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Review: All Shook Up - Killarney Musical Society

Society name:  Killarney Musical Society Show name:   All Shook Up Adjudicator date of attendance:  11/02/2026 Killarney Musical Society’s All Shook Up  delivered a lively, colourful evening of musical theatre that embraced the cheerful spirit of this Elvis-inspired jukebox show. From the outset, the production established a bright and inviting tone, creating a theatrical world that felt playful, welcoming, and full of enthusiasm. The company clearly relished the material, and that enjoyment...

Society name:  Killarney Musical Society Show name:   All Shook Up Adjudicator date of attendance:  11/02/2026 Killarney Musical Society’s All Shook Up  delivered a lively, colourful evening of musical theatre that embraced the cheerful spirit of this Elvis-inspired jukebox show. From the outset, the production established a bright and inviting tone, creating a theatrical world that felt playful, welcoming, and full of enthusiasm. The company clearly relished the material, and that enjoyment translated easily to the audience, who responded warmly throughout. It was, above all, an evening grounded in sincerity and commitment, with a cast eager to entertain and a creative team intent on presenting a cohesive and engaging production. Visually, the show made an immediate impression. The overall design concept was vibrant and appealing, with a strong opening stage picture that drew the audience into the story at once. There was a pleasing sense of unity across set, projections, and costumes, suggesting careful planning and a clear stylistic vision. This coherence helped establish the tone of the piece and supported the storytelling effectively, particularly in a show that relies on a playful sense of theatricality rather than strict realism. Director Oliver Hurley took a gentle, unobtrusive approach that allowed performers space to inhabit their roles comfortably. That ease often benefits a show like All Shook Up , where charm and personality are as important as precision. There were moments, however, where a little more sculpting of movement and interaction could enhance clarity. At times performers drifted slightly upstage of scene partners or shifted backward during dialogue, softening the focus of the dramatic moment. Small adjustments in positioning and spatial awareness would help sharpen relationships and ensure that important exchanges remain visually and emotionally centred. Pacing, too, is an area that could be refined. Some dialogue sections, particularly early scenes such as Jim and Sylvia’s first bar encounter, settled into a slower rhythm than the narrative requires. Tightening cue pickups and keeping conversational energy moving forward would help maintain momentum and sustain the lively tone that suits the show so well. Likewise, consistency in how performers navigated the set would strengthen the storytelling logic. At times scenic pieces were treated as solid structures, while at other moments within the same scene actors passed through them as stylised frames. Clarifying this stage language would help the audience instinctively understand the environment and remain fully immersed in the action. The comic transformation of Natalie into “Ed” is one of the script’s most theatrical opportunities and orienting that moment more toward the audience would allow its humour to land with even greater impact. Similarly, encouraging subtler reactions from the chorus during group scenes would enrich the stage world. Ensemble performers often default to broader gestures, but a slightly more naturalistic style can add texture and authenticity while still supporting the show’s heightened tone. Musically, the production was one of the strongest aspects of the evening. Under the direction of Jimmy Brockie, with Sorcha O’Connor as Chorus Mistress, the band played with confidence and cohesion, providing a steady, well-rehearsed foundation for the cast. Tempos were reliable, accompaniment was supportive, and there was a reassuring sense of coordination between pit and stage. The principals sang with pleasing tone and musicality, and ensemble harmonies were particularly impressive, giving several numbers a rich, satisfying sound. “Can’t Help Falling in Love” stood out as a highlight, delivered with warmth and sensitivity that drew the audience fully into the moment. The chorus produced a full, resonant sound and clearly benefited from careful vocal preparation. There were occasional instances, most noticeably in “Jailhouse Rock”, where a few ensemble members appeared to miss entrances or were not singing, but these were minor details within an otherwise strong musical showing. A few underscored dialogue passages ran slightly long, leaving performers momentarily waiting for vocal cues; trimming these transitions would help maintain flow and dramatic pacing. Overall, however, the musical team provided a polished and enjoyable score that formed a solid backbone for the production. Choreographically, the cast approached the movement with enthusiasm and commitment, which is half the battle in a dance-driven show. The numbers were energetic and clearly enjoyed by those performing them. Some sequences relied on repeated step patterns, and introducing more variation in movement vocabulary could bring additional visual interest. Likewise, greater attention to unison, consistent arm lines, shapes, and turn directions, would enhance the overall finish. Dance breaks occasionally felt more transitional than fully choreographed and expanding these sections with clearer structure could heighten their impact. The ensemble’s willingness to commit physically suggests that, with focused cleaning and detail work, the choreography could become an even stronger feature. Among the principals, Eoghan Cantillon-Mann’s Chad was engaging and charismatic, with confident stage presence and expressive reactions that communicated humour effectively. His vocal delivery was pleasing, and his physicality captured the character’s swagger without exaggeration. Katrina Galvin’s Natalie sang with power and assurance and moved confidently across the stage. Exploring stronger physical contrast between Natalie and her alter ego Ed would further highlight the role’s comic potential. Dominik Hurley’s Dennis was gentle and likeable, with posture and movement that conveyed shyness effectively. Leaning further into the character’s emotional journey, especially the tension between friendship and romantic feelings for Natalie, would deepen audience investment. Shinann Buckley O’Sullivan’s Miss Sandra offered strong, well-placed vocals and a determined stage presence. Lily MacMonagle’s Sylvia was a particularly memorable portrayal, combining expressive acting with a resonant voice. She charted the character’s emotional journey clearly, allowing the audience to share both her joy and vulnerability. Michael Cunningham’s Jim brought warmth and sincerity, settling into the role after a slightly tentative start. His duet “Don’t Be Cruel” was especially charming, capturing the character’s awkward humour. Strengthening the father-daughter connection with Natalie would make that relationship more affecting. Supporting roles were well handled. Caoimhe Murray’s Lorraine was sweet and sincere, sung with a clear tone and performed with maturity beyond her years. Jaidon Ward Barrett’s Dean was endearingly awkward, with physical comedy that landed well. Orna Cleary O’Shea’s Mayor Matilda showed solid characterisation and good comic timing, and a slightly stronger initial entrance and more commanding physical presence would heighten her authority. Conor O’Leary’s Sheriff Earl generated genuine laughs; allowing a fraction more space after punchlines would ensure every line is heard. The ensemble contributed greatly to the show’s lively atmosphere. Their enthusiasm was infectious, and vocally they were one of the production’s greatest strengths, producing a rich sound that supported the principals beautifully. Encouraging more individualised character choices and slightly subtler acting would add nuance and variety, helping each performer feel distinct within the group. This is an area where workshops or improvisation exercises can make a noticeable difference. Behind the scenes, the production was well supported. The set design was simple but highly effective, particularly for a show with many locations. Framed units on dollies allowed for swift transitions that kept the story moving, and projections were bright and thoughtfully designed, complementing the colour palette and reinforcing the visual world. Stage managers Pam Brosnon and Frank Ashe oversaw proceedings smoothly, with efficient scene changes that maintained pace and continuity. Lighting included several attractive elements, especially the LED tape integrated into the frames and some beautifully lit Act Two moments such as “There’s Always Me” and “I Don’t Want To.” Because the stage extended quiet, front lighting occasionally left faces in shadow at the extreme edge, and additional upstage face light would help maintain visibility across the full playing area. Cueing was accurate and the use of moving lights added variety. Sound was generally balanced, though a little more overall presence would strengthen musical numbers, and at times principals could sit more clearly above the chorus. Some dialogue was difficult to catch, suggesting that small adjustments to projection or mixing could improve clarity. Costumes established an attractive palette that suited the tone of the show, with solid foundations that successfully indicated period and character. Additional detailing, accessories or finishing touches, would add polish, and refining layering would prevent second costumes from being visible beneath opening outfits. Hair styling showed good effort and period awareness; slightly larger shapes would enhance stage impact. Make-up was neat overall, though a more natural look for Natalie would better match her mechanic persona, and footwear choices at the end could reflect her tomboy character more closely. The audience experience was supported by a welcoming and efficient Front of House team, whose friendly organisation created a relaxed and positive atmosphere from arrival. This sense of hospitality contributed greatly to the evening and helped set the tone before the curtain even rose. Taken as a whole, Killarney Musical Society’s All Shook Up  was a bright, enjoyable production with strong musical credentials, appealing design, and a cast whose enthusiasm shone through. The show already possesses many of the qualities that make community theatre special: commitment, warmth, and a genuine love of performance. With continued attention to detail, tightening pacing, refining staging clarity, polishing choreography, and making small technical adjustments, the society has every opportunity to build on this solid foundation. Most importantly, the production radiated goodwill and enjoyment, leaving the clear impression of a company that delights in sharing theatre with its audience, and that spirit is its greatest strength.

