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The Rocky Horror Show as presented by Maynooth University MS

Maynooth University MS  The Rocky Horror Show  Friday 11th April 2025  Although I never ventured there myself…(honest!)…I'm old enough to...

Maynooth University MS  The Rocky Horror Show  Friday 11th April 2025  Although I never ventured there myself…(honest!)…I'm old enough to remember when the Classic Cinema in Harold's Cross, Dublin was thronged on Friday nights with crowds dressed in stilettos, fishnets and highly provocative, revealing attire. And that was just the men!   Of course, they were there to see ‘The Rocky Horror Picture Show,’ which ran at the southside Dublin venue every Friday night for over 20 years. One of the key elements of this cult classic was the audience participation, during which cinemagoers would roar the most inappropriate responses and interjections at the screen when prompted by one of the movie’s iconic lines. There was plenty of this kind of audience participation in evidence at Maynooth University Musical Society’s production of ‘The Rocky Horror Show.’ It was   outrageous, raunchy, occasionally indecent, and awash with innuendo. What’s not to love? It was deliciously self-aware and a whole lot of fun.   There was palpable excitement in the room as we entered the Aula Maxima at Maynooth University. This was partly due to the wonderfully immersive experience which had been created from the very start, with lots of interaction between the audience and front of house personnel, who greeted us in character and skilfully engaged in some improv, when prompted. Usherettes, clowns, and all sorts of weird and wacky characters set a really good tone in anticipation of one of the most absurd musicals I’ve ever had the pleasure to see.  Shane Dornan directed with considerable flair. He didn't so much lean into the show's absurdist tone as fling himself headfirst into the insanity. Mr. Dornan didn't shy away from the highly irreverent thrust of the show. Indeed he wrung every last drop of innuendo-laden   comedy from the book with little consideration for subtlety or fine edges. And this full-on, in your-face approach worked perfectly. H e worked hard at continuity, ensuring that there was a breakneck pace throughout. I was very impressed with Mr. Dornan's attention to narrative detail as he brought some semblance of clarity to what is a highly convoluted plot. He even managed to find heart underneath all of the raunch and filthiness. As mentioned, one of the unique features of the Rocky Horror Show is its audience participation, heckles, etc. Having audience ‘plants’ ensured that the lines were delivered but it felt overly rehearsed for something that should sound spontaneous. I loved the featuring of the circus podium being struck and the confetti being cleaned away during the entr’acte. This worked really well and was an experience in itself with the contortions and suggestive movements complementing the tone of the show perfectly. A really super job from Mr. Dornan.  Musical director Louise Gilmore was assisted by Enda Keating, who conducted with great control and dynamism. There was a very impressive sound from the  band, which was really well balanced. Underscored dialogue was handled very well and it was a joy to be able to hear every word.   Principal vocals were excellent right across the board. The opening number, ‘Science Fiction Double Feature,’ showcased excellent ensemble harmonies which were so well balanced. ‘ Once In a While’ was another song with superb choral sound. ‘I'm  Coming Home’ was one of the highlights of the night with its incredible choral vocals, perfectly balanced.  Choreographer Mark Lehane embraced the wild, irreverent spirit of the show, with great confidence and flamboyance, guiding his dancers incredibly well and creating fresh, dynamic routines which were original and fully in keeping with the outrageous tone of the show.  Mr. Lehane was assisted by dance captain Niamh Dempsey, who herself shone in the superbly devised numbers. There were so many highlights.  ‘ The Time Warp,’ which features early in the show, was energetic, synchronised, and brilliantly performed. The most notable aspect of the choreography was the manner in which every cast member was committed to the performance and used each routine as a way of telling the story. Faces were always in tune with the narrative and the outrageousness of Mr. Dornan’s vision. This was a superb job from Mr. Lehane, who complemented that vision perfectly.  Brad, the all-American, clean-cut ‘square’ was played with hilarious self-awareness by Taylor Dench. This was a very funny performance as one half of the hapless couple who find themselves stranded on a wet night, before making their way to Frank-N-Furter's castle in search of assistance. Mr. Dench's comic timing was excellent and he was always in tune with what was going on around him. He had an exceptionally good voice, with ‘Once in a While’ being a standout moment, during which he demonstrated excellent range and a fabulous falsetto.   Éabha Brennan delivered an exceptional performance as Janet, Brad's other half. Ms. Brennan’s character was a beacon of chastity and her journey from naive, wide-eyed   innocence to sexual liberation and the loss of all inhibitions, was brilliantly realised. This too was a superbly self-aware performance and Ms. Brennan clearly understood the style of humour and performance just right. ‘Touch-a, Touch-a, Touch Me’ was brilliantly performed by Ms. Brennan in one of the standout musical and comical moments of the show.  It's not every day someone gets to play a transsexual, mad scientist, space alien. Seán Mac   Mathúna was more than up to the task and took on the role of Dr. Frank-N-Furter in style, capturing his charisma, darkness, and sheer lunacy so well. Mr. Mac Mathúna embraced the hilarious characterisation, seducing everyone in sight, literally and metaphorically. His mesmerising presence dominated the show every time that he set a stilettoed foot on stage. He was daring, he was dynamic and he was exceptionally funny. His hilarious hairball moment was a delight and his timing of “Silly bitch!,” in response to Columbia sacrificing herself to save him, was comedy gold.  Cian Murray was an eerie and mysterious Riff Raff. His presence was dark and brooding and he had exceptionally good physicality in what was a very unsettling performance. Mr. Murray was perfectly unhinged as Frank-N-Furter's creepy minion, bringing a dark quirkiness to this role. His vocal work in ‘The Time Warp’ was excellent.  