top of page

UPCOMING EVENTS

The Addams Family

​

10 Nov 2026

More...
Calendar Girls The Musical

​

27 Jan 2027

More...
All Shook Up .

​

19 Nov 2026

More...
Wonderland

​

14 Feb 2027

More...
My Fair Lady

​

24 Sept 2026

More...

LATEST NEWS

Review: Beauty & The Beast - Ennis Musical Society

Society: Ennis Musical Society Show: Beauty and the Beast Date of Attendance: 04/04/2026 Ennis Musical Society took on the ambitious challenge of Disney's Beauty and the Beast, a musical that demands not only strong vocals and visual spectacle, but also emotional depth, character development and technical precision. This production showed clear enthusiasm and commitment from all involved, and while there were areas that would benefit from greater refinement and cohesion, there was also plenty...

Society: Ennis Musical Society Show: Beauty and the Beast Date of Attendance: 04/04/2026 Ennis Musical Society took on the ambitious challenge of Disney's Beauty and the Beast, a musical that demands not only strong vocals and visual spectacle, but also emotional depth, character development and technical precision. This production showed clear enthusiasm and commitment from all involved, and while there were areas that would benefit from greater refinement and cohesion, there was also plenty of evidence of hard work and potential throughout the company. Under the direction of Jessica Bray, the production had a solid structural framework, and the pacing generally moved along well without any major drops in momentum. The cast's accent work was notably consistent, suggesting careful preparation. However, the production would have benefited from a more layered and detailed directorial approach. At times the staging felt functional rather than fully organic, with performers appearing to follow blocking rather than fully inhabit their characters and relationships. More focus on intention, emotional connection and naturalistic movement would have strengthened the storytelling considerably. The opening number in particular required clearer visual storytelling, as it was often difficult to identify featured characters and focal points within the stage picture. Throughout the production, entrances, exits and movement around the castle space occasionally lacked motivation or logic, making the world feel less believable than it could have been. Greater attention to character journeys and relationships would have helped deepen the emotional impact of the piece, especially in relation to the Beast's transformation, which needed stronger contrast between his harsher early behaviour and his later vulnerability. Musically, the production was on firmer ground. Under the baton of Carmel Griffin, assisted by Chorus Mistress Eilís O'Neill, the orchestra produced a rich and confident sound throughout much of the evening, with clear evidence of careful musical preparation. The score was handled capably by both orchestra and cast, and the musical atmosphere supported the production well overall. While there were occasional moments where soloists became slightly overpowered by the band, the general standard remained strong. Ensemble harmonies were pleasant and secure, although some larger company numbers would have benefited from greater vocal attack and dynamic energy to fully lift the musical moments. Entrances and cut-offs were handled confidently, and the chorus clearly knew their material well. Stephen O'Ríain's choreography showed flashes of creativity, particularly during "Gaston," where the mug choreography and interactions hinted at stronger possibilities within the cast. The company was clearly enthusiastic and physically capable, but much of the movement overall felt somewhat safe. "Be Our Guest," one of the show's major theatrical highlights, lacked some of the flair, excitement and escalating energy audiences expect from the number. Similarly, the wolf attack scenes needed stronger storytelling through movement to create tension and narrative clarity. With more ambitious choreographic choices and a greater emphasis on physical storytelling, the production could have achieved much greater theatrical impact. Aoife Ní Ghormáin delivered a vocally assured performance as Belle, singing with a lovely clear tone and excellent control throughout the evening. Her vocal work was polished and reliable, and she handled the demands of the score confidently. Dramatically the performance needed greater emotional spontaneity and warmth. At times the acting felt slightly over-considered, which prevented the character from feeling entirely natural in the moment. In particular, the relationship with Maurice required stronger emotional grounding, as the father-daughter connection is central to the heart of the story. Nevertheless, Aoife's vocal ability was undeniable, and with increased confidence in emotional expression she has the potential to create a much more layered interpretation of the role. Feargal Kearney sang the role of the Beast strongly and sincerely, with several genuinely touching moments emerging during the quieter scenes, especially in the library. His softer interactions showed warmth and vulnerability, but the character's earlier menace and volatility needed to be more clearly established in order for the transformation arc to fully land dramatically. The emotional journey lacked some contrast, though Feargal's commitment and vocal delivery remained solid throughout. As Gaston, Rhys McNamara brought good physical confidence and captured much of the swagger required for the role. He moved well and maintained strong stage presence throughout. There were moments where greater confidence in comic timing and stillness would have strengthened the humour further, and some interactions with LeFou could have been pushed more theatrically. Vocally, there were occasional challenges in the upper register, but Rhys remained committed and energetic throughout. Lorcan McAuliffe gave one of the evening's strongest character performances as Lumière. His physicality, accent work, and confident stage presence combined to create a charming and engaging interpretation. His interactions with Babette were playful and entertaining, and "Be Our Guest" was delivered with confidence and style. Ruan Kent was a likeable and assured Cogsworth, capturing the role's stiff-upper-lip personality effectively while also finding enjoyable comic moments, particularly during his distress over the winding key on his back. There was perhaps even more comedic potential waiting to emerge, but this was nonetheless an engaging performance. Ruth Fogarty brought warmth and sincerity to Mrs. Potts, with "Tale as Old as Time" proving one of the more emotionally successful moments of the evening. Her relationship with Chip felt believable and affectionate, and she provided a calm emotional centre to the production. Among the supporting cast, James Cullinan gave an energetic and animated performance as LeFou. His instincts for comedy were evident, although greater subtlety and variation at times would have added more depth to the role. Claire Curtin was thoroughly entertaining as Madame de la Grande Bouche, maintaining strong vocal and facial characterisation despite the limitations of the costume. Her operatic vocals, strong accent work and colourful stage presence made for a memorable performance. Des Sullivan approached Maurice with sincerity, though greater awareness of stagecraft and audience sightlines would have strengthened the portrayal considerably, as much of the dialogue was delivered side-on or facing away from the audience. Sarah Alley brought lively energy and strong physicality to Babette, working particularly well alongside Lumière, while Jack Previllon created a suitably sinister Monsieur D'Arque with solid accent work and stage presence. The Silly Girls — Karinah Lek Houlihan, Keelin Clune, Elle Noughton, Molly Cantwell, Rachel Hunt and Zoe Halpin — worked very effectively as a unit, delivering strong harmonies, good facial expressions and plenty of enthusiastic energy. Kate Murphy as Chip also gave a very sweet performance, with a believable relationship established with Mrs. Potts. The ensemble clearly worked hard throughout the production and brought plenty of enthusiasm to the stage. Vocally the company was generally secure, although diction occasionally affected clarity in larger ensemble numbers. Chorus acting would benefit from more workshopping around naturalistic reactions and stage awareness, as performances occasionally became overly exaggerated. The finale, however, demonstrated stronger ensemble cohesion and provided one of the company's best moments collectively. Visually, the production had many attractive elements. The set design featured some particularly effective pieces, including the village trucks and castle setting, while the uplighting against the brickwork added pleasing texture and atmosphere. Scenic dressing was finished to a high standard, especially the banquet table and the wisteria detailing along the downstage walls, which added elegance to the stage picture. The opening projections were incredibly well designed and proved to be a strong opening to the show. Stage management overall appeared organised, though some scene changes became unnecessarily distracting, particularly when taking place during large musical numbers. Greater collaboration between stage management, lighting and musical direction would help transitions feel smoother and less intrusive. Costumes were undoubtedly one of the production's strongest assets. The visual standard achieved by the costume department was excellent, with the ensemble costumes and finale looks creating especially strong stage pictures. The Beast's costumes were also highly effective and helped establish the character successfully. Hair and wigs were neat and well styled throughout, particularly those worn by the Silly Girls, while make-up was generally well applied and appropriate for stage. Lighting proved to be the weakest technical aspect of the production. Inconsistent stage coverage, mismatched colour temperatures and imprecise cueing all impacted the overall visual cohesion of the show. Several principals drifted in and out of specials, and there were few moments of strong theatrical atmosphere or visual impact. Some effects, such as the glitterball projection missing the stage and landing in the audience, reduced the polish of the presentation. The sound design was more successful overall, maintaining reasonable clarity despite a few balance issues. The vocal effect used for the Beast, however, felt inconsistent and ultimately unnecessary. Before the production itself even began, Ennis Musical Society succeeded in creating a warm and inviting atmosphere through their Front of House presentation. The decorative floral details throughout the venue were beautifully done and immediately established the fairytale tone of the evening. It was also lovely to see the Front of House volunteers appropriately costumed, adding an extra touch of immersion and charm for the audience. These thoughtful details reflected the care and pride the society clearly takes in audience experience. Overall, Beauty and the Beast was a production with evident ambition and commitment behind it. While there are areas that would benefit from greater attention to detail, stronger storytelling and more cohesive technical execution, there is also a solid foundation of talent within the society. The visual presentation, musical preparation and several of the principal performances showed genuine promise, and with continued development and a deeper focus on emotional truth and theatrical detail, Ennis Musical Society has the potential to build very successfully on this production in future seasons. Photos by Owen Courtney

