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Review: Annie - St. Patrick's Choral Society

Society name: St. Patrick’s Choral Society Show name: Annie Date of attendance: 18 th  November 2025 It may well be the musical theatre equivalent of Marmite, with polarising views aplenty out there regarding its merits or lack of. However, I am a fully paid-up member of the ‘Annie’ fan club and a proud one too! It is a lot more challenging than some might give it credit for. With a need for a very talented cast of children, adult performers who understand the difference between caricature...

Society name: St. Patrick’s Choral Society Show name: Annie Date of attendance: 18 th  November 2025 It may well be the musical theatre equivalent of Marmite, with polarising views aplenty out there regarding its merits or lack of. However, I am a fully paid-up member of the ‘Annie’ fan club and a proud one too! It is a lot more challenging than some might give it credit for. With a need for a very talented cast of children, adult performers who understand the difference between caricature and ham acting, and multiple locations required, it asks a lot of any society prepared to take it on. St. Patrick’s Choral Society, Downpatrick embraced those challenges with great enthusiasm and very good attention to narrative detail, with their upbeat, highly energetic production at the Great Hall, Downshire Estate. It was a most welcome, uplifting evening that celebrated some excellent local talent, especially the cast’s younger members, many of whom were making their musical theatre debuts.  The society’s front of house team did a lovely job in creating some magic for people arriving into the foyer space of this most unique venue, which dates back to the late 1800s and oozes character. The mood and tone were immediately set by the friendly, efficient volunteers who ensured that everything ran smoothly.  Colouring competition entries, submitted by local schoolchildren, were a lovely touch, bringing colour and a sense of community to the evening’s proceedings before the orchestra had even tuned up. The simple New York City ‘photo wall’, complete with a ring light, was another nice addition, as children (and adults!) took selfies against the skyscraper backdrop.  Gary Warnock’s direction had great clarity and heart throughout. There was exceptional work done with the orphans, in particular. The excellent cast of children were confident and expressive and there was always a great sense of purpose to their performance, both individually and as a group. Storytelling was always to the fore, with good attention to the narrative in evidence all through the show. I loved the use of the different playing levels, which allowed for some very fluid transitions between scenes. There was great integration of projected backgrounds to enhance the overall visual spectacle and I loved the very appropriate black and white animated sequences which, though sparingly used, were a delightfully unique and clever touch, which added greatly to the songs in which they were used. A really strong piece of direction overall from Mr. Warnock. Wilson Shields’s musical direction was one of the strongest elements of this production. His talented, seven-piece orchestra were tight and polished from the top of the overture to the final bows. Balance was generally good within the orchestra, although I did feel that more support was required from the sound operator during underscored dialogue to ensure that levels were appropriate. Tempos were well chosen and maintained throughout and there was some really standout vocal harmony work from the children, ensemble and smaller groups. The standout musical moment of the show for me, was ‘Easy Street’ in which Hannigan, Rooster and Lily harmonised flawlessly throughout their very energetic routine. Of course, there was some excellent principal singing also, with Hannigan and Warbucks leading from the front with their stunning vocals. A superb job from Mr. Shields on all fronts. Alex McFarlane’s choreography was highly effective and perfectly pitched for the abilities of her cast, young and not so young. Ms. McFarlane’s attention to storytelling was most impressive, with props and authentic business built into routines, always making them an organic part of the narrative. Her work with the children was superb. ‘Hard Knock Life’ was so sharp yet full of expression and chaos. ‘You’re Never Fully Dressed Without A Smile’ was simply fabulous from all of the children. I loved the storytelling in ‘I Think I’m Gonna Like It Here’. The movement, timing and use of props were so well thought through and executed. ‘Hooverville’ was an impressive routine, with its sharp synchronicity from a well-drilled ensemble. ‘Easy Street’ was my favourite routine of the night, dynamic, slick and brilliantly performed. An excellent job all round, especially considering that this was an opening night performance.  Lyla Edgar’s wonderful performance as Annie was confident and bright throughout. She had natural stage presence and clever delivery of dialogue, which felt beyond her years.  