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UPCOMING EVENTS

Sweeney Todd

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19 Nov 2026

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Our House The Madness Musical

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17 Sept 2026

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Jekyll and Hyde

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2 Nov 2026

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The Addams Family

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10 Nov 2026

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Calendar Girls The Musical

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27 Jan 2027

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Review: Rent - DCG Project

Society name: DCG Project Show name: Rent Adjudicator date of attendance: 18th June 2026 Rent is a dark brooding 1980’s not for laughs musical, loosely based on “La Boheme” by Puccini, and set in a run-down partially abandoned apartment block/squat in New York’s Lower East side. Whilst there are some lighter moments, it remains dark throughout with songs that are heavy with angst. All of the characters are either HIV positive (there are multiple references in Act 1 to AZT), homeless, on...

Society name: DCG Project Show name: Rent Adjudicator date of attendance: 18th June 2026 Rent is a dark brooding 1980’s not for laughs musical, loosely based on “La Boheme” by Puccini, and set in a run-down partially abandoned apartment block/squat in New York’s Lower East side. Whilst there are some lighter moments, it remains dark throughout with songs that are heavy with angst. All of the characters are either HIV positive (there are multiple references in Act 1 to AZT), homeless, on drugs, or all three. Dominic Reid, the “D” in “DCG”, designed a dark industrial, mostly black set with a rostrum centre, and a table and an old oil can and pretty much nothing else. Above the blacks/scaffolding which hid the 6-piece band was a projection screen which had initially logos for both DCG and “RENT”, and which later had visions of the NY skyline. Not surprisingly this was not a big budget production, I’m assuming the costumes were either supplied by the cast or purchased from local charity shops, so they fitted the look of the mostly down and out characters well. The ensemble remained on stage for most of the production as homeless street sleeping, hard drinking and I assume drug taking characters, occasionally joined by actors dressed as NY cops or others that fitted the narrative. The pace of the show was very good with very few stops, the raised platform with the table had just enough room to move about 2 feet into the recess at the back of the stage, but I wondered if it needed to be moved at all? It assisted a more elaborate “Tango: Maureen” and another scene in act 2, but I felt it didn’t need to be moved at all, particularly as the use of the stairs and front platforms left and right of the stage were established early in the piece, so there was room to move the cast closer to the audience. I liked the torches in “Happy New year”. I wasn’t particularly fond of the staging of the funeral scene – I liked the body doubles on the platform/bed, which added to the emotion of Collins lament in the “I’ll Cover You” reprise. All of this beautiful scene was upstaged by the ill-judged addition of a group of ghosts acting out various scenes on the floor. This didn’t work for me, regardless of whether the director’s intent was to suggest a dream/nightmare/life flashing before eyes etc. Sadly, the finale was a little hampered by the failure of the projector which had failed early in Act 2 and couldn’t be restarted. Otherwise, this was strong direction of a strong cast in a difficult to tell story. Catherine Griffin – the “G” in DCG, was in charge of assembling a 6-piece band which drove the rock score efficiently. I have to confess that although there is a credit in the programme for an accordion/saxophone combo, I couldn’t quite make out either instrument and I tuned in regularly to listen out for both. The other instruments came across clearly with guitar, bass and drums augmented by 2 keyboards. The organ during “O Holy Night” was lovely. Singing was of a very high standard throughout with some standout performances. Harmonies where required were also clear and well sung by the principal and ensemble players. Chris Corroon, - from what I can gather NOT the “C” in DCG, was in charge of movement and where required this worked well. This is not a happy clappy song and dance musical and the choreography was suited both to the mood of the various scenes and the ability of the ensemble. I liked the tango, they even had a few Argentine tango flicks thrown in, and where the ensemble was required, they performed well. Andrew O’Grady played Roger. This part requires a very strong singer and actor and Mr. O’Grady was well up to the task giving a very brooding performance of the character as he comes to terms with his diagnosis, impending eviction, and struggles with relationships. His interactions with Mimi were appropriately awkward and underlined his internal struggle, wanting to connect with others but shying away from the HIV cloud that hung over his life. “Another Day”, “Glory” and “Light my Candle” were highlights showing his vocal range and ability to act through song. Charlie Reid as Mark, and yes, he is the final letter “C” in the DCG, gave a performance that belied his age. A pivotal role in this story, Mark is a struggling filmmaker constantly shooting film of his peers’ lives, with no firm idea of what it will all lead to. He was strong and secure in the start of the “support group” piece, sang well in “What you own” with Roger, and “Tango Maureen”. This character is a central feature of the story line and