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Review: Come From Away - Agnes Choral

Society name: St Agnes’ Choral Society Show name: Come From Away Adjudicator’s date of attendance: 13/09/25 St Agnes’ Choral Society’s production of Come From Away  was a heartfelt and beautifully crafted retelling of one of the most human stories in modern musical theatre. On September 13th, a few days after a time already charged with poignancy, the company brought to life this story of compassion and community with sensitivity, precision, and warmth. The result was an evening that felt...

Society name: St Agnes’ Choral Society Show name: Come From Away Adjudicator’s date of attendance: 13/09/25 St Agnes’ Choral Society’s production of Come From Away  was a heartfelt and beautifully crafted retelling of one of the most human stories in modern musical theatre. On September 13th, a few days after a time already charged with poignancy, the company brought to life this story of compassion and community with sensitivity, precision, and warmth. The result was an evening that felt both respectful and uplifting, a production that honoured its subject matter with care and professionalism. Though occasionally a little too clean in tone, missing some of the raw edges that make Come From Away  so affecting, it remained an impressive and moving achievement from a talented and dedicated company. Director Rachel Logan-Fee shaped the production with intelligence, emotional understanding, and great attention to rhythm and flow. Her staging was fluid and dynamic, particularly in her use of the revolve, which mirrored both the motion of grounded aircraft and the shifting emotions of those caught in extraordinary circumstances. Every movement had intention, and the stage pictures she created were often striking in their simplicity. Her incorporation of projected news footage from the days following 9/11 was especially powerful. These projections, woven carefully into the storytelling, grounded the musical’s narrative in the reality of its source material, reminding the audience that these were true stories, moments of real kindness born out of unimaginable tragedy. The emotional pulse of the show was steady and sincere, though there were points where one longed for a touch more spontaneity. Rachel’s production was deeply respectful and beautifully structured, but sometimes that polish left little room for the messy, unpredictable emotion that makes Come From Away  resonate so profoundly. Certain comic beats could have been pushed further, too; those flashes of humour that balance the musical’s sadness were sometimes underplayed. Yet despite this, her work never lost sight of the show’s heart, its depiction of humanity at its best. The pacing was deftly handled, the energy of the ensemble ebbed and flowed with precision, and the final scenes were staged with breathtaking simplicity and grace. Musical Director Andrew Robinson brought the score vividly to life, both through the exceptional playing of his band and the clarity of the company’s vocal performance. In a choice inspired by the original Broadway production, the band was positioned among the trees at the wings of the stage, and at times joined the cast in full view. This integration was handled beautifully; it added atmosphere and authenticity without compromising sound quality in the slightest. The sound was rich, full, and perfectly balanced, with not a single line lost. Andrew’s tempos and dynamic choices were thoughtful and finely judged. Every number breathed naturally, and the balance between drive and sensitivity was spot-on. Ensemble numbers such as “Welcome to the Rock” and “Something’s Missing” were particularly impressive, bursting with precision, texture, and vocal unity. There was a palpable connection between conductor and cast, a shared rhythm that kept the entire show alive and moving. The band, though modest in size, had remarkable power and cohesion, creating a sound that filled the space without ever overwhelming the singers. It was clear that the musical direction was in perfect harmony with the directorial vision, both working hand in hand to craft an experience that was seamless and musically rich. Choreographer Amy Blackshaw matched this musical precision with movement that was both expressive and restrained. Her choreography was understated but deeply felt, serving the story rather than drawing focus to itself. The transitions between spoken text and physical storytelling were so smooth that the audience was often unaware of where one ended and the other began. The plane sequences were among her most striking work, small gestures, shifting weight, and repeated motifs that captured the tension, claustrophobia, and eventual camaraderie of those trapped in transit. There was great intelligence in Amy’s understanding that Come From Away  does not need grand dance breaks. Instead, it demands movement that grows organically from emotion and music, and she delivered just that. The energy of “In the Bar / Heave Away” was joyful and infectious, though one felt it could have been pushed a little further, perhaps just a touch more reckless, more unrestrained. Still, her choreography spoke fluently in the same visual language as Rachel’s direction, and the two worked in perfect synergy. This unity of movement and staging gave the show its distinctive flow, one of its great successes. Among the principals, there was a wealth of talent and commitment. As Hannah, Fiona Keegan anchored the piece with warmth and grace. Her calm presence radiated care and empathy, and her rendition of “I Am Here” was one of the emotional high points of the evening. Fiona’s voice was powerful yet tender, and her portrayal grounded the production in humanity and heart. Michelle Hannaway delivered two contrasting performances as Beverly and Annette, both confidently sung and thoughtfully acted. While the differences between the two characters could have been more pronounced, her vocal control and authority were undeniable. As Bob, Themba Mbondiya was engaging and charismatic, his portrayal marked by easy charm and understated humour. He found a particularly nice contrast between the comic awkwardness of Bob and the suave composure of Captain Bristol, and his vocals were consistently strong. Martin McDowell brought warmth and clarity to each of his characters, particularly as Oz, the kind-hearted police officer whose friendliness encapsulated the spirit of Gander. His transitions between roles were fluid and precise, a testament to his versatility. Gareth McGreevy’s Kevin T was sincere and well-crafted, his chemistry with Kevin J genuine though the emotional unravelling of their relationship could have gone a touch deeper. As Diane, Antoinette McMichael offered a gentle, affecting performance. She charted Diane’s emotional journey with care, making her relationship with Nick (played by Tony Young) believable and touching. Tony’s portrayal was understated and moving, his soft-spoken manner and quiet loneliness perfectly pitched. Their connection on stage brought subtle sweetness to the production’s later scenes. Emma Nugent’s Beulah was strong and assured, with commanding vocals and an aura of confidence. A few missed comedic beats aside, her performance was heartfelt and sincere. She balanced Beulah’s maternal qualities with a deep emotional intelligence. Blathnaid Scullion’s Bonnie had a lovely, grounded energy; she portrayed the character’s fierce independence and moral strength with conviction, particularly in her scenes involving the animal rescue subplot. One of the standout performances came from Vijay Sharma, who played both Kevin J and Ali. His portrayal of Ali was beautifully judged, quiet, humble, and filled with dignity. He managed to convey the character’s internal conflict and resilience with subtlety, creating some of the evening’s most affecting moments. His switch between roles was sharp and clear, and his singing voice, warm and resonant, carried great emotional weight. Helen Smyth’s Janice was confident and well-delivered, though a little more youthful nervousness might have captured the reporter’s early uncertainty. As Claude, Fergal White was utterly charming. His performance exuded humour, compassion, and decency, his soft-spoken manner reminiscent of Stephen Fry in both tone and timing. He was a delight to watch and provided a steadying warmth that perfectly embodied Gander’s spirit. The ensemble as a whole was exemplary. Come From Away  is, at its core, an ensemble piece, and the members of St Agnes’ Choral Society worked as a true collective. Their vocal blend was superb, harmonies were clear, strong, and balanced, and the company’s diction was immaculate. Movement across the stage was cohesive and always purposeful, transitions seamless and beautifully timed. Every performer on stage appeared to understand their role in the larger picture, creating a living, breathing community rather than a series of isolated performances. If there was one area that could have added more texture, it would be the individuality within that unity. A few more moments of spontaneous, character-specific behaviour, small gestures or quirks that make each islander or passenger unique, might have brought an extra layer of life to the story. But this was a disciplined, finely tuned ensemble, whose commitment and heart were evident in every beat of the show. Visually, the production was clean and cohesive. The set, inspired by the original design, was built from natural materials and neutral tones, with cerulean, blue highlights suggesting the island’s coastal setting. While attractive and functional, it did feel a little too pristine; some additional roughness or texture might have captured the ruggedness of Newfoundland life more authentically. The revolve worked flawlessly, allowing for fluid scene changes handled entirely by the cast, a feat of timing and precision. The projection screen, integrated into the back wall, added depth and emotion to key moments, particularly during the news sequences. Lighting and sound design were excellent. The lighting choices enhanced the set’s warmth, creating subtle shifts between intimate storytelling and larger ensemble moments. Colour palettes were used with sensitivity, and every cue felt carefully considered. The sound mix was clear and well-balanced, ensuring that even during complex ensemble numbers, every vocal harmony could be heard. The integration of live instruments on stage, always a technical challenge, was managed with skill, maintaining perfect alignment with the vocals throughout. Costumes, hair, and makeup were natural and understated, entirely in keeping with the realism of the piece. The neutral base costumes allowed for quick changes and supported the show’s fast-moving structure, with small pops of colour and accessories helping distinguish between characters. Nothing felt out of place or overly theatrical, the visual design remained honest, simple, and human, reinforcing the authenticity of the storytelling. Finally, it must be said that the entire experience, from arrival to final curtain, was handled with warmth and grace. The Front of House team were calm, friendly, and efficient, greeting the audience with genuine hospitality. Their professionalism set the tone for the evening and reflected the same spirit of community that Come From Away  celebrates. In all, this was a moving and dignified production that showcased St Agnes’ Choral Society’s professionalism and heart. It was a show that demonstrated remarkable discipline and unity, a testament to the strength of its creative leadership and the dedication of its ensemble. If it occasionally felt a touch too polished, its edges smoothed, its chaos neatly contained, it nevertheless carried deep sincerity and great artistic integrity. By the end of the night, that spirit, of kindness, empathy, and shared humanity, lingered in the air. This was a production that not only told a story of generosity but embodied it, both on and off the stage.

