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UPCOMING EVENTS

Bonnie and Clyde

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21 Jul 2025

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Teachers' Musical Society

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24 Mar 2026

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A Night of Music, Broadway & Beyond

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17 May 2025

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The Sound of Music

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24 Apr 2025

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The Magic of Musicals

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25 May 2025

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LATEST NEWS

Me and My Girl as presented by Aghada Musical Society

Aghada Musical Society Production: Me and My Girl Date of Adjudication: 17.02.2025 Overview of the Show and Front of House Evaluation The...

Aghada Musical Society Production: Me and My Girl Date of Adjudication: 17.02.2025 Overview of the Show and Front of House Evaluation The production of Me and My Girl  by Aghada Musical Society was a delightfully entertaining evening filled with charm, humor, and engaging performances. The atmosphere created by the Front of House team was welcoming and well-organized, setting the tone for a wonderful experience from the moment the audience entered the venue. The warmth and professionalism of the team ensured a smooth-running event and an enjoyable night for all in attendance. The audience were greeted with a beautiful period car outside the venue, and wonderful decorations inside the foyer kept the theme of the event going.  Director-  Direction and Production Sinead Dunlea’s direction of this production was truly commendable. Every nuance, comic moment, and character development was carefully considered, demonstrating a thoughtful and meticulous approach. The production was well-paced, allowing the humor and storytelling to shine through effortlessly. The attention to detail in character portrayal was evident, making the narrative both compelling and engaging. However, one area for refinement would be maintaining consistency in accents, as there were noticeable lapses throughout the performance. A bit more focus on this aspect could have further elevated the authenticity of the characters. Musical Director-  Direction and Orchestra The musical direction by Robbie Pender was strong, with a well-balanced and tight orchestra that complemented the performers beautifully, particularly given the challenges of a small venue. The diction of the cast was excellent, ensuring that lyrics and dialogue were clearly understood by the audience. One area that could be enhanced is the presence of harmonies, which at times felt underwhelming. Strengthening this aspect would add another layer of richness to the musical numbers and elevate the overall vocal performance. Choreographer - Choreography Choreography by Aileen McMurtry was polished, well-rehearsed, and in keeping with the style and period of the production. The formations were well-executed, and movement routines effectively supported the overall aesthetic. While the precision was admirable, it would have been exciting to see the cast pushed just a little further to add an extra dynamic energy to the performance. This could have created an even more vibrant and engaging visual experience. Leading Principals – Singing and Acting Bill Snibson - Kenneth Speight. Kenneth brought an infectious energy to the role of Bill Snibson, lighting up the stage with his physical presence and charisma. His facial expressions and comedic timing were excellent, making for a highly engaging performance. While his vocal ability was strong, his Cockney accent was inconsistent at times, which slightly disrupted the authenticity of the character. With a bit more refinement in this area, his portrayal would be even stronger. Sally Smith - Julie Buckley. Julie delivered a solid performance with a lovely singing voice and graceful movement. However, her energy level occasionally felt a bit subdued, and a touch more vibrancy would have added depth to her character’s journey. The emotional struggles Sally faced were evident, but a bit more enthusiasm could have strengthened the connection between her character and the audience. Maria, Duchess of Dene - Jan O’Sullivan. Jan gave a standout performance, fully embodying the regal and commanding presence of the Duchess. Her powerful voice and strong character portrayal made her a compelling figure on stage. She had impeccable comic timing and a great sense of physicality, maintaining a poised and authoritative demeanor throughout. Lady Jacqueline Carston - Gemma Galvin. Gemma was an absolute delight in this role. Her vivacious presence brought an infectious energy to every scene she was in. Her comedic timing was superb, and she portrayed Lady Jacqueline’s mischievous and flirtatious nature effortlessly. Vocally, she was strong, delivering well-supported and beautifully rounded tones. The Hon. Gerard Bolingbroke - Brian O’Riordan. Brian’s portrayal was thoroughly enjoyable, capturing the essence of the character with great humor. His light and controlled vocal delivery suited the role perfectly, and his interpretation remained consistent with the style of the production. His comedic moments were well-executed, and he maintained an engaging stage presence throughout. Supporting Roles – Singing and Acting Sir John Tremaine - Charlie Terry. Charlie’s performance had some wonderful moments, particularly during the drunk scene, which was a highlight of the show. However, there were times when he appeared to be reaching for his lines, which affected his confidence on stage. With a bit more rehearsal, his performance could be even stronger. His accent also wavered at times, so maintaining consistency would be an area for improvement. Herbert Parchester - Patrick Kirwan. It was evident that Patrick Kirwan’s performance resonated with the audience, who responded warmly. His cheeky and animated presence brought charm to the role, and he maintained a consistent energy throughout. Charles, The Butler - Tim McCarthy. Tim delivered a solid and convincing performance, maintaining the required stiff and formal demeanor of the role with admirable precision. His clear and well-projected dialogue ensured that every line was delivered effectively. Sir Jasper Tring, Lord Battersby, Lady Battersby, Mrs. Brown - Paul Fitzpatrick, John Wall, Mary Henchion, Roisin O’Sullivan The supporting roles contributed greatly to the overall dynamic of the show, creating a well-rounded ensemble. Their performances were engaging, though at times energy levels wavered. Ensuring consistent enthusiasm throughout would enhance the overall production. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble was exceptional—fully engaged and full of energy. Every cast member contributed to creating a vibrant and polished performance. The variety of movement abilities was well accommodated by the choreography, and the mix of ages worked beautifully for the show. The limited space was cleverly utilized, though there were moments, such as The Sun Has Got His Hat On , where pushing the energy even further could have made the number even more dynamic. A particularly charming detail was the on-stage piano player mimicking the actual score, which added an extra touch of authenticity. Vocally the chorus were strong, with a well-rounded sound. Some more work on pushing harmonies would really elevate the group’s performance. Stage Management & Set Design The set design was well-conceived, making effective use of the small space. The static set was visually appealing, though additional texturing on the walls could have enhanced the depth of the setting. The turning pieces downstage were a clever touch, allowing seamless scene transitions. The color scheme was thoughtfully chosen, complementing both the period and the costumes. The stage management was smooth and well-executed, with seamless scene changes that did not disrupt the flow of the performance. The involvement of the cast in scene transitions was a nice touch, and incorporating this more frequently, particularly with the chorus in servant roles, could further enhance the production’s cohesiveness. Technical – Lighting and Sound While the lighting design had some beautiful moments, such as the dream sequence, there were areas that could be refined. Several live moves could have been pre-programmed to create a smoother visual experienceThe sound quality was adequate, with no major missed cues. The balance between the band and the cast was well managed overall, though there were a few moments where principal performers struggled to be heard clearly in the mix. Slight refinements in this area would improve the overall audio clarity. Visual – Costumes, Hair, and Makeup The costumes were well-chosen and historically appropriate. The coordinated color palette, particularly the black, red, and white hues for the ball scene to match the Pearly costumes, was visually striking. Each piece fit well and contributed to a cohesive and polished aesthetic. Hairstyles similarly well-executed, adhering to the time period and adding to the authenticity of the production. Make-up was suitably understated. Final Comments and Recommendations Overall, Aghada Musical Society’s production of Me and My Girl  was a thoroughly enjoyable experience, filled with humor, charm, and strong performances. The commitment of the cast and crew was evident, and the production was of a high standard. Moving forward, focusing on accent consistency, pushing choreography and energy levels slightly further, and refining lighting transitions would elevate the show even more. A deliciously hilarious evening’s entertainment.