Mr. Reid held the narrative together throughout. Mimi was played by April Kelly, a wonderful performer but her singing voice is an instrument of some considerable strength and power. What was most impressive was her gradual decline through the story, as she struggles with her addictions, she managed to reign back on her comfortable belt, and deliver a sensitive, heartbreaking performance. As Act 2 unfolded her life began to crumble as she descends into (what we expect will be) a tragic end, her acting and singing matched perfectly the slow and steady decline. Well-acted and well directed. Karl Dawson as Collins gave a strong, yet understated performance of yet another character struggling with the HIV cloud hanging over his head. His relationship with “Angel” from the early scenes where Angel helps him recover from a beating/robbery, to when “Angel” finally succumbs to the virus was underscored with a mature and often hairs tingling at the back of the neck vocal performance that made the audience swoon. “Santa Fe” was beautifully sung, as was the main “I’ll Cover You” and particularly sensitive in the reprise. Barry Dunne as Angel had the unenviable task of playing a drag queen against a professional drag queen, but Mr. Dunne gave a very sensitive portrayal of this complex character. The Character of Angel is both a drag queen and street performer and she showed off her percussion skills by drumming on the furniture and scaffolding. She sang well for “Today for me A & B” a difficult task for anyone to sing in this extremely talented group of top-notch singers. Dan Whelan appeared as Benny. This is always a confusing character in this story, friend and landlord, saviour and nemesis, Dan Whelan managed to figure out a way to be all four, from his introduction on the steps of the auditorium to various interactions with Roger and Mark as he plots to both evict and re-house them in a soon to be renovated building. Mr. Whelan sang well throughout and in particular in the “Last Supper” type staging of “La Vie Boheme”. Stephanie Byrne was introduced as Maureen with a fanfare for her big number “Over the Moon” a half spoken half sung monologue which she jumped into with gusto. She did so many head flicks, I hoped she didn’t have whiplash afterwards. This section of the story, even though it’s a lament on the environment and “Cyberland”, brings a much-needed respite in this otherwise dark tale. Little did Jonathan Larson realise just how prophetic his lyrics would be given our current obsession with technology and AI. Stephanie was an excellent choice as Maureen and brightened up every scene she was in. I particularly enjoyed her singing in “Take Me or Leave Me”, where she showed beautiful range and tone. Seana Stenson as Joanne was a cool, suspicious counter-balance to the whirlwind that is Maureen. She sings the “Take me or Leave Me” duet with Maureen and as with some of the other performers had to contend with a stand out singer as a duet partner. Nevertheless, she acquitted herself very well and showed an excellent grasp of the complexities of her character. The ensemble in this production, probably better described as such rather than as a chorus, were the set, furniture, and colour of this production. On stage for a greater part of the show they provided a setting and a context for everything good and bad that was happening around the principal players. When called upon they sang well and in particular joined in for “Another Day” with well-balanced harmonies. They were also present for most of “La Vie Boheme” and for the opening of act 2 with “Seasons of Love”, and added colour and depth to the vocals. There is no one person credited as stage manager, so I assume it was a collective effort. A very simple set design and vision, with very little movement of the main piece which was the raised platform in the centre. The first movement of the platform took longer than I assume they anticipated, and as mentioned above I’m not even sure it added greatly to the staging of the next scene. I felt the use of the stairs in Act 2 for the telephone call with Benny was ill advised as the audience resembled a tennis match looking back and forth. A black set is very difficult to light for any designer, and this was no exception. Although there were a good supply of LED’s and other modern lighting, most of the subtle changes were lost on the black set. I liked the strip of “Christmas” lights on the scaffold upstage and these did change colour as the story required. I felt it only required half-light for the set change in “Another Day”. The stairs were used on a number of occasions as were the raised platforms down stage left and right and these were well lit. Sound was for the most part excellent, I could hear all the actors and most of the band. As mentioned above I didn’t notice/hear the saxophone, but may have missed/confused the accordian with one of the keyboards. Overall though the sound was very good. Again, there are no credits hair and make-up, so I assume that the cast looked after their own, with the exception of course of “Angel” who had a very nicely fitting wig and make-up. Costumes were well judged - I assume they were either provided by the cast themselves or via local charity shops, which given the story was appropriate. I liked how Mimi looked more and more haggard as the story unfolded in Act 2. Adjudicators suggestions. I’m immediately drawn to the advice of that well known Broadway producer “Max Bialistock” – i.e. “never put your own money in a show”, but have to take my hat off to the DCG team for having the courage to put their money where their ambitions lie with attempting to put on a fully staged musical without the backing of an established society, with all that it can provide with regards to FOH, Tech, Set and stage, etc., not to mention that dirty word….”money”.