Review: We Will Rock You - Cecilian Musical Society

Society name: Cecilian Musical Society Show name: We Will Rock You Adjudicator date of attendance: 22/11/2025  The Lime Tree Theatre proved an excellent venue for the visual and aural feast that was Cecilian Musical Society’s We Will Rock You. Arriving to an open curtain, the audience were immediately invited into a world built on contrast: old alongside new, crumbling facades against sleek technology, manufactured soullessness set beside the unfiltered joy of rock. From the moment the...

Society name: Cecilian Musical Society Show name: We Will Rock You Adjudicator date of attendance: 22/11/2025  The Lime Tree Theatre proved an excellent venue for the visual and aural feast that was Cecilian Musical Society’s We Will Rock You. Arriving to an open curtain, the audience were immediately invited into a world built on contrast: old alongside new, crumbling facades against sleek technology, manufactured soullessness set beside the unfiltered joy of rock. From the moment the opening credits rolled, the production drew the audience into Queen’s iconic sound world and the show’s offbeat, ultimately uplifting story of courage, individuality, and self-belief. The Society approached the material with a clear sense of drive, both emotional and physical, and the evening carried strong forward momentum from start to finish. That said, while the production was energetic and did justice to the legendary score, it was not without areas that could be refined. In places, character development didn’t feel fully explored, which occasionally undercut the cast’s ability to land emotional beats with maximum impact. A show like We Will Rock You thrives on a powerful ensemble; it cannot rely solely on a strong front line. The society have that ensemble strength in abundance, and the evident collaboration across departments resulted in a bold, visually impressive, and cohesive piece of theatre. Front of House was calm, efficient, and professional, engaging amiably with patrons while seating the large auditorium with ease. There was a palpable sense of anticipation in the building, and the clear systems in place ensured the evening began promptly and smoothly. Director- Direction and Production Des Henn guided a strong cast capably through the show’s quirky, dystopian world of “no real music,” and the overall pace benefited from well-thought-out, seamless transitions between scenes and locations. For the most part, the blocking was considered and effective. There were moments where focus and intention were less clear. Some performers drifted upstage without dramatic purpose, which reduced connection both between scene partners and with the audience. More deliberate staging choices here, anchored in specific intention, would sharpen storytelling and heighten impact. While the visual world was confidently realised, some characters felt under-developed. Most notably, Galileo’s characterisation occasionally worked against audience engagement. The choice to include a tic-like action and stammer became distracting at times, and it didn’t feel fully aligned with the character’s function in the narrative. Galileo is an outsider, certainly, and his internal struggle should be visible, but this choice made the struggle read as primarily external, limiting emotional access for the audience. Overall, the direction suggested an excellent eye for detail in certain areas, but less consistency in others. A deeper interrogation of character intentions throughout would elevate an already strong production to an even higher level. Musical Director- Direction and Orchestra This production benefited enormously from the Musical Director’s exceptional skill. Conor McCarthy delivered outstanding work with both cast and band. Under his leadership, a vocally strong company achieved clean, confident harmony work, each vocal line distinct, yet beautifully balanced within the whole. Rather than relying on the inherent brilliance of Queen’s catalogue alone, Conor brought nuance to the score and pushed the cast to meet its demands with real style and musical integrity. From the clipped precision of the Globalsoft world to the raw, unrestrained energy of the Bohemians, the musical world remained consistent and purposeful. The result was a cohesive sound that supported storytelling and allowed both lyrics and musical detail to land clearly. His control of the rock band, particularly with two drum kits in close proximity to the audience, was impressive. There were moments where the volume tipped slightly loud, but in the context of this show, it remained largely forgivable (it is  rock ’n’ roll, after all). Underscoring was well timed and click tracks and sound effects were managed with clarity and precision. Conor’s focus and concentration were evident throughout, and his work formed the backbone of the production’s musical identity and underpinned its central message of rediscovering real music. Choreographer- Choreography Barbera Meaney’s choreography was the final polish on a production on this visually striking production. Working with two distinct choreographical languages, she clearly understood both the contrasting worlds and what each required physically. The Killer Queen numbers were sharp and controlled, clean lines, precise execution, and an intentional sense of self-importance. The shifting formations were consistently dazzling and hypnotic, and the dancers moved with a stylised uniformity that supported the “brainwashed” aesthetic beautifully. In contrast, the Bohemian sequences exploded with raw energy. The movement vocabulary was grounded and punchy, frequently forward-facing, and driven unflinchingly toward the goal as a unified force. There was clear narrative intention in the movement across both worlds, and the choreography helped define character, atmosphere, and stakes, not simply decorate the numbers. Barbera achieved a level of synchronicity that is rarely seen in amateur theatre, and this spoke to both disciplined rehearsal and strong performer commitment.  Leading Principles- Singing and Acting Galileo – Emmet Donlan.  Emmet has an undeniably versatile voice, shifting between emotional colours and tonal qualities with ease. He captured the rock aesthetic with power, while delivering the softer moments with a pleasing smoothness. Dramatically Galileo’s development felt pulled in an unusual direction. The emulation of a tic and stammer became an exaggerated physical choice that overshadowed the character’s internal conflict. Rather than reading as shy, awkward, and troubled, it sometimes pushed the portrayal into something more performative than truthful, reducing the audience’s ability to connect with Galileo’s emotional journey. Scaramouche – Moya Henn.  