Annie Bolger was an equally impressive Magenta. She too had exceptional presence and an amazing energy which drove so many scenes. Ms. Bolger was also a superb mover, standing out in all of the dance routines.  She had a powerhouse vocal which was at its best in ‘The Time Warp’ and the fabulous ‘Touch-a, Touch-a, Touch Me.’ An exceptionally good performance overall.  Alison Kiernan Whelan gave a fabulous performance as the lovestruck Columbia. She had wonderful comedic timing and delivery of dialogue was very strong. I loved her emotional,  delirious outburst at Frank-N-Furter, which was so beautifully pitched and timed to perfection. She too was excellent in ‘Touch-a, Touch-a, Touch Me.’  Eddie was played by the very talented, hirsute David Swift. From his shady appearance through the trapdoor, we knew that this was going to be a very strong performance. He sang brilliantly in ‘Hot Patootie’ and made the most of every minute he had on stage.  John Doyle Peredo was the perfect choice for the role of the muscle-bound Rocky. Mr. Peredo’s impressive physique, made him ideal for the role of Frank-N-Furter's perfectly engineered specimen. But there was more to Mr. Peredo than muscle. He also had a wonderful vocal and a very clever comic touch. His reactions to Frank-N-Furter’s amorous advances were subtly hilarious and he never fell into the trap of over egging things. A fabulous portrayal from a performer that we will definitely be hearing about again.   Aaron Viera Kelly was a youthful Doctor Scott. This was a humorous portrayal but his heavily accented dialogue was in need of some attention, as diction was compromised on occasion.  Patrick Montgomery was very charismatic as the narrator. He played the role with great confidence, reacting to the audience’s heckles and responses in a very relaxed, natural, and funny way. He set the perfect tone when encouraging the audience to participate at the top of the show. H e was very funny in ‘Once in a While.’ A very strong performance of a role that literally holds the show together.   Becky Casley offered great support as Trixie. She had very good presence and shone in ensemble numbers in general.  The ensemble was exceptionally good, with excellent focus and commitment to the director's vision. Movement and dancing were extremely well rehearsed and infused with character at all times.   Vocals were also very strong. ‘ Once in a While’ was a memorable moment with some beautiful harmonies and ‘The Time Warp’, mostly known for its iconic dance moves, had an incredible sound and infectious energy from a very talented ensemble.  With a fixed set and very little movement of pieces throughout the show, Dan Lavelle's stage management utilised cast cleverly to move furniture and minimal set pieces as required. He   ensured that they were very well rehearsed and that everything was slick from the outset. A really good job overall.   The set was simple but innovative and very effective. It was visually interesting with the circus themed red and white. There were ramps either side of the stage. The band was upstage, underneath scaffolding. A key feature was the extended walkway downstage of the main stage leading to a circular playing space right in front of the audience. This worked really well in the context of the circus theme and meant that the audience surrounded this ‘circus ring’ playing space on three sides.   I loved the simplicity of the upstage curtain which was perfect for reveals of key characters and moments.  Lighting was very strong throughout, creating atmosphere through the use of bold colours, shadows, haze, and low fog. All of this added so much to the mystery and excitement of the show. Operation was very strong and cues were all timed very well. Overall, this was a very impressive lighting plot.   Sound was exceptionally good, with a clear, balanced mix of vocals and the band being at appropriate levels. Sound effects were very well timed throughout, which added a nice layer of authenticity to proceedings. There was superb vocal balance in the opening number and  that became a hallmark of this show as the ensemble shone brightly thanks to exceptionally good mixing. ‘I'm Coming Home’ was stunning in its vocal balance. A real highlight.  Props were generally well looked after with most things looking authentic and suiting the show. The fans, the narrator's book, ray guns all looked perfectly in place. One small thing was that one member of the ensemble had a copy of the Dublin Gazette during one of the dance routines. A small point but when everything else is so detailed, these are the things that jar.   Costumes were glamorous, outrageous, and full of flamboyant eccentricity. They were, of course, outrageously camp, with lots of lingerie, fishnets, and heels. The usherettes in their pink and black looked particularly well and Columbia's red hot pants, basque and red boa were perfectly chosen.  Hair and makeup were a huge part of the success of this wonderful show. The design was bold and theatrical and had an enormous visual impact overall. The clown-like makeup brought an eerie, unsettling aesthetic to the show. Frank-N-Furter's over the top makeup was perfect as was the very specific looks for Riff Raff and Magenta with both looked suitably ghoulish. A  great job overall from all involved.  This was quite the journey, with super pace and infectious energy that swept us along on a raucously raunchy rollercoaster ride. The world is a very different place today than it was over 50 years ago when ‘The Rocky Horror Show’ first took to the stage. As outrageous as the show might appear today, one can only imagine what the reaction was when it debuted in the early 70s. But one thing is for sure – things have changed for the better. We laughed. We laughed a lot. We laughed through every pelvic thrust, through every jump to the…ok…you get it. It was a very funny, outrageous show which was superbly performed by   a very strong group of principals and ensemble. Take a bow all! Photos by Paul Whelan and edited by ( Alison Kiernan Whelan ). Other photos were provided by the South Kildare Photography Club

Legally Blonde as presented by Kilkenny MS

Kilkenny Musical Society  Legally Blonde – The Musical  Wednesday 9th April 2025  On the surface, ‘Legally Blonde – The Musical’ is a...