Review: All Shook Up - Jack Cunningham Productions

Society name: Jack Cunningham Productions Show name: All Shook Up Adjudicator date of attendance: 06/09/2025 Jack Cunningham Productions’ All Shook Up was a lively, colourful, and good-humoured staging of this jukebox musical. While it never quite achieved its full potential, it still provided a light-hearted evening of entertainment. There was much to enjoy: strong vocal work, spirited choreography, and a company who clearly invested endless amounts of energy and enthusiasm. Some...

Society name: Jack Cunningham Productions Show name: All Shook Up Adjudicator date of attendance: 06/09/2025 Jack Cunningham Productions’ All Shook Up was a lively, colourful, and good-humoured staging of this jukebox musical. While it never quite achieved its full potential, it still provided a light-hearted evening of entertainment. There was much to enjoy: strong vocal work, spirited choreography, and a company who clearly invested endless amounts of energy and enthusiasm. Some moments of imprecision and a lack of detailed storytelling meant the production sometimes fell short of being truly fabulous. The production moved at a good pace, driven by musical strength and cast commitment. Though characterisation was sometimes superficial, the show remained engaging and accessible, balancing moments of enjoyment with areas for growth. Direction from Jack Cunningham ensured the story flowed clearly, with smooth transitions and rarely any stagnation. Greater attention to blocking, character arcs, and comedy would have given the show more depth. Blocking was occasionally awkward, with characters speaking upstage and losing connection with the audience. The bar set piece, placed upstage centre, created some of these issues; possibly repositioning it downstage right or left would allow actors to play forward more effectively. The balcony audience was neglected, with performers directing energy solely toward the stalls. Coaching to lift eyelines would include the whole auditorium and strengthen connection. Character development also lacked detail. While broad strokes suit the show’s archetypes, the relationships and motivations need more nuance. The comedy, so central to All Shook Up, often felt underplayed. Leaning into parody would heighten humour and unlock the script’s potential. Despite these critiques, the production was coherent and rhythmic. With sharper focus on detail and stronger emphasis on character journeys, the direction could rise from good to excellent. Andrew Lane’s musical direction was the evening’s highlight. Under his guidance, the cast delivered beautifully blended harmonies with warmth and precision. Ensemble singing was rich, balanced, and well-rehearsed, providing a solid musical foundation. Andrew kept tempos steady and ensured the band supported the cast without overpowering them. However, the band’s full sound was not consistently reinforced through the PA. The absence of amplified brass left the bigger numbers less impactful than they should have been. For a show fuelled by Elvis’s bold energy, this was a missed opportunity. Still, the clarity of direction and the cast’s strong vocal ability made the musical element a consistent strength. With fuller use of amplification, the score could become truly electrifying. Jack Cunningham’s choreography was lively and clean, especially from the core dancers, whose precision brought real flair. Routines were well-structured and visually appealing, filling the stage with energy. At times over-reliance on certain moves, particularly high kicks, made the choreography feel a little repetitive. Variety would keep the visual storytelling fresher. The opening number, while energetic, lacked the punch needed to establish the musical’s world with full impact. In Let Yourself Go the choreography for the statues felt stylistically out of place, disrupting cohesion. A noticeable divide existed between strong dancers and the wider ensemble. Choreography should aim to integrate performers of varying abilities, so the ensemble appears unified while still challenging the most advanced dancers. A strong front line led this ensemble. Jordan Bass in the role of Chad showed clear ability but was somewhat hampered by direction. His consistent scowl-like expression felt mismatched to Chad’s charismatic persona, softening stage presence. Vocally very competent, he especially shone in I Don’t Want To, though the role did not show the full potential of his voice. An affected accent through gritted teeth made dialogue unclear at times, and the lack of a lifted eyeline beyond the stalls left balcony audiences disengaged. With clearer diction, raised eyelines, and more swagger, this role could become a standout. Jenna Dunphy as Natalie / Ed performed with charm and confidence. A strong mover and singer, she delivered both aspects well. The contrast between Natalie and Ed was possibly a little too subtle; sharper distinctions in physicality and vocal tone would strengthen the comedy and highlight the role’s central transformation. Timmy Moloney was endearing and believable as Dennis, with sweet vocals blending well with the company. The character’s quirkiness and comedic potential, though, were underexplored. More eccentricity would have added extra humour. Carrie Mullane has a pleasant voice but perhaps lacked the power and flamboyance Miss Sandra requires. The role thrives on bold sexuality and comedy, which were lightly touched upon. Greater freedom in embracing these aspects would lift her portrayal. Lyndsey Penkert’s Sylvia was one of the strongest performances of the night, with commanding vocals and natural stage presence. Relationships with Lorraine and Jim were convincing, though comedy was again slightly restrained. With more exaggeration, her performance could soar even higher. Fionnan Dunphy was utterly charming as Jim, embodying the bumbling father with warmth and humour. His relationship with Natalie was tender, his characterisation consistent, and his comedic timing excellent. A thoroughly enjoyable performance. Ella Fewer displayed a powerful voice and impressive riffs as Lorraine. She blended beautifully in duets, though her characterisation was too restrained. Lorraine needs more drive and sparkle to fully capture Dean’s attention. Liam Steenson’s Dean Hyde was suitably gentle and sweet, pairing well vocally with Lorraine. His meekness worked, but his defiance of his mother could have been more pronounced for dramatic contrast. Anne-Marie Collins delivered a stern, strict portrayal of Mayor Matilda, with strong interactions and humorous facial expressions. Vocally competent, she occasionally struggled with range transitions. Greater smoothness would enhance an otherwise solid performance. Jonathan Kelly was a comedic highlight as Sheriff Earl. With few words, he achieved much, delivering humour through subtle timing and precision. Sophie Reynolds was vocally outstanding as Henrietta in Heartbreak Hotel. Her powerhouse delivery made a strong impression despite limited stage time. The ensemble brought energy, strong harmonies, and consistent engagement. Their singing was powerful and well-balanced, contributing significantly to the overall atmosphere. The execution of the choreography was sharp across the board. A core group of dancers excelled at the tricker routines. It was a shame that the rest of the chorus weren’t utilised more, some remaining out of the bulk of the choreography. More integration of the choreography would allow all ensemble members to shine while maintaining uniformity. The set was simple but effective, with versatile, dual-purpose pieces that moved smoothly and maximised limited space. However the set pieces sometimes felt a little bare, particularly The Honky Tonk, which would have benefitted from more set dressing. Scene changes, carried out by the cast, usually flowed well but occasionally lacked precision. When done in full light, they must be treated as choreography to maintain the slickness needed to ensure the flow of the show is maintained. Lighting was thoughtfully designed, with a colour palette that supported storytelling. The transition from sepia tones to brighter colours, matching the changes in costume, was particularly striking. Cueing was tight, though additional front-of-house coverage was needed for extreme downstage corners where the cast occasionally strayed. Sound was nicely balanced for vocals, with harmonies clear and well-mixed. The main issue was the absence of the full band in the PA, which left brass-heavy numbers lacking impact. Stronger integration of live band and cast would add much-needed power. Visually, the production was excellent. Costumes were carefully chosen, with warm brown tones in the opening, leading to striking contrasts later. Hair was immaculate, with accurate period styling, and make-up was suitably designed to enhance believability. This department’s attention to detail contributed greatly to the show’s overall polish. Front of House presentation was slightly less polished. The team were polite and accommodating, but with some improved systems, the welcome could be as strong as the work on stage. Overall, All Shook Up was a very enjoyable evening’s entertainment that the company should be proud of. Jack Cunningham Productions has a strong solid foundation that with time and a little more attention to small details will be a group to be reckoned with.