Review: The Hunchback of Notre Dame - Gorey Musical Society

Gorey Musical Society The Hunchback of Notre Dame Adjudicator date of attendance: 02/04/2026 Gorey Musical Society took on the hugely ambitious The Hunchback of Notre Dame with confidence, imagination, and an impressive understanding of the emotional depth required to make the piece work. It is a musical that demands enormous vocal power, strong visual storytelling, and an ability to balance darkness with moments of genuine warmth and humanity. This production succeeded in doing exactly that,...

Gorey Musical Society The Hunchback of Notre Dame Adjudicator date of attendance: 02/04/2026 Gorey Musical Society took on the hugely ambitious The Hunchback of Notre Dame with confidence, imagination, and an impressive understanding of the emotional depth required to make the piece work. It is a musical that demands enormous vocal power, strong visual storytelling, and an ability to balance darkness with moments of genuine warmth and humanity. This production succeeded in doing exactly that, delivering an evening that was musically thrilling, visually striking, and emotionally engaging throughout. Under Megan Lopez’s direction, the show maintained a strong sense of flow and momentum from beginning to end. The storytelling was consistently clear, even during the larger ensemble scenes, and the integration of the storytellers into the action worked especially well. Their movement in and out of scenes felt seamless, adding continuity and helping the narrative move naturally from one moment to the next. The overall visual identity of the production was cohesive and thoughtful, with a strong understanding of the gothic atmosphere at the heart of the piece. The use of the statues and gargoyles as part of the storytelling framework was particularly effective. Having them preset within the arches as the audience entered immediately established the world of the cathedral and created a wonderful moment of surprise when they later came to life. Lopez handled tonal shifts with confidence, allowing the darker moments of the story to land while still leaving space for tenderness and emotional connection. The final image of Quasimodo’s parents returning as spirits to welcome him at the end of the show was especially moving and provided a beautiful sense of full-circle closure. There were a few areas where the storytelling could have been pushed even further. The physical violence between Frollo and Esmeralda somewhat lacked the intensity needed to fully justify the emotional reaction that followed, and some additional use of the upper levels during larger crowd scenes may have added greater visual depth. Similarly, while the decision to largely retain Irish accents throughout the production was an interesting choice, the contrast with Frollo’s more traditionally “villainous” English accent sometimes felt stylistically inconsistent. Musically, however, this was an outstanding production. Conor McCarthy’s musical direction was exceptional and formed the backbone of the evening. From the opening moments, the orchestra created a rich and ethereal soundscape that perfectly suited the grandeur of the score. The balance between pit and performers was superb throughout, particularly impressive given the size of the orchestra. Individual instrumental lines remained crystal clear, while vocal harmonies were never lost beneath the orchestration. The chorus and choir work was especially breathtaking. Harmonies were precise and beautifully controlled, with the dissonant sections delivered confidently and cleanly. The closing moments of the opening number were genuinely thrilling, filling the auditorium with a sound that felt almost physical in its impact. The ensemble singing throughout the evening was consistently powerful, and the discipline of the choir was remarkable considering many performers were positioned upstage or behind principal action for large sections of the show. Transitions between dialogue and music were also handled beautifully, with underscoring flowing naturally into songs and maintaining emotional momentum throughout. Principal vocals were consistently strong, although diction occasionally became unclear in some of the larger or more intense vocal passages. Nonetheless, the overall musical standard of the production was extremely high. Megan Lopez’s choreography complemented the production very effectively. Rather than attempting movement beyond the cast’s abilities, the choreography embraced their strengths and created visually engaging moments that always served the storytelling. The armography throughout the show was particularly effective, creating strong stage pictures and adding fluidity to ensemble scenes. The use of scarves during “Topsy Turvy” worked especially well, bringing colour, movement, and texture to the stage, while the circular formations suited the period aesthetic beautifully. Importantly, everyone on stage always appeared involved and connected to the action, creating a strong sense of ensemble cohesion. Andrew O’Grady delivered a warm and emotionally sincere performance as Quasimodo. One of the strongest elements of his portrayal was the distinction he created between Quasimodo’s inner world and the way he presented himself to the outside world. His scenes with the gargoyles felt freer and more natural, while his physicality shifted during interactions with the citizens of Paris. There was perhaps room to explore the physical contrast between those two states even further, but the emotional honesty of the performance ensured the audience remained deeply invested in him throughout. Vocally, he sang with apparent ease and genuine emotional connection, particularly in his scenes with Esmeralda, which carried real warmth and tenderness. Margaret Masterson gave a commanding and confident performance as Esmeralda. She brought enormous strength and determination to the role, creating a character who was proud, defensive, and fiercely independent. Vocally, the role sat very comfortably within her range, and she handled the demanding score with confidence and control. At times, it would have been interesting to see a little more vulnerability emerge within quieter moments, particularly in her relationship with Quasimodo, as occasionally the intensity remained level throughout. However, this was still a committed and engaging portrayal. Rónán P. Byrne delivered one of the standout performances of the evening as Frollo. He captured the character’s duality exceptionally well, balancing outward piety and authority with the inner torment and obsession consuming him beneath the surface. His transition from younger to older Frollo was subtle and believable, achieved through carefully judged changes in both physicality and vocal tone. Vocally, he possessed a rich and mature sound that suited the role beautifully, and “Hellfire” became one of the undeniable highlights of the production. The number was dramatically gripping and vocally commanding, elevated further by striking technical elements including the projection of a stained-glass window shattering gradually throughout the scene, mirroring Frollo’s psychological collapse. Richard O’Toole brought warmth and complexity to Phoebus, successfully balancing the character’s swagger and confidence with glimpses of the emotional trauma beneath the surface. His first entrance hinted briefly at the scars left by war and immediately gave the character greater depth. His growing love for Esmeralda and gradual questioning of his own belief system were communicated clearly throughout the performance. Vocally, he blended particularly well with Esmerelda during their shared material. Among the supporting cast, Tommy Cox brought strong energy and fluid physicality to Clopin, with a movement style that suited the role beautifully. At times he slightly anticipated reactions physically before delivering lines, but overall, he remained an engaging and charismatic presence. Brian Cooney and Megan Mitten both gave convincing performances as Jehan Frollo and Florika respectively, with Jehan’s death scene proving particularly realistic. Justin Grimes integrated seamlessly into the statue ensemble as Saint Aphrodisius, while Rónán Ó Dubhghaill and Maria Forrest contributed strongly in their featured ensemble roles. The gargoyles and statues were a major strength of the production. John Donohoe, Becky Sillery Murphy, Paul Kehoe, and Shauna Crooke worked exceptionally well as a group, maintaining strong ensemble chemistry while still allowing individual personalities to emerge. Their physicality and facial expressions remained clear and expressive despite the extensive makeup, and vocally they blended beautifully together. The storytellers also played a crucial role in maintaining the momentum of the production. Thomas Rush, April Kelly, Niamh Flemming, Melissa Larkin, Caoimhe Boyle, and Ciara Herron brought excellent energy and clarity to the narrative, moving fluidly in and out of scenes and helping sustain the pace of the show throughout. The ensemble as a whole was outstanding. Vocally, the chorus produced a rich and powerful sound that repeatedly raised goosebumps, adding enormous emotional weight to many of the production’s biggest moments. Beyond the singing, the ensemble remained consistently engaged and invested in the storytelling, with every performer appearing fully committed to the world of the piece. Visually, the production was equally strong. The set design created an effective framework for the storytelling, with the lighter stone-inspired palette beautifully reflecting the architecture and atmosphere of the cathedral. The asymmetrical staging, featuring a staircase on only one side, added visual interest and prevented stage pictures from feeling static. Additional moving set pieces helped transitions flow smoothly, while the projection work during “Hellfire” added another memorable visual layer to the production. Lighting throughout the show was particularly effective, especially in creating the interior world of the cathedral. The sense of scale and gothic atmosphere was beautifully achieved through careful use of focus, shadow, and colour. The lighting palette complemented the production’s visual identity very well, balancing warmth with darker dramatic moments. Costumes, hair, and makeup were all of a very high standard. The vibrant gypsy costumes contrasted beautifully against the more muted cathedral tones, while the gargoyle makeup, particularly the green patina detailing on the faces and headpieces, looked excellent. Hair and makeup were consistently period appropriate, with only one small oversight where one gargoyle’s hands had not been painted to match the rest of the design. Front of House operations were warm, welcoming, and efficiently managed. Audience members were greeted professionally and seated smoothly, helping to create a positive atmosphere before the performance began. There was a genuine sense of excitement in the auditorium, and the company should be commended for maintaining such a polished audience experience throughout the evening. Overall, Gorey Musical Society delivered a richly atmospheric and emotionally compelling production of The Hunchback of Notre Dame. With stunning musical direction, strong ensemble storytelling, imaginative visuals, and several standout performances, this was a production full of ambition, heart, and theatrical flair that left a lasting impression.

Review: Carrie the musical - UCC Musical Theatre Society

Society name: UCC Musical Theatre Society Show name: Carrie the Musical Date of attendance: 4th April 2026 ________________________________________________________________________ ‘Carrie the Musical’ has had quite the unusual history. When it first opened on Broadway in 1988, it closed very quickly and became known as a bit of a disaster at the time. But over the years, the show has been reworked and has found a new life, especially with student and youth groups. In its revised form, it...