She was always in tune with what was going on around her, always focused. Vocally, Lyla was very strong and musically assured. ‘Tomorrow’ was the expected showpiece, sung with heartfelt warmth and longing. Phrasing was very confident and Lyla didn’t fall into the trap of belting to impress. My sources, who saw Eliza White in the role later in the run, informed me that she was equally impressive on all fronts. With a depth of young talent like this at their disposal, the future of St. Patrick’s Choral Society looks very safe indeed. Fergal White’s larger than life Warbucks was a nicely judged portrayal. He avoided the temptation to descend into caricature, bringing an authoritative but surprisingly emotionally in tune quality to the role. This allowed for some wonderfully contrasting moments, from his no-nonsense bluster to his heartwarming interactions with Lyla. Mr. White’s singing performance elevated his portrayal even further, with his wonderful baritone voice providing many of the evening’s musical highlights. What struck me most though, was his generosity as a performer in his scenes with Lyla. Their scenes together were genuinely tender and their performance of ‘I Don’t Need Anything But You’ was as heartwarming as it gets. Charlotte Warnock gave a very intelligent performance as a warm, likeable Grace Farrell. From her first entrance during the overture, she oozed confidence and competence. Ms. Warnock balanced concern and affection for Annie with her respect for Warbucks so well. Her beautifully clear soprano voice in ‘I Think I’m Gonna Like It Here’ was a delight. Diction was excellent and her harmonies throughout the show were always secure. A superb performance all round. Initially, I felt that Laoise Carney’s delivery as Miss Hannigan needed an injection of pace, as pauses and cueing felt slightly delayed in her opening interactions. This could have been down to some opening night jitters or even just trying to gauge audience reaction for the first time. However, once she settled and got into her stride, Ms. Carney really took off, delivering an energised, thoroughly entertaining portrayal. Facial expressions and physicality were exaggerated but never too over the top and her comic timing shone as she warmed to the audience. Her stunning vocal quality, phrasing and control, combined with clever characterisation, made ‘Little Girls’ a standout moment of the show.  Adam Patterson was a very strong Rooster, catching our attention immediately during his brief but impressive appearance in the overture sequence. He was quite the slippery character and relished in his enjoyment of playing one of musical theatre’s finest comic villains. He was an excellent dancer and his dance performance during ‘Easy Street’ was highly impressive. Vocally too, he did excellent work in this number, holding his line through every energetic dance move. Chemistry with Lily was strong and he played very well off Ms. Carney through their well-timed, hilarious exchanges.  I was very impressed with Jess Sloan’s very funny performance as Rooster’s naive but bubbly girlfriend, Lily St. Regis. Her comic timing was very strong and we couldn’t help but like her, in spite of the shady shenanigans that she had gotten herself into. She had great physicality and moved very well in the brilliant ‘Easy Street’. Her ability to hold the top vocal line in that number was very impressive indeed and showed a superb sense of musicality. Diction was very sharp, ensuring that comedic lines landed cleanly. Herself and Mr. Patterson worked very well together, pushing the humour when required and pulling back to allow scenes to breathe, as required. Tim Currie made the most of his cameos, particularly as President Roosevelt, a role that can be easily thrown away. Not so on this occasion, with Mr. Currie bringing a warmth and conviction to the part which was most welcome. Mr. Currie had great presence, excellent diction and a good feel for the pace of the cabinet scene in particular.  Alan Currie’s singing voice impressed as Bert Healy. It was warm, clear and suited the 1930s style. His dialogue was clear but I felt that he could afford to lean more into the character’s performative flamboyance and give us more of his inner showman. He just needed to let go and enjoy the moment to elevate his performance from very good to excellent.  Marissa McKittrick was a perfectly cast Star to Be. Her confidence, optimism and poise made her arrival in ‘NYC’ the impactful moment that it is meant to be. Her Broadway belt was perfect for the role and we were left in no doubt about her dreams and aspirations during her short but standout moment.  