Cry Baby as presented by Shannon Musical Society

Shannon Musical Society  Cry Baby – The Musical  Thursday 20th February 2025  ‘Cry Baby - The Musical’ is based on the cult classic John...

Shannon Musical Society  Cry Baby – The Musical  Thursday 20th February 2025  ‘Cry Baby - The Musical’ is based on the cult classic John Waters movie, which starred Johnny Depp in the titular role. It is a show packed with delicious satire and irony, with a book that is sharp and witty from start to finish. I mean, w ho couldn't love a show with a song called ‘Girl, Can I Kiss You With Tongue?’  which  earnestly declares “It's moist and it's pink, it's a muscle, I think!”??   Shannon Musical Society pulled out all the stops to present a vibrant, hugely entertaining, and hilarious romp of a production, with perfectly pitched comic delivery across a very talented, young cast.  Front of house was an experience in itself, as we entered St. Patrick's Comprehensive School. There were fantastic displays, with a treasure trove of programmes from previously performed shows to a tongue-in-cheek polio eradication themed display and many more quirky nods to the show's material. Heck, they were only short of injecting patrons as they entered! Front of house announcements were delivered by Ethan Cassley, who played the role of Baldwin. The announcements were delivered in his character’s nerdy style, ably assisted by a nervous usherette and an hilarious box of popcorn. Yes, it was that kind of show!   Director Tony Finnegan clearly understood the delightfully ironic tone of the book, giving us an exceptionally colourful display of campness, heart and hilariously biting satire. This was a very polished production, lampooning ‘Grease,’ ‘Romeo and Juliet,’ ‘West Side Story’ and every other forbidden love story you could possibly imagine.  Mr. Finnegan  knew exactly how to get the most out of his young but highly talented cast, expertly pitching the comic delivery, whilst acknowledging the show's absurdity at every turn.   Over-the-top performances were perfectly in tune with this absurdity. There were so many comic highlights.   Pepper's childbirth scene was side-splittingly funny if a tad disturbing. ‘Girl, Can I Kiss You With Tongue?’  w as an hilarious look at the awkwardness of first-time teenage romance. There was fantastic pace throughout, with slick transitions adding greatly to the flow of the show.   Musical Director, Carmel Griffin, balanced an eclectic mix of musical styles, ranging from rockabilly to doo-wop, to musical theatre ballads, to barbershop. Her six-piece band played well, although I did feel that, on occasion, they overpowered the cast. This was unfortunate, as much of the show's humour is contained in the very witty lyrics, which were missed from time to time. There was a lovely choral sound throughout and principal vocals were of a very high standard. There were excellent harmonies in numbers like ‘A Whole Lot Worse’ and ‘A   Little Upset.’   Overall, a very good job by Ms. Griffin.   Stephen O’Ríain, choreographer, brought the dance styles of the 1950s to life from the very cheesy opening number, ‘The Anti-Polio Picnic’, to the high-energy dance sequence of ‘Watch Your Ass’, performed with great gusto by the Drapes. Mr. O’Ríain really nailed the style required to bring this show to life. ‘All in My Head,’ with Allison and Cry Baby as bridal  mannequins, was a very funny dance routine. The five couples, dressed and masked as Allison and Cry Baby ‘doubles,’ provided hilarious visual impact and their movement was excellent. ‘A Little Upset,’ incorporating license plates manufactured in the jailhouse, was very cleverly devised and performed.   Eoghan Mann was a standout performer as a leather-clad Wade ‘Cry Baby’ Walker.   From his very first entrance, bursting through the anti-polio sign, we knew that this was going to be a special performance. Mr. Mann was extremely charismatic in all his hip-swivelling glory. Comic timing was exceptionally sharp in what was an excellent all-round comic   characterisation. Mr. Mann was able to back this up with a serious singing performance too. His hilarious ‘I'm Infected’ was a standout number in the show. His performance in ‘ Girl, Can I Kiss You With Tongue?’ was comedy gold, working so well with Allison, with whom he was extremely comfortable.  Julita Fox played the role of Allison with a very heartfelt and humorous touch. It was an extremely quirky characterisation, as we saw how torn she was between the stifling conformity of the Squares and her longing to be a bad girl like the Drapes. Ms. Fox had a wonderful voice, with a superbly impressive range. ‘I'm Infected’ was a brilliantly performed, exceptionally funny number and her ‘Nobody Gets Me (reprise)’ was excellent, vocally, and comedically. But her standout number, ‘Misery, Agony, Hopelessness, Heartache and Woe,’   brought the house down with its exceptional delivery and innate comic understanding.  Ethan Cassley was delightfully nerdy and a preppy kind of villain as Baldwin, the squeaky clean (or was he?!)  l eader of the Whiffles.   This was an excellent performance by Mr. Cassley, who led from the front, with great confidence, exceptional presence, and   considerable comic flair, in what was a superb all-round portrayal. A very talented singer, with superb tone and range, Mr. Cassley was excellent as part of the Whiffle quartet and also shone during his wonderful solo moments.   The remaining three Whiffles, were played by Feidhlim Cotter, James Cullinan and Shane O'Donnell. Make note of their names because this trio of exceptionally talented teenagers will be doing great things on musical stages for many years to come. Alongside Mr. Cassley, they were a hilariously smarmy, clean-cut group.   Singing was excellent with fabulous harmonies which were so impressive for boys of their age.  Shauna Byrne enjoyed every moment in her role as the unhinged stalker Lenora, consumed with obsessive desire and unhealthy infatuation for Cry Baby. Another exceptionally talented teen, her kooky, often maniacal characterisation and her wonderful comic timing made this a standout role.  