Review: My Fair Lady - Portrush MS

Portrush Music Society My Fair Lady Saturday 31st May 2025 Based on George Bernard Shaw's play ‘Pygmalion’, written in the early 1900s, ‘My Fair Lady’ is a timeless musical theatre classic, full of comedy, drama and romance. It is as entertaining now as it was when it first hit the stage in the late 1950s. Portrush Music Society marked their return to AIMS with an energetic, thoughtful production which delighted their audience at the Coleraine Leisure Centre, getting my stint as Sullivan...

Portrush Music Society My Fair Lady Saturday 31st May 2025 Based on George Bernard Shaw's play ‘Pygmalion’, written in the early 1900s, ‘My Fair Lady’ is a timeless musical theatre classic, full of comedy, drama and romance. It is as entertaining now as it was when it first hit the stage in the late 1950s. Portrush Music Society marked their return to AIMS with an energetic, thoughtful production which delighted their audience at the Coleraine Leisure Centre, getting my stint as Sullivan adjudicator for the 2025/2026 season off to a very positive start indeed. I received a lovely, warm welcome from the director, Kerry Kane, and I was delighted to hear all about the society’s rich history. This was, in fact, their fourth time to stage ‘My Fair Lady’ since 1978! I was very impressed with the lovely displays of photographs in the foyer area. There was a fabulous flower cart with a book for the audience to write messages to the cast and crew, which was a lovely touch. The hall itself was transformed into an amazing performance space. The stage was purposely built for the production and the large audience space comprised of half tiered seating with the other half on floor level. Ms. Kane directed with great flair and did an excellent job on this show, transporting us to Edwardian London and creating some wonderfully engaging characters. ‘My Fair Lady’ is such a dialogue-heavy show and the biggest challenge for a director is ensuring that pace is always maintained. Thankfully, there was exceptionally good pace throughout, particularly in the scenes set in Higgins' study which, in my experience, can often drag if not handled well. Great thought was put into background business for the ensemble and there was a real sense of meaningful involvement for everyone on stage. The set, which Ms. Kane helped to design, was utilised very well. There was great use of space throughout, particularly the upper level and steps. For such a long show, the best compliment I can pay Ms. Kane is that it zipped along and never felt like it dragged. An excellent job overall. Choreographer Rosemary O’Connor did very well in pitching the routines perfectly to the abilities of her cast. ‘Wouldn't It Be Loverly?’ was very well rehearsed, with precise and appropriate movement from a very committed ensemble. There was great fun with Doolittle, Harry and Jamie in ‘With a Little Bit of Luck’ and fabulous energy and fun from the ensemble in the reprise of that number. ‘The Ascot Gavotte’ was a standout number, excellently performed. It was so controlled, restrained and disciplined in its minimalist movement, contrasting greatly with the more exuberant numbers. The ‘Embassy Waltz’ was a beautiful routine and it was such a joy to see so many couples waltzing properly. But the highlight for me was ‘Get Me to the Church on Time’ which was highly energetic, excellently rehearsed and full of life and joy. Excellent work from Ms. O’Connor. Musical director Terry Cloughley did a fabulous job in bringing Frederick Lowe's timeless melodies to life with his wonderful orchestra which delivered a really full-bodied sound. The orchestra itself was tucked away on floor level to the audience's left, as was the visual monitor for the cast to follow Mr. Cloughley, who was also the conductor. It might have been better had this monitor been positioned more centrally, behind the audience, as it was difficult for cast to keep it in their periphery vision. There was excellent choral work throughout with great attention to vocal dynamics. The gentlemen at the top of ‘Wouldn't It Be Loverly?’ were superb and I loved the excellent a cappella choral sound at the start of ‘Get Me to the Church on Time’. The chorus did, unfortunately, run ahead in ‘The Ascot Gavotte’ number but Mr. Cloughley did manage to get things back on track. Principal singing was of a very high standard and Eliza's solos, in particular, were excellent. Lindsay Johnson was a very likeable Eliza Doolittle, delivering a wonderfully impressive, powerhouse performance as the “squashed cabbage leaf” who transforms from cockney street vendor to well-spoken lady. Ms. Johnson skilfully balanced vulnerability, strength and comedy throughout. Eliza is a most emotionally complex role. Ms. Johnson recognised this, finding layers and nuance far beyond the comedy. She had the most gorgeous, crystalline soprano voice and a fabulous cockney accent. ‘Just You Wait’ was beautifully delivered and ‘I Could Have Danced All Night’ was a truly exceptional vocal performance. Ms. Johnson had a wonderful emotional range, judging the more intense scenes perfectly and never overplaying. Aidan Hughes played Professor Henry Higgins with a great air of haughtiness, superiority and arrogance. His interpretation was an interesting one, quite different to the myriad Henrys that I have seen before. It was more flamboyant and demonstrative than I have seen previously. However, it was a very memorable performance and a refreshingly different take, which is always a good thing if it can be justified in a performer’s choices. What a superb voice he had too. This was very evident in ‘I'm an Ordinary Man’, the best rendition I think I have heard. Mr. Hughes has exceptionally good diction. ‘A Hymn to Him’ was brilliantly performed as he questioned why a woman can't be more like a man. Mr. Hughes' comedic timing was exceptionally good. Aaron Jamieson brought great comic relief as Eliza's scheming and opportunistic father, Alfred P. Doolittle. Mr. Jameson created a great character, with superb expression and comedic timing. He was hilarious as the rough-talking, larger-than-life dustman drawing the audience in with his irreverent swagger. His exuberant energy bounced off the stage and his two main numbers, Wouldn't It Be Loverly’ and ‘Get Me to the Church on Time’ were absolute showstoppers. A wonderful, all-round portrayal. Equally strong was Tim Brown as Colonel Pickering. Mr. Brown was an excellent actor and a perfect foil to Higgins. His genuine warmth and compassion for Eliza, contrasted very nicely with Higgins’ more dismissive tone. Mr. Brown had a wonderful energy on stage. His performance in ‘You Did It’ was very strong. He was always thinking, always acting and reacting, immersing himself completely in the character, in what was a very intelligent and thoughtful performance overall. Emma Thorpe was a very warm Mrs. Pearce. Ms. Thorpe was a clever actress and her subtle reactions were always in tune with the narrative. I loved her very consistent Scottish accent which was never overplayed. Another very strong performance. Elaine Macauley, for me, delivered one of the standout performances of the show as Henry's mother, the elegant Mrs. Higgins. This was an extremely polished and professional portrayal from Ms. Macauley, with her deliciously clipped accent and razor-sharp comedic timing. I loved her heartfelt interactions with Eliza which were in lovely contrast to her son's less favourable approach. David Mitchell was a very animated Freddy. His obsession with Eliza was very well played and he had a wonderful stage presence. What a fabulous voice he had too, showcased beautifully in ‘On the Street Where You Live’. Darren McGuigan and Andy Shaw were both excellent as Alfred Doolittle's sidekicks, Harry and Jamie. They both had excellent expression and worked off each other very well, with great timing and wonderful interactions. Mr. McGuigan, in particular, was a superb mover. Mr. Shaw did need to watch his diction a little bit when playing ‘inebriated’, but these two gave a fabulously energetic performance throughout. Mr. McGuigan also impressed when doubling up as Lord Boxington. Colin Pascoe, as Zoltan Karpathy, was obviously a strong actor who had all the required skills. However, I did feel that his performance bordered on caricature. Lines were often played directly to the audience and delivery was quite over the top. Sometimes, less is more and had Mr. Pascoe toned things down a little bit, I felt that he could have given a much more believable and authentic performance. Brenda Tosh as Mrs. Eynsford-Hill and Margaret Ferris-Curran as Lady Boxington both had strong stage presence, good diction and provided great support in their roles, The ensemble was highly enthusiastic and committed, whether playing servants, tenement dwellers in the bustling streets of London or representing the grandeur of Edwardian society at Ascot or the Embassy. They brought great life and energy to the dance numbers. ‘Get Me To the Church On Time’ stood out in particular, with the ensemble’s cheering and shouting adding great realism and authenticity. Stage manager William Thompson did an excellent job ensuring that the show zipped along. ‘My Fair Lady’ is so episodic and the transitions back and forth to Higgins' study are so frequent with lots of furniture to come on and off. However, Mr. Thompson had a very well-rehearsed stage crew who didn't put a foot wrong and they ensured that things were slickly choreographed and ran very smoothly. Furnishings on castors helped greatly to with these quick changes. The set was simple but highly effective and visually pleasing. I loved how simple additions and suggestions transported us to new locations in the blink of an eye. There was a wonderful practical lamp post on stage right. The three upstage doorways offered lots of interesting staging opportunities. Stage left steps and raised area worked superbly well also, particularly in the study. The door on stage right became The Railway Arms with the addition of some signage. The printed library curtains upstage of the doors were a very clever way of transforming the look very quickly, ensuring that pace and flow was always maintained. I loved the very ornate candelabra pieces in the doorways which gave a great air of opulence to the embassy scene. The very simple addition of bunting for Ascot worked perfectly. Lighting was generally very good, reflecting mood and highlighting key moments when required. I felt that more key light was needed in the opening scene as there were quite a few dark patches on stage. There were some great effects used in the dance break of ‘Wouldn't It Be Loverly’. There was lovely use of follow spot during ‘Just You Wait’, allowing for more dynamic staging and always highlighting Eliza's performance. Sound was generally very good. There were no missed cues for dialogue and everything appeared to be EQd very well. As I was sitting on floor level, I felt that the PA speakers were set too high above our heads and that the sound was less direct and focused as a result. It is unusual to see hanging mics for chorus these days. However, once I got used to them, I forgot that they were there and they certainly did their job very well, picking up the chorus brilliantly. I felt that Alfred needed more support in the lower register of ‘With a Little Bit of Luck’, to elevate his vocal over the level of the orchestra. There were well chosen sound effects which were very appropriate, such as birdsong and the horses galloping during Ascot. Props were excellent, adding greatly to the visual splendour of this show. Baskets of flowers, the wonderful burn barrel and the flower cart were all excellent. Higgins' study was excellently dressed with very suitable furnishings, a very authentic looking phonograph and great attention to detail in the dressing overall. Parasols, canes and fans in Ascot added great detail. My only minor point was that Eliza's velcro necklace made a very loud sound over her microphone when she took it off. However, that is a very small point in what was an excellent job on props overall. Not only did she direct, but Kerry Kane also created all of Eliza's stunning costumes for this show. These really were wonderful creations. Her stunning transformation for Ascot had a real wow factor, as did her wonderful white dress and accessories for the embassy scene and the beautiful coat which finished off her look perfectly. All costumes throughout looked wonderful. The elaborate gowns, top hats, tails and the black and white motif for Ascot were perfect, contrasting very well with the more worn costumes in Covent Garden and the tenements. The only small thing which jarred was that Alfred's boots looked too modern and clean, particularly considering his profession as a dustman. Hair and makeup were generally very good and authentic to the era. Eliza's hair was beautifully up styled for the embassy and very regal looking. Alfred was aged particularly well. The dirt smudges in the tenement scenes looked rather contrived and unnatural, almost too uniform. It's good to consider how the characters faces got dirty in the first place and work from there for a more natural believable look. This was a most worthy start to a new season. It is always great to see the old classics being performed and having new life breathed into them. Portrush Music Society did a wonderful job bringing ‘My Fair Lady’ to the stage for the fourth time in its history. It was a pleasure to attend, particularly as it marked the group’s return to AIMS after some years of a break. Well done to all and thank you for a most enjoyable performance. Pat McElwain Sullivan Adjudicator 2025/2026 Some photo kindly provided by the society

Sweeney Todd as presented by Galway Musical Society

Galway Musical Society Sweeney Todd Sunday 4 th  May 2025 Theatre often extends beyond entertainment.   It can be thought-provoking. It can offer a sense of escapism.   And even though we escape, the place to which we escape is not always a comfortable space. We can be forced to confront difficult issues and to think about challenging realities.   Such was the case before the curtain even rose on Galway Musical Society's production of ‘Sweeney Todd’ in the Town Hall Theatre. The production...