Kilkenny Musical Society  Legally Blonde – The Musical  Wednesday 9th April 2025  On the surface, ‘Legally Blonde – The Musical’ is a show full of all-American frivolity, with an unhealthy focus on superficiality and the importance of social status. But when you dig a little deeper, there is much more to digest and in many ways it is actually a show about some more pertinent issues, especially for young women. Issues like breaking stereotypes, the objectification of women, believing in yourself and the importance of resilience resonate throughout the show. Taking on these important themes, Kilk enny Musical Society delivered a solid production with many high points.  The Watergate Theatre has a very small foyer space which can fill up quite quickly. H ouse management was very on top of this, ensuring that things were kept moving and didn't get too crowded. Front of house was opened quite early to allow the capacity audience to enter the auditorium and to alleviate pressure in the foyer. I was delighted with the exceptionally warm welcome and the atmosphere was very positive throughout the building.  Director Simon Manahan was at the helm for this production. Mr. Manahan had a good eye for casting and had assembled a very talented principal lineup and ensemble. In general, I felt that comedy needed to be more pointed and a lot pacier. Mr. Manahan had a great sense of flow and transitions between scenes were very well handled as he utilised cast and crew   very cleverly to ensure that there were no unnecessary gaps between scenes. In general, I thought that some cast needed more guidance on characterisation and comic delivery.   Callahan kissing Elle is such an important moment in the show and I felt that much more build up and layers of subtext throughout the show were needed to help it really land.   David Hayes was the musical director, ably assisted by Jimmy Brockie. The nine-piece   orchestra brought all of the vibrancy, flair and energy required, as well as displaying exceptional musicianship. Tempi were very solid throughout and attention to musical detail in   the dynamics of the score was consistently in evidence. Principal vocals were generally very strong. There was great choral work from a strong ensemble, with the Greek chorus being particularly impressive. ‘Chip on My Shoulder’ was a highlight in this regard. ‘So Much Better’ was a perfect blend of principal and ensemble vocals, attention to narrative and high energy, making it one of the standout numbers of the show for me and a fitting end to the first act as we were left wanting more.  There was very good work on choreography from Róisín Currid, who devised some highly energetic, dynamic routines which, importantly, always had the narrative at their core. The opening number, ‘Omigod You Guys’ was typical of such energy and this very well-rehearsed routine made up for the fact that many of the vocals were difficult to hear.   ‘ So Much Better,’   was technically impressive, demonstrating superb precision from cast. ‘ Whipped Into Shape’   was a wonderful routine, brilliantly performed by Ms. Currid (who had to step into the role of Brooke at a late stage in the rehearsal process) and the ensemble of skilled skippers. ‘ Bend and Snap’ was fun, tight, and impressively synchronised and we even got a Riverdance moment from Paulette and Kyle which was perfectly in keeping with the show’s comic tone. Great work from Ms. Currid overall.  The very talented Jenna Dunphy took on the leading role of Elle Woods. Ms. Dunphy was a strong actress with good presence and very clear diction. She had all the required skills and delivered a very good portrayal. Some more pointed direction and guidance with comic delivery would have helped her to really fine tune and elevate her performance to another level. Her vocals were exceptionally good. ‘Take it Like a Man’ was wonderful but she was at her very best in the title number, ‘Legally Blonde,’ which was beautifully heartfelt as she considered packing it all in and returning home. For me, this was a standout, ‘pin drop moment,’ exceptionally well delivered.  The experienced Jordan Bass played Emmett, Elle's guide, and mentor. Mr. Bass did very well, impressing with his strong vocals and natural stage presence. His acting was very solid, ensuring that we were all on Team Emmett as he and Elle fell for one another. I felt that comic delivery could have been pushed a little more to get even more out of the role. Mr. Bass’s standout vocal in ‘Chip On My Shoulder’ was superb and he was equally impressive in ‘Take It Like a Man.’   Overall, a very good job from Mr. Bass.  Ivan Kiely had a blissful lack of self-awareness as Warner, Elle's self-absorbed ex-boyfriend. He had a light but pleasant vocal in ‘Serious’ with Ms. Dunphy. At times, I felt that more of a comic touch was needed and that Mr. Kiely needed more edge to really capture his character's overly privileged, chauvinistic side.   Rachel Leydon was impressive as Margot, the Delta Nu sorority sister. Ms. Leydon had great energy and expression and led from the front with her wonderful reactions throughout. Laoise O'Connell, as Serena, was a standout performer and a very clever actress, always in tune with the narrative. Her acting and reacting were consistently excellent. For me, this was one of the performances of the show and her natural understanding of the required comic tone and delivery was superb. Ms. O'Connell was also an excellent dancer and shone in all of the ensemble numbers. Lisa O'Rourke, as Pilar, made up the trio of Elle's Delta Nu girls. She had superb presence and stood out in ensemble numbers, once again leading by example. A strong mover, Ms. O'Rourke brought great energy and focus to the role. Together, this very strong trio brought much drive and energy to the show.   Paul Hennessy had very good presence as the ruthless Professor Callahan. His vocals were very strong throughout, with ‘Blood in the Water’ being very impressive vocally. I felt that there needed to be more build up to his inappropriate intentions with Elle and that exploration of subtext might have added weight to their ‘moment.’   Mr. Hennessy arguably had one of the funniest lines in the show “Oh you lesbians think you're so tough!” which he duly delivered, bringing the house down.  Nicola Brennan was a quirky Paulette, the unlucky in love hairdresser who befriends Elle. Her hilarious delivery, asking Elle if Vivienne had an ‘extra body part,’ made me laugh out loud. Ms. Brennan had a powerful voice with a lovely tone, which took me by surprise in ‘Ireland.’   