Review: Come From Away - Portrush Musical Society

Society name: Portrush Musical Society Show name: Come From Away Adjudicator date of attendance: 3rd June 2026 Director Kerry Kane and the production team and company chose this smaller venue. The tiny space lent itself well to the interior scenes in the planes, and the café/bar where most of the action is depicted. We were treated to a fast moving, faithful and very sensitive interpretation of this very moving story by a very well-rehearsed and confident company of fine actors and singers....

Society name: Portrush Musical Society Show name: Come From Away Adjudicator date of attendance: 3rd June 2026 Director Kerry Kane and the production team and company chose this smaller venue. The tiny space lent itself well to the interior scenes in the planes, and the café/bar where most of the action is depicted. We were treated to a fast moving, faithful and very sensitive interpretation of this very moving story by a very well-rehearsed and confident company of fine actors and singers. The phrase “chairography” comes into its own in this production with chairs and tables in constant motion throughout the production to create the various scenes required. The cast responded very well and it was nice to see not just placement of furniture, but also careful placement of props and costumes to assist each other in the rapid costume changes – often just a jacket/cardigan/hat, but which assisted the actors in switching between roles as the story unfolded. Terry Cloghley as MD, was squeezed into the wings with a tightly packed band of 8 other musicians, I could pick out about 5/6 from my seat but quite where the others were hidden is a mystery. However – the Playhouse is blessed with an excellent acoustic, and the sound from the band was just right, with the percussion (lots of bodhran – which is central to this score) and other instruments sharing the drone like underscoring of the narrative as the story unfolded. Whilst the songs and storyline are presented by the many individual characters as single lines, both spoken and sung, there are many opportunities for harmonies and these were handled well by the company and supported very well by the small but well-designed musical accompaniment. In particular the “prayer” was well sung and blended together nicely. The band joined in for the “tavern” scene – with the percussionist hopping on stage with an “ugly stick”. The Finale – “Somewhere in the middle of nowhere” which involves the entire company was a fitting and moving end. Rosemary O’Connor – choreographer - had the challenging task of designing – I assume in close collaboration with Ms. Kane, a subtle range of head and body movements for the people whether in the plane, or on buses, and moved the cast and the many chairs in time to the music when required and had a few opportunities for appropriate “dancing” especially in the tavern scene which occurs towards the end of the story. Aaron Jamieson took on the role of Claude and effectively opens the show with the full company with “Welcome to the Rock”, a rowdy joyous introduction to the town of Gander and its small group of inhabitants. As with all the principal characters Aaron had to switch in and out of various characters during the show and he did this with minimum effort and fuss and adopted different accents – including the quirky “gander” or newfoundland accent. His interactions with the other characters were on point and his various accents were excellent. His singing was always in character. Lindsay Johnson played Bonnie and was confident and secure in her dialogue and handled the accents well. She also covered the part of “Martha”. Ms. Johnson showed the emotional connection this character has with all animals and the story with the Bonobo chimpanzees was handled with great sensitivity. Emma Thorpe played Beulah, the head of the Gander Legion and also doubled in some scenes as “Dolores”. Beulah organizes all the towns folk to arrange food and bedding and later forms a close bond with Hannah, who has a son in New York who is a firefighter. These scenes were played with great sensitivity. As Dolores she rips into a rendition of “my heart will go on” eliciting a huge laugh (and light relief) from the audience. Tim Brown – Oz ((Also Joey, Customs Officer, Mr. Michaels, Terry, Matty, Rabbi and Head Cardiologist) – is a strong singer and actor, and moved between the many cameo roles effortlessly. His various accents were good and he supported the other actors with great confidence. Playing eight different roles is a challenge for any actor but Mr. Brown slipped in and out of each one with ease. Yasmin Walker played “Janice” the eager “first day on the job” reporter who is landed with the biggest news story of her life. Yasmin was excellent in the role and handled the accents well for the parts of “Britney” and the “Flight Attendant”. As the “Flight Attendant” she also covered the house announcements at the beginning of the show. Elaine Macauley – Beverley (Also Annette and Reporter), had the unenviable task of singing probably the only solo song in the show – i.e. “Me and the Sky”. Her voice was nicely suited to the part, and she was joined by a group of backing singers with flight attendant caps. She also had multiple roles playing Annette and a reporter. Ms. Macauley easily embodied this strong and successful character managing a plane and its passengers whilst processing the awful news that has just changed her life forever. Nicole Williams was Diane and also covered minor roles as Crystal and Brenda. Her main character was played with great sensitivity and her evolving relationship with Nick was both funny and moving as two strangers found solace in each other’s company in a time of crisis. Her duet with Nick for “Stop the World” was well sung and poignant. Aidan Hughes, as well as being Chair of the society, also took on the main role of “Nick” as well as some minor roles. His acting and singing were well suited to the part of “Nick” -his English accent clipped and on point, and his phrasing and timing in “Stop the World” was perfect. As with his colleagues he also switched between parts effortlessly. I particularly liked the use of chairs in “Stop the World”. David Mitchell was excellent as Garth, the hard-nosed Union Official. He also had to portray President Bush making his address to the nation. As Kevin T, he sang at the start of “Prayer” which is a mash up of the Christian Hymn “Make me a Channel of your Peace” and several other songs/chants from various religions. This particular piece is very moving, and he was supported by the entire company with great sensitivity. David McDowell as Kevin J – (doubling as Ali and Dwight) is one of my favourite characters in this musical. David used the same simple costume addition of a skull cap to portray Ali and whilst he only has a few moments, this was delivered with great empathy. As Kevin J he was secure, confident and believable. Rosemary O’Connor played the role of Hannah principally, as well as covering the minor roles of Margie and Mickey. Her frantic search (on the phone) for her fire-fighter son who she fears is lost in the tragedy leads us to the very poignant “Phone home” song which Ms. O’Connor performed with great tenderness and vulnerability. Richard Mairs was a strong supporting actor with multiple roles. As Captain Bristol he was suitably pompous and strutting, and gave the audience a much-needed laugh with his various entrances. As the very nervous “Bob” he was suitably untrusting of everyone in the sky, and again as he tries to settle into the welcoming arms of the friendly people of Gander. Ensemble – There are two groups of ensembles alternating shows for this production and ensemble “A” were on stage on the night I attended. They supported the principal cast well in the bigger chorus numbers book-ending the show for the opening number and finale as well as assisting with moving furniture and props and helping cast members with the quick-fire costume changes. Some joined in for the “Cardiologist” scene which was very funny. As already outlined above there was very little space to move either chairs, tables or any type of set pieces on or off the stage, but Mr. William Thompson as stage manager managed the well drilled cast well and managed to assist the fast-flowing scenes as they unfolded. Mr. Thompson, along with Ms. Kane also built and painted the set – a proper community theatre! There was a Tim Hortons sign on one side of the stage and a beer sign on the other to indicate various scenes. I noticed very few stage markings and again it was a credit to the cast when it came to positioning the chairs, as well as finding spot lights. The clear-out of chairs after the tavern scene was smooth and efficient. Lighting was simple throughout but effective at creating the atmosphere for each scene. There was very little space to hang lights so the designer had to be creative with positions and types of lights used. I particularly liked the lighting in the “Blankets and Bedding” scene, and the spot on “Ali” at a certain point worked well. Given the number of live mics on set – there were little or no drops in volume and no bangs or feedback that I could tell. Sound overall was mixed very well with the band and the singers. Costumes were all simple and effective, given the number of characters being portrayed on stage the base costumes had to suffice, with characters created by the addition of hats, jackets, coats, skull caps etc. This all worked well. I didn’t notice a wig, if there was one it was excellent! Make up was simple and appropriate. Adjudicators Suggestions: I had the opportunity to speak at length to the Director and to some of the company before and after the production. The Playhouse was a perfect setting for Come from Away, and I know they have difficulty securing an appropriate home for larger scale musicals, so I hope the local public representatives can get on board and bring a much-needed theatre to this town, which has so much talent available to it. As regards the production itself all I can say is bravo to one and all for their incredible hard work in presenting this beautiful piece of theatre.

Review: Anything Goes - St. Patrick’s Choral Society, Downpatrick

Society name: St. Patrick’s Choral Society, Downpatrick Show name: Anything Goes Adjudicator date of attendance: 16th of May 2026 My second show this season took me to The Great Hall, Downshire Estate, Downpatrick -a former psychiatric facility with a Grand Hall – which is available to the community for events such as these and what a joy to see such a facility and such a joyful production presented in the grounds. Parking was plentiful and the entrance into the foyer was very spacious with...