The hilarious ‘ Screw Loose,’ in which she declared the craziness of her  misguided love, was a show-stopping number with outstanding vocals, incredible control, and a wonderful upper register full of character.  Jamie Callanan was very funny and highly energetic in a brilliantly judged portrayal as   Dupree, Cry Baby’s best friend and confidante. His ‘Jukebox Jamboree’ and ‘Jailhouse   Jamboree’ were superb vocally and he was a fantastic all-round performer – a real triple threat. Comic timing was very strong and Mr. Callanan had excellent stage presence. A most impressive performance.   Clare McNelis showcased some impeccable comic timing as Mrs. Cordelia Vernon-Williams, Allison’s ultra-conservative, over-protective grandmother. This was a fabulous performance  with excellent understanding of text, very natural delivery, and exceptional comic timing.   Her fabulous ‘I Did Something Wrong…Once’ was a comic highlight of the show, as she skilfully went from admitting a minor falsehood to confessing to a full-on criminal offence.   The wonderfully bonkers trio of Wanda Woodward, Pepper Walker, and Mona ‘Hatchet-Face’ Malnorowski was played by Lauren Barrett, Sally Fox, and Leanne Murphy respectively. Ms. Barrett had excellent stage presence, a wonderful voice and exceptionally good stagecraft. Her comic timing was very sharp too. Ms Fox delivered one of the funniest performances of the night as the rebellious, pregnant teen, declaring that she was drinking for two and asking   what she would tell all the possible fathers. Ms Murphy was terrific with her hilarious facial expressions and one of the funniest, most irreverent lines in the show, “Upper class? Up her ass!.” In spite of her surgically enhanced transformation, she was quick to remind us at the end that she was still ugly on the inside. This trio was an exceptional group of comediennes, singers, and performers. Their harmonies and solo singing in ‘A Whole Lot Worse’ were superbly performed. Excellent work by all.  Alex Toth played the aptly named Judge Ignatius Stone, who, fittingly, presided over the arson case.   Mr. Toth was a fine actor with a nice comic touch, who brought gravitas and maturity to the role.   There was a wonderful ensemble in this show, split between the rebellious Drapes and the straight-laced Squares.   Everyone played their role to perfection with huge energy. ‘Baby Baby Baby Baby Baby’ was wonderful with its high energy levels and commitment from all.  ‘ You Can't Beat the System’ was superb in its precise movement and excellent vocals. Vocals were very strong with excellent harmony work throughout.  The set was quite abstract, consisting of large boxes which were moved around into various configurations. There was an amazing visual element in the exquisite detail of the models which were displayed around the set, representing the show’s myriad locations. As we transitioned to a new location, its corresponding model was lit separately. It was a brilliantly original take, even if the onstage settings could have done with a little lift at times. The upper balcony on stage right allowed for some nice staging opportunities too. Excellent work all round.   Stage management under the guidance of Brian Dowling was very strong with cast and crew moving boxes around to create the various locations. A small point was that I felt that having established the cast moving the boxes early in the show, perhaps it might have been an idea to costume the crew as well, as they were often quite conspicuous walking on in their blacks. All of that said, stage management was very slick overall.   The lighting plot for this show was simple but effective. I loved the clever silhouettes of cast as they received their polio shots behind the screens. Gobos in the prison scene worked very well and Cordelia was nicely backlit at the end of ‘I Did Something Wrong…Once.’   Overall, I felt that this abstract set required more attention to detail in the lighting plot to really bring it up.   Sound was generally good throughout the show. Although I did feel that the band was too loud in places which took away from the very funny lyrics which were occasionally drowned out in numbers with heavier orchestration. Dialogue was clear and warm and no cues were missed.   Sound effects were all very appropriate and well-timed.  There was very good attention to detail in the props plot, with some quirky touches along the way. I loved the air raid alarm system (in stereo, no less!) and obligatory gas masks. Shackles in the courtroom scene looked well and the license plates in the prison scene were very authentic. The hospital gurney used for Pepper’s childbirth sequence was perfect and the iron lung, (not something I've seen on a props list before!), looked fantastic.  There was great attention to detail for hair and makeup with great authenticity in the period appropriate hairstyles. Cordelia's perfectly set red hair, in particular, was very well presented, as was the slicked back hair for gentlemen. Hatchet-Face’s make up was suitably bizarre, adding greatly to the visual humour  There was a superbly cartoonish costume plot which was very appropriate to the 1950s era. A huge amount of work had gone into costumes in this show with incredible detail in evidence. Overall, there was great attention to detail all through the show from Cry Baby's red leather jacket to Allison's pastel dresses and Cordelia's costumes were perfectly in keeping with her conservative, 1950s look. T he Whiffles’ outfits, in particular, were outstanding.   This was a production full of fun and comedy, with a superb young cast guided by a production team who knew exactly where to pitch the show’s rambunctious, in-your-face humour. Good comedy is hard to pull off properly. Shannon MS got it just right with their thoroughly entertaining, side-splittingly funny production. It was one to be very proud of.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photos by Jim Rocks

Rock of Ages as Presented by Tipperary MS

Tipperary Musical Society  Rock of Ages  Monday 17th February 2025  PUBLIC REVIEW  A popular choice this season, ‘Rock of Ages’ features...