Galway Musical Society Sweeney Todd Sunday 4 th  May 2025 Theatre often extends beyond entertainment.   It can be thought-provoking. It can offer a sense of escapism.   And even though we escape, the place to which we escape is not always a comfortable space. We can be forced to confront difficult issues and to think about challenging realities.   Such was the case before the curtain even rose on Galway Musical Society's production of ‘Sweeney Todd’ in the Town Hall Theatre. The production utilised the interesting framing device of setting everything inside a bleak, 18 th  century mental asylum, with the cast, as inmates, drawing lots to assume the roles within Sondheim’s macabre masterpiece, which, in turn, played out in the asylum.  Sensitivity around the portrayal of mental illness and intellectual disability on stage can be problematic. There can be a fine line between such sensitivity and sensationalism.   Art has an important role in informing and influencing attitudes and it is important that we do not portray mental illness through a caricatured lens.   The wonderful ensemble in this production were present outside the theatre as we arrived. They sat and stood in silence and that silence was powerful in itself. What ensued in the theatre, as we took our seats, was altogether different.  Ensemble members climbed over seats, some screeched, some wailed in distress, some stimmed, some rocked repetitively, some even screamed in audience members’ faces. All of this disturbing behaviour was accompanied by a soundscape of unnerving music and eerie sound effects. For some audience members, this could have been very triggering. I felt that, had things been more muted, more measured, and less about the shock value, things may have been more grounded and authentic.  I was met with a wonderfully warm welcome and it was clear that my contact person had much experience in dealing with AIMS adjudicators in the past as she read my mind at every turn. A wonderful job, brilliantly executed, that will live long in the memory. Paul Norton's direction was bold and often bizarre.   With inmates assuming the roles of the story's twisted characters, it was quite the avant-garde interpretation, which gave us a haunting, thought-provoking spectacle and many moments of theatrical magic. The bag from which wigs, costume pieces and props, including the iconic rolling pin and razor, were passed to inmates, was a wonderfully original theatrical device, setting up the premise very nicely at the start of the show. The ensemble was incredibly committed to the Mr. Norton's vision.   As good as it was, their background movement occasionally needed to be toned down as it drew focus.   There was great fluidity in having cast orchestrate scene changes, minimising the need for blackouts and maintaining momentum throughout. Judge Turpin's despicable assault was graphic and disturbing, a real gut punch for the audience. Mr. Norton drew strong parallels between the madness of the inmates and the destructive obsessions of Sweeney Todd and Mrs. Lovett as the inmates’ despair and frustration with their confinement shaped the narrative.   It was challenging for an audience on many levels, especially, I would suggest, for anyone unfamiliar with the tale of Sweeney Todd.   For those who knew the show, this was quite the bold take, breathing new life into one of Sondheim’s most iconic works. Musical director John Roe did an excellent job on this highly challenging show, with its intricate harmonies and complex structures.   There was incredible harmony work, excellent diction, and a wonderful intensity to the superb chorus sound. Standout numbers included ‘The Ballad of Sweeney Todd’ and the brilliant ‘God, That's Good!.’ The choral elements of Sweeney Todd are essential to its dramatic impact and Mr. Roe ensured that there was drama aplenty as he created an exceptional sound with his wonderful cast. There was meticulous preparation and rehearsal evident in the impeccable timing and incredible balance of ‘The Ballad of Sweeney Todd’ and the deliciously complex ‘City on Fire.’ There was great collaboration with the sound department to ensure that Sondheim’s recurring leitmotifs were always clearly featured, underlining yet again the importance of music in supporting the narrative.  Jay Molyneux's choreography was innovative, inventive, and refreshing with very sharp, stylised movement, which reflected the broken minds and bodies of the inmates. The ensemble members were never merely background but rather a living representation of the fractured psyches which permeate the tale of Sweeney Todd. Movement was often unpredictable and unsettling, embodying the psychological and psychiatric chaos in what was a very strong metaphor for the human mind's eternal struggle. A wonderful job from Mr. Molyneux and his dedicated ensemble. Alan Greaney was a very impressive Sweeney Todd.   He was less brooding than some traditional characterisations, yet he was commanding in stature and speech with a great air of confidence.   This was a more human characterisation, which invited the audience to empathise with his murderous tendencies.   His descent into vengeance and rage mirrored the inmates’ own struggles with their demons. There was great power and nuance to his singing and his deeply resonant, baritone voice commanded authority.  ‘ Pretty Women’ was hauntingly good.   You could cut the tension with a knife. He had an incredible emotional range, from his more thoughtful, introspective moments to his seething rage during ‘Epiphany’ which was a standout number. Iona Ajisomo gave a very nuanced performance as Mrs. Lovett, playing the role quite differently, in a refreshing departure from convention that challenged our preconceptions of type.   She was more glamorous than unkempt, in stark contrast to the grimness of her surroundings. This gave her a charm that endeared her to the audience.   She was eerily seductive at times, although her amorous advances fell on deaf ears with Mr. Todd. Her beautifully clear, melodic voice was a delight. And her incredible diction in ‘A Little Priest’ was most impressive. She had a wonderful physicality which was fluid and dynamic and her comedic timing was exceptionally strong.   Overall, an excellent portrayal with a refreshing take on the character that really worked. I have been lucky enough to see Ethan Cassley play three very different roles this season.   Every time he sets foot on stage; he brings an energy and a level of theatrical intelligence that just cannot be taught.   His Tobias continued in that vein.   This was a stunning performance.  Mr. Cassley’s  vocal was haunting and his vulnerability and emotional investment in ‘Not While I'm Around’ was one of the high points of the show. His crumbling mental state as the show progressed was very well judged. My only thought was that his psychological demise might have been even more harrowing had he not been surrounded by the large ensemble of fractured minds. His pleading with Mrs. Lovett to wake up was simply heartbreaking, a beautifully played scene. A top-notch portrayal from one of the country’s most talented young performers. Remember the name. Martin McNelis brought much authoritarian cruelty to his portrayal of the sinister Judge Turpin.   Mr. McNelis was a most creepy, intimidating character and his fixation with Johanna's “light muslin gown” made everyone's skin crawl.   His fabulous lower register in ‘Pretty Women’ was quite hypnotic and he blended so well with Mr. Greaney. The monster of a song that is ‘Johanna (Mea Culpa)’ was brilliantly executed in a most disturbing performance which was graphic and unsettling in the extreme.  