Her comic understanding in this number was exceptionally good and what a great Irish dancer she was too. Her infatuation with Kyle was very nicely played, getting every last ounce of humour out of every opportunity but she balanced that so well with her sincerity in her support for Elle. Leah Comerford was a wonderfully condescending Vivienne, Warner's overly privileged girlfriend. She played the devious side of Vivienne so well and yet she earned redemption in her beautifully played scene with Elle towards the end of the show. This could have jarred but, thanks to Ms. Comerford's skill as a performer, her character arc was smooth and believable.  Sarah Brennan was another standout performer as ardent feminist, Enid Hoopes. This was an excellent performance and it was clear that Ms. Brennan really understood the show’s comedic tone. Her expressions and physicality were a joy as she immersed herself in the role, whether the direct focus of our attention or when in a more passive role.   Róisín Currid, choreographer, was a late addition to the cast in the role of Brooke and what a great job she did too, commanding the stage in the excellent number ‘Whipped Into Shape.’   And it was clear that Ms. Currid had whipped her cast into shape for this particular number. So how fitting it was that she got to lead it. An excellent job.   Michael Bergin impressed as both Kyle and Pforzheimer. As Pforzheimer, there was a   tendency to overplay things a bit, and his characterisation might have been more believable had it been toned down a little. As Kyle, Paulette's dream hunk intent on delivering his package, he brought the house down with his shoulder rolling walk and hilarious expressions.   Mr. Bergin was a dead ringer for a certain Mr. Flatley, as he lashed out a few haon, dó, trís in style.  There was a wonderful supporting cast of cameo characters, with everyone giving 100% to their roles. In this regard, standout performances came from the canine duo of Sebastian and Rio who played Bruiser and Rufus.   The ensemble was focused and committed throughout.   Elle's sorority sisters and Greek chorus girls were excellent as her inner voice. They were particularly strong in ‘So Much Better.’   There was great work from the ensemble in ‘Take it Like a Man,’ which featured a very impressive choral sound and the finale was an excellent combination of sharp choreography and a huge ensemble sound as we went back to ‘Omigod You Guys.’   In general, Bill Molloy did well as stage manager. There was clever use of cast, setting furniture and other pieces. Masking was a little bit of an issue at times. During ‘Chip on My Shoulder,’ a bed was visible in the wings ready to come on for the dorm scene. The scene change from the prison to the department store was problematic and there was almost an accident with the EXIT fly piece nearly hitting a cast member as it was flown in. This change, I'm sure, was tightened up as the week progressed.  The set was visually appealing and beautifully finished, with pink being the order of the day. The impressive Delta Nu pillars looked well, as did the fabulous Harvard fly piece, complete with coat of arms, when it flew in. The raised walkway, upstage of the pillars, allowed for some nice staging opportunities, most notably at the end of Act One as the hoodies spelled out Elle’s name. The prison bars were very effective and the bookshelves, which reversed to create the department store displays, were very clever. The EXIT fly piece, which was used for the department store, worked very well also.   Lighting was generally strong throughout, with good use of colour and appropriately timed transitions adding to the overall aesthetic and fluidity of the show. There was excellent lighting in ‘What You Want’ and an appropriately green cyclorama for ‘Ireland.’ Isolating   Paulette downstage centre going into the change for the Harvard Law party, was a clever touch. Emmett and Elle were unfortunately left in darkness just before the change into the dorm scene but, again, I'm sure that this cue was addressed as the week went on.  The sound department was still finding its feet on the night that I attended. This may have been due to limited tech time in the run up to opening night and I am sure that much tweaking was done as the week went on. Orchestra levels were too high at times. ‘Omigod   You Guys’ was quite problematic at the top of the show, with the orchestra drowning out vocalists. Throughout the show, it felt like additional tech time was needed, with missed cues, microphones left on backstage and what felt like a lack of familiarity with the show in general. All of that said, when things were good, they were very good. EQ levels were always appropriate and dialogue was clear and well supported. Underscored dialogue was, in general, well balanced with the orchestra.  Props were generally well looked after. There were wonderful props used as dressing in Paulette's salon.  Likewise, there was excellent dressing in Elle's dorm, although the bed itself looked quite scrappily dressed, which is not what we would expect of Elle. The department store shelves were very well dressed too. There were some inconsistencies though.   Elle's girls specifically referenced ‘Town and Country’ magazine, but they had a different magazine.   Elle had no phone in the courtroom scene for her phone call, nor did she have a ring for her proposal scene. Jelly in the champagne glasses for the toast after the courthouse scene looked very well until cast ‘drank’ from them and, of course, that jelly was going nowhere.  There was excellent attention to detail in the costume plot. Elle's fab costumes from her bunny rabbit to her myriad pink pieces and her court attire were all excellent. The obligatory hoodies spelling out ‘Elle Woods’ at the end of Act 1 worked really well. The blue graduation robes and the mortar boards with their pink tassels looked impressive and Enid's rainbow t-shirt was a delight. The sharp suits for the courthouse scene and the wonderful whites for the Greek chorus, all looked very impressive, as did the orange prison uniforms. An excellent job all round.   Hair and makeup were very well looked after with nothing appearing out of place. Elle’s obligatory blonde locks were perfectly suited to the role.  Overall, this was an entertaining, fun, and visually appealing production, with a very talented cast. What stood out, above all else, was Kilkenny Musical Society’s great sense of   community and teamwork, from front of house, to backstage, to cast. Omigod, it was a privilege to see!   Pat McElwain   Gilbert Adjudicator 2024/2025

Sweet Charity as presented by Clara Musical Society

Clara Musical Society  Sweet Charity  Tuesday 8th April 2025  ‘Sweet Charity’ tells the tale of Charity Hope Valentine, a dance hall...