Society name: UCC Musical Theatre Society Show name: Carrie the Musical Date of attendance: 4th April 2026 ________________________________________________________________________ ‘Carrie the Musical’ has had quite the unusual history. When it first opened on Broadway in 1988, it closed very quickly and became known as a bit of a disaster at the time. But over the years, the show has been reworked and has found a new life, especially with student and youth groups. In its revised form, it connects much more clearly, with themes like isolation, bullying, identity and the need to belong coming to the fore. It’s easy to see why it has become such a popular choice for younger performers. UCC Musical Theatre Society’s production, performed in the Smurfit Theatre at Dance Cork Firkin Crane, felt very much in line with that. There’s something very natural about a student cast taking on ‘Carrie’. Friendships, pressures, feeling like you don’t fit in, are all things that resonate strongly at that stage of life. This gave the production a sense of honesty that really helped it to connect. Front of house was a very positive experience. We were very well looked after from the moment we arrived, with a friendly and welcoming liaison person on hand, which always makes a difference. A particularly nice touch was the interactive element before the show, where audience members were invited to vote for the prom king and queen from a selection of headshots. The results were then announced at the interval. It was a simple idea, but a really effective one. James O’Connor directed, with Róisín O’Callaghan as assistant director, and there was a lot to admire in how the piece was put together. There was a strong sense of movement throughout, with the cast used well to create some really striking stage pictures. The slow-motion sequences and ensemble freezes were particularly effective, creating some bold visual pictures during key moments. The flow of the show was well handled too. Furniture was often struck by the cast as part of the action, which kept things moving nicely and avoided interruption. The final scene between Carrie and Margaret was especially strong. It was unsettling, intense and didn’t hold back. It felt genuinely disturbing and left a real impact. There were times where background action could have been pulled back slightly. The ensemble were clearly very committed and full of energy but at times drew focus away from where the audience’s attention was meant to be. Overall though, this was very strong direction, especially given the demands of the piece. ‘ Emmeline Turley took on the role of musical director, working closely with conductor Alice Murray. Together they got a huge amount from a student band that was clearly very capable. The group, made up of drums, bass, two keyboards, two guitars and cello, played with confidence throughout and gave the show a very strong musical foundation. There were just some minor feedback issues with the bass at times which caused distraction. It wasn’t constant but it did stand out when it happened. Choral singing was excellent across the board. There were also some lovely musical touches throughout. The guitar underscoring leading into ‘You Shine’ was especially effective. Overall, this was very strong work musically, with a clear sense of care and attention from everyone involved. Michael Healy was choreographer, assisted by Ava Gough and their work was a real highlight of the production. From the opening number, the tone was set clearly. It felt raw, full of energy, and rooted in that sense of teenage frustration and angst that runs through the piece. The movement had real bite to it and it was performed with great accuracy and commitment. ‘The World According to Chris’ stood out as a particularly strong number, tightly choreographed and full of attitude. ‘A Night We’ll Never Forget’ captured the excitement and anticipation of the prom beautifully. It had great energy, a real sense of build, and some impressive athleticism from the cast, all leading into a very effective final photo pose. Overall, choreography added hugely to the overall impact of the show. Ciara Walsh Kilkenny took on the role of Carrie, the isolated and troubled teenager at the centre of the story and delivered a really impressive performance. She captured that sense of a young girl completely at odds with the world around her, a real tortured soul. There was a lovely honesty to her work. She showed a wide emotional range throughout the night, moving convincingly from vulnerability and confusion to moments of real strength. Vocally, she was excellent. ‘And Eve Was Weak’, her duet with Margaret, was particularly powerful, full of intensity and control, while ‘Why Not Me?’ was another standout, filled with raw emotion. Excellent work from a very talented performer and a central performance that held the production together. Sofia Tinné gave a very mature and assured performance as Margaret, Carrie’s deeply troubled mother. It was a strong portrayal of a woman completely blind to her daughter’s needs, driven by a rigid and extreme belief system. From the outset, there was a sense of control and authority about her but also something far more unstable simmering underneath. Vocally, she was very impressive. ‘And Eve Was Weak’, her duet with Carrie, was a real standout, intense, unsettling and at times almost unhinged, as she grappled with the reality of Carrie becoming a woman. It gave a clear glimpse into her fractured state of mind. There were some very dark moments in her performance, none more so than the physical violence towards Carrie. This was a very powerful portrayal, very unsettling and fully committed to from start to finish. Zoe Gibson was another standout performer in the role of Sue Snell, a character who plays a key role in guiding us through the story. From her first appearance being interrogated by police, there was a visible sense of guilt and pain etched on her face. She looked like someone deeply affected by what had happened. She was a very strong actress throughout. We saw her inner conflict clearly, as she struggled between wanting to fit in with her peers and her growing sense that something isn’t right. Vocally, she was excellent. ‘Once You See’ was a real highlight, thoughtful, controlled and beautifully delivered. A very accomplished performance overall which was well judged, emotionally aware, and consistently strong throughout. Éanna Marren gave a really lovely performance as Tommy Ross. There was a sincerity to the portrayal that made the character feel completely genuine. Mr Marren gave us a real, thoughtful young man simply trying to do the right thing. His kindness towards Carrie felt so natural, which made their interactions all the more believable. You could clearly see his growing understanding of her, and the development of that connection was handled very nicely. His singing was also very impressive. ‘Dreamer in Disguise’ was beautifully delivered, with a warmth and ease that really suited the character. ‘You Shine’, his duet with Sue, was another standout moment, full of sincerity. Ellen Jacob was very impressive in the role of Chris, delivering a performance full of attitude and sharp, cutting energy. She set the tone for the group and expected others to follow suit. Her portrayal captured her own idea that it was “better to whip than to be whipped”. A very skilled actress, Ms Jacob was always in control, always a step ahead. There was a strong sense of scheming running through the performance, particularly in how she manipulated those around her and pushed events in a darker direction. She also brought great energy to the role. In ‘The World According to Chris’, she drove the number with great confidence. Oisín Smith took on the role of Billy Nolan, Chris’s boyfriend and partner in crime, and delivered a strong and convincing performance. Mr