Moya took time to settle into the role, and the early scenes occasionally felt stiff or emotionally guarded. However, as the performance progressed, she developed into a dry-witted, poker-faced rebel, and her delivery began to land with a confident bite. Once the character arc found its footing, it was clearly defined, emerging from her shell, being knocked back, and then reappearing with renewed bravery. Her interactions with Galileo and the wider company were strong and believable. Vocally, she was captivating from the outset: exceptional clarity, power, and control. With continued experience, Moya has all the ingredients to become a truly formidable performer. Killer Queen – Hilary Phayer.  Hilary stepped into the towering high heels of the Killer Queen with a cold, calculating austerity. While the dancers moved behind her with clinical precision, she anchored the stage with power and authority. There was perhaps space to lean slightly further into the character’s darker edge to fully cement the audience’s dislike of her, but this was a strong performance regardless. Vocally, she handled the demands of the role with impressive steadiness, smooth transitions, confident attack, and no loss of control under pressure. Khashoggi – James O’Donovan.  James offered a slightly different take on the typically detached military figure, maintaining the authoritarian exterior while uncovering the comedy that can be hidden in the role. His occasional flirtatious, playful moments gave the character an unexpected dimension and made him almost likeable, an interesting and effective choice. Vocally, Seven Seas of Rhye  was delivered with confidence, navigating its tricky musical demands with ease. Buddy – Brian Henry.  Brian found the heart of the rocker with real warmth. He delivered some of the script’s funniest moments without ever stepping outside character, which takes discipline and strong comic craft. He also brought genuine feeling to the role, and his rendition of These Are the Days  landed as sincerely poignant. Oz – Aoife Hennessy.  Aoife fizzed with energy throughout, consistently engaged and highly watchable regardless of where focus was placed. Her off-script work was particularly strong, active, alive, and purposeful. Her relationship with Britney felt honest and well rooted, achieved without needing to push the physicality. Vocally, she showed power and clarity, and her ease in switching vocal qualities suggests exciting potential as she continues to develop. Britney – Brian Curtin.  Brian matched Aoife’s energy brilliantly, throwing himself into the role with wholehearted zeal. Adorably meat-headed, his accent work was strong and consistent, and his physicality helped define the character clearly. Supported by solid vocals, this was a lively, confident performance that complemented the ensemble well. Chorus/Ensemble- Singing, Acting and Choreography The chorus was the true engine of this production. Their energy, attention to detail, and collective commitment created the cohesion that makes a show like this succeed. Each performer remained individually expressive while still serving the unified storytelling. The precision of the Yuppies was genuinely impressive, and it contrasted beautifully with the Bohemians’ sense of joyful abandon. Vocally, the ensemble work was excellent, harmonies were clear, balanced, and confidently placed. The stage picture remained consistently interesting, and that only happens when an ensemble is fully invested in always telling the story. Stage Management & Set Design Scene changes, led by Stage Manager Ray Bourke, were swift and efficient, and the decision to have many transitions operated by cast members helped maintain momentum and supported the show’s continuous drive. Overall, the backstage operations reflected good planning and strong communication.  The set design was excellent, leaning into the show’s theme of opposites with real clarity. Cracked, crumbling faux stone textures sat effectively alongside metal platforms and railings with clean, modern lines. The finish was strong, and the raised levels created genuine versatility, allowing multiple locations to be established without disrupting flow. Additional pieces, particularly the VW van, were carefully constructed and well finished. Projections were also well designed, maintaining a cohesive visual identity and blending seamlessly with the wider aesthetic. Technical- Lighting and Sound The lighting design was truly striking. Sharp angles and silhouettes were used to excellent effect, contrasted with big, punchy rock ’n’ roll parcan hits. The addition of blinders added an authentic stadium feel, and side light was particularly effective in shaping the stage picture. Front-of-house cover was well focused, and cueing was crisp throughout, supporting the rhythm of the piece without distraction. Sound was superbly mixed: clear, punchy, and well balanced for a show of this scale and style. The band supported the vocals effectively, allowing lyrics to land and story to remain central. Cueing was reliable, with no noticeable missed moments, and the overall soundscape supported both the rock energy and the narrative clarity. Visual- Costumes, Hair and Make Up Costumes were outstanding and played a significant role in defining the contrasting worlds. The sharp, clean lines of the Globalsoft aesthetic were strongly offset by the layered, punk-rock styling of the Bohemians. Detailing and styling were excellent across the board. The costume team deserve real credit for maintaining consistently high standards, performers looked tidy, polished, and stage-ready throughout, with no distracting slips in presentation. Hair and make-up were equally effective, supporting character identity and enhancing the overall look. Wigs were well fitted, well styled, and clearly well maintained—another sign of strong backstage organisation and pride in presentation. Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances. Overall, Cecilian Musical Society delivered a strong, energetic production that provided the audience with a thoroughly enjoyable evening of theatre. There was a clear artistic vision throughout, underpinned by an excellent musical foundation, vibrant and purposeful choreography, and a committed, hardworking cast. The cohesion across all departments spoke not only to careful preparation, but also to a genuine sense of trust and mutual respect between the production team and performers. From a directorial perspective, there is an opportunity to move blocking beyond functional staging. Keep asking why  choices are being made, and ensure every movement is rooted in intention. Additionally, Character development would benefit from deeper exploration: interrogate motivations, refine objectives, and be willing to redirect choices that don’t serve the narrative. And a stronger consistency of detail, particularly in character work, would lift an already impressive production even further. Cecilian Musical Society is clearly a company driven by passion, dedication, and creative energy. Their willingness to take risks and their obvious enthusiasm for the work position them well to achieve an even higher standard. With further refinement in character development and intentional staging, they have every potential to deliver productions of truly exceptional quality.