Society name: St. Patrick’s Choral Society, Downpatrick Show name: Anything Goes Adjudicator date of attendance: 16th of May 2026 My second show this season took me to The Great Hall, Downshire Estate, Downpatrick -a former psychiatric facility with a Grand Hall – which is available to the community for events such as these and what a joy to see such a facility and such a joyful production presented in the grounds. Parking was plentiful and the entrance into the foyer was very spacious with members of the cast – in costume - circulating with the front of house staff, offering patrons the option of a non-alcoholic beverage in the bar – on the stage, which was open early to suit the patrons, and also a certain Mr. Elisha Whitney who it seems had an unquenchable thirst. A nice touch was Reno popping to silently enquire with Fred the barman if he had seen a certain person, which would become clear a few minutes into the show. The seating was at two levels, about 10 rows on the floor and the rest tiered. The acoustics in the Great Hall were also excellent. Director Matthew Campbell set the bar in a half open front curtain, with a very realistic bar sitting between the opening, and a half curtain shielding what we knew would be the Ship. This was a very traditional and faithful tribute to this wonderful musical with the Cole Porter score sweeping us along through the story about to unfold. The set was designed and by the director and choreographer and built locally, and it served the production well, with the usual pull out side panels revealing the interior staterooms, and stairways leading to an upper level which allowed for lovely pictures throughout the production. Musical Director – Wilson Shields. The orchestra – an 8 piece with the MD playing for most of the numbers, was well balanced and underscored the singing nicely, with sound support and balance excellent throughout. Principal singing was of a high standard, supported by a well drilled chorus, although I did notice that the harmonies in public enemy were a bit shaky at times. Overall though I enjoyed the singing and in particular I noted that diction, particularly in the singing was excellent. Choreographer Alex McFarlane also took on the role of costume mistress, which in itself is a first for me. St. Patrick were blessed with a very enthusiastic group, and they embraced the big numbers such as “Anything Goes”, “Blow Gabriel” and even “Buddy Beware” with gusto. The two big showstoppers – “Anything Goes” and “Blow Gabriel” are always the biggest chorus numbers in any production of this show and this proved to be the case. Led by the fabulous Ms. Rosborough as “Reno”, both numbers one closing act 1 and the other opening act 2 were fantastic. It was fitting therefore that for an encore the full cast gave us a reprise of the Anything Goes tap number and this was well received by the already standing audience who were begging for more. Jordan Rosborough fully embodied the role of “Reno”. As a singer and an actress Ms. Rosborough is excellent, good accent maintained throughout, good comic timing, particularly in the “You’re the Top” and “I Get a Kick” and later excelled in the “Gypsy in Me” scene. But it was in moving and dancing where Ms. Rosborough came into her own and in fairness was in a class of her own. “Anything Goes” was danced at a blistering pace and Blow Gabriel was equally amazing with Reno held shoulder high by the sailors – in the splits, whilst still singing at full voice. Another highlight was in the “gypsy” scene where she went into full “Velma Kelly” mode and with Evelyn’s assistance performed No. 17 - the “spreadeagle”, to the bemusement of the Captain who was walking by and uproar from the very appreciative audience. Sean Harkin was a very solid “Billy”, very confident on stage both in terms of accent and dialogue. He possessed a very rich baritone, slipping effortlessly between head and chest voice. His scenes with Reno, Hope and Moonface were well paced and assured, and he handled the various accents well. The “laugh” at the end of “Public Enemy” was well delivered and mimicked by “Reno”. Simon Piper as “Moonface” is a trained dancer, and this evidenced itself throughout the production as he took full part in the big chorus dance numbers, but he is also a fine actor with great comic timing and excellent diction. His entrance from the basket was funny and well timed, and he was always thinking on stage, twice in the scenes with Spit and Dippy they dropped money on the stage, and he noticed it both times and pocketed the cash, perfect for both the character and for covering up the error. His duet with Reno in “friendship”, was moved well and they both created well-crafted images of the various verses in the song. Sara Kelly gave a very solid portrayal of what Irma describes as the “drip” that is Hope Harcourt. A debutante under the thumb of her mother who is determined to marry her off to a rich man, she interacted with Billy very well, danced in “de-Lovely” with great confidence and sang with a nice, understated tone. Overall, a very good performance of what is often - as Irma suggested - a very “drippy” part. Tim Pentland was in his element as the fuddy duddy Lord Evelyn, and both his accent and characterisation were excellent throughout. His “Gypsy in Me” was well sung, though perhaps could have been hammed up even more. The back story for “Plum Blossom” was different in this production from recent versions I’ve seen, but it worked just as well. A mere 20 years old and already displaying the timing and talent of a seasoned performer, Jess Sloan embraced the character of Erma with some relish. Often a foil for the other characters to set up gags, this character often gets overlooked but no chance of that with this young lady. She was the perfect comedy partner for Moonface, and her routine with the sailors in “Buddy Beware” was both well danced (more tapping) and well sung. I’m guessing this young lady will have “Reno” on her CV at some stage in the future. Brian McElroy as Elisha was first to be seen and witnessed in the pre-show bar scene. A tad underplayed for me at times, (the “testify” scene) but in fairness to Brian this is from someone who just recently played the same part so I appreciate that I was waiting for the lines to be delivered exactly as I would have, and of course this is unrealistic. He did though deliver a “coup-de-theatre” of sorts when he managed to time the opening of a champagne bottle and pop the cork exactly in time to the music. Karen Oakes took on the persona of Evangeline Harcourt for this production and gave a good account of herself. I thought at times she could have gone bigger with her reactions, and at times dropped vocal levels which if you didn’t know the dialogue might have been hard to follow but as Hope’s pain in the neck mother, she did well. I liked the props and the timing though in the “ship is sinking” scene, Andrew Devonshire and Tim Currie were the Captain and Purser and therefore in charge of many openings and closures of scenes, particularly in the first act. They were good and strong and lent a sense of authority to proceedings as befitting men in uniform. They play a big part in “Public Enemy”, and they did this with great confidence. Two very important characters in a play set on a ship! A brief cameo as the “Minister” was handled with ease by Matthew Johnston. His interaction with Moonface for the “Indochina” routine was very well timed and was an important moment in the show as it is the first “test” for “Moonface”. Spit – Jonah Kelly, Dippy – Adam Patterson. These two young men are part of a larger young cast – not surprising given that in the last 20 or so years this society have also managed to produce a junior version of many different musicals in the same year as presenting at least one other “adult” production. Some achievement for any society and it shows how well the society is set up for the future. They acquitted themselves well particularly in the “jail” scene with Billy and Moon. Fred (Barman) – Donal Carey, Photographer - Abbie McCarthy, Reporter – Shea McGrath - again three young performers who I’m sure will be filling principal roles in the near future. Chorus/Ensemble - A very committed company, many of whom were in the foyer before the show commenced, and who were very confident dancers and singers. Their harmonies for the most part were on point, I could hear the different lines, and their dancing – with the front-line tappers taking the lead, was well supported by this enthusiastic chorus. Visually this was a very attractive show with good attention to costumes. Sailor suits were uniform, officers’ suits good and fitted well, and character costumes and accessories were in the main - on point. I counted 8 costume changes for Reno, I may have missed a few, but they all fitted beautifully and were appropriate for each scene. There is no credit in the programme for hair and make-up, so I assume cast looked after themselves. Wigs were good in the main with Reno’s probably the best looking/fitted/styled. Lighting and sound - As mentioned above the room itself is very well suited acoustically and sound throughout was well balanced, the odd knock or click from mikes getting hit on stage which is to be expected in this knockabout production. Lighting was solid but not exceptional. I was pleased to see not one but two follow spots following the principals from the start, but this particular design relied a bit too much on what were very white follow spot(s) and often missed other performers (e.g. sailors) as they were singing support. There were nice changes in “Easy to love”. Blow Gabriel was probably the most colourful scene from both a lighting and costume perspective. Stage Management. Apart from the opening and closing of the staterooms, stage crew had little to do as cast were generally used to bring on and off large props and furniture. A very simple and well-designed set makes for a very stress-free show for the stage manager. Adjudicators suggestions and comments. Apart from kidnapping your leading lady and keeping her for yourselves, it would be churlish of me to suggest anything to a group capable of producing two adult and one junior musical per year. Bravo on having such a young chorus to both encourage with opportunities and draw from in the future. Photo credit: Marty Campbell

Review: Guys and Dolls - Belfast Operatic Company

Society name: Belfast Operatic Company Show name: Guys and Dolls Adjudicator date of attendance: 14th May 2026 Guys and Dolls was inspired by the writings of Damon Runyon, who based his writings on his experiences and characters encountered in and around the Broadway area of the 1930’s. Inspired by the Runyon - Frank Loesser, Jo Swirling and Abe Burrows conspired to crunch together a number of short stories into what we now know as Guys’n’Dolls the Musical. Belfast Operatic chose this...

