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UPCOMING EVENTS

Hadestown

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24 Feb 2026

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"Michael Collins" a Musical Drama

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19 Mar 2026

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EVITA

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24 Mar 2026

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Twisted Ever After: The Musical

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17 Apr 2026

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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.

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

Cry Baby as presented by Roscrea Musical Society

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

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

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

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

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

The Clockmaker's Daughter as presented by Tralee Musical Society

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

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

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