Review: West Side Story - Light Opera Society of Tralee

*Public Adjudication by Ciarán Mooney Light Opera Society of Tralee West Side Story 22 nd  of November 2025 ________________________________________________________________________ As the audience entered Siamsa Tíre, sweeping red chairs and shadow-casting light revealed a fully realised set already drawing us into the world of West Side Story . Posters for the high-school dance and clotheslines around the auditorium subtly pulled us into the neighbourhood. The band sat ready to launch into...

*Public Adjudication by Ciarán Mooney Light Opera Society of Tralee West Side Story 22 nd  of November 2025 ________________________________________________________________________ As the audience entered Siamsa Tíre, sweeping red chairs and shadow-casting light revealed a fully realised set already drawing us into the world of West Side Story . Posters for the high-school dance and clotheslines around the auditorium subtly pulled us into the neighbourhood. The band sat ready to launch into Bernstein’s soaring score, while an eerily silent start created a hovering sense of foreboding. LOST, it turned out, were not one bit lost with this very good production.  Gráinne O’Carroll’s direction gave the production a gentleness and naïveté not always present in modern tellings. Hard edges softened, revealing the innocence of teenagers trying to grow up and get by—while getting it wrong. Tony and Maria’s meeting in the gym felt like a dream, their whispers drawing us into the tenderness and secrecy of their union. The warmth within each community was palpable, with older characters showing that they genuinely cared for the younger generation. This softness made the tragedy hit harder, the deaths feeling more wasteful and affecting. Leaving the bodies onstage for the entire interval was a bold touch, allowing the audience to sit with the horror before Act Two began. Maria and Anita’s Act Two duologue, though musically triumphant, might have benefitted from more physical expression to embody the tension between them. And while the Jets delivered energy, commitment and fun, the Puerto Rican sequences seemed a touch reserved. America  could have been messier (in the right way) with more youthful exuberance and heat. Similarly, I Feel Pretty  - beautifully rehearsed – might have needed that extra 10% of sass. The Tonight  ensemble at the end of Act One was vocally excellent but visually static; a small adjustment in staging could have added dynamism. Still, these notes were minor within an otherwise very strong directorial outing by Ms Carroll. Character work was excellent, the pacing slick, the accents spot-on, the casting just right. The entire production felt secure and well-shaped under O’Carroll’s leadership. Musical Director Aidan O’Carroll led with clarity, occasionally enriching the texture from the piano, and the balance between stage and pit was almost perfect. Softly spoken lines floated clearly over the orchestra. The only moment where underscoring distracted slightly was in the Act Two scene between Tony and Doc, likely something only noticeable from the auditorium. Beautiful singing featured throughout, with principals showing off impressive voices and the ensemble producing a rich, confident sound. Chorus Mistress Caitríona Fitzmaurice clearly had the ensemble in fine form. Choreography by Aileen Murphy, drew firmly from the original West Side Story  sentiment. The stylised fighting never tried to chase realism yet carried powerful symbolism, and the male dance sequences were genuinely impressive. Movements were sprawling and fully extended, filling the stage with dynamic shapes. One or two girls appearing late in Cool  felt a touch artificial, but the number itself—complete with a breathtaking cartwheel—was a great achievement. The strong attack from the cast made the dance sequences consistently exciting. Front of House extended the world of the show with a warm welcome and displays including photos and a mood board of period hairstyles, helping to set the tone. The set design embraced the classic West Side Story  look: redbrick buildings with windows, balconies and fire escapes, laundry lines stretching into the auditorium, and flats evoking a dilapidated tenement district. Doc’s interior was convincingly established, and the gym decorations were appealing and atmospheric. The wedding shop, with mannequins, sewing machine and patterned wallpaper, felt authentically rooted in the era, while Maria’s bedroom was dressed in religious imagery and Puerto Rican pop culture. Using each side of the stage for these spaces allowed slick transitions, though one might wonder whether placing Maria’s room stage right would have made more visual sense. Still, the speed with which she appeared at the balcony was impressive. Stage management by Alex Hindmarsh was smooth and unobtrusive. The gym décor flew in and out with slick efficiency, and Doc’s shop, symbolised by tables, chairs and a jukebox, appeared with ease. John Hurley’s lighting brought gorgeous touches throughout. The gym sequence glowed with moody atmosphere, Cool  washed in appropriately chilled tones. The two bodies at the end of Act One were hauntingly lit, and the petrol blue of the dream ballet was striking against the browns and beiges of the dancers, shifting into vivid reds for the fight. A subtle path of light guided Tony’s body in the final moments with great delicacy. Sound design by Shane Murphy provided a near-perfect blend of whisper-soft intimacy and orchestral fullness. With many microphones and cues in play, the production never faltered. The sound contributed significantly to the overall softness and mood of the staging. Costumes enriched the storytelling. The Jets’ cool denim and muted colours contrasted clearly with the Sharks’ rustic and vibrant palette. A-line dresses, ties and jackets set the gym scene beautifully, giving the choreography extra swish and shape. There were occasional inconsistencies - some lads felt firmly rooted in the era while others seemed more modern - but when it worked, it worked very well. Tony’s everyday costume could have evoked the period more, though his final white T-shirt captured the classic look. Jamie Cleary Lynch as Tony was full of likeability and charisma and gave us a rounded character full of naturalism. He matched Maria beautifully with loving tenderness that made their ending all the more tragic. He was a good pal to his mates and a great help to Doc, making us all want him to survive at the end. Good breathing and support were evident, and one could tell that, as he produced warm round vowel sounds, that he had good training. He