Tipperary Musical Society  Rock of Ages  Monday 17th February 2025  PUBLIC REVIEW  A popular choice this season, ‘Rock of Ages’ features a plethora of rock classics which had teenage Pat glued to MTV USA back in the day. From the face-melting, guitar driven bangers to the most uplifting power ballads, the show carries the audience along on a wave of nostalgia, finding new context for its most recognisable tunes. Tipperary Musical Society’s production was irreverent in the extreme and featured a very talented cast who were clearly enjoying every single minute on stage. I do have to be honest and say that on the night that I attended there were issues with sound levels which, I felt, took away from the production somewhat. This was unfortunate, given the very high standards set in most other areas.  Front of house was buzzing in the foyer of the Excel Theatre and the team was most welcoming and helpful as we took our seats. It was lovely to chat with some of the front of house team and to hear all about the society and its endeavours. Everything ran very smoothly and efficiently. A credit to all of those involved.  Director, Paul Norton, had a clear vision for the show, which focused on well-paced comedy, slick transitions, and very solid character work. The story of ‘Rock of Ages’ may be light on substance but Mr. Norton used his vast experience and more than made up for this in the myriad comedic moments which were both fresh and well delivered by his talented cast. Cast needed to be careful, on occasion, to hold for laughter before coming in with their next line, as we lost lines under the guffaws of a very responsive audience. There was very good use of ensemble freezes which, coupled with excellent lighting, were most effective. There were some stunning pictures created throughout the show. ‘Waiting For a Girl Like You’ was a visual triumph as Lonny, complete with HEADlight, assumed the role of motorcycle amidst a stunning sea of low fog and exquisite lighting effects that transformed the performance space in what was a real touch of theatrical magic.  Mary Rose McNally, was at the helm as MD and presided over a band that looked like they had just stepped out of a Delorean, looking every inch the Axl Rose/Bon Jovi wannabes. Their prominent position on stage added greatly to the authenticity of the rock concert experience. They displayed exceptional musicianship and the two guitarists revelled in their featured solo moments, as well as their dialogue which was delivered brilliantly. ‘Rock of Ages’ is a loud show and it has to be. That’s the nature of the material. However, from the very start of the show it was clear that sound levels and balance were going to be an issue. The chest thumping bass drum was set at an extremely high level from the outset and the band’s sound built from there. They sounded incredible but vocals were never going to sit on top of the accompaniment and the band often overpowered the singers. It was difficult to hear lyrics, underscored dialogue, and offstage singing, where much of the harmony work was missed. Principal vocals were generally very strong and, in the numbers with more sensitive accompaniment, we could hear excellent harmonies.  Choreographer, Stephanie Browne, brought great experience to the production, devising routines that were high energy and suited to the abilities of the cast. Routines were full of enthusiasm, rebellion, and flamboyance; exactly what you would associate with 80s rock. ‘Cum On Feel the Noize’ was a very strong opening with great use of stage space and excellent energy levels from all. I loved the use of the gospel choir in ‘Heaven.’ ‘Here We Go Again’ sent us into the interval on a high, such was the uplifting energy and enthusiasm of the cast. Every single person on the stage was fully committed and it was clear that much rehearsal had gone into what was a very sharp, precise, and full-on end to the first act. The Venus girls were exceptionally good in their movement, really selling their numbers. However, I did think that having the brilliant ‘Candi’ so prominently featured in ‘I Hate Myself for Loving You/Heat of the Moment’ was a little distracting, as we were drawn to her fantastic performance a little bit more than we should have been and lost the point of focus which should have been on Sherrie and Stacee.  James O'Donovan was an excellent Lonny, the “narrator and dramatic conjurer.” There was a certain campness to his performance that endeared him to the audience as he popped up time and time again to drive the narrative and to link the scenes in a very funny way. His striking of the pillar, after the Venus scene, along with his ad-libbed line, (at least it appeared to be ad-libbed!), “As if I didn't have enough to be f***** doing!” was utterly hilarious. ‘Can't Fight this Feeling,’ with Dennis, was comedy gold; camped up to the last, as was his ‘doggy business.’ Mr. O’Donovan had an amazing rapport with the audience. He even attempted to crowd surf during ‘Don't Stop Believin’! A very funny performance from a fine actor and comedian.  Emma Sunderland was wonderful in the role of wannabe actress, Sherrie. She was a very natural actress with great comic timing, transforming from innocent ingenue to uninhibited stripper in a very knowing way. ‘More Than Words’ was gorgeously sung and performed with great heart. Ms. Sunderland was very comfortable with the comic business but also able to mix things up with nice moments of sincerity. I loved her little moment of uncertainty as Justice brought her into the Venus club. A wonderful performance.  Emmet Donlon delivered a fine performance as Drew Boley. He had great fun with the role and was fully in tune with the style of delivery required for this type of comedy. His timing was excellent and he Mr. Donlan had a fantastic voice, channelling his inner Axl Rose with face melting number after number showing off his soaring voice and fantastic range. A great portrayal, showcasing Mr. Donlan’s vocals at their very best.  Cathal O’Donoghue brought all of his experience and talent to bear in the role of Dennis, the owner of the Bourbon Room with a penchant for sex, drugs and rock and roll. Looking every inch the guy most likely to throw a television set from a hotel window, Mr. Donoghue gave a very natural, laid-back portrayal of Dennis. Diction and presence were excellent and comedy was well handled. Mr. O’Donoghue sang very well, excelling in his number, ‘Can't Fight This Feeling’ with Mr. O’Donovan, which was an absolute riot. An impressive performance by a very skilled actor.  Ian Purcell certainly looked the part as Stacee Jaxx, self-indulgent rock star and lead singer with mega-band Arsenal. He had great presence and owned the stage with his perfectly pitched overconfidence. Mr. Purcell had a superb voice with a seriously impressive range but, unfortunately, on the night that I attended, the EQ levels on his mic did not do him any favours. It was difficult to hear Mr. Purcell on occasion, particularly in his bigger numbers, and I did feel that more vocal projection and support from the sound department was needed for his dialogue too. He did deliver a very funny performance, though, and his antics with Sherrie in the bathroom were hilarious, as were his very physical gyrations with Constance which left little to the imagination.  