Clara Musical Society  Sweet Charity  Tuesday 8th April 2025  ‘Sweet Charity’ tells the tale of Charity Hope Valentine, a dance hall hostess who is optimistic to a fault in her search for a meaningful, loving relationship, away from the seediness of her chosen field. Despite encountering countless setbacks in her pursuit of true love, she is always hopeful that Mr.   Right is just around the corner. Clara Musical Society's lively production mined much comedy and plenty of heart from Neil Simon's witty tale of Charity's doomed aspirations. Standout comedic performances and some of musical theatre’s most iconic tunes, ensured that this was a most entertaining production which went down a storm with the Clara GAA Centre’s packed audience.   Front of house appeared very well organised on the night that I attended and there was   plenty of personnel around to look after people as they arrived. We were delighted with the wonderful hospitality, both before the show and at the interval. There was a really strong sense of community in the building and the strong level of local support was evident everywhere.   Director Alan Recks and his family have been the heartbeat of Clara Musical Society for many, many years . His energetic production had a strong emphasis on the myriad comedic opportunities in the script. Comic business was nicely balanced with more tender moments, adding a nice depth and truth to the performance. Pace was generally very good and I have no doubt that certain things would have tightened up as the week progressed. There were some lovely touches throughout. The trolley car idea was very clever, as commuters bounced along until their nicely timed, sudden stop. There was very clever use of the stage, particularly the upper level, which was used for Oscar and Charity's Coney Island scene. The elevator scene was wonderful and Mr. Recks elicited superb comic performances from both Charity and Oscar. They just needed to be careful of putting too much pressure on the elevator sets.  Mr. Recks also took on the role of musical director and did a very good job indeed. The ten piece orchestra, featuring Mr. Recks on keyboard, brought Cy Coleman's wonderful score to life under his assured direction. The iconic ‘Big Spender’ and ‘If My Friends Could See Me Now’ were notable highlights.   Principal singing was of a very high standard, particularly Charity, Helene, and Nickie. There was very good work from the ensemble also and they sounded particularly strong in the title number. However, I did feel that they needed more support in ‘Rhythm of Life,’ where there was a quite an imbalance in the vocal lines. This iconic number was unfortunately soprano heavy and as a result sounded quite shrill.  Dylan O'Keeffe took on the role of choreographer. ‘ Sweet Charity’ has so many iconic dance sequences such as ‘Big Spender,’ ‘Rich Man's Frug’ and Rhythm of Life’ and Mr. O'Keeffe   did a very good job in creating some dynamic, energetic, and synchronised routines. ‘Rich Man's Frug’ had some very precise, stylised movement and featured an excellent lead   dancer.  ‘ Big Spender,’ as expected, was an excellent number. The dance hall girls really sold this so well, exuding confidence, sensuality, and lack of inhibition. It was brilliantly performed. When the ensemble ladies joined, the number felt a little bit crowded. However, movement was excellent from all. I’m not sure if I really understood the purpose of the white glove/UV light routine in ‘I Love to Cry at Weddings.’ Whilst the idea was interesting, I'm not altogether sure that the desired outcome was achieved on the night that I attended. For the visual aspect to succeed, I felt that there needed to be more coordination between lighting and performers for this to work. ‘Rhythm of Life’ was an energetic number from all and there was excellent work from everyone in the superbly staged ‘I’m a Brass Band.’   Aoife Digan was captivating as the titular character, with boundless optimism and plenty of heart. Ms. Digan was the perfect blend of vulnerability and humour, making her a most endearing character.   She was also blessed with razor sharp comic timing. She had so many standout comic moments and scenes but, for me, the highlights included her hiding in   Vittorio’s closet and the iconic elevator sequence. Both showed Ms. Digan's comedic skill at its very best. She delivered a wonderful vocal performance which was both technically   impressive and layered in its understanding and thoughtfulness. A  superb characterisation   overall.  Oscar Lindquist, the neurotic hypochondriac with debilitating claustrophobia was played with delightful awkwardness by Joe Steiner. Mr. Steiner was such a natural, honest, and   believable performer. None of his character quirks were ever forced and he brought an emotional depth to Oscar that's rarely seen. He too was blessed with excellent comic timing. I loved ‘Bravest Individual’ with Miss Digan, which showcased a fine baritone and serious comic chops. But it wasn't all about the comedy with Mr. Steiner. There was a sincerity and poignancy in his heartfelt interactions with Charity, particularly in the final scene, which was simply outstanding.  Helene was played by the very talented Cherise O’Moore. Ms. O’Moore not only had a very impressive wolf whistle but her stage presence right through the show was exceptional. She was a very natural actress and dialogue delivery felt so real. Ms. O’Moore had a fabulous voice and ‘Baby Dream Your Dream’ with Nickie was one of the show's highlights for me as both painted a more vulnerable side to Charity's streetwise pals.   Sinéad Handy was equally impressive as Ms. O’Moore's sidekick, Nickie and, together, they were a formidable double act. Ms. Handy’s skilfully delivered wisecracks showed natural comic timing that can’t be taught.   She too was very strong vocally and her performance in ‘There's Gotta be Something Better Than This’ with Charity and Helene was wonderful.   