had all the ingredients for a pitch-perfect Tony. That said, seven shows in four days (yikes) and no alternate (unlike some of the other leads) meant that fatigue showed in those upper notes. I would have loved to have seen him earlier in the week and I’m convinced that it would have been an A+. Jayda Kahraman as Maria met the role’s challenging soprano lines with a sweet voice, clear as a bell, giving her performance a gentle, appealing quality. Her nymph-like innocence early in the story felt authentic, and she transitioned nicely into a more mature, stoic presence at the end. The black-shawl exit underscored her growth, fulfilling the role’s emotional breadth with quiet, effective confidence. Her relationships with Anita, Tony and her friends all rang true, and I could have closed my eyes to listen to her sing. Well done. Katrina Galvin’s performance as Anita seemed to get better and better as the evening went on, growing in confidence and emotional nuance. She met the role’s demanding singing and acting arc with increasing assurance, offering warmth, humour, and a touch of grit. Her work felt thoughtful and steadily impactful, becoming a strong anchor in the second act. Her decision to lie was well-earned and we felt the tragedy of it. I do not need to comment individually on the singing and dancing from the Jets. Their work was consistently top-notch and meticulously rehearsed, and my congratulations go to all  in this unit for their sock-it-to- ‘em show of unity and excellence. Jerry Lynch as Riff delivered a consistently focused performance, meeting the role’s rhythmic precision and leadership demands with clarity. His physicality and vocals were well-measured, and his complete stillness during the interval showed impressive commitment to the role. Liam Brick as Bernardo showed great presence, handling the role’s physical and acting demands with confidence. His strong, acrobatic work added excitement, while his stillness beside Riff during the interval created a tense reminder to the audience. He maintained a firm, composed authority throughout, supporting the Sharks’ dynamic with steady, well-shaped intention and clear physical control. Jaidon Ward Barrett as Action brought an imposing yet spirited energy to a role requiring sharp timing and punchy vocals. He delivered a lively but controlled performance that suited the character well. He contributed humour and edge to the Jets, offering a reliable, engaging presence that kept scenes moving effectively. Michalel Pingo as Chino delivered a restrained, heartfelt would-be suitor for Maria, balancing quiet loyalty with tragedy, grounding pivotal moments such as the visit to Maria with gravitas. Elizabeth O’Shea as Anybody’s captured determined resilience, restless energy, and longing for recognition within the gang’s rigid world. Her characterisation and choices helped us feel that she neither fully belonged with the boys nor the girls, yet she stood firmly in her own self as her own person. Sean Slabys as Big Deal brought energetic swagger, mixing impulsive humour, enjoyable camaraderie, and credible street tension to enhance the scenes with his fellow Jets. Dan O’Connor commanded attention as Diesel, delivering disciplined force, solid leadership, and controlled aggression that shaped the Jets’ internal hierarchy. Denis Moroney portrayed A-rab with spirited humour and raw edge, balancing bravado and underlying fragility to deepen the Jets’ emotional presence. Sam Gleasure as Baby John gave us a touching innocence and nervous wit, capturing vulnerability, moral discomfort, and growth amid the Jets’ escalating conflict. Daithi O’Sullivan as Snowboy brought sharp energy to this character, blending quick wit, streetwise confidence, and reactive tension that heightened the Jets’ collective volatility. Marcus Nolan was fantastic as Doc, embodying compassionate steadiness, moral clarity, weary wisdom, and human warmth that anchored the story’s escalating tensions. Almost Santa Claus-like with his white beard and rosy cheeks, he leaned slightly (and effectively) into the “village idiot” he pretends to be. It was an endearing and beautifully measured performance, capturing the weariness and frustration of this elder generation desperately hoping to knock some sense into those hell-bent on ruining lives. Very enjoyable indeed.  Padraig Harrington as Shrank handled the acting demands with competent, no-nonsense authority, bringing the required tough-guy stance without pushing too far. His scenes felt solid and grounded, providing an adult counterweight that helped frame the youthful chaos. He offered a reliable, steady presence whenever he entered, supporting the dramatic tension and moving the plot along exactly as the role requires. Jean Farrell as Rosalia sang and acted well and showcased a very good accent throughout. Noel King as Gladhand brought presence and experience to evoke the fuddy-duddy qualities of his teacher-trying-to-make-the-kids-see-sense role, offering an effective counterpoint to the surrounding youthful turmoil. Seán Lyons as Officer Krupke leaned into his Irish brogue to bring humour and adult wisdom to this gang of misguided youths. This casting of the more adult roles with age-appropriate actors brought a welcome texture to the evening.  Ad-libbing from the ensemble cast in the opening sequences was very well-measured – not too obvious, with mere suggestions of slurs that established an unnerving creepiness. Accent work across the cast was excellent throughout, especially helpful in signalling the differences in cultural backgrounds. A good part of the ensemble work was provided by a hugely committed set of Jets. It was clearly evident how much work had gone into Gee, Officer Krupke  and its competent delivery was a real crowd-pleaser. The singing by all during the Tonight  sequence near the end of Act One was impressive. The Puerto Ricans never put a foot wrong in their moves or vocals, but a touch more convincing abandon would have really made these sequences hop off the stage. Characterisation in Cool  was excellent, with zombie-like eeriness on show. What stood out across the evening was the clear presence of a large, energetic and talented group of younger performers, both onstage and in the pit. This production was shaped with care and filled with strong performances, gorgeous design, and an intention to capture this tragedy of the story through soft and innocent eyes. This was a confident, affecting and beautifully realised production. It felt like a space where emerging talent could stretch itself, take on responsibility and shine. LOST’s West Side Story  found tenderness, precision, atmosphere and genuine heart.