Smith maintained a dark presence within the group. There was an edge to the performance that made him feel genuinely intimidating. He played the role with a sense of quiet menace, particularly in the lead-up to the prom. He carried himself with a confidence that suited the character and the dangerous dynamic between himself and Chris was so well played. Ciara O’Brien was excellent as Ms. Gardner, the teacher who shows genuine kindness and care towards Carrie. In a story where so much of what we see is harsh and unforgiving, her presence brought a real sense of warmth and humanity. She was a very strong actress and that came through in the quiet, supportive way she interacted with Carrie throughout. ‘Unsuspecting Hearts’ was a standout musical moment. She had a stunning voice and told the story through the song beautifully. There was a real connection to the lyrics and she delivered the number with excellent control. Seán Casey brought a lovely lightness to the role of Mr. Stevens, playing him with a gentle comic touch that was so well suited to the role. As the slightly awkward, nerdy teacher, he provided some welcome moments of humour amidst the trauma. He had strong stage presence and made the most of every appearance. The comedy felt natural, adding some balance to some of the darker elements of the show. There was great strength right across the ensemble, with a number of performers making strong individual contributions while still working well within the group. Jessica Moloney stood out as Norma, bringing great presence to the role. Her flirtation with Mr. Stevens was particularly funny and full of character. There was also solid work from Amy Wallace as Frieda, Emma Coakley as Helen, Cian Sprague as George, Colm Gleeson as Freddy and Mikey Lane as Stokes. Each played their part in contributing to the wonderful energy on stage. The wider ensemble was particularly strong throughout. Choreography was tight and precise and the performance levels were excellent. The female ensemble fully embraced the ‘mean girls’ dynamic, led by Chris, and that mob mentality came across very clearly. Vocally, the group was very strong, with a lovely choral sound. There was also some very effective background work at the prom, helping to build the atmosphere of the scene. At times, however, the movement became a little too busy and more control would have helped to keep the focus where it needed to be. The epilogue was a real highlight, with a stunning choral sound that brought the show to a powerful conclusion. Stage managers Conor Walsh and Katie Cashman ran a very tight ship, ensuring the show moved along at a strong and steady pace. With minimal set changes and much of the movement of furniture and smaller pieces handled by the cast, there was a real sense of flow throughout. Everything felt well organised and coordinated, with transitions handled smoothly and without fuss. The set design was simple but effective, making good use of the space without overcomplicating things. The brick-style backdrop gave a slightly cold, urban feel, which suited the show well. The use of furniture such as benches, tables and the sofa, helped to establish setting when needed, without slowing the pace. The upstage platforms were a particularly useful feature. They added levels to the stage, creating more interesting stage pictures and giving opportunities to separate action when needed. It was a thoughtful and practical design. It may have been quite minimal but it served the production well and allowed the performances and atmosphere to take centre stage. Lighting did some very strong work in creating the mood throughout. In a show like ‘Carrie’, where emotions run high and the tone can shift quickly, that support is so important. Even before the action began, the red wash on the front of house tabs was a nice touch, subtly foreshadowing what was to come. There was excellent use of side lighting throughout, which, combined with generous use of haze, created an eerie, almost otherworldly feel at times. The snap cues into Sue’s interrogation sequences were well timed with sound effects, while slower fades into some blackouts allowed emotional moments to land properly without feeling rushed. For the most part, sound was handled well. There was a good balance within the band, with certain instruments brought forward when needed and a nice overall blend between pit and stage. Mic levels were generally well set, allowing vocals to come through clearly without being overwhelmed. The ensemble sound in the bigger choral moments was particularly strong, with a well-balanced overall sound. Sound effects were also used effectively. There were, however, some issues in the first half, with the bass guitar which produced a noticeable feedback that cut through the mix at times. It wasn’t constant but it did become distracting when it occurred. This settled as the show went on and it was much less of an issue in the second act. Apart from that minor issue, this was solid work, with very good balance and control across most elements. Costumes were well thought out overall and helped to define characters clearly. There was a strong sense of the school environment, with a fairly natural, everyday look for the students that felt appropriate. Carrie’s more conservative dress sense stood out in contrast to those around her, which worked very well in highlighting her isolation and difference. Chris’s Guns N’ Roses t-shirt was a nice touch, giving her an added edge and reinforcing her rebellious, dominant personality within the group. The prom sequence looked particularly strong, with dresses and suits creating a clear shift in tone and helping to mark that moment as something special within the story. At times, some of the darker costumes were slightly lost against the black background, particularly in lower lighting. Good work from the costume department overall, with clear thought given to character and setting, and some nice touches throughout. Props were handled well throughout. It’s not a show that relies heavily on them, but what was used felt appropriate. The radio, for example, was a nice, authentic touch and the prominently displayed picture of Jesus was a clear nod to Margaret’s obsessive beliefs, helping to reinforce her character. There was just one small moment where an ensemble member ‘poured’ from a bottle that still had the cork in it. It was nothing major but this is the kind of detail that stands out when everything else is so good. Hair and makeup appeared to be in very good hands throughout. From what could be seen, everything was clean, consistent, and appropriate to the show. There was a clear contrast between characters where needed. Carrie’s more natural, understated look contrasted well against the more styled appearance of the other girls and that helped support the storytelling. Nothing jarred or felt out of place, which is always a good sign. ‘Carrie’ is not an easy show to stage and it is certainly not the kind of piece you’d expect to see in a local church hall. It demands a lot, emotionally, technically, and stylistically and that’s exactly what made it so refreshing to see a student society embrace it so fully. There was a real sense of ambition running through the entire production. From the strength of the central performances to the energy of the ensemble, from the thoughtful direction to the atmosphere created through lighting and design, it was clear that this was a group willing to take risks and push themselves and that in itself is something to be celebrated. It is always encouraging to see student productions going where others might hesitate to go and this was a perfect example of that. A very strong piece of work from UCC Musical Theatre Society and a most thought-provoking night at the theatre. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Guys and Dolls - Dun Laoghaire MDS