Eimear Wolohan brought a beautiful fragility to her portrayal of Johanna.   Her singing was stunning with a gorgeous soprano in ‘Green Finch and Linnet Bird.’ This was made all the better by her exquisite diction and clarity throughout. ‘Kiss Me’ with Anthony was a gorgeous, most earnest duet and Ms. Wolohan was suitably naive in her scenes with Judge Turpin. Keith Hanley underlined his wonderful reputation as a highly intelligent actor in his portrayal of Anthony Hope.   Indeed, he played the role with much hope and optimism.   His fabulous tenor voice and superb interpretation of lyrics made this a standout performance.  ‘ Kiss Me’ with Joanna was beautifully performed but it was the stunning ‘Johanna’ which impressed the most as Mr. Hanley’s soaring vocals connected so intensely with the lyrics. Brandon Collier was a rather violent and sinister Beadle Bamford.   This was juxtaposed with a comedic, almost camp delivery.  ‘ Ladies in Their Sensitivities’ featured Mr. Collier's fine vocal range and he was very funny as he played the harmonium. Diction and presence were excellent throughout and Mr. Collier really got under the skin of this slimy character. Aisling Nolan was a tormented Beggar Woman.   This too was an excellent characterisation.Ms . Nolan had a wonderfully haunting, soprano voice.   However, in the ‘Johanna (reprise)’ in Act Two, diction was compromised by the frenetic energy of her characterisation.   It can be a fine line, but lyrics must trump all. Niall Conway was an excellent Adolfo Pirelli. This was a hilariously funny performance and Mr. Conway's faux Italian accent played with over-the-top delight was superb. The revelation of his perfectly articulated Northern Irish brogue was a comic highlight and a much-needed tension breaker. This was a perfect example of making the most of every moment on stage and Mr. Conway brought his vast experience in creating a fabulous character.  Jay Hall played Jonas Fogg, proprietor of the asylum, quite brilliantly. The biggest compliment that I can pay Mr. Hall is that I wished that Jonas had a lot more to do in the show.   His physicality, focus and attention to narrative detail was excellent in what was a really strong portrayal.  The ensemble in this show was simply astonishing at times.  From the moment we encountered them outside the theatre, t hey were always working, with no let-up, spending most of the show visible on stage.   This requires an incredible amount of focus and attention. It is very difficult to sustain, both mentally and physically, and I'm sure they must have been exhausted after every performance.   They brought tension and unpredictability to the unsettling surrounds of the asylum. Sometimes it is the simple things that stand out the most. The eerie stillness of these tormented souls after Tobias cut Sweeney's throat was a most memorable moment, beautifully played by all.   Movement was incredible and this group was perfectly in tune with Mr. Molyneux’s stylistic choices for the show's choreography. Chorally, this was an outstanding job from all involved, with stunning balance and incredible interpretation within the complex harmonies and structures of Mr. Sondheim's arrangements. Stage manager, Chontelle Kenny, ensured that this show moved along at a cracking pace.There was brilliant use of cast for choreographed, featured scene changes and everything was slick and well-timed throughout.   One small hiccup occurred when Anthony banged on the door in Fogg's Asylum, shouting for it to be opened as he searched for Johanna. Unfortunately, the door unexpectedly swung open of its own accord.   Mr. Hanley simply didn't know his own strength!   But that's live theatre  and t hese things can happen. The set was quite stunning. with everything framed within the foreboding confines of the oppressive asylum. The cold, wet walls and flickering lights echoed its inhabitants' psyches in what looked like a most oppressive atmosphere. Rivetted doors, Sweeney's barbershop, the detail of the bell at the bottom of the stairs, all added to a most authentic visual spectacle. The upper levels provided some wonderful staging opportunities and the ominously barred doors were a reminder that the theme of imprisonment, both physical and mental, was always to the fore. Lighting was simply stunning throughout the show, with great use of shadow reflecting the darkness of the inmates' minds and their disorienting environment.   Blackouts were often unnecessary as cast changed scenes in a choreographed seamless manner.   There was great use of low fog and haze in the creation of this dark, sinister world. Stunningly dramatic beams sliced through haze, creating a disturbing visual for the unnerving ‘Johanna (Mea Culpa).’   Mr. McNelis' excellent performance was accentuated by stunning lighting and smoke effects.   Likewise, there was superb work in the amazing ‘Epiphany’ as Todd descended into a vengeful madness.   There was great creation of focus in the separation between ensemble and main players throughout the show. The ensemble, who surrounded the main playing space, were often lit in a more shadowy, otherworldly state. I loved the recurring dramatic red for Sweeney's kills and the final shaft of light pouring in through the door at the end of the show was a visually stunning picture.  Sound was excellent throughout.   There was superb balance within the orchestra and an outstanding stage/pit balance.   Choral singing was perfectly mixed.   EQ levels for dialogue were very well handled and cueing for microphones was exceptionally strong, apart from one minor slip towards the end of the show, with Mrs. Lovett's mic. Sound effects were appropriate and excellently timed throughout.   A really strong job overall. Props were excellent. From the production of iconic props from the bag at the top of the show, such as the rolling pin and the razor, it was clear that a lot of work had gone into getting things just right. The bird cages on poles were excellent, and there was great attention to detail for bottles of miracle elixir, shaving brushes, and cream, and of course, Sweeney's razors which were all very authentic. The fabulous harmonium looked wonderful, and I loved the detail of the quill and ink pot on top of the harmonium.   Fogg's antique scissors was an incredibly authentic piece.   Costumes, which were all individually made and tailored for the cast, were simply wonderful.It was clear from the outset that meticulous detail had gone into every single costume on the stage and this detail really showed. Simple things like the beggar woman's ripped skirt, and the visually appeal of Pirelli's red and gold waistcoat were superb.   I also loved the wonderfully grotesque animal masks.   Everything was carefully planned and appeared authentic to the era, in what was a brilliantly costumed show.There was incredible attention to detail in the hair and makeup plot also, especially for the inmates, whose hair and open wounds and scabs, darkened eyes, and pale faces suggested that they had never seen the light of day. Joanna's blonde wig was most natural-looking, and Mrs. Lovett's makeup looked more glamorous than grimy, but really added to her quirky characterisation. The beggar woman’s red raw knees were a visceral reminder of her having fallen on such desperate times. This was a brave and bold reimagining of Sondheim's macabre masterpiece, which challenged its audience through its chaotic, haunting, and theatrical storytelling.   It was a superb production from an incredibly talented cast, crew, and creative team.   Huge congrats to all on such a wonderful job.  Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Martina O'Brien