Review: RENT - Muse Productions

Society name: MUSE Show name: Rent Adjudicator date of attendance: 01/11/2025 MUSE’s production of Rent  was an exceptionally powerful and deeply affecting evening of theatre, one that demonstrated not only the company’s immense artistic capability but also their collective willingness to meet this famously demanding musical with honesty, bravery, and emotional intelligence. From the moment the audience entered the space, there was an unmistakable charge in the air, a sense that this...

Society name: MUSE Show name: Rent Adjudicator date of attendance: 01/11/2025 MUSE’s production of Rent  was an exceptionally powerful and deeply affecting evening of theatre, one that demonstrated not only the company’s immense artistic capability but also their collective willingness to meet this famously demanding musical with honesty, bravery, and emotional intelligence. From the moment the audience entered the space, there was an unmistakable charge in the air, a sense that this production would not merely restage Jonathan Larson’s iconic work, but reinterpret it, inhabit it, and live inside its tension, its sorrow, and its hope. It takes a remarkable level of maturity to handle a show that grapples so openly with grief, addiction, illness, poverty, and the fierce, complicated love that defines chosen family. This young company rose to that challenge with astonishing sensitivity. The atmosphere of the production had an organic immediacy that suited Larson’s raw rock-opera score completely. Rather than leaning into gloss or decorative staging, the creative team embraced a stripped-back, emotionally centred approach that placed the performers and the relationships at the core of the storytelling. As a result, the audience experienced a version of Rent  that felt urgent, intimate, and alive. Moments unfolded with the sense that emotions were being discovered in real time, and that energy created a palpable link between those onstage and those watching. At the heart of this exceptional production was the direction of Martin McNelis, whose work was nothing short of extraordinary. What emerged onstage was not simply a polished staging of a well-known musical, but a cohesive, deeply considered artistic statement. McNelis’s use of the thrust stage was particularly inspired. Working in such a format can easily result in fractured staging or blocked sightlines, yet here the space was used with intuitive intelligence. Every angle offered new depth, and the blocking-maintained audience engagement no matter where one was seated. The intimacy of the configuration allowed the emotional reality of the piece to circulate freely, giving the production an immediacy that drew viewers completely into its world. Martin’s attention to character development was equally impressive. Every person onstage felt fully realised, possessing a history and emotional landscape that informed their every interaction. Relationships, whether romantic, platonic, strained, or newly discovered, were handled with rich nuance. The pacing of the production was also superb. High-energy ensemble moments were contrasted with stillness when the story demanded it, creating a natural ebb and flow that carried the audience through the highs and lows of the narrative without ever feeling manipulated. The emotional arcs felt organic, earned, and profoundly human. The seamless cohesion between direction, musical direction, and choreography made the artistic team’s collaboration appear effortless. Musical director Mary-Rose McNally crafted a sound world that honoured both the rock pulse and the tender vulnerability of Larson’s score. The small band produced a wonderfully rich sound, never overwhelming the cast yet offering full support to their vocal and emotional delivery. The coordination between Roger’s onstage musical moments and the live guitar was handled with impressive precision, particularly in the opening sequence, which can so easily go astray. Throughout the show, the balance between band and vocals was finely tuned, allowing every lyric to be heard clearly, essential in a show where storytelling lives in the musical phrasing. The ensemble harmonies were exceptional: warm, well-blended, and confidently sustained. Mary Rose ensured that each vocal moment served the narrative and emotional truth of the story, and the ensemble responded with a unity that felt deeply rooted in shared purpose. Tempos were steady, thoughtful, and always in service to the heart of the moment, guiding the show’s momentum without ever rushing its dramatic beats. Choreographer Jay Molyneux contributed movement that felt inseparable from the storytelling. Rather than layering dance on top of the action, the choreography emerged naturally from the characters’ emotional states. One of the most striking examples was the canon movement in “Will I?”, executed with a kind of quiet transcendence that amplified the collective fear and fragility expressed in the song. The piece rippled with empathy. Conversely, high-energy numbers such as “Rent” and “La Vie Bohème” burst onto the stage with explosive joy and youthful electricity. The energy was chaotic in all the right ways yet always controlled, carrying the frenetic pulse of the characters’ world. Jay demonstrated a sophisticated understanding of when movement should drive the narrative and when it should simply support it, and the ensemble delivered that vision with conviction. Among the principal cast, there was not a single weak performance. Each actor approached their role with sincerity, vulnerability, and a clear understanding of their character’s emotional pulse. Conor McNelis gave a beautifully nuanced portrayal of Mark Cohen, the filmmaker forever one step removed from the world he documents. His performance captured Mark’s longing to belong without compromising the character’s gentle observational quality. Conor’s vocal delivery was effortless and clear, but it was his grounded emotional restraint that made the portrayal particularly compelling, a subtle masterclass in quiet, introspective performance. As Roger, Nathan Canning offered a raw and deeply felt portrayal of the tortured musician battling grief and fear while yearning for connection. His interpretation never once felt melodramatic; instead, it carried an authenticity that made his pain and hesitation profoundly moving. “Your Eyes” was sung with such emotional fracture that the audience felt every ounce of heartbreak woven through his voice. His chemistry with Mimi was electric, tender, and at times turbulent, exactly as the relationship demands. Aoife McNelis delivered an extraordinary Mimi: seductive yet vulnerable, playful yet broken, fighting her way through addiction while clinging desperately to love. Her portrayal was layered with subtle choices that revealed the character’s fragility beneath her bravado. Vocally, she possessed a smoky depth perfectly suited to the role, and her emotional delivery was compelling in every moment. Cian Ryan’s performance as Tom Collins was a standout of exceptional emotional truth. His love for Angel radiated from him with absolute authenticity, crafting a romantic connection that felt painfully real. His grief during “I’ll Cover You (Reprise)” was almost unbearable in its honesty, a quiet, devastating display of heartbreak that left the audience breathless. As Angel, Ethan Doyle lit up the stage with warmth, joy, and emotional generosity. Every choice was sincere, every movement imbued with purpose. His relationship with Collins felt gentle and deeply lived-in, adding a powerful emotional anchor to the production. Aoife Daly’s Maureen balanced comedic flair with a vulnerable emotional core, capturing the character’s contradictions with intelligence and wit. “Over the Moon” provided much-needed levity and was performed with fearless humour. Shauna Byrne’s Joanne complemented her beautifully, grounding the relationship with strength and emotional clarity. Her vocals were rich and assured, offering a compelling counterpoint to Maureen’s chaotic charm. Cillian Fahy’s Benny was sharply defined: smarmy, entitled, and dripping with well-placed charm that always felt slightly too slick to trust. His portrayal added necessary tension to the story, highlighting the moral divergence between him and the group he left behind. The ensemble formed the backbone of the production, lifting every scene with their vitality, specificity, and unity. Each performer crafted a distinct character, making the world feel inhabited rather than populated. Their vocal blend was consistently strong, and their commitment to the choreography, regardless of natural ability, was admirable. They never felt like an extension of the principals but rather an indispensable part of the story’s heartbeat. Stage management, led by Brian Dowling, ensured absolute fluidity throughout. With cast-led transitions, precision was essential, and the team achieved seamless shifts that preserved the emotional pulse of the narrative. The set design embraced simplicity, using the thrust staging and minimal props to create an adaptable, multi-locational environment. This choice encouraged the audience to fill in visual detail while allowing the performers’ relationships to remain central. Technically, the production excelled. The lighting design was atmospheric and deeply evocative, using shadows, colour, and beam direction to heighten moments of intimacy, chaos, or despair. It never distracted from the story but enhanced it with artistic sensitivity. The sound design was flawless, no easy task in a rock musical. Every line, every harmony, every instrumental layer was clear and balanced, creating a sonic landscape that allowed the emotional nuance of the performances to shine. Costumes, hair, and make-up were meticulously conceived, capturing each character’s identity and journey. The ensemble’s transformations were handled with precision, allowing for quick shifts in role that remained visually coherent. Front of House operations contributed significantly to this experience. Patrons were greeted with a sense of warmth and clarity, guided through the space with ease, and welcomed into an environment that felt safe and inclusive, an important consideration for a production so heavily rooted in themes of belonging, vulnerability, and community. The FOH team set the tone beautifully, establishing a sense of calm professionalism that allowed the audience to settle into the emotional terrain of the piece before a single note was played. In every respect, this was a remarkable production, emotionally courageous, artistically cohesive, and performed with rare sincerity. MUSE delivered a Rent  that honoured the soul of the piece while offering a deeply personal and contemporary interpretation, leaving the audience profoundly moved and reminded of the enduring power of community, love, and chosen family. Photography by Ian Collins

Review: My Fair Lady - Newcastle West MS

Society name: Newcastle West Musical Society Show name: My Fair Lady Date of attendance: 7 th  November 2025 When I was but a pup, only ten years old, my family moved temporarily to Newcastle West, Co. Limerick, where I spent the final two years of my primary school education before heading on my way to explore the big, bad world. I had never even seen a musical in those days and it would be almost another three decades before a musical society would be formed in the home of Ballygowan spring...