Society name: Belfast Operatic Company Show name: Guys and Dolls Adjudicator date of attendance: 14th May 2026 Guys and Dolls was inspired by the writings of Damon Runyon, who based his writings on his experiences and characters encountered in and around the Broadway area of the 1930’s. Inspired by the Runyon - Frank Loesser, Jo Swirling and Abe Burrows conspired to crunch together a number of short stories into what we now know as Guys’n’Dolls the Musical. Belfast Operatic chose this musical, it appears from the programme, for the first time, and produced a fine interpretation. Belfast Operatic are blessed with the amazing Grand Opera House in which to present their shows and this alone should be an inspiration to any production. The Opera house was renovated recently in June 2021. They added a beautiful atrium to the side of the theatre which now acts as the entrance foyer and have lovingly restored the interior to a very high standard. The first thing I noticed, after staring in wonder at the beautifully ornate décor in the theatre, was a very large orchestra pit with a very large orchestra. Aside from this being my first outing as adjudicator in the new Opera House another first for me was the presence of a sign language interpreter throughout the production. In the Director’s chair for this production, was Kerry Rodgers. Ms. Rodgers had a very clear vision for the look of this show, it began with a gauze onto which there were gobos with various motifs of dice and cards etc., and a lone desk in front. As the overture commenced this was filled with a person seemingly typing at the desk and as the chorus entered and moved around with various newspapers with large text, it was evident this was to represent the above-mentioned Damon Runyon, who’s stories inspired the original production. Along with this behind the gauze appeared various montages with cast members giving little hints and tasters of what was to come. Her use of dice as the main focal point of the production, as chairs, tables, stairways, and even phone holders worked really well, and I liked the consistency of the theme. Where it didn’t resonate quite so well, was in the Havana scene and in the sewer scene where along with the very distinctive markings on the floor the look was very much the same. I didn’t like the staging of Adelaide’s “Lament”. I was confused as to whether it was supposed to be her dressing room, or the hot box, and this scene as mentioned elsewhere would have benefitted from clearer, more defined lighting restricting it to a certain area. Using the whole stage – again with the very large markings took away from any sense of place. Ms. Rodgers work with the chorus was evident as the show took flight with very effective groupings and images throughout the production. I’m guessing there was close collaboration with the choreographer for the Havana scene, particularly in the tour of historic places in Havana. The use of the chorus here representing statues, buildings, archways etc. was very effective. Colin Scott had charge of the above-mentioned 19-piece orchestra, and from the opening note to the last toot of the finale he was in total control. His work with a very talented group of singers was evident throughout the production, all principals sang very well, and they were supported by an orchestra which in theory should have drowned out much of the singing, but in Mr. Scotts hands they had no concerns, and along with a very efficient sound design we could hear every note of every song. Harmonies were also very clear and bravo to a very well-rehearsed chorus for their support and delivery in all the chorus numbers. A choral highlight of this production, and I suppose most productions of Guys’n’Dolls, was of course “Sit Down You’re Rockin’ the Boat”. We could hear all 4 parts distinctly throughout. However, respect is also due to the “guys” who produced a very energetic and well sung version of “Luck be a Lady”. Timothy Bell returns again as Choreographer for this production, and he worked well with the director to deliver a very energetic and effective set of routines. Guys’n’Dolls can often get carved up into the Hot Box scenes for the dancing girls and the “Luck be a Lady” and “Sit Down” for the guys, but Mr. Bell ensured that there was as much to do for the full chorus as possible. This was evident from the start in the various scenes depicting Broadway, and in almost every number outside of the big numbers to depict the various images painted by the lyrics. Perhaps most impressive was the use of the chorus in Havana as the various sight-seeing points that Sarah was determined to see, and they added greatly to the effect. There was a very full stage for the dance number in Havana, and this was danced and moved very nicely. The crap shooters ball and Luck be a Lady were very well-staged and executed with the full company of men providing a riot of colour and energy, whilst singing very well - and this was most impressive. There was also very impressive “Hatograpghy” on display from the guys in “Good Old Reliable”, the first big chorus number and this kicked off the production nicely. Sky Masterson was played by Dessie Havlin, and he gave a nice interpretation of the role. As with all the principals he had a singing voice that was well trained, strong and suited to the range of the various songs. “My Time of Day” was well sung, leading into the beautiful duet “I’ve Never Been in Love Before”. Sarah Brown – Naomi Smyth – had a beautiful soprano voice and she excelled in all her songs. “I’ve Never Been in Love Before” was beautiful from both. Pretending to choke whilst drinking in “Marry the Man” was excellent. I felt there could have been more made of the drinking scene in Havana, there needed to be a few more coconuts for her to drink from. Ms. Smyth was every bit the prim and proper Sarah Brown. Greg Fox - Nathan Detroit – yet another beautiful singing voice, a feature of this very musically talented cast. I thought his accent was a bit patchy in his opening few lines, but he warmed up quickly and maintained a good level for the remainder of the performance. Nathan took full part in the crapshooters dance as well as “Luck be a Lady” and danced very well. Adelaide – Emiko Seawright – was a wonderful singer and had a good consistent accent throughout. I must confess I didn’t like her wig – it was poorly styled as were many of the other Hot Box girls. As mentioned above her “Lament” suffered from too much movement around the stage, but the “Lament” reprise worked better, as she remained in one place and this gave her the opportunity to tell the story. Nicely – Conor Anderson – sang well from the beginning. His intro into “guys and dolls” song from the preceding dialogue was a bit rushed timing wise. I felt that whilst they both sang well, both Benny and Nicely were lost and at times upstaged with the various couples/activities happening around them. Benny – Daniel Clarke. Good supporting performance from this actor and a strong contribution to both the three-hander in “Fugue” and the two-hander in the “Guys’n’Dolls” numbers. I felt that both he and Nicely could have been dressed a bit “louder” to make them stand out from the other gangsters. Rusty – Adam Callander. The third wheel in the opening “fugue” was a strong singer and supported the other two with ease. Brannigan – Kevin McIlhennon, had a nice consistent accent, and good costume. His early scenes with Nathan and the gamblers were well handled but I felt the entrance in the mission scene for “Sit Down” could have been handled better. General Cartwright - Laura Kerr – was calm, poised and gave a strong and well-judged performance as the General. A cameo yes, but Ms. Kerr demonstrated confidence in her character and delivered her lines with conviction. Arvide – Michael Bradley. “More I Cannot Wish You” is always a difficult scene and song but Mr. Bradley handled it well and sung in a gentle and appropriate manner. Big Jule – Luke Allen – was introduced by Harry and started very twitchy but didn’t maintain this, so it was confusing to the audience what he was trying to portray. He waved (and revealed) his gun too early, and this was clearly seen by Brannigan. Timing of dialogue was rushed in places, and for me was - too jokey throughout. Harry – James Marsden. A good supporting role from this young man, although some lines were either lost or dropped, e.g. the “buick” line was completely inaudible, and the “show me where it says that in Hoyle” completely lost. Agatha – Emma McCourt, played with the right amount of gravitas in the mission scenes where she featured. Joey – Rachel Halliday –adopted a good persona for this character, but I didn’t like the gun piece – it didn’t seem appropriate (looked like a red water pistol). I liked the dice as holders for the phones. Mimi – Kathryn Aiken, timed her “looking for an earring” scene well and delivered her lines with great confidence. I loved that she found the earring in her hair! Mistress of ceremonies – India Clements and Claire Howell, Angie - Lucas Levy and Society Max – Oliver Stevenson, were good in their supporting roles as were all the gangsters/gamblers. The Chorus in Belfast Operatic were on show from the beginning behind the gauze with well staged montages of various scenes. Along with the principal players they sang very well, and all harmonies were clear and correct. The chorus particularly impressed in the Havana scenes, initially as the human versions of landmarks and places that Sarah wished to see, and afterwards as a full ensemble dancing in the Havana/pre-fight scene. Guys were excellent in the all-male numbers and in particular the “Crapshooters Ballet” and “Luck be a Lady” were highlights. The Ladies in the Hot Box numbers sang and danced well and both numbers were well received. The Stage Manager was the very experienced – Andy McKnight. As mentioned above the majority of props were various sizes of dice used as tables chairs and trees, lamps etc., along with one staircase – again dressed as dice, and these were all moved on and off by the cast. There were appropriately styled chairs for the mission scenes and again these were moved by cast. There was one moment of delay between removing boxes/dice and bringing on mission furniture, but this was minor. The stairs – which was the largest piece, was moved effortlessly by cast and principals throughout the performance and as I found out afterwards there was ample room both sides of the stage to store these. The stairs disappeared for Havana, although the same dice were used as furniture, and I felt it needed something different to distinguish it from New York. Same for the sewer scene, and the “If I Were a Bell” scene - no distinction. They needed something different, particularly given the very strong and distinctive markings on the floor. Lighting – good in “Good Old Reliable”, effective at start with gobos and images behind gauze, nice spotlight for the “jack of spades” line in the scene with Nathan and Sky. Nice feel to the lights at the end of “I’ll Know” but felt they were a bit too bright at start of the “Lament” scene, also too bright at the start of “My Time of Day”. I felt that for some of the interior scenes the use of very discreet lighting of just certain parts of the stage e.g. in “Lament” and “Interior Mission” would have added to the look. Sound – excellent throughout with balance of orchestra and mics perfect. With such a large room, band and cast we could hear all the individual principals over the orchestra, and the harmonies were also mixed well. Good collaboration between the MD and the Sound Designer. Makeup and wigs – I noted that there was no mention of a makeup or wig person so assume cast looked after their own. This was evident in some of the styling of the wigs and for me some were not tidy enough and of the period. Costumes – overall good, the “take back your mink” dresses looked like they had seen better days, and although I liked the “bushel” dresses, a second “reveal” to me took away from the big reveal in the “mink” scene. I wondered about men in shorts in Havana? I would also have liked a different look for the locals, maybe capri pants for some of the ladies or bolder colours. This along with the same décor, dice for tables etc. didn’t offer a different look for “Havana”. I liked the Sally Army uniforms; they fit well and were consistent. The different range of colours on display for “Luck be a Lady” scene was impressive. Overall, this was a very enjoyable start to this new year, and a very enjoyable visit to this beautiful venue. A society with this level of history and resources don’t need any advice from me, but for what it’s worth – and I know it’s show dependent – if there are wigs in use, they need to be of a certain standard and styled accordingly. Whilst the movement of the company in the larger chorus scenes was excellent, I felt that greater time needed to be given over to not just learning the lines, but in getting to grips with the timing of the many gags in this very funny show. There were many things to enjoy about this production, and a few tweaks here and there will almost certainly bring it to another level. Photo credit: Belfast Operatic Company Production Photography