Society name: Dun Laoghaire Musical and Dramatic Society Show name: Guys & Dolls Adjudicator date of attendance: 01/04/2026 Dun Laoghaire Musical and Dramatic Society brought plenty of ambition, energy, and affection to their production of Guys and Dolls, delivering an entertaining evening packed with strong performances, vibrant musicality, and some genuinely memorable comic moments. This classic musical depends heavily on pace, character relationships, and charm, and for the most...

Society name: Dun Laoghaire Musical and Dramatic Society Show name: Guys & Dolls Adjudicator date of attendance: 01/04/2026 Dun Laoghaire Musical and Dramatic Society brought plenty of ambition, energy, and affection to their production of Guys and Dolls, delivering an entertaining evening packed with strong performances, vibrant musicality, and some genuinely memorable comic moments. This classic musical depends heavily on pace, character relationships, and charm, and for the most part this production succeeded in capturing the warmth and wit that have made the show such an enduring favourite. Under the direction of Stephan Fagan, assisted by Rachel Bermingham, the production embraced the comedy of the piece wholeheartedly. There was clear and thoughtful character work throughout, particularly in the relationships between the central couples. Adelaide and Nathan’s long and chaotic engagement felt authentic and lived-in, while the comic partnership between Benny Southstreet and Nicely Nicely Johnson became one of the strongest aspects of the entire production. A major creative decision was the framing of the show as taking place on a film set. While ambitious, this concept ultimately felt somewhat uneven in execution. At times it interrupted the natural rhythm and emotional flow of the original material rather than enhancing it. In particular, the added layers surrounding Sarah and Sky occasionally prevented their emotional journey from fully settling, as scenes were repeatedly pulled in different stylistic directions. The challenge with conceptual productions is consistency, and here the film-set idea appeared prominently in some scenes before disappearing almost entirely in others. As a result, the production occasionally felt caught between two different interpretations of the show. Even so, there was a great deal of strong direction on display. Blocking was consistently effective, with excellent use of the stage space and clear attention to visual composition. Scenes moved smoothly, and character relationships were well established throughout. One moment that perhaps would have benefited from greater simplicity was “Adelaide’s Lament”, where movement elsewhere on stage distracted somewhat from Adelaide’s emotional and comic focus. Allowing the moment to stand more independently would have strengthened its impact even further. Musically, the production was extremely strong. Under the direction of Barry Power, the band captured the rich Broadway sound of the score beautifully, with the brass section particularly impressive throughout the evening. The band supported the performers well without ever overwhelming them, which can often be a challenge in a score as large and energetic as this one. Vocally, the company delivered consistently strong work. Harmonies were clear, ensemble singing was disciplined, and there was excellent energy maintained across the performance. Some additional musical ad libs and embellishments occasionally disrupted the natural flow of certain numbers, but overall, the score was handled with confidence and style. One particularly interesting choice was the inclusion of female voices in songs traditionally sung solely by men, particularly “Luck Be A Lady”. This added richness to the overall sound and was handled very effectively without feeling gimmicky. Lauren Dooley’s choreography produced some standout moments, particularly during the superb “Crapshooters Ballet”. This sequence was one of the highlights of the evening, featuring strong storytelling, excellent formations, and dynamic use of entrances, exits, and stage pictures. The cast performed it with precision and commitment, creating real excitement on stage. “Luck Be A Lady” was another particularly successful number, full of swagger and momentum. Some choreography felt stylistically disconnected from the world of the show. The Hot Box numbers leaned heavily into a contemporary and overtly sensual style rather than the cheeky theatricality usually associated with the material. While performed confidently, they occasionally sat awkwardly within the broader tone of the production. “Havana” similarly suffered somewhat from an overabundance of movement and stage business without enough clear narrative progression. Sarah’s emotional and physical unravelling during the sequence did not build quite as effectively as it needed to in order for the scene’s climax to fully land. Nevertheless, the cast approached all choreography with enthusiasm and commitment, and there was no shortage of ambition in the movement work throughout the production. Meg Whyte was absolutely delightful as Miss Adelaide, delivering one of the standout performances of the evening. She captured the essence of the character beautifully, balancing broad comedy with vulnerability and warmth. Her comic timing was excellent throughout, and she demonstrated a superb instinct for physical humour. The recurring tissue gag became increasingly funny each time it appeared thanks to her complete commitment to the joke. Vocally, she was very strong, maintaining both vocal quality and accent consistently throughout the show. “Adelaide’s Lament” was particularly successful, combining excellent storytelling with genuine humour while never losing sight of the humanity within the character. Her scenes with Nathan felt affectionate, believable, and wonderfully familiar. Dale Ayers gave a very strong performance as Nathan Detroit. He fully embraced Nathan’s anxious, permanently stressed personality while still maintaining charm and warmth. His chemistry with Meg Whyte was one of the production’s greatest strengths, and together they created a relationship that felt entirely authentic. He also worked extremely well within the wider ensemble dynamic, particularly in scenes with Nicely Nicely and Benny. His characterisation was detailed and consistent, and vocally he handled the role with confidence. Máirín Hayes brought sincerity and grace to Sarah Brown. Her soprano voice had a beautiful legit quality that suited the score perfectly, and her vocal work throughout the evening was controlled and expressive. Sarah can sometimes feel overly earnest as a character, but here she came across as genuine and relatable. Her early