Thiago Braga was very charming as Italian movie star Vittorio Vadal.   Mr. Braga was a very good actor but at times I wanted him to have a little bit more energy about him and to attack his dialogue a bit more.   What a fine, full baritone voice he had in ‘Too Many Tomorrows.’  His bedroom scene with Ursula was very funny.  Aoife Fitzsimons gave a very funny performance as Ursula. Her hilarious antics with Vittorio under the duvet brought much laughter as she built to her ‘climactic moment.’ I couldn’t help thinking that Ursula was as strong an actress as Ms. Fitzsimons though, because Vittorio can't have been too impressive in that department as Ms. Fitzsimons was out of the bed like   a shot, running off before the blackout.  Jonathon Kilduff was a standout performer as Daddy Brubeck, bringing much energy and presence in a super performance of at the top of Act One. His vocal in ‘Rhythm of Life’ was excellent and he really understood the gig, giving it loads and enjoying every minute of his wonderful cameo.  Malcolm Whelan gave an exceptionally strong performance as Herman, the proprietor of the   seedy Fandango Ballroom.  His dialogue delivery was very natural and diction was very strong. His ‘I Love to Cry at Weddings’ was brilliantly performed. How refreshing it was to have somebody so strong in a role like this. An excellent portrayal by Mr. Whelan.   The large ensemble was very impressive all round, bringing a strong energy and enthusiasm to numbers such as ‘Big Spender’ and ‘Rhythm of Life.’ The Fandango girls were excellent in their number s, demonstrating excellent focus and commitment in numbers such as ‘Big Spender.’  There was great work from all in ‘I’m a Brass Band’ and very good focus in ‘A Good Impression.’ I felt that the opening scene was a little bit chaotic for the ensemble and could have benefited from better spacing on the stage. But this is a small point in what was generally a very strong contribution from the ensemble.  Wayne Handy did a great job as stage manager marshalling a very efficient crew who kept the show moving at an electric pace throughout. He cleverly used cast to move furniture and smaller set pieces and this very well-rehearsed element added greatly to what were impressive and seamless transitions.   There was very slick movement of trucks, in particular the elevator and the diner trucks. Mr.   Handy even made an appearance as a most convincing, named character, Dirty Old Man. A great job all around.   I loved the simplicity of the visually impressive set, which allowed for a large, open playing space which perfectly suited the style of production. The band was housed on the upper level, perched high above the stage. Underneath, we had four open ‘doorway’ entrances, lit from within, which provided some great staging opportunities. The red curtain, used as a backdrop for the orchestra, was an inspired choice, bringing a great sense of style to the overall visual. There were great graphics projected onto a small screen on stage right, which worked very well to suggest location and some key moments in the narrative. The footlight shells across the front of the stage were most effective. The diner booths were very authentic.  The lighting was generally strong throughout, adding much atmosphere to scenes like the seedy Fandango Ballroom. ‘Rhythm of Life’ a psychedelic celebration, made very good use of colour. The four upstage entrances were nicely lit from behind and the uplighters worked well, positioned between these entrances. There did appear to be a technical glitch with cues early in Act Two but the operator was very quick to offset the issues manually and much credit should be given for that. Overall, good work from the lighting department and I'm sure that any minor issues that were experienced on the night were ironed out as the week progressed.  Sound design and operation were in very safe hands. EQ levels were perfect. Every word of dialogue could be heard and vocals were crystal clear in what can be a very difficult show in terms of balance between stage and pit due to the considerable dynamics of the brassier numbers. Sound effects were all very appropriate and very well timed. A super job all round.   Nothing appeared out of place in the props department, with the exception of the chairs in the Fandango Ballroom which, to me, looked far too modern and resembled something from a Swedish furniture outlet. Chairs aside, props appeared very well chosen with everything appearing to be era appropriate. I particularly liked the giant teddy prop for Coney Island.  Costumes were excellent across the board. The show was very colourful, particularly in scenes like ‘Rhythm of Life.’ I loved the cheerleaders’ red sequin dresses, the drummer's red j ackets, black bowlers, Daddy Brubeck's flares and his fabulous jacket and Charity's iconic  leopard print dress. The black dresses in ‘Rich Man's Frug’ brought a real touch of elegance   and class.   Overall, a wonderful job reflecting 1960s, New York society.   There was good attention to detail and the hair and makeup department also, creating a very authentic 1960s look. Hairstyles and wigs were excellent in recreating the iconic looks of the era and makeup was also perfectly appropriate. A super job from all involved in bringing a further layer of authenticity which supported Mr. Recks’ vision.  This was a most entertaining production of one of musical theatre’s classic shows by Clara Musical Society, with great energy and some standout comedy moments from a very   talented cast. From the audience reaction, it was clear that there is still a great appetite and love for such classics amongst young and old. ‘Sweet Charity’ will be sixty years old next year and its entertainment value shows no sign of abating. Bravo Clara MS for breathing new life into a show which will, no doubt, continue to entertain for generations to come.  Pat McElwain   Gilbert Adjudicator 2024/2025 Photo credit Recks Audio.