Society name: Newcastle West Musical Society Show name: My Fair Lady Date of attendance: 7 th  November 2025 When I was but a pup, only ten years old, my family moved temporarily to Newcastle West, Co. Limerick, where I spent the final two years of my primary school education before heading on my way to explore the big, bad world. I had never even seen a musical in those days and it would be almost another three decades before a musical society would be formed in the home of Ballygowan spring water. By then, I was long gone from NCW. And so, it was with a genuine pleasure and a sense of nostalgia that I returned to west Limerick to see my fourth show of the season. There are few things that capture the spirit of a community like a musical society putting on a show in a local hall. Newcastle West Musical Society transformed Feohanagh/Castlemahon Community Hall into Edwardian London as they took on Lerner and Loewe’s golden-age classic, ‘My Fair Lady'. Susan Browne, the society’s driving force, wore multiple hats as she took on the roles of director, choreographer, chorus mistress and set designer; an unbelievable feat to keep all those plates spinning! This was a production which wasn’t driven by big budgets or limitless resources but by teamwork and a genuine love for musical theatre. It was a very heartwarming and enjoyable community effort which brought home the reason why this wonderful pastime continues to thrive.  Every effort had been made to create a welcoming and atmospheric space as patrons arrived. The front of house team had clearly gone the extra mile and the foyer was quaintly and subtly decorated to give a flavour of Edwardian London. The welcome was warm and sincere and it was lovely to speak with the show’s director and producer as they spoke enthusiastically about the society’s history and the fact that everyone involved was working voluntarily, apart from the sound department which was hired in.  Susan Browne’s direction was intelligent and careful, for the most part. Her love for the material was clear throughout. She had a good handle on the style of humour required and she guided her cast with a sure hand. Her staging made good use of the space and she allowed scenes to flow naturally and actors to perform with confidence. Pacing was generally strong. Ms. Browne encouraged strong performances from her cast and even drew humour and warmth from the smaller roles. There was a palpable rapport between the performers, a sign of good leadership. The emotional chemistry between Eliza and Higgins was most convincing, hitting just the right dramatic and comic tone. I felt that a few minor things required more attention to detail. Often, it is the smaller things that stand out. The butler told Higgins that Alfred was “downstairs” yet went up the steps when asked to “show him up”. This is a tiny detail but it jarred. Overall, Ms. Browne deserves huge credit. The energy and commitment required to pull her cast and crew together so well in her multiple roles was quite remarkable.  Elaine Davern’s musical direction was resourceful and very impressive, given the scaled-down orchestra used by the society. Five musicians were credited in the programme. However, on the night that I attended, only four were present. Violin, electric bass, and drums were played by a talented trio of volunteer musicians, led exceptionally well by Ms. Davern on keyboard. Ms. Davern covered a multitude, filling in gaps left by the absence of strings, brass and woodwind. There were a few tuning issues in the overture as the violin tried to cover familiar melody lines but there were no noticeable inaccuracies once things settled. That said, it was difficult not to feel the absence of key instruments as some of the score’s colour and texture were inevitably lost. Still, the group deserves great credit for taking on such a mammoth show with limited resources, and for doing so with such obvious passion and skill. Choral singing was full of enthusiasm throughout. The ensemble sound was warm and diction was very good. ‘Get Me to the Church on Time’ had an infectious energy that brought the audience along on the crest of a wave. Solo singing was very strong throughout, with excellent performances from all principals. Overall, whilst the big, familiar orchestrations may have been lacking, there was no shortage of talent and commitment from cast and musicians, which more than compensated. Susan Browne’s choreography was simple but highly effective. Ms. Browne cleverly devised achievable routines suited to her cast’s experience. Dances were so well disciplined and rehearsed, with sharp, synchronised movement impressing greatly. ‘Get Me to the Church on Time’ had great life and energy. One particularly noteworthy thing was how Ms. Browne had clearly instilled strong performance levels and personality in her dancers. There was a palpable joy bursting off the stage as everyone gave their all. ‘The Ascot Gavotte’ was another standout sequence, performed with great rigidity and grace. Again, Ms. Browne’s cast knew the gig and their precision and deadpan movement showed great comedic understanding. The ensemble was clearly aware of their place in the narrative and their commitment to this made even the simplest of routines shine. Dave Wrenne was a wonderful Henry Higgins. He captured both the professor’s arrogance and vulnerability in what was a very considered performance. His timing and characterisation in ‘I’m an Ordinary Man’ and ‘A Hymn to Him’ was brilliantly timed and full of dry humour. Mr. Wrenne intelligence as an actor and his clever command of language made him a natural Higgins. He also had an impressive emotional range. ‘I’ve Grown Accustomed to Her Face’ was one of the highlights of the show, for me. With only Mr. Wrenne on stage, we were drawn into his world, as he gave us a glimpse of a different Higgins; one who was clearly quite vulnerable behind all the bluster. It was a wonderful example of storytelling through song. He brought nuance and maturity to the role, balancing his snobbish exterior with the reality of his loneliness. Overall, a very strong and memorable performance. At just 18 years old, Leaving Cert student Regina Burke’s portrayal of Eliza Doolittle was most impressive. She showed enormous potential and a maturity of performance well beyond her years. Her rich singing voice was beautifully controlled and expressive. ‘Wouldn’t It Be Loverly’ was warm and sincere, whilst ‘I Could Have Danced All Night’ soared effortlessly. Her early scenes had the natural roughness we expect of such a “squashed cabbage leaf”, although I did feel that more needed to be done to perfect the cockney accent. As the show progressed, Ms. Burke evolved so convincingly into the utterly transformed, articulate young woman. She will have learned so much from playing such an iconic role and I have no doubt that the opportunity will arise for her to play Ms. Doolittle for many years to come. Excellent stuff! Dinny Ahern gave us a charming and sympathetic portrayal of Colonel Pickering. His early scenes were especially strong. However, in the second act, I felt that his wonderful accent began to slip on occasion. His presence was warm and engaging and his scenes with Mr. Wrenne provided many of the show’s humorous highlights. Mr. Ahern had wonderful physicality and was very aware of how he stood and moved at all times. His comic delivery was also particularly strong, with his phone call to Scotland Yard showing his comedic skill, in what was a very funny moment. Super work all round. Caroline Walsh was superb as Mrs. Higgins. She was elegant and commanding, taking no prisoners with her no-nonsense approach. Her diction was excellent and she had a very good understanding of pace. Comic delivery was wonderful as she revelled in the role’s dry humour Her rapport with Eliza was excellent and I loved their final scene together.  