresses. The fabulous purple and gold kimono was a fine piece. Ko Ko’s checked suit was perfect for the role and I loved Katisha’s villainous look which was so darkly dramatic. The Mikado looked suitably imposing in his sharp white suit. The uniformity of the gentlemen’s black hats did jar with me a little bit and I wondered if something could be done to tie these in with the colours of their suits, shirts, or ties to personalise them.   Thurles Musical Society produced a wonderfully uplifting, exuberant and very funny production of ‘Hot Mikado.’   It has been too long since this wonderful show has had a showing on the AIMS circuit and this was a very welcome return. I really hope that it continues to be produced around the country as it was clear in the Premier Hall that it is a huge audience favourite, with everyone leaving on a high thanks to this superbly presented version of the show. Like Mr. Bah, Thurles MS should be well proud.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photos by John O Loughlin

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