Young Frankenstein as presented by WLOS

Wexford Light Opera Society Young Frankenstein Saturday 3 rd  May 2025 Expectations are always high when you attend a Wexford Light Opera Society show.   Their productions, staged in one of the finest venues the country has to offer, are always professionally produced and highly entertaining. Their version of the comedy horror/parody ‘Young Frankenstein’ ensured that expectations were met and often surpassed in what was a wonderful night of theatre. Led by an exceptional creative and...

Wexford Light Opera Society Young Frankenstein Saturday 3 rd  May 2025 Expectations are always high when you attend a Wexford Light Opera Society show.   Their productions, staged in one of the finest venues the country has to offer, are always professionally produced and highly entertaining. Their version of the comedy horror/parody ‘Young Frankenstein’ ensured that expectations were met and often surpassed in what was a wonderful night of theatre. Led by an exceptional creative and technical team, the cast embraced the show's absurdity and delivered a most memorable evening’s entertainment.  There are few theatres like the National Opera House for comfort and style, and it is always a privilege to attend a show there.   I was looked after so well and it was clear that society members were going out of their way to create a most welcoming environment for patrons as they arrived. Director Christine Scarry ensured that we were treated to a slick, fast-moving production with great pace and exceptional fluidity to what can be a very challenging show.   Everything was meticulously considered and crafted. The show was very well-rehearsed and cleverly blocked with a good understanding of the show's vaudevillian style and delivery.   There were many nice touches throughout the show.   ‘Join the Family Business’ was a brilliant fusion of direction, choreography, music, and technical elements, in what was a standout moment of the show. ‘Life, Life’ was simply incredible, with the rising table, sparks flying, and brilliantly timed sound effects, all combining in the creation of a brilliantly realised sequence.   ‘Roll in the Hay’ is one of the standout comedic songs of the show. Unfortunately, I felt that it fell a little bit flat on this occasion.   I did feel that the euphemistic ‘hayride’ was a missed opportunity to really push the boundaries in true Mel Brooks style. A small personal preference in what was a brilliantly directed show overall.   Other clever touches included Dracula's unexpected arrival in the coffin and the brilliant reveal of Frederick and Inga on the table.   Excellent work overall. Musical director David Hayes, assisted by chorus mistress Eithne Corrigan, did a simply wonderful job with this show.   You only had to look at the list of assembled musicians to know that this was going to be a very special musical presentation. From the moment the orchestra began to play, we were treated to an almost cinematic musical experience with the most incredible sound, perfectly balanced and completely in tune with the narrative detail of the show. There was great collaboration with the sound department in featuring various instruments as required, such as the gorgeous violin leitmotif in the ‘Life, Life’ section of the overture and Igor's French horn ‘solo.’ Underscoring was incredibly sensitive and well-timed, demonstrating an acute awareness that the single most important thing was the spoken narrative. Choral singing was exceptionally good. Perfectly mixed offstage vocals in ‘Life, Life’ added so much to the dramatic tension as we built to the climactic moment of the Monster’s ‘reanimation.’ A simply outstanding job from start to finish. Choreographer, Thérése O’Sullivan devised some very impressive routines, which were well pitched for the very large ensemble.  ‘ Please Don't Touch Me’ was very well choreographed with great synchronicity.   However, I felt that, because the comedy largely lies in the separation of the couples, that the space between them needed to be more exaggerated for the visual gag to really work.  ‘ Together Again for the First Time’ was a fabulously performed, vaudevillian style routine from Frederick and Igor.  ‘ Welcome to Transylvania’ was quirky as hell but it had to be as Igor is literally making it up as he goes along. This was a wonderful example of choreography supporting the narrative as the townspeople were drawn into the absurdity whilst Igor attempted to distract them from the monster's wailings. Of course, the absolute highlight was ‘Puttin’ on the Ritz,’ borrowed from a certain Mr. Berlin, which was the tap-dancing showstopper that it should be. It is a monster of a number, and Ms. O’Sullivan is to be commended for her fabulous work with the huge ensemble and, in particular, for the fabulous shadow dance, which was so well synchronised and had obviously been rehearsed to within an inch of its life. Colin Flynn was an excellent Doctor Frederick Fronkensteen, sorry Frankenstein, in what was a most confident and dynamic performance, full of whimsical charm and charisma. His performance as the neuroscientist who shuns academic life to take up residence in his newly inherited castle in Transylvania, was quite wonderful. Mr. Flynn was the driving force behind the production, hardly off stage from beginning to end.   The most natural of comedians, he had great comic understanding and physicality. His Frederick was often manic but well able to balance the light and shade of this quirky character as he continued his grandfather's legacy in pursuing the reanimation   of dead tissue. Mr. Flynn's incredible diction in the patter song, ‘The Brain,’ was so impressive and his fine vocal abilities were very evident in ‘Man About Town.’   A superb performance all around.19-year-old Kacey Mooney did very well as Transylvanian, wannabe lab assistant, Inga.   Ms. Mooney impressed hugely with her stunning vocals, in particular, her exquisite yodelling in ‘Roll in the Hay’ and the beautifully seductive ‘Listen to Your Heart.’ She had a wonderfully consistent accent and excellent diction throughout.   Ms. Mooney had a light comic touch and I would have liked to see her push the comic possibilities even further; to throw herself into the role without restraint.   I really look forward to seeing Ms. Mooney building on this wonderful performance over the coming years. David Doyle was very animated as the humpbacked sidekick Igor, with the ever-moving hump.   Mr. Doyle gave us a quirky, weird, and ultimately hilarious characterisation, with wonderful physicality and razor-sharp comic timing.   There were so many comic highlights in Mr. Doyle's performance but ‘Together Again for the First Time,’ with Mr. Flynn, was certainly a standout moment, as was his very funny “Walk this way sequence” which underlined Mr. Doyle’s wonderful physicality. Awareness of the audience was sometimes an issue and Mr. Doyle broke the fourth wall on occasion, which did not seem entirely appropriate for this style of show. Nonetheless, this was a top notch, performance from a very skilled comedian. Sophie Blaney Parslow gave a great performance as Frederick's neurotic, needy, and teasing fiancée, Elizabeth Benning.  H er characterisation was delightfully over-the-top. Ms. Blaney Parslow was a very good singer with great comedic timing and clearly relished her performance in ‘Please Don't Touch Me,’ during which she showed what a superb high register she had.   Little was left to the imagination as the monster had his wicked way with her offstage. ‘Deep Love’ was incredibly funny, one of the comedic highlights of the show as she travelled full circle from discouraging the merest touch from Frederick in the early stages of the show to liberating herself completely, having fallen for the monster's ample charms. Stephen Byrne was a terrific monster who infused meaning into every growl and grunt, having been brought to life by Frederick. Mr. Byrne had the most hilarious range of facial expressions, which added so much to his very likeable characterisation. A lot of work had gone into his makeup and hair and his very unusual looking mohawk added inches to his already towering physique. He was hilarious in the scene with the hermit as he was hit on the head, scalded, and set alight.   Of course, his ‘Puttin’ on the Ritz’ was a standout number driven by Mr. Byrne. It combined comedy, exquisite timing and excellent movement in a most memorable sequence which deserved a standing ovation all of its own. Mr. Byrne’s amazing shadow dance routine was excellent in its precision and his transformation from monster to gentleman, with his delightfully clipped posh accent, was excellent. Antonia Close was a formidable Frau Blucher, the mysteriously dour housekeeper, whose name prompted terrified whinnying every time it was mentioned.  Ms.  Close demonstrated exceptional comic timing, switching from austere, deadpan facial severity to uninhibited, lustful abandon in the blink of an eye.  ‘ He Vas My Boyfriend’ was the performance of the show, for me, with Ms. Close's amazing physicality, attack and powerful, earthy vocal. This was a simply phenomenal performance as Ms. Close immersed herself in the character with exceptional timing, brilliantly judged pauses, and exquisite, deadpan delivery.   Bravo. Brian Kelly did well as Inspector Kemp.   He had good diction and projected very well. His physicality was strong and he was consistent in his impeded movement; his surgeries having cost him “an arm and a leg.” He needed to be more aware of Frederick’s upstage positioning as he welcomed him to Transylvania, as this was played mostly downstage towards the audience. He was suitably suspicious throughout ‘Welcome to Transylvania’ and stood out in his solo dance as he slowly succumbed and became drawn into the shenanigans around him. Pat Lawlor was a wonderful Harold, the blind hermit. His loneliness was palpable, as was his joy when joined by the monster.   It can be difficult to make an impact in just one scene, but Mr. Lawlor grabbed his opportunity with both hands in delivering a very funny portrayal. His ‘Please Send Me Someone’ was beautifully poignant, showing Mr. Lawlor’s fine tenor voice off perfectly. Likewise, Keith Flanagan delivered a very impressive cameo as Frederick's grandfather, Victor von Frankenstein.   His singing in ‘Join the Family Business’ was excellent and he demonstrated very good presence and good comedic timing throughout the number. Dylan Walsh did well as Ziggy, the village idiot. However, at times, I felt that his delivery lacked impact and that more could have been done with his character. To be fair, the part is underwritten, but creation of more comic business and a little bit more work from Mr. Walsh ‘off the ball,’ in terms of his expressions and reactions, could have made this a more impactful portrayal.  There was great work from the ensemble whether playing villagers, ancestors, medical students, or the myriad cameo roles throughout the show. Elizabeth's five entourage members were superb vocally and movement wise, as were the four gentlemen who joined Inspector Kemp in the quintet at the top of ‘Welcome to Transylvania.’   There was great commitment to dance numbers and wonderful ensemble singing, particularly in ‘Please Don't Touch Me’’ and Transylvania Mania.’ There was excellent movement in ‘Puttin’ on the Ritz’ in particular and ‘Transylvania Mania’ showed great characterisation from the ensemble as they were drawn into Igor's ridiculous dance. Accents were not entirely secure in the town hall meeting, during which a number of ‘Irish immigrants’ were in attendance.  T here was a rush to exit before blackout at the end of ‘Please Don't Touch Me,’ presumably to change for ‘Join the Family Business.’   It is always best to err on the side of caution, particularly during a fade blackout, before moving. Colin Murphy presided over a very efficient stage crew, in what was a very busy show for this stage manager.   He utilised cast well, striking furniture and props, as required.   There was great timing of fly cues and amazing work in ‘Life, Life,’ coordinating the flying of the table, spectacular pyrotechnics, smoke, and the myriad special effects which went into making this a standout scene in the show. A super job all around. There was an excellent, steampunk inspired, professional-looking set with giant cogs framing the stage and a very interesting circular platform which was used right through the show to give elevation to principal performers as required. The huge semicircular screen provided great scope for the use of some fabulously designed graphics, which added great depth to the stage in what was a seamless integration of technical and physical scenery.   Side flats were very impressive with their scientific formulae.   There was a wonderful revolving bookcase in the castle which worked very cleanly during one of the funniest scenes in the show. The fly piece which incorporated three steampunk-like portraits for Victor's ‘Join the Family Business’ was quite stunning.   The laboratory looked amazing with its machines and inbuilt LX and the hermit's cabin, complete with a lit stove, provided great detail. Lighting was stunning throughout, always enhancing, and supporting the narrative. There was great use of two follow spots in ‘Together Again for the First Time,’ which added to the vaudevillian feel of the show. Unfortunately, the horses and cart got caught in follow spot during their entrance and it might have been best to either bring Frederick and Igor stage left, or stage right for their entrance or to kill follow spot a little earlier.   There were stunning ghostly effects in ‘Join the Family Business’ and I loved the detail of the shaft of light, indicating the opening to the passageway behind the bookcase. There was very clever work as Frederick and Inga entered the darkened laboratory for the first time by candlelight, as pockets of light were created every time they moved. The amazing bulbs built into the set worked so well in the context of the laboratory and fabulous backlighting gave us a very sharp silhouette for the iconic ‘Puttin’ on the Ritz.’   A super job all round. Sound was excellent throughout, with brilliantly timed sound effects such as thunder, lightning, and the castle door. I did feel that the ‘squelch,’ when Igor stood on Herr Delbruck’s brain and the sound effect when the monster hit his head off the frying pan were too loud and might have been better off either omitted or played at a lower volume, as they came across as ‘panto-esque.’   Cueing of microphones was excellent with nothing dropped and EQ levels were perfect for all performers. Underscoring was incredibly sharp and clear throughout and the notoriously challenging ‘Life, Life’ was seriously impressive from a sound perspective.   Brilliantly designed graphics blended perfectly with the physical set pieces to create a really stunning visual spectacle. The Young Frankenstein logo in the pre-set gave way to animated clouds and lightning.  U sing graphics allowed for great fluidity throughout the show, whether suggesting time passing or a quick change of location.   Props were generally well handled. The skeleton was a great addition to Frederick’s lecture as was Mr. Hilltop’s gurney. ‘Please Don't Touch Me’ featured suitcases and trunks on a trolley. The absence of any hay in the iconic number ‘Roll in the Hay’ was jarring. Herr Delbruck's brain was described as being half the size of the abnormal brain which was eventually used for the monster. However, that did not appear to be the case. All of the instruments in the laboratory, including the goggles looked very well. Lanterns were very authentic in ‘He’s Loose’ and there was great dressing of the hermit's cabin. However, it was quite obvious that there was no soup as nothing was spilt on the monster's lap. Likewise, there was nothing in the bottle for the hermit's toast. This kind of visual detail is important.The shattering mug worked so well, a great visual gag! And well done on sourcing a French horn for Igor.  There was great work in the costume department from the traditional dress of the Transylvanians to the white coats of Frederick's students. There was attention to detail everywhere.   The only thing that jarred was the beige mac, worn front and centre at Victor's funeral, which looked very out of place compared to the black funeral coats and shawls on the rest of the ensemble. The quartet in ‘Welcome to Transylvania’ looked great and the top hats and tails in ‘Puttin’ on the Ritz’ were fabulously classy.Hair and makeup were very well looked after.   However, I did think that the ladies who had their long hair down at the funeral, might have tied their hair up to be more appropriate to both the era and the context.   Victor von Frankenstein and the ancestors all looked wonderful.   The monster's luminous green Mohawk was an unusual choice which grew on me (I wish!) after a while. I loved the subtle detail of Frederick's hair getting steadily crazier as the show progressed, reflecting his tortured mind as he descended into manic mode. The hermit's beard and wig were fabulous, as was Elizabeth's post-coital Bride of Frankenstein wig.   The monster's makeup was very impressive but did need to be touched up as the show progressed. ‘Young Frankenstein,’ based on the Mel Brooks movie from the early 1970s, is full of cheap innuendo, double entendre, sledgehammer humour, and its fair share of dreadful puns.   There is little sophistication, no deep message and plenty of deep love. Sounds just about perfect to me!   Wexford Light Opera Society understood the brief and the show’s very specific comedic style. With boundless enthusiasm, they pulled out all the stops, to give us a fabulously funny, technically impressive, excellent production. A credit to all involved! Pat McElwain Gilbert Adjudicator 2024/2025