Ailish O’Donovan delivered a great performance as Regina. She had good comic timing and  wonderful physicality. She was always in character, even when not the direct focus. Ms. O’Donovan had a very expressive delivery and sang extremely well. She was very strong in ‘We’re Not Gonna Take It’ and her ‘Hit Me With Your Best Shot’ with Franz was a comic highlight of the show.  Zach O'Halloran did well as a very camp and flamboyant Franz. Good comic timing and over the top facial expressions added greatly to his characterisation. I loved his very funny dance moves in the background during ‘We Built This City.’‘Hit Me With Your Best Shot’ was a very funny, full on routine with Ms. O’Donovan, which Mr. O'Halloran threw himself into with great energy and abandon.  Fiona O’Connor portrayed Justice Charlier with a notable presence and a strong voice. Her diction was clear, and she effectively conveyed the role of the authoritative madame of the Venus Club. 'Every Rose Has Its Thorn' highlighted Ms. O’Connor’s vocal abilities.  Lena Hally performed the role of Hilda, a part which is traditionally played by a male-identifying performer. She was very expressive and generally had good delivery of dialogue. A little bit more work could have been done on comic timing but overall, Ms. Hally did well with the role. She played very well opposite Franz and had good energy throughout the show.  I was very impressed with Aaron O'Donoghue, who played the part of Ja’Keith, manager of up and coming band Street Boyz - with a ‘Z.’Mr. O'Donoghue is young but very talented and had excellent delivery of dialogue and very good comic timing.  There was great support, too, from Conor Ryan as Father, Gerry Ryan as the Mayor, Emma Linnane as Waitress #2, Muireann Slattery as Waitress #3 and Eimhin O'Meara as Joey Primo.  I was really impressed with Cole Flanagan, who played the role of Candi. Cole had excellent presence and danced superbly giving a very funny performance.  Lorraine Cormack as Waitress #1 and Mother, showed great versatility. Rachel Breen as Constance did very well, in spite of a fall, but recovered in style and was very strong in her scene with Stacee. Her reaction to Stacee gyrating on her lap, was absolutely hilarious.  The ensemble in this show was very strong. They had some excellent moments and danced extremely well. Unfortunately, at times, their harmonies couldn't be heard, but when they could be heard, it was clear that they had done a huge amount of work and sounded great. The offstage vocals for ‘Can't Fight This Feeling’ were absolutely on point. In the dance numbers, there was huge energy and focus, and it was clear that a lot of work had been put into this in rehearsal. I particularly liked ‘The Final Countdown’ protesters versus Regina's hippies which was an excellent number, full of fun and energy from a super ensemble.  Stage management was generally very well organised and although there wasn't a huge amount of set coming in and out, it was clear that everything was in good hands backstage with Alma Quinn as stage manager. The only small exception to this was when the three pillars came in for the Venus Club. Striking them was a little bit awkward with some traffic issues. Generally, very good work from everybody involved.  The set was excellent with its imposing brickwork on the upper level and a very well-lit preset. The various lit up signs added greatly to the visual. The pull-out section on stage left worked so well, creating various different locations, such as the mayor's office and various other pieces. This section also became the toilets which Stacee and Sherrie ‘enjoyed.’ Justice’s boudoir with its chaise longue and leopard skin throw also worked very well in this space. The set was so well dressed from the coloured bras hanging on the upper level stage right to the very authentic bar paraphernalia, discs, guitars, and various advertising logos aplenty. It was pure 1980s nostalgia and was a huge part of the visual success of the show.  There was good attention to detail in the props department. From Lonny's nunchucks to the wonderfully made city model, the briefcase full of cash, the various protest signs, Lonny's 80s 3D glasses, the various shovels and tools used in the final countdown, (although the beach spades did raise an eyebrow!,) the riot shields, the Fogmaster 5000, (a superb piece of kit with real smoke), the ‘brick’ phones with their huge antennae, and Regina's petrol can, all props were appropriate to the style of show and added greatly to the overall visual impact of the production.  The lighting in the show was exceptional, from its wonderful design to its exceptional timing of cues. ‘Waiting For a Girl Like You’ was a visually stunning feast, utilising strong beams of light, superbly chosen colours and low fog to great effect. I would have bet my first edition Rubik's Cube that the lighting operator was a musician, and having checked this afterwards, I was right. Timing was exceptional and the lighting was completely in tune and in sync with the music. The Venus Club was superbly seedy, shadowy, and hazy. The battens built into the set were used to great effect. Timing was exceptionally good in ‘Every Rose Has Its Thorn’ as each character was picked out for their moment with perfectly timed fades in and out. The designer/operator clearly felt the music right down to Justice's last line. Beautiful work.  Unfortunately, sound was not at its best on the night that I attended. Not all mics appeared to be EQd appropriately for dialogue. Vocals were often drowned out by the band. Offstage vocals suffered throughout the show. This was a pity as there is so much offstage singing and a lot of harmony work was missed. ‘Can't Fight This Feeling’ was one number where I could hear the offstage vocals clearly and it sounded great. The balance within the band was excellent and it was clear that time had been spent getting the band sound right. They sounded fantastic. Loud but fantastic. Sound effects were well-timed and appropriate but unfortunately, the overall sound was poor on the night that I attended.  The costumes were of a very high standard. I loved Lonny's hilarious T-shirts, which were almost a character in themselves. Regina's hippie look was excellent and great fun. There was great detail in the costuming. The waitress's Bourbon Room aprons were a very nice touch. Stacee's fur coat really helped to define his less than subtle character. The high vis and hard hats worked very well in ‘The Final Countdown.’ And of course, Franz had to have a pink high vis, which was very funny indeed. And Franz's very over-the-top blue leotard and red briefs were hilarious.  There was great work in the hair and makeup department, creating a very authentic 80s rock look. The various wigs were very natural and looked well. The heavy eyeliner and colourful eyeshadows looked fantastic. Candi was quite the creation and looked fantastic with makeup and wig. The Venus girls were very well turned out, looking appropriate to their line of work.  This was a very entertaining production of ‘Rock of Ages’ with a very talented cast guided by an equally talented and experienced production team. I have no doubt that the sound issues which I experienced on the night that I attended were resolved as the week went on and that the show really took off. If the audience reaction on the night was anything to go by, the sky was the limit for this very talented society.  Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Seán Fitzpatrick