Review: Calamity Jane - Waterford Musical Society

Society name: Waterford Musical Society Show name: Calamity Jane Adjudicator date of attendance: 02/05/2026 Over the last two seasons, I have seen well over a hundred productions on my travels and there are certain moments that never lose their appeal. One of those has always come during the overture to ‘Calamity Jane’. Every time I see the show, the same thing happens. As soon as ‘The Black Hills of Dakota’ begins, without fail, voices start joining in from around the auditorium. It says a...

Society name: Waterford Musical Society Show name: Calamity Jane Adjudicator date of attendance: 02/05/2026 Over the last two seasons, I have seen well over a hundred productions on my travels and there are certain moments that never lose their appeal. One of those has always come during the overture to ‘Calamity Jane’. Every time I see the show, the same thing happens. As soon as ‘The Black Hills of Dakota’ begins, without fail, voices start joining in from around the auditorium. It says a great deal about the affection people have for this classic show and the assembled audience in the Theatre Royal for Waterford Musical Society’s production were right up there with the best of them as they sang through the overture with gusto, creating a wonderful sense of community. A professional touring production of the same show recently asked audiences not to sing along before the show began. Personally, I think that misses something important. Theatre is at its best when it brings people together and few shows do that as naturally as ‘Calamity Jane’. My visit began with a most enjoyable front of house experience. The Theatre Royal is one of Ireland's most beautiful theatres, full of character and atmosphere and it is always a special place in which to see a show. From the moment I arrived, there was a genuine sense of welcome, thanks to a friendly and enthusiastic front of house team who clearly took great pride in what they were doing. The various displays were very effective. Hay bales and wanted posters featuring members of the cast were a lovely touch, adding to the fun before we took our seats. Combined with the warm welcome and the unique atmosphere of the venue, it created a very positive start to the night. Ray Collins and Margaret Kavanagh worked very successfully together to bring this production to the stage. The result was an entertaining and well-paced show that benefited from their careful preparation. There was a good focus on storytelling throughout, with plenty of attention paid to smaller details, which helped to bring the production to life. Comedy was very well handled. The directors also paid close attention to what was happening beyond the principal action. The pace of the production was very good throughout thanks to good understanding of dialogue and good use of a set design that allowed for smooth changes. There were some nice directorial touches throughout. I loved the incorporation of the banjo player into ‘The Black Hills of Dakota’, which was a lovely touch. Overall, Mr. Collins and Ms. Kavanagh can be very pleased with what they achieved. They presented a show full of humour and personality, with strong pacing and thoughtful attention to detail throughout. Dressed appropriately in his checked shirt, Wayne Brown entered into the spirit of the occasion and his enthusiasm was evident from the moment the overture began. The orchestra produced a lovely warm sound throughout. The overture was excellent, setting the tone for what was to follow. Mr. Brown’s conducting was very confident and assured throughout. Choral work was particularly strong. ‘Deadwood Stage’ had a wonderful ensemble sound. The gentlemen impressed in ‘Adelaide’, with a rich, well-balanced sound, while ‘Windy City’ was another musical highlight, full of energy and performed with excellent ensemble singing. ‘The Black Hills of Dakota’ was especially memorable. The banjo playing was outstanding and added greatly to the authenticity of the number and the choral work, particularly from the gentlemen, was beautiful. Overall, a very strong musical presentation and great work from Mr. Brown. Ali Reville's choreography suited the show and the cast very well. Rather than trying to do too much, the routines focused on character and storytelling but still had plenty of energy and life. Choreography catered for a wide range of abilities, allowing cast to perform with confidence. The can-can was one of the choreographic highlights of the show. It was a lively, entertaining routine and the final splits from two of the dancers provided a memorable ending. ‘I Can Do Without You’ was great fun, with lovely interaction between Calamity and Bill. Similarly, there was a great sense of playfulness between Katie and Calamity in ‘A Woman's Touch’. ‘Windy City’ was another strong number. The decision to use different groups throughout this routine was a sensible one, particularly with so many in the ensemble. The ensemble movement during ‘The Black Hills of Dakota’ was simple but very effective. Another good example of choreography being used to enhance the storytelling. Jennifer White was most engaging as Calamity Jane, with strong stage presence, excellent comic timing and very good understanding of her character's journey. She nailed Calamity’s rough-and-ready spirit but never lost sight of the vulnerability underneath the surface. Ms. White had great comic timing, without ever overplaying things. Her singing was another strength. ‘Windy City had wonderful energy and conviction. I did feel that she was too glamorously made up from the beginning, which reduced the contrast between the two versions of the character. Her performance was excellent but a rougher, less glamorous look early on would have been more believable. Her relationship with Bill was another highlight. The rapport between the two felt very natural and their unexpected romance unfolded nicely, making ‘Secret Love’, one of the standout moments of the evening. Overall, this was a Calamity that we could laugh with, sympathise with and ultimately root for; a very intelligent performance full of sincerity and heart. Conor Lyons gave a very thoughtful performance as Wild Bill Hickok. What impressed me most was his ability to remain fully engaged, even when the focus was elsewhere. Wild Bill’s laid-back nature came across very naturally. Mr. Lyons carried himself with confidence and his excellent physicality gave him very strong stage presence throughout. His understanding of comedy was excellent, understated and subtle. There was also a real sincerity to his relationship with Calamity. The rapport between the two was beautifully played and we were totally invested in their story. ‘Higher Than a Hawk’ was performed with great honesty and warmth and his sincerity carried the song beautifully. I was surprised, however, that the melody wasn’t always secure. Greater accuracy would have helped the song to make an even stronger impact. Overall, this was a well-judged portrayal of Wild Bill. Mr. Lyons understood that less can often be more and his understated approach made him one of the production’s most memorable characters. Killian Delahunty brought a laid-back quality to Danny Gilmartin. His relaxed approach suited some aspects of the character, particularly in the more romantic scenes, where he came across as genuine and earnest. ‘Love You Dearly’ was sung with warmth and sincerity and the blend with Katie was very pleasing. For me, the performance would have benefited from a greater sense of what Danny was thinking and feeling underneath the surface. Reactions don’t always need to be large or obvious but characters do need to be fully engaged in the action at all times. Mr. Delahunty’s accent also required some work. Greater consistency here would have helped strengthen his overall characterisation. That said, this was a solid portrayal overall, particularly in the more heartfelt moments. Nicole O'Rourke gave a wonderful performance as Katie Brown. Her lovely singing voice and strong acting helped to create a character who was very engaging and believable. What impressed me most was her attention to detail as she always allowed us to see what her character was thinking. Ms. O’Rourke was constantly thinking and responding in the moment. Her musicality was very strong. The reprise of ‘Harry’ was beautifully sung, while ‘A Woman's Touch’, with Calamity, was another highlight. The contrast between Katie's uncertainty early in the story and her growing confidence later on was very well handled. She was wonderfully hesitant during ‘Keep It Under Your Hat’, capturing the character's nerves and uncertainty perfectly. By the time of the reprise, we saw a much more confident and believable Katie. A very well-observed performance from Ms. O'Rourke. Adrian Dower was excellent as Henry Miller. Henry's nervous, highly strung nature came across very clearly but Mr. Dower avoided the temptation to overplay and, as a result, the comedy was natural and believable. His facial expressions were consistently very funny throughout. There was a lovely sense of tension running through his performance, with Henry appearing to be constantly on the verge of losing control. A very enjoyable comic performance overall, full of character throughout. Mary Duggan made a wonderful impression as Susan Miller. Although it is not the biggest of roles, she made sure that every appearance counted, bringing great energy and commitment to every scene. Ms. Duggan found plenty of personality in her characterisation which was both amusing and entirely believable. She also had a natural sense of timing and listened and reacted well to those around her. Superb character work from a talented young actress with enormous potential for the future. Timmy Moloney was excellent as Francis Fryer, giving one of the most entertaining performances of the evening. He brought a great sense of fun to his larger-than-life characterisation. His physicality and facial expressions