interactions with Sky were full of believable awkwardness and humour, and “If I Were A Bell” was one of her strongest moments. Her portrayal of drunkenness was extremely well judged, remaining truthful and funny without slipping into exaggeration. John Higgins delivered a confident and mature performance as Sky Masterson. He brought easy charm and relaxed charisma to the role, and there was an effortless quality to both his singing and acting. Vocally, he possessed a very appealing tenor voice and handled the score with ease. Most impressive was the emotional maturity of the performance. He allowed Sky’s journey to develop gradually and convincingly, particularly in his growing feelings for Sarah. Andrew Roche and Eoghan Funge were an absolute triumph as Nicely Nicely Johnson and Benny Southstreet. Their chemistry, comic timing, physicality, and vocal reactions aligned perfectly, creating one of the strongest comic duos of the evening. Every interaction felt spontaneous while remaining tightly rehearsed, and they injected enormous energy into every scene they entered. Their work together was consistently hilarious without ever becoming overplayed. Kate Canavan gave an enjoyable and spirited performance as Harry the Horse, capturing both the toughness and humour of the character well. Her accent work was particularly strong, and she played effectively opposite Conor Johnston’s Big Jule. Conor demonstrated good character instincts and strong physicality, though the performance occasionally felt tentative. Greater confidence in lifting the eyeline and projecting energy outward toward the audience would have strengthened the character’s intimidation and bravado considerably. However, the foundations of the role were solid, and his scenes worked well overall. Marlene Connolly brought warmth and sincerity to Arvide Abernathy, creating a believable and affectionate relationship with Sarah. Jim Ryan made a lovely impression as General Cartwright, with a smooth and pleasant vocal quality that suited the role beautifully. John Paul Coakley captured Lt. Brannigan’s constant frustration very effectively and brought strong physical energy to the role, though slightly more consistent eyeline work would have helped strengthen his authority on stage. Mikey Deasy also made a strong contribution as Rusty Charlie, delivering his section of “Fugue for a Tin Horn” with confidence and strong vocal ability. The ensemble worked extremely hard throughout the production and contributed enormously to its success. Vocally they were consistently impressive, producing a full and energetic sound across the evening. “Sit Down You’re Rockin’ The Boat” became a major highlight, with clear harmonies, excellent energy, and a genuinely infectious sense of fun that clearly delighted the audience. While there was naturally some variation in movement ability across a large cast, all choreography was performed with commitment and enthusiasm. Importantly, the ensemble maintained strong characterisation throughout and contributed greatly to the bustling atmosphere of the show. Visually, the production offered some striking moments alongside areas that would benefit from greater consistency. The set design tied heavily into the film-set concept, though because the concept itself never fully settled, the visual world occasionally felt caught between two styles. The illuminated sign at the rear of the stage was particularly effective, and the overall finish quality of the scenery was strong. However, the printed film posters on the wing flats were somewhat distracting due to their bright colouring. The simplicity of the staging allowed scene changes to move relatively efficiently, though some transitions could have been choreographed more tightly to improve pace. Stage management by Clare MacEntee was generally smooth, with cast members handling scene changes effectively for the most part. One element that occasionally disrupted the storytelling was using Salvation Army members to move Hot Box furniture. Integrating these transitions more fully into the film-set concept through costume or staging choices may have strengthened cohesion. Lighting created several beautiful stage pictures, particularly during “Crapshooters Ballet” and the final image of Act One, though there were also some inconsistencies in coverage. A noticeable dip in face lighting at centre stage occasionally distracted from the action, and the lack of strong upstage lighting created uneven visual focus as performers moved around the stage. Some lighting choices, particularly during “Marry the Man Today”, also weakened moments that should have felt visually unified. Sound overall was well balanced for the venue. The band never overwhelmed the singers, and while a few cues were missed and some principals were occasionally lost in larger ensemble moments, the overall mix remained controlled and pleasant throughout. Costuming featured many strong elements, particularly the Hot Box costumes, which looked vibrant and suited the energy of those scenes very well. However, some smaller detail issues reduced the overall polish of the visual presentation. Loose ties, inconsistent styling, and untidy costume details distracted from what was otherwise a well-considered wardrobe design. There was also some confusion surrounding the female performers in suits, as it was unclear whether they were intended to represent male characters or women in masculine-inspired clothing. Greater consistency would have clarified the visual storytelling. Hair and wigs also varied in polish. Some hairstyles appeared untidy, and while the wigs themselves were generally good quality, retaining the Hot Box wigs during “Crapshooters Ballet” created practical issues with hat fitting that became visually distracting. Before the performance even began, the audience was welcomed into a warm and friendly atmosphere. Front of House operations were efficient and inviting, helping establish a positive tone for the evening. Seating was handled smoothly, and there was a genuine sense of excitement and anticipation within the auditorium that reflected the enthusiasm surrounding the production. Ultimately, this production of Guys and Dolls showcased a company with enormous enthusiasm, strong musicality, and a clear love of performance. While some conceptual and visual inconsistencies prevented the production from feeling entirely cohesive, there was still a tremendous amount to admire, particularly in the quality of the principal performances, the energy of the ensemble, and the strength of the musical execution. Most importantly, the audience left thoroughly entertained, which lies at the very heart of what makes this classic musical continue to endure.