The Wedding Singer as presented by Cecilian Musical Society

Public Adjudication   The Cecilian Musical Society  The Wedding Singer  Saturday 23rd November 2024  The Wedding Singer is proving to be...

Public Adjudication   The Cecilian Musical Society  The Wedding Singer  Saturday 23rd November 2024  The Wedding Singer is proving to be a popular show this season. With a nostalgic nod to the 1980s, it is a feelgood romp with a classic rom-com narrative. A very funny book and an infectious, 80s-inspired score, combine to make for a hugely entertaining few hours of pure escapism. Sondheim, it is not. But, for me, any show that can get away with lyrics such as “Oh Linda, you make me feel, like a fur trapper clubbing a seal” without the audience staging a mass walkout, deserves to be seen! The Cecilian Musical Society knew the gig and milked such comedic elements of the show quite unapologetically. It was a vibrant, colourful production, very worthy of the wonderful Lime Tree Theatre stage.  Front of House set a fun tone for what was to come. Society members wore brightly coloured shell suits in homage to the dubious fashion sense of those of us who remember wearing such high-end fashion back in the day. Rubik’s cubes and other 80s paraphernalia helped us all enter into the spirit of things before taking our seats. The funny pre-show announcements, courtesy of ‘George,’ had us nicely warmed up before the main event.  Director Des Henn gave us a highly entertaining show, with a strong blend of humour, romance, and nostalgia. It was a slick, well-rehearsed production that rattled along at a frenetic pace, with smooth transitions and fluidity between scenes. There was a tendency for principals to break the fourth wall and play lines directly to the audience on occasion, which jarred. Little bits of detail needed more attention. The glasses on Julia’s tray, as she entered the opening scene, were all empty. In the revolving restaurant scene, everyone ‘drank’ from empty glasses. The waiter ‘poured’ a drink for Tiffany without taking the lid off the bottle and she proceeded to ‘drink’ from her empty glass. Lots of work had clearly been done on characterisation and relationships between characters. There were so many standout performances in this show under Mr. Henn’s guidance. Overall, a really solid piece of direction with a strong eye for comedy, pace, and good attention to characterisation.  Michael Young did an excellent job as musical director. Conducting from his keyboard, Mr. Young got an amazing sound from his ten-piece band. Well chosen keyboard patches gave us a really authentic 80s sound which captured the vibrancy of the era perfectly. There was great attention to detail in the choral aspects of the show, with superb ensemble harmonies, both onstage and off. Choral highlights included ‘Pop,’‘Casualty of Love’ and ‘All About the Green.’ From the upbeat ‘It’s Your Wedding Day’ to the beautifully sensitive ‘If I Told You,’ each number was perfectly judged by Mr. Young and his band.  Choreographer Barbara Meany brought considerable experience to bear on this production. Routines were inventive, well-synchronised and very well performed. The opening ‘It’s Your  Wedding Day,’ showcased a large ensemble cast, setting a tone of celebration and high energy which drew us in from the very start. ‘Saturday Night in the City’ was a brilliantly performed, fast paced number which drove the narrative as we were thrust into the bustling nightlife of the decade. ‘All About the Green’ was another very impressive number. I loved the clever and creative use of chairs in a routine which was extremely slick and sharp. How wonderful it was to see so many gentlemen on stage and performing with such great precision in ‘Single.’ This was brilliantly executed by the lads.  Jason Ronan was a very charismatic Robbie Hart. He managed to balance this charisma with an engaging vulnerability which had us rooting for him right through the bumpy journey of his complicated love life. Mr. Ronan had good comic timing and very strong stage presence. He was very strong vocally, with superb tone and musicality. From the hilariously manic ‘Somebody Kill Me’ to the beautifully tender and sincere ‘Grow Old With You,’Mr. Ronan demonstrated a great understanding of the wildly contrasting styles that Robbie has to get to grips with.  Kim Ronan delivered an exceptionally good performance in the role of Julia, the waitress at the apex of the show’s complex love triangle. There was a sincerity and authenticity about Ms. Ronan’s characterisation that made her utterly believable. Every word had meaning and every movement had a reason in this most convincing portrayal. Ms. Ronan’s comic timing was exceptionally good. She also had a wonderfully strong and expressive singing voice. I loved her very funny ‘Come Out of the Dumpster’ and ‘If I Told You,’ with Mr. Ronan, was beautifully delivered. The chemistry between herself and Mr. Ronan was palpable. A truly captivating performance on all fronts.  Fulfilling the role of Julia’s “fairy godmother, only slutty” was the brilliant Alison Kearney. This was another exceptional characterisation. Ms. Kearney was hilarious in the role; unapologetically loud, brash, and flirtatious. She was so in tune with the comedic elements of the role, demonstrating wonderful comic expression and timing. This was a true ‘triple threat’ performance from Ms. Kearney. She gave a top-notch display of singing too. ‘Saturday Night in the City’ was an absolute tour-de-force of a number, performed with amazing presence, precision, and unbridled energy.  Brian Curtin, in the role of Sammy, looked like he had just stepped out of a Delorean, as he sported the most authentic looking mullet I’ve seen since 1987. Mr. Curtin had a lovely, comedic charm, playing the stereotypical band member who isn’t so lucky with the ladies. There was great chemistry with his fellow bandmates. He really had great fun with the role. Mr. Curtin sang very well in ‘Today You Are a Man’ but really came into his own during the brilliant ‘Single,’ leading from the front with a superbly spirited performance.  There are hardly enough superlatives to describe the performance of Jamie Sheehan as androgynous keytar player, George. This was a truly excellent portrayal of the flamboyant band member. In a role that can often be overplayed for laughs, Mr. Sheehan struck the perfect balance between comic campness and charismatic presence in a most convincing portrayal. His vocal performance provided many comic highlights. I loved the hilariously knowing, ‘Spandauesque’ ‘George’s Prayer’ which was squeezed for every drop of comic potential. And the fabulous ‘Move That Thang’ was the perfect showcase for Mr. Sheehan’s brilliant dance ability.  