The Witches of Eastwick as presented by Ennis Musical Society

Ennis Musical Society  The Witches of Eastwick  Saturday 5th April 2025  Twenty-five years ago, I was lucky enough to see the original...

Ennis Musical Society  The Witches of Eastwick  Saturday 5th April 2025  Twenty-five years ago, I was lucky enough to see the original production of ‘The Witches of Eastwick’ in London's West End, starring the wonderful Ian McShane in the role of Darryl Van Horne.   I loved its very distinct comedic style, full of satire, wit, and racy innuendo. Ennis Musical Society were well tuned into this frequency as they produced their version in the fabulous Glór Theatre. It was quite the raunchy romp, often sailing unapologetically close to the wind. But what else could an audience expect when the devil himself is in town? With three leading ladies who delivered compelling performances and a self-proclaimed horny little devil, who was intent on having his wicked way with each of them, this was always going to be a little bit on the risqué side.  An incredible effort had gone into decorating the foyer of the marvellous Glór Theatre in Ennis. This was a show in itself, as Eastwick-styled ladies, in pastel-coloured dresses,   welcomed patrons in character. The foyer was a sight to behold with past programme covers on display and Eastwick-themed decor providing a very immersive experience as the audience arrived. This decor was even changed for the interval to reflect the increasingly dark turn of events set in motion by Darryl’s arrival. Front of house personnel changed   costume for the interval, further reflecting the story’s chaos. An outstanding job from all.  Sarah Kenny directed, presenting a very funny, slick, and highly entertaining production. She was blessed with three wonderful female performers in the central roles and elicited wonderful characterisations from them all. There were so many clever directorial touches  throughout the show. Ms. Kenny understood the comedic style of this show and squeezed every last comic possibility out of its often-lewd humour.  Shane Farrell conducted a very polished orchestra, which was exceptionally well balanced and very sensitive to underscoring, as required. Mr. Farrell and choral director Eilís O'Neill got a wonderful choral sound from the cast, which was well balanced and sensitive to the required dynamics. There was a stunning blend of voices whenever the three witches sang. ‘ Make Him Mine’ was an incredible number with exceptional vocal work. There was a   fabulous sound from the ensemble in ‘Dirty Laundry.’ A wonderful piece of musical direction and choral work all round.   Laura Jane Allas choreographed.   She pitched her routines very well, ensuring that they were within the abilities of the ensemble.  ‘ Eastwick Knows’ was appropriate in its style, with good formations and movement that was in keeping with the style of show. ‘ I Love a Little Town’   featured well-rehearsed and synchronised movement from the large ensemble but it could have benefited from a little bit more confidence and performance levels, facially. I felt that they just needed to sell it more.  ‘ Dirty Laundry’ was an excellent number, again perfectly pitched for the abilities of the cast. Isadora Killeen was an excellent Jane Smart. Ms. Killeen had a natural comedic flair which made her a standout performer as the uptight, dowdy teacher whose repressed sensuality is unleashed as Darryl's spell takes hold. She had a superbly expressive voice which was let loose in the brilliant ‘Waiting For the Music to Begin,’ in which she did a great job of miming the cello as she lost herself in the moment.   Helen Ball had exceptionally good stage presence and was most comfortable in the role of Alexandra Spofford, Eastwick’s resident sculptor who also falls for Darryl’s supernatural charms. She had the most glorious, earthy vocal with a full alto sound and ‘The Eye of the Beholder’ was one of the musical highlights of the night.   She too had excellent comic timing and brought great strength and self-assurance to the role. A fabulous portrayal.  Olivia Parkinson played the shy, bookish Sukie Rougemont with a light comic touch that was pitched perfectly for the role. She was a great comedienne, with a superb voice and brought great humour to the role.  ‘ Words, Words, Words’ showcased her fantastic vocal and   exceptionally good diction as she too was seduced by Darryl.  Colm McGuinness played the mysterious Darryl Van Horne with a sparkle in his eye. Mr. McGuinness had very good comic timing. He was a strong performer but I felt that, at times,   he needed some more ‘bad boy edginess’ to capture the darker elements of Darryl’s persona. He was very strong in ‘I Love a Little Town,’ with a wonderful baritone voice and very good presence.   I loved his amorous advances towards Jennifer, which were so well played. Overall, a very good portrayal which I felt needed more of a knowing, devilish side.  Sean McInerney was hilarious as Darryl's manservant Fidel. His appearance on roller skates, pushing a shopping trolley full of tennis balls, brought the house down. He had a very funny presence on stage and his final “Right then!” was utterly hilarious and brought the house down.   Gillian Dunphy was superb in the role of resident battleaxe and busybody of Eastwick, Felicia Gabriel. She played the role of the town's self-appointed leader in a beautifully judged and irritating way. It was a very funny performance, which occasionally sailed close to the edge of being overplayed, but never once crossed the line. She sang so well in her rendition of ‘Evil,’ which was a musical highlight. I loved her coughing up the various objects, which was both hilarious and very well performed.  Des Sullivan gave a very funny performance as Felicia's long-suffering, henpecked husband, Clyde Gabriel. Mr. Sullivan's wonderful facial expressions were very funny. At times he did need to watch his projection to make sure that he was heard but that was a small point and what was a very well-played role. His seeming pleasure in attacking Felicia with a golf club was both shocking and hilarious.  Lily Christopher played Felicia and Clyde’s daughter Jennifer. Ms. Christopher was an excellent actress. She had a superb chemistry with Michael and sang beautifully in the wonderful duet ‘Something.’   