Review: Man of La Mancha - Carrick-on-Suir Musical Society

Society name: Carrick on Suir Musical Society Show name: Man of La Mancha Adjudicator date of attendance: 28/03/2026 Carrick on Suir Musical Society’s production of Man of La Mancha was an emotionally rich and deeply atmospheric piece of theatre that embraced the complexity and heart of this challenging musical. Balancing brutality with hope, humour with heartbreak, and reality with fantasy is no easy task, yet this production managed those contrasts with confidence and emotional...

Society name: Carrick on Suir Musical Society Show name: Man of La Mancha Adjudicator date of attendance: 28/03/2026 Carrick on Suir Musical Society’s production of Man of La Mancha was an emotionally rich and deeply atmospheric piece of theatre that embraced the complexity and heart of this challenging musical. Balancing brutality with hope, humour with heartbreak, and reality with fantasy is no easy task, yet this production managed those contrasts with confidence and emotional honesty. From beginning to end, the audience was drawn fully into both the harsh prison world and the hopeful imagination of Don Quixote’s quest. Under Andrew Holden’s direction, the production demonstrated exceptional attention to storytelling and detail. The world onstage felt completely lived in, with every performer appearing to understand not only their own role, but also their place within the wider world of the show. The distinction between the prison scenes and the imagined adventures of Don Quixote was always crystal clear, allowing the audience to move seamlessly between the two realities without confusion. This clarity of storytelling was one of the production’s greatest strengths. Holden’s use of the performance space was particularly effective. The prison environment felt oppressive and dangerous, while still allowing the imaginative fantasy scenes to flourish naturally within it. Every movement onstage appeared motivated and purposeful, and scenes flowed organically into one another, helping maintain excellent momentum throughout the evening. The handling of physical violence was especially strong. These moments were staged with realism and emotional weight, adding genuine stakes to the story without becoming gratuitous. Just as importantly, the emotional aftermath of those scenes was given time to resonate. The sequence involving the Knight of the Mirrors was particularly effective in its storytelling, and emotional weight. The production also handled the balance of darkness and comedy extremely well. Man of La Mancha can become overwhelmingly bleak if humour is neglected, but this interpretation found moments of levity that felt natural and necessary. Overall, the direction created a production that felt thoughtful, immersive, and emotionally truthful throughout. Musically, the show was in very safe hands under Fergal Carroll, alongside Chorus Mistress Laura Cotter. The orchestra produced a wonderfully full and rich sound that supported the storytelling beautifully. In larger musical moments, the band created tremendous emotional power without ever overwhelming the performers onstage. The balance between orchestra and vocals was consistently strong, allowing the emotional intention of the lyrics to come through clearly. The choral work throughout the production was particularly impressive. Harmonies were well blended and balanced, and the ensemble singing carried real emotional depth rather than simply functioning as musical accompaniment. Attention to phrasing and dynamics greatly enhanced the emotional shape of the evening, particularly in moments where the story shifted between harsh realism and idealistic fantasy. Softer moments were handled with sensitivity and care, while the larger ensemble sections carried strong dramatic force. Claire O’Hara’s choreography and movement direction suited the production beautifully. While Man of La Mancha is not traditionally dance-heavy, movement is vital in establishing atmosphere and character, and this was handled extremely effectively here. The movement vocabulary emerged naturally from the characters and situations, never feeling imposed or unnecessary. The contrast between the physicality of the prisoners and the heightened theatricality of Don Quixote’s imagined world was particularly successful, adding clarity and texture to the storytelling. The seamless integration between choreography and direction ensured the production-maintained realism and emotional honesty throughout. At the centre of the production was an absolutely superb performance from Neill Bourke as Don Quixote and Miguel de Cervantes. His portrayal was emotionally rich, technically assured, and consistently engaging. As Cervantes, he brought intelligence, wit, and resilience to the prison scenes, grounding the production firmly in reality. His transition into Don Quixote was beautifully handled, maintaining a connection between the two identities while still clearly differentiating them. His Don Quixote was funny, noble, gentle, and deeply moving. The physicality of the role was especially impressive, with carefully observed ageing movement and an unsteady gait that never tipped into caricature. Every gesture felt motivated by emotional truth. His interactions with the other characters were consistently meaningful and believable, particularly his relationship with Sancho Panza, which formed the emotional backbone of the production. Vocally, Neill delivered a stunning performance. His singing appeared effortless throughout, full of warmth, sincerity, and emotional colour. “The Impossible Dream” was unquestionably one of the highlights of the evening, delivered with enormous emotional depth and heartfelt storytelling that captured both the hope and tragedy of the character beautifully. Louise Russell gave a haunting and deeply affecting portrayal of Aldonza / Dulcinea. From her first appearance, there was an emotional vacancy behind her eyes that suggested a lifetime of hardship and survival. This gave the character enormous depth and authenticity. Louise captured both Aldonza’s strength and vulnerability with great sensitivity, creating a performance that was emotionally compelling throughout. Her emotional progression over the course of the production was particularly strong. Following the assault scene, there was a noticeable shift in her demeanour, with vulnerability beginning to emerge beneath her outward defiance. Her scenes with Don Quixote were especially touching, showing the gradual softening of a woman learning to believe she might deserve dignity and kindness. Vocally, Louise delivered a very strong performance, singing with emotional honesty and depth throughout. Eoin Sheedy was excellent as Sancho Panza, bringing warmth, humour, and intelligence to the role. His comic timing was superb, but what made the performance especially successful was the nuance underneath the humour. Sancho was never portrayed as simply foolish; there was always a sense that he understood more than he allowed others to realise. This gave the character genuine emotional grounding and made his loyalty to Don Quixote all the more moving. The relationship between Sancho and Don Quixote developed beautifully throughout the show, creating many touching moments as the story progressed. Vocally, Sheedy leaned effectively into the comic style of the