Barry Danaher was truly obnoxious as the sleazy Wall Street banker, Glen. Mr. Danaher revelled in this villainous role, eliciting sharp intakes of breath from the audience at his misogynistic, self-absorbed antics. The epitome of materialistic arrogance, he was the perfect foil for the unfortunate, but ultimately more wholesome, Robbie. However, there was still a trace of comedic charm in Mr. Danaher’s portrayal that meant we didn’t despise Glen. We enjoyed disliking him and this subtle charm kept us engaged, in spite of his less likable qualities. He did very well in ‘All About the Green’ with a very strong, arrogant performance.  Strength in depth is the hallmark of a great show and that was certainly the case here as Hilary Phayer took to the stage as Linda, Robbie’s ex-fiancée and the reason behind his heartbreak. This was a standout performance, very physically aware, which was hilariously funny and suitably over-the-top. Her attempted seduction of Robbie was brilliant in all its duplicitous glory. ‘Let Me Come Home’ was one of the best vocal performances of the night as Ms. Phayer delivered a powerhouse, riotous romp which was both sensual and disturbing in equal measure.  Gráinne Hartnett was a sprightly and very funny Grandma Rosie and boy did she enjoy every minute on stage. She had a wonderfully slow and measured physicality which contrasted brilliantly with her energetic antics in ‘Move That Thang.’ I’m still wincing at her very impressive splits! Blessed with a youthful visage, Ms. Hartnett could have benefitted from a few ‘lines’ to age her a decade or two. However, this didn’t take away from what was a really entertaining performance.  Gillian Hunt played Julia’s mother, Angie, a bitter divorcee with a dubious moral compass. Ms. Hunt played the role very well and her shallowness shone through as she encouraged her daughter to cash in on Glen’s more favourable financial circumstances.  There was a host of cameo performers, all of whom provided very strong support, helping to uphold the very high standards of performance across the board. Chief amongst those was Brian Henry who, with just a few short lines, gave one of the funniest performances of the night. Credited in the programme as Bum, Mr. Henry was far from the butt of anyone’s jokes in his very humorous take.  The ensemble members in this show were energetic and very focused as they became wedding guests, nightclub revellers, office workers and a myriad other characters. They danced with great precision and performance levels and their choral singing was excellent. Great work from all involved.  Ray Burke did a really good job as stage manager. Changes were so slick and transitions from scene to scene were choreographed perfectly to ensure that there was no let-up in pace. As efficient as these changes were, I wished, from time to time, that crew weren’t visible. A really small point which might have made what was already an excellent job even better.  The set design was a clever blend of modern technological elements and more traditional set pieces. Multiple screens allowed for quick transitions between locations. With technology, however, can come technological glitches and the screens were, unfortunately, a little ‘glitchy’ at times, causing some distraction. Content was dynamic, enhancing the storytelling at all times. Fading some of the images in and out might have been a good idea as they were very abrupt at times. The physical elements of the set were so well constructed and beautifully finished. The house was most impressive and the sinks, along with the toilet cubicles, looked great, as did the dumpster. I also loved the floor with its very 1980s neon lines.  Lighting was very impressive for the most part. It was colourful, bold, and dynamic in the dance numbers yet sensitive and atmospheric in the more tender moments. There was really good attention to detail in complementing what was happening on the screens. Haze and gobos were used very effectively, especially in ‘Saturday Night in the City’ which looked fabulous. LED battens worked really well, particularly the well-timed ‘stabs’ during ‘Casualty of Love.’ Things were let down a bit in ‘George’s Prayer’ as the cues for dialogue were always a little late. For me, it appeared that the operator was going on the lines rather than anticipating the lines.  Sound was in great hands, with excellent cueing and clear, warm dialogue settings throughout. Sound effects were perfectly chosen and at appropriate levels. The vibrating bed effect raised quite a few giggles! The band sound was excellently mixed and it was so refreshing to hear every word, in every song. Choral singing, both on stage and off, was outstanding in its balance and the vocal warmth. Underscored dialogue was also given great attention. Again, we heard everything. Even though we lost Rosie and George’s mics momentarily in ‘Move That Thang,’ we could forgive that minor lapse as everything else was so good.  Props were appropriate to the decade, for the most part. The wedding cake looked well and items such as the crates and trash cans added to the authenticity. Glen’s phone, with its enormous battery, was hilarious and the perfectly chosen bedclothes had obviously been sitting in someone’s hot press for the last forty years. Rosie’s Walkman was a funny and nostalgic nod to the era. The CD player box was obviously empty though and needed something to give it a bit of weight.  There was great work from the costume department, capturing the distinctive style of the 80s. From the coordinated baby blue of the opening wedding party to the band’s matching jackets, there was meticulous attention to detail. Individual looks like Julia’s cutesy dungarees, George’s flamboyant attire, Sammy’s red leather jacket and Rosie’s luminous lycra added so much to the authenticity and visual impact of the show. The Wall Street business uniforms were suitably sharp for ‘All About the Green.’ Holly’s wonderful outfits projected her flirtatious personality and Linda looked every inch the rock goddess.  Hair and make-up were perfectly suited to the era. Sammy’s mullet took pride of place and George’s look had Karma Chameleon vibes. Great attention to detail from all involved.  This was a super production of a most entertaining show by Cecilian Musical Society. The in depth talent in the company was such a pleasure to see. It was a real spectacle of a show with superb choreography, excellent musicality, and wonderful performances across the board. It was a pleasure to be in attendance.  Pat McElwain  Gilbert Adjudicator 2024/2025