Michael, Jennifer's love interest, was played by Feargal Kearney. This was a superb performance indeed, one of the standout performances of the night. Mr. Kearney understood the style of comedy and delivered every time. He had an excellent chemistry with Jennifer and he too sang so well in ‘Something.’ Holly May Vaughan delivered a very quirky, funny performance as the Little Girl who popped up every now and then as a narrator who didn't really narrate anything. Ms. Vaughan had a beautiful voice and did very well in all of her link pieces..   The ensemble was kept very busy from the opening ‘Eastwick Knows’ number. They were very focused and committed at all times. Their background business was always full of purpose and they were excellent in their most disciplined freezes on stage. They had very strong reactions during the wedding scene, in particular, and were clearly in tune with Ms.   Kenny's vision for the show.  Stage management was overseen by Lorcan McAuliffe and Brian Dowling. Everything was highly efficient, although, occasionally, crew members ran onto the stage in blackouts when they could have taken their time. It’s that fine line between determination to get something done efficiently and panic. They were responsible for some excellent special effects, such as books flying off shelves and the spinning cello. Both were unexpected and magical. It was a very busy show for a crew with lots of trucks coming on and off. At times, there was lots of traffic during scene changes but the crew coped very well indeed. The very impressive flying of the three witches was a triumph and the jets of smoke from above, during ‘Dance with the Devil,’ were very well timed.  I was very impressed with the set. There were beautifully finished, pastel painted, two-storey houses on either side of the stage which framed the action. There were some obligatory white picket fences and I loved how they became black picket fences as chaos and anarchy descended upon Eastwick. There was great attention to detail in all of the superbly constructed trucks. The ground row of black houses, upstage, looked very well. The diner counter, which was very well dressed, looked great. The gravestones were a nice touch, as was the brilliantly designed church which exploded at the end of the wedding scene. All of this was tied together with some very well-chosen graphics which added depth to the set.  This was an excellent lighting plot from start to finish. There was very g ood use of colour which perfectly complemented the pastel colour scheme of this idyllic New England town. Of course, when things got darker and more dramatic, this was suitably reflected in the lighting. There was great work spotting the three ladies during ‘Eastwick Knows.’  There were nice silhouettes during ‘Another Night at Darryl's’ and superb work in ‘Dance with the Devil,’  w here lighting could really let rip to complement the chaos. There was great use of haze and low fog in the graveyard.  There is little that I can say about the sound design for this show other than it was exceptional in its design and its operation. Balance across the board was excellent. The orchestra was mixed perfectly and the balance between the three witches, in particular, was sublime. Sound effects were appropriate and very well timed. EQ levels were excellent and   all dialogue sounded warm and full.   Props were very well chosen. With everything appearing appropriate to the era. The Eastwick Preservation Society banner looked great and there was good attention to detail with items like Sukie's typewriter, wooden tennis rackets, goblets, and the very well-dressed diner counter, with its napkins, mustard, and ketchup. Felicia's sofa was a suitably hideous creation.   My apologies (and condolences!) to whoever owns it.   Costumes were excellent and tied in very well with the director's overall vision, the pastel colour palette reflecting the idyllic Eastwick setting. Small town Eastwick contrasted brilliantly with the reds and blacks of Darryl and his witches as Darryl’s supernatural grip took hold of  the town. There was great attention to detail throughout, with a really cohesive effort from all involved. Bravo to all.   There was great work too in the hair and makeup department. All wigs used were appropriate and natural looking. Makeup was generally appropriate to the era. My only slight quibble was that in ‘Who's the Man,’ some of the girls wore bright, red lipstick whereas others didn't.  It might have been good to have a more uniform look to this number.   Ennis Musical Society's production of The Witches of Eastwick was a resounding success, thanks to a very strong production team, excellent technical presentation, and a very strong cast.  It was a magical, seductive, and spellbinding production – devilishly good! Congratulations to all.  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Darragh C Photography

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
Aghada Centre Theatre Group
Arklow Panto Creations
Baldoyle Musical Society
Ballinasloe Musical Society
Ballyshannon Musical Society
Ballywillan Drama Group
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
DCU Drama Society
Donegal Youth Musical Theatre
Drogheda Musical Society
Dun Laoghaire Musical & Dramatic Society
Dundalk Musical Society
Dunmore Musical Society
Encore Performing Arts Academy
Enniscorthy Musical Society
Ennistymon Choral Society
Fermanagh Musical Theatre
Fermoy Musical Society
Fortwilliam Musical Society
Fun House Theatre Company
Glasnevin Musical Society
Glenamaddy Musical Society
Glencullen Dundrum MDS
Golden Apple Players, The
Greasepaint Productions
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
Londonderry Musical Society
Loughrea Musical Society
Mary I Dramatic Arts Society
Moycullen
Naas Musical Society
Nenagh Choral Society Ltd
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
Portmarnock Musical & Dramatic Society
Portrush Music Society
Queen's University Belfast Musical Theatre Society
Rathmines & Rathgar Musical Society
Ratoath Musical Society
Roscrea Musical Society
Roundwood Variety Group
Roundwood Variety Group
Rush Panto 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 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
The Odd Theatre Company
Tralee Musical Society Youths
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
Ulster Operatic Company
University of Limerick Musical Theatre Society
Youghal Musical Society
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