role while still maintaining strong musicality. Overall, it was a thoughtful and highly entertaining performance. Liam Butler brought strong stage presence and authority to the dual roles of the Governor and the Innkeeper. He differentiated the two characters clearly through both vocal delivery and physicality. His portrayal of the Innkeeper was particularly enjoyable during the scenes where he humoured Don Quixote’s fantasies, striking a lovely balance between confusion, amusement, and reluctant participation. Vocally, he possessed a warm and resonant voice that suited both roles very well. The supporting cast contributed enormously to the success of the production. Ray Nolan handled the roles of the Duke, Dr. Sanson Carrasco, and the Knight of the Mirrors with excellent differentiation and confidence. His expressive facial work and clear character choices ensured each role felt distinct and memorable. Liadhain O’Shea gave a sweet and sincere portrayal of Antonia, clearly conveying the character’s care and concern for those around her. Her relationships with both Cervantes and Dr. Carrasco felt believable and well developed. Tobie Hickey brought excellent humour to the role of Padre, creating a wonderfully befuddled and entertaining priest. His expressive reactions and comic instincts worked extremely well, and “To Each His Dulcinea” was delivered very nicely. Bryanna Lima’s Maria was believable and relatable, particularly in her frustration with both her husband and the strange events unfolding around her. Sandra Power contributed effectively as the Housekeeper, helping establish the reality of the household scenes with a demeanour that balanced authority and subservience very effectively. Caolan Deehy Power made a particularly strong impression as the Barber. This was a wonderful example of an actor elevating a smaller role through complete commitment and detailed character work. His confusion and bewilderment were played brilliantly, supported by excellent facial expressions and comic timing. “Barber’s Song” was performed very strongly both vocally and dramatically. Bobby Landers was genuinely menacing as Pedro, bringing strong physicality and dominance to the role. His work during the violent scenes was particularly effective, making the threat posed by the character feel very real. The Muleteers — Audie Murphy, Jonathan Caulfield, Jack Coady, Richard Dunphy, and Deckie Smith Robinson — worked exceptionally well as a group. Their camaraderie and shared menace created a genuinely threatening presence onstage and added significantly to the darker atmosphere of the production. The ensemble were one of the greatest strengths of the evening. This was a company fully invested in the storytelling, with every member contributing meaningfully to the world of the production. The ensemble never felt like anonymous background performers; instead, they were fully realised individuals inhabiting both the prison world and the imagined adventures of Don Quixote. Vocally, the ensemble sounded excellent, with well-blended harmonies and strong emotional commitment throughout. Their handling of scene transitions was equally effective, maintaining atmosphere and momentum without disrupting the flow of the show. Visually, the production was extremely impressive. The set design created a striking and oppressive prison environment, making excellent use of texture and space. The drawbridge mechanism within the prison cell was especially effective, while the stained glass window pieces reinforced the religious themes beautifully. The uplighting of the crosses on the proscenium arch added considerable atmosphere and weight to the influence of the church within the story. Michael O’Hara’s stage management work was excellent throughout. Having scene changes handled by the cast within the action of the play worked extremely well, keeping the audience immersed in the world rather than interrupting momentum with blackouts or pauses. The transitions were smooth, well-choreographed, and integrated naturally into the storytelling. The lighting design was stunning, making excellent use of shadows, beams, and colour to shape atmosphere and emotion. The contrast between the prison world and the fantasy sequences was particularly effective, with clear differences in colour palette and intensity helping define each world. The lighting during “The Impossible Dream” was especially beautiful and emotionally impactful. Sound quality throughout the performance was very strong, with vocals consistently clear and well balanced against the orchestra. The control of the band during larger musical moments was particularly impressive, ensuring emotional impact without sacrificing clarity. Costumes, hair, and makeup all contributed enormously to the immersive quality of the production. The distressed and dirtied costumes for the prisoners felt authentic and helped establish the harsh reality of the prison world. The contrast with the more theatrical fantasy costumes worked very effectively, particularly Don Quixote’s armour and the Golden Helmet of Mambrino, both of which added greatly to the visual storytelling. Hair and makeup were equally detailed, with messy, matted hairstyles and dirty skin effects adding realism and texture throughout. From arrival at the venue to the final curtain, the audience experience was warm, welcoming, and well organised. Front of House operations were handled efficiently, creating a relaxed and positive atmosphere before the performance began. There was a lovely sense of anticipation in the auditorium, and patrons were guided smoothly into the world of the production from the outset. At the end of the evening, the audience was left with the feeling of having experienced a thoughtful, emotionally intelligent, and highly committed production. Carrick on Suir Musical Society clearly understood the heart of Man of La Mancha, delivering a powerful exploration of hope, imagination, and humanity in the face of cruelty and despair. The company should be commended for creating such a professional and inviting experience for their audience.

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
Avonmore Musical 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
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
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
NOVA Theatre Group
Naas Musical Society
Nenagh Choral Society Ltd
New Ross Musical Society
Newbridge Musical Society
Newcastlewest Musical Society
Newry Musical Society
Newry Youth Performing Arts
O'Connell Musical Society
Phoenix Performing Arts College
Phoenix Productions
Pioneer Musical & Dramatic Society
Portadown Phoenix players
Portarlington Musical Society
Portmarnock Musical & Dramatic Society
Portrush Music Society
Queen's Musical Theatre Society
Rathmines & Rathgar Musical Society
Ratoath Musical Society
Roscrea Musical Society
Roundwood Variety Group
Roundwood Variety Group
Rush Panto Society
Shannon Musical Society
Sheevawn Musical Youth Theatre
Sligo Fun Company
Sligo Musical Society
St. Agnes' Musical Society
St. 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
Stage One New-Musical Group (S.O.N.G.)
Striking Productions Carlow
Studio 55 Productions
The Little Sea Musical Society
The Now and Then Production Company
Tralee Musical Society Youths
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
bottom of page