The Addams Family as presented by Newcastle West MS

Society name: Newcastle West Musical Society Show name: The Addams Family Adjudicator date of attendance: 07/11/2024 Brief overview  of...

Society name: Newcastle West Musical Society Show name: The Addams Family Adjudicator date of attendance: 07/11/2024 Brief overview  of show and evaluation of Front of House From the moment guests walked through the door, the front-of-house experience was warm and inviting, setting the tone for the evening. Despite the unconventional use of a sports hall as the venue, the transition to a theater space was thoughtfully executed, and the show emanated a strong sense of community. The front-of-house team made an excellent first impression with their warm and friendly welcome. The community spirit was evident, with a sense of inclusion that was a lovely introduction to the evening’s entertainment. The atmosphere was transformed into one of intimacy and excitement, with the audience immediately drawn into the world of the Addams family.  Director-  Direction and Production Director Susan Browne was responsible for guiding the creative vision of The Addams Family , and her dedication and passion for the project were evident throughout. However, the dual responsibility of directing/choreographing, and also performing as Morticia Addams, presented some challenges for the production. In scenes where Susan was not performing, there was a noticeable improvement in the attention to detail, with stronger pacing, character interactions, and more precise blocking choices. In the other scenes some challenges affected the flow of a few scenes, particularly those that required smooth transitions and more fluid interactions between performers. The Addams Family  thrives on sharp wit and quick exchanges, and the slower delivery in some scenes diminished the impact of the humor. Small details benefit from a director who can observe the action more objectively from a distance. Given the scope of the production, it’s clear that an assistant director could have been a valuable asset, helping to manage the finer details and offering a fresh perspective. With some additional support, the direction could have been even more polished, allowing the production to fully reach its potential. Musical Director-  Direction and Orchestra Musical Director Elaine Davern led the orchestra with great skill, ensuring the music was well-balanced and the band’s lines were clear and present throughout the performance. The band performed excellently, and the balance between the orchestra and singers was effectively maintained, ensuring that the vocals were never overpowered by the instrumental sections. The audience could clearly hear the nuances in the musical score, which enhanced the overall experience. However, there were moments during certain numbers, where the vocal timing and cues seemed slightly off. The fault here appeared to lie more with the cast than with Elaine’s cueing or musical preparation. With more preparation here the cast would be more attuned to their cues and the musical timing, and the blend of voices. Leading Principles Gomez Addams (Colman Deely):  Colman's performance as Gomez Addams had moments of charm, and his mellow vocal tone was a highlight. The pacing of his dialogue felt slow, and he struggled to inject the necessary energy and flair into the character’s comedic moments. Gomez is meant to be a dynamic and larger-than-life character, and the portrayal occasionally lacked the exuberance required to fully capture Gomez’s playful spirit. A more energetic delivery could have allowed the comedy to land more effectively. Morticia Addams (Susan Browne):  Susan’s vocal performance as Morticia was powerful, and she demonstrated an impressive command of the songs' ranges. However, her characterisation of Morticia felt somewhat stern and overly dramatic at times. Morticia is meant to exude an air of unflappable calmness, even in her more exaggerated moments, but the interpretation leaned more towards a somber tone. With a bit more lightness and nuance, Susan could have delivered a more balanced performance. Wednesday Addams (Molly Sparling):  Molly’s performance as Wednesday was one of the standout moments of the production. She captured the character’s sardonic wit perfectly and displayed excellent vocal ability. The chemistry with her co-star, Padraig Doherty (Lucas Beineke), was palpable, and her portrayal of the complicated father-daughter relationship with Gomez was particularly well-executed. This performance suggests that Molly is an exciting talent with a promising future in musical theater. Lucas Beineke (Padraig Doherty):  Padraig brought a refreshing energy to the role of Lucas, providing a great contrast to Wednesday’s darker character. His vocal performance, especially in I’m Crazier Than You , was beautiful and well-matched to Sparling’s Wednesday. His portrayal of the character was believable and full of energy, making him an engaging presence on stage. Supporting Roles- Singing (if applicable) and Acting Pugsley Addams (Tiernan Bourke):  Tiernan’s portrayal of the mischievous younger brother was endearing. Although a little hesitant in the early scenes, he grew into the role and held his own alongside the more experienced cast members. His voice showed great potential, and with further development, he could become an even more standout performer. Alice Beineke (Anne Marie Murphy):  Anne Marie delivered a performance that was one of the strongest in the show. Her powerful voice was a major asset, although there were moments when she could have pushed her character’s madness and eccentricity further, particularly in Waiting . Still, her portrayal was convincing, and her voice added depth to the character. Mal Beineke (Charlie O’Connell):  Charlie’s portrayal of Mal was understated but effective. His portrayal of a man bewildered by the bizarre Addams family was believable, but there were opportunities to further explore his bewilderment and confusion to add more layers to the character. Fester Addams (Eamonn O’Connor):  Eamonn’s portrayal was an audience favourite. More work on the nuances of Festers eccentricities, and playful energy would have brought more depth to the quirky nature of the character, as well as some accent work. I would suggest some vocal lessons to create greater strength in this area.  Grandma (Annmarie Keating):  Annmarie’s performance as Grandma was one of the most delightful aspects of the show. She brought a wonderful sense of humor and quirkiness to the role, and her moments on stage were genuinely funny. However, some of her best moments felt a bit underdeveloped, which may have been due to directorial choices. Still, the performance was a highlight. Lurch (Paul Keys):  Paul had a lovely voice, but unfortunately, he missed his key in the finale. Lurch’s character also had more potential for comedic emphasis, particularly in his slow movements. A more exaggerated performance in this area would have enhanced the humor of his character. Chorus/Ensemble The ensemble worked hard and clearly enjoyed themselves on stage, bringing energy and life to the production. Though their performances had the potential to be more polished, they demonstrated clear commitment to their roles and created an enjoyable atmosphere on stage that was spirited and lively. With more refinement, the ensemble could elevate their performances even further, showcasing the strength of the entire company. Stage Management & Set Design The set design was cleverly executed, making effective use of the small stage space and limited wing area. The set was well-painted and decorated, creating a visually appealing environment. However, the pace of scene changes could have been quicker, as they were a bit slow, affecting the overall momentum of the show. The inclusion of a curtain for external scenes, like Moon and Me , was an interesting idea, and this device could have been used more frequently to signal transitions between spaces. Technical- Light and Sound  The sound design was generally effective, providing a good balance between the music and vocals. However, there were moments when the chorus could have been lifted more in the mix to ensure their voices were heard more clearly. Some missed cues, but nothing major to affect the performance. While the lighting was basic, it was used effectively to support the mood of the production. In this design lies the proof that a lot can be done with a small rig. Some important lighting cues were missed, particularly during the “ding” moments of Gomez’s scenes, which impacted the intended dramatic effect. Visual- Costumes, Hair and Make Up The costumes were well-executed, with a clear attention to detail that helped define each principal and chorus character. The makeup was particularly impressive, with ghostly shading adding to the gothic atmosphere of the show. Hair was styled to suit each character, adding an extra layer of visual detail that made the production aesthetically pleasing. Adjudicators suggestions/ comments-   overall comments on the production and comments to enhance the standard for future performances. In conclusion, Newcastle West Musical Society’s production of The Addams Family  was a strong and enjoyable effort. While the direction, performances, and technical elements showed clear potential, there were areas where more refinement and attention to detail could elevate the overall production. Additionally, some performances would benefit from more energy and focus. With continued development and a little more fine-tuning in both rehearsal discipline and directorial oversight, Newcastle West Musical Society’s future productions will undoubtedly be even stronger. The foundation of talented performers and dedicated team members is clear, and with the right adjustments, they can achieve a higher level of theatrical excellence.

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