were excellent. Musically, he impressed throughout. ‘Everyone Complains About the Weather’ was performed with confidence and style and ‘An Eye Full of Honey’ was a highlight of the evening. An excellent all round performance. Anne Marie Collins was the personification of there being no such thing as a small role. Although Adelaide Adams appears only briefly, Ms. Collins made a wonderful impact. Drawing on her considerable experience, she created a memorable character in a very short space of time. Her stage presence was wonderful as she established Adelaide's glamour and theatricality without falling into the trap of overplaying. ‘It's Harry I'm Planning to Marry’ was a real highlight, delivered with style and confidence. An excellent contribution from a talented performer who made the most of every second she was on stage. Kieran Walsh made the most of his appearance as Rattlesnake and left a very strong impression. He ensured that every moment counted. What stood out most was his stage presence. Even when he was not the centre of attention, he was fully engaged with the action. Rattlesnake may not have a great deal of stage time but this was a polished, memorable performance that showed how important the smaller roles can be in bringing a production to life. Paul Corcoran was equally impressive as Doc Pierce, giving a performance full of character and authenticity. This was a clever and most believable performance from a very clever actor. How lucky WMS was to have someone of this calibre in a relatively minor role. An excellent piece of character acting from a performer who understood how to make an impact without needing to overstate what is on the page. There was strong support too from Brian Flynn as Joe, Joe Shanahan as Hank, Kenneth Dixon as Pete and Ultan Hayden as Colonel. There was good work throughout from the ensemble. Performance levels were generally strong and, for the most part, the cast worked hard to create a believable community on stage. Movement was well performed throughout and choral singing was of a very good standard. The gentlemen impressed in ‘Careless With the Truth’, singing with confidence and commitment. There was strong work too during ‘An Eye Full of Honey’, with the cast embracing the fun of the number and helping to make it one of the highlights of the evening. ‘The Black Hills of Dakota’ was another standout moment. The sound was excellent but what impressed most was that the cast never forgot they were performing a story rather than just singing a song. Jean Upton and her stage crew did a very good job throughout. Scene changes were handled smoothly, helping to keep the show moving at a good pace from start to finish. Crew benefited greatly from a very clever and practical set design, which allowed many of the changes to happen quickly and efficiently. Cast and crew worked well together to ensure transitions were completed seamlessly and, as a result, the story flowed very naturally. The only noticeable issue came at the end of Act One, when there appeared to be a delay before the curtain came in. Aside from that, however, everything ran very smoothly, with slick transitions and a strong sense of organisation throughout. The set design was one of the production's greatest strengths. The design was authentic, attractive and, most importantly, highly practical. Every element appeared to have been carefully considered, allowing the story to move smoothly from location to location without the need for lengthy scene changes. The timber-fronted buildings, saloon frontage and various pieces of scenic dressing created a believable frontier town. The design made excellent use of the limited space. One of the most impressive features was the upstage performance area, which was beautifully realised. Complete with traditional footlights, it evoked the atmosphere of a travelling theatre perfectly. What impressed me most was the flexibility of the design. The same basic structure gave us many different settings and contributed greatly to the excellent pace of the show. The lighting design helped create some lovely stage pictures throughout the show and played an important part in establishing the different moods and locations required. The soft-edged follow spot was used very effectively throughout. The star cloth was very effective during ‘The Black Hills of Dakota’. I wasn't entirely sure it would suit the number but it did create a lovely atmosphere and worked very well. One thing I did notice was that many of the solos and duets were lit in a similar way, with a coloured wash across the stage and principals picked out in follow spot. There is nothing wrong with this approach, and it worked well, but a little more variety might have helped some of those songs feel more visually distinct. Overall, however, this was a strong lighting design that supported the storytelling well. The sound design was generally of a very high standard. One of the things that stood out most was the quality of the band sound. The orchestra produced a lovely warm tone throughout, and there was an excellent balance between the musicians and performers on stage. Cueing was excellent from start to finish. Dialogue levels were also very well judged. There was a slight issue at the top of the show, during ‘The Deadwood Stage’, where Calamity's vocals were difficult to hear. Fortunately, this settled, and balance was much improved as the show progressed. There were relatively few sound effects required and for the most part they worked well. Overall, this was a strong sound design, with excellent cueing and a beautifully balanced orchestra. Costumes were excellent overall and helped create a convincing picture of life in the American West. There was a good variety of looks on stage, from the practical daywear worn by the townsfolk to the more theatrical costumes associated with the Golden Garter and Adelaide Adams. Hats, waistcoats, boots and long skirts all contributed to the frontier atmosphere, with enough variation to avoid everyone looking the same. The can-can costumes were excellent and suited the style of the number perfectly. I did feel that Calamity’s tight leggings worn in the earlier part of the show gave a more feminine appearance than one would expect for that stage of Calamity's journey. In contrast, her wedding dress was stunning and perfectly appropriate for the end of her journey. The props team did exceptional work throughout, with a huge amount of thought and care that really added to the atmosphere of the show. The saloon scenes were very well detailed, with whiskey shots, playing cards, trays and plenty of other small touches helping to bring things to life. Francis Fryer's suitcase was another standout piece, with excellent branding that showed the care that had gone into the prop department's work. There was similar attention to detail in Adelaide's dressing room, with flowers, hand mirror and hat boxes helping to create a believable backstage setting. Calamity's cabin was equally impressive, with baskets of logs, lanterns, brooms and flowers all helping to make the space feel very authentic. Hair and makeup were generally of a good standard. The ladies’ hairstyles were particularly good, with ribbons, ringlets and bangs helping to create a convincing period feel. Danny's arm injury was also very well realised and looked suitably authentic, showing good attention to detail. Frances Fryer’s blonde wig was suitably ridiculous and added to the comedy. I felt that more attention to detail was needed for Calamity in the early part of the show. She appeared quite polished from the beginning, with eye makeup and an overall look that felt more glamorous than would normally be appropriate at that stage of the story. The performance itself was never in question but a rougher, less glamorous approach initially would have strengthened the storytelling, in my opinion. One of the things I will take away from this production is the sense of community that surrounded it. From the audience joining in with familiar melodies before the show had even begun, to the cast working together on stage to bring Deadwood to life, there was a real feeling of people coming together to share something they loved. Waterford Musical Society should be very proud of what they achieved. It was an entertaining production of a much-loved classic; a show that sent its audience home smiling and that is one of the greatest compliments that can be paid to any production. Pat McElwain Sullivan Adjudicator 2025/2026

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
Armagh Creative Theatre Society
Baldoyle Musical Society
Ballinasloe Musical Society
Ballyshannon Musical Society
Ballywillan Drama Group
Banbridge Musical Society
Bardic Theatre
Belfast Operatic Company
Bellvue Academy of Performing Arts
Birr Stage Guild
Boyle Musical Society
Bray Musical Society
Carnew Musical Society
Carrigaline Musical Society
Castlebar Musical & Dramatic Society
Castlebar Pantomime
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 (inactive)
Enniskillen Light Operatic Society
Ennistymon Choral Society
Fermanagh Musical Theatre
Fortwilliam Musical Society
Fun House Theatre Company
Galway University Musical Society
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
Inish Theatre Group
KATS
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 Youth Performing Arts
O'Connell Musical Society
Phoenix Performing Arts College
Phoenix Productions
Pioneer Musical & Dramatic Society
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
Sheevawn Musical Youth Theatre
Sligo Fun Company
Sligo Musical Society
St. Agnes' Musical Society
St. Brendan's Choral and Dramatic 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
Striking Productions Carlow
Studio 55 Productions
TSP Theatre Group
The Little Sea Musical Society
The Now and Then Production Company
Tralee Musical Society Youths
Tramore Community Theatre Group
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
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