SULLIVAN SOCIETIES

Below is our comprehensive list of SULLIVAN societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

Society
Arklow Panto Creations
Baldoyle Musical Society
Ballinasloe Musical Society
Ballyshannon Musical Society
Ballywillan Drama Group
Banbridge Musical Society
Bardic Theatre
Bellvue Academy of Performing Arts
Birr Stage Guild
Boyle Musical Society
Bray Musical Society
Carrigaline Musical Society
Castlebar Musical & Dramatic Society
Castlerea Musical Society
Cecilian Theatre Arts
Claremorris Musical Society
Cork City Musical Society
Craic Theatre
Creative Minds Productions
Currid School of Performing Arts
DCG Project, The
DCU Drama Society
Donegal Youth Musical Theatre
Drogheda Musical Society
Dunboyne Musical Society
Dundalk Musical Society
Dunmore Musical Society
Encore Performing Arts Academy
Enniskillen Light Operatic Society
Ennistymon Choral Society
Fermanagh Musical Theatre
Fortwilliam Musical Society
Fun House Theatre Company
Glasnevin Musical Society
Glenamaddy Musical Society
Glenties Drama Group
Golden Apple Players, The
Greasepaint Productions
Hammer and Nail Theatre Group
Harolds Cross Tallaght Musical Society
Kells Musical Society
Kill Musical & Dramatic Society
Kilmacud Musical Society
Kilrush Choral Society
Letterkenny Musical Society
Light Opera Society of Tralee (LOST)
Limerick Musical Society
Lisnagarvey Operatic and Dramatic Society
Loughrea Musical Society
Mallow Musical Society
Mary I Dramatic Arts Society
Moycullen
Naas Musical Society
Nenagh Choral Society Ltd
New Ross Musical Society
Newbridge Musical Society
Newcastlewest Musical Society
Newry Musical Society
Newry Youth Performing Arts
O'Connell Musical Society
Phoenix Performing Arts College
Phoenix Productions
Pioneer Musical & Dramatic Society
Pop-Up Theatre, Sligo
Portadown Phoenix players
Portarlington Musical Society
Portmarnock Musical & Dramatic Society
Portrush Music Society
Queen's Musical Theatre Society
Rathmines & Rathgar Musical Society
Ratoath Musical Society
Roscrea Musical Society
Roundwood Variety Group
Roundwood Variety Group
Rush Panto Society
Shannon Musical Society
Sheevawn Musical Youth Theatre
Sligo Fun Company
Sligo Musical Society
St. Agnes' Musical Society
St. MacNissi's Choral & Dramatic Society
St. Michael's Theatre Musical Society
St. Patrick's Choral Society, Downpatrick
St. Patrick's Hall Musical Society, Strabane
Stage Left Youth Theatre
Stage One New-Musical Group (S.O.N.G.)
Striking Productions Carlow
Studio 55 Productions
The Little Sea Musical Society
The Now and Then Production Company
Tralee Musical Society Youths
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
University of Limerick Musical Theatre Society
Wicklow Musical & Dramatic Society
Youghal Musical Society
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