Paul Moriarty’s Alfred Doolittle was full of personality and charm. His humour and mischievous grin delighted the audience, particularly during ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’. He may not thank me for this but Mr. Moriarty looked every inch the drunken layabout with his wonderful physicality and his deliciously messy costume. He had a powerful singing voice which was most impressive during his big numbers, where his loose dance moves worked perfectly for his character. He had a natural comic touch and never gave in to the temptation of overplaying. A really enjoyable performance from start to finish. Robbie Moriarty was an earnest and appealing Freddy. His performance of ‘On the Street Where You Live’ was one of the high points of the night; well-sung and beautifully sincere. Mr. Moriarty’s fine baritone and wonderful expression brought so much to his characterisation. His sweet infatuation with Eliza was nicely played and he had a light comic touch which endeared Freddy to us from his very first appearance.  Dolores Broderick was a steady, sensible presence as Mrs. Pearce, Higgins’s long-suffering, Scottish housekeeper. She balanced humour and authority well, particularly in her early exchanges with Higgins. Her clear diction and delicious accent added much to the role and she contributed strongly to group scenes with her fellow servants. Adam Noonan and Brian Burke were a most talented duo as Alfred’s sidekicks Harry and Jamie. They bounced very well off one another and brought wonderful energy and expression to all of their scenes. They shone in the bigger production numbers and played very well against Mr. Moriarty. The ensemble played a big part in bringing the show to life. With a mix of ages, they showed great energy and commitment, especially in the big group numbers. I was very impressed with the younger performers who really stood out for their enthusiasm and willingness to throw themselves into the action. The experience gained by these younger performers will, no doubt, ensure future success for the society for another sixteen productions and beyond. There was great energy in numbers such as ‘Get Me to the Church on Time’ and ‘With a Little Bit of Luck’. Choral numbers were very well performed and the overall impression was one of great enjoyment being had by all.  The set design was a great example of the triumph of imagination within limits. Multiple locations were achieved with minimal fuss. The action was framed by four large marble pillars, which were very nicely painted. The trucked, upstage book flats worked very well, giving us the exterior scenes in Covent Garden, then reversing to reveal the wallpapered interior of Higgins’s study. The steps leading off gave an added dimension to the house. It was a very clever design which allowed for fluid scene changes. The Old Inn was an impressive piece, with its large double doors and well-painted signage. Ascot was very cleverly realised with the bunting hanging from the centre-mounted pole and the white picket fencing. My only quibble with this scene was the visibility of the lights and cables in front of the cyc. The front door of Higgins’s residence was wonderful and I particularly loved the detail of the lamp inside the door, giving a real sense of a lived-in space. I loved the very simple but effective draped entrance to the Embassy and the transformation to the garden was very well realised with the picket fencing and trellis. Nice work from all involved. Stage management, under the direction of Tom Madigan and Maurice Nunan, was impressively efficient. Scene changes were executed quietly and smoothly. Crew members moved with purpose and efficiency at all times. One or two small glitches (that stage right tree proved challenging at times) were quickly forgiven. ‘My Fair Lady’ is such a tricky show to stage manage, as we jump back and forth between the study and exterior scenes. It has the potential to descend into chaos and disrupt the rhythm of the show. Not so on this occasion. Well done to all. Lighting was the weakest technical element of the production, although it was clear that the issues arose more from limitations of equipment than lack of effort. The main problem was a lack of consistent front light, meaning faces were often lost in shadow, with particular ‘dark spots’ being very noticeable throughout the performance. Cueing was also an issue at times. The large white cyc, though used to create colour washes, didn’t always deliver the required atmosphere. In particular, there were missed opportunities during the servants’ “Poor Professor Higgins” sequences, which could have benefited from a more theatrical or isolated lighting treatment.  Sound was generally very good throughout. One of the advantages of not having a full orchestra was that cast weren’t competing with musicians and it was a much easier mix for the sound department. The balance between singers and musicians was very well maintained. Dialogue was very clear, with appropriate EQ levels. Cueing of microphones was generally solid. The hall’s acoustics could have been challenging but good mixing ensured that this was well handled. Overall, a well-managed and professional job. The props department had been busy and most resourceful. From flower baskets in Covent Garden white garden chairs at Ascot, when things were good, they were very good. There were a few exceptions though. Men ‘drank’ from empty beer bottles and Pickering’s newspaper had colour advertisements and photographs as well as crosswords. (crosswords didn’t appear in British newspapers until the 1920s) These kinds of details matter. That said, there were also some very impressive and authentic pieces, such as the phonographs in Higgins’s study, Pickering’s pipe and the trolley with its various decanters. Overall, a really good job, with props adding realism throughout. For the most part, costumes were well sourced and presented. However, there were some inconsistencies. Modern footwear occasionally broke the illusion, and the maids’ uniforms, which were cut above the knee, were rather ‘un-Edwardian’. Similarly, Alfred Doolittle’s costume shop top hat took away from his otherwise polished wedding attire. Freddy’s slim fit trousers in Act 2 were far too modern looking. All of that said, the costumes generally supported the storytelling very well and the audience’s enjoyment was in no way diminished by these minor issues.  Hair and makeup weren’t always consistent with the era. Principals were, generally, well presented. However, I felt that some of the ensemble ladies, both in Covent Garden and as servants, appeared too modern in their choices, with bright red lipstick and contemporary eye shadows jarring somewhat. Simpler, softer tones would have been more in keeping with the Edwardian era. Hairstyles didn’t always sit comfortably in the setting, with some modern hairstyles (Freddy’s in particular) taking away from the visual authenticity. Newcastle West Musical Society’s ‘My Fair Lady’ was a wonderful example of what volunteer-driven community theatre can achieve with passion and raw talent. It was clear that this was a labour of love for everyone involved, especially Susan Browne, whose heart and soul had gone into every aspect of the production. It was a production that wasn’t all about professional polish but about people coming together to celebrate a common passion. With a little investment in technical elements and continued nurturing of young talent, I have no doubt that this talented society will continue to go from strength to strength.  Pat McElwain Sullivan Adjudicator 2025/2026

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