Aaron McElroy played Drake with an understated authority. His calm and poise were a nice contrast to the bustle of the Warbucks mansion. Mr. McElroy showed impressive versatility in doubling up as Bundles, the jovial laundry man. A talented and reliable performer. Lucy Moore, Grace McCartney and Abbie McCarthy brought delightful Andrews Sisters charm to ‘You’re Never Fully Dressed Without A Smile’. They looked and sounded wonderful, impressing with their excellent blend of vocal harmonies and synchronised movement. There was great support too from Marie Therese Ross as Mrs. Pugh and Bronagh Reid as Mrs. Greer and Perkins. All other secondary roles were very well played. The Team Brooklyn orphan ensemble, made up of Lasairíona Maguire as Molly, Skye Gracey as Pepper, Aoife Reid as Duffy, Alice Taylor as July, Eva Denver as Tessie, Aoife Martin as Kate and a host of other talented children, deserve great praise for their discipline, commitment and musicality. Their focus, facial expressions and interactions were always in tune with the narrative and they would have put a lot of more experienced performers to shame with their talent and polish. Excellent work from all. Again, my sources have been in touch to say that Team Manhattan was equally impressive throughout the week.  The adult ensemble was equally impressive, making the most of their moments, whether as down-and-outs in Hooverville, government officials in Roosevelt’s cabinet or servants in the Warbucks household. They added great atmosphere to every scene, always focused and involved. Movement and choreography in the Warbucks mansion were clean and slick. Scene changes were not always as seamless but, as it was opening night, I have no doubt that these tightened up as the week progressed. The set design was imaginative and functional, making great use of both the stage area and the lower floor level of the Great Hall. The NYC skyline was cleverly stylised, with a nod to the original animated source material. The simplicity of this background allowed lighting, minimal changes of furniture and props, and projections to transform the stage very quickly. The centre screen provided one of the show’s standout elements for me. The black and white animated sequences during ’Tomorrow’ and other key moments, were a beautiful touch. They were never too busy or distracting. They complemented the narrative and always fit the tone and mood perfectly. The tracked sheets for the orphanage were so simple yet highly effective in transforming the stage and the dropping of the red drapes for the final scene added greatly to the opulence, even if there was a slight technical glitch on stage left. Alex Simpson’s stage management was generally slick and well-rehearsed. At times, servants were used as stage crew and this was an inspired decision which allowed many scene changes to be featured, rather than completed in blackout by black-clad crew. This helped momentum, giving us smooth transitions set in the narrative, with ‘staff’ rearranging furniture and moving pillars and ‘preparing’ locations in full view. Overall, changes were slick, precise and kept the show moving at a brisk pace. Well done to all.  The lighting design was simple and functional throughout, making good use of a limited rig. There was excellent use of follow spot and some well-timed effects such as the red and blue for squad car lights and the nicely featured LX in the windows of the upstage skyscrapers. The searchlights in ‘NYC’ were another nice touch. Key lighting was generally very good, with no obvious dark patches on the mainstage. The floor area was more difficult to manage with the tight angles but the designer did well in coping with the physical restrictions of the venue. There was a missed opportunity to isolate the radio announcer, who looked like he was in the orphanage, and there was an occasional programming issue with moving lights sweeping across the stage before settling on their intended ‘target’.  Sound was generally very good, especially given the amount of microphones in use for this very large cast. The vocal mix was warm and clear and cueing was surprisingly accurate at such an early stage in the run. Balance between cast and orchestra was very impressive during ensemble numbers. Things weren’t as successful during underscored dialogue sequences, however, where it was often a struggle to hear cast. That said, the overall sound design worked really well. The band was well-balanced, warm and full. The children’s voices came across strong and soloists were set at a perfect level. The balance for both the Boylan Sisters and ‘Easy Street’ was quite remarkable. Nice work from all. I was highly impressed by some remarkable attention to detail from the props team. My inner nerd delighted in the use of a 1930s-appropriate American flag, with its 48 stars rather than making do with a modern day 50 stars version. It was a very busy show for the props department. Attention to detail was in evidence, with well-chosen suitcases, newspapers, general set dressing and, of course, Annie’s infamous locket. Buckets, rags and other paraphernalia were very authentic looking in the orphanage and desk accessories for Warbucks were perfect, as was the radio in the cabinet scene. Roosevelt’s wheelchair looked like it had just come out of a museum, such was its authentic look. However, there may not have been enough time to work on its practical use, as it didn’t behave itself on the night that I attended.  Costumes were successful in general, adding greatly to the visual across the board. There was good attention to detail with the orphans’ outfits which were appropriately worn but not overly dull. Grace’s wardrobe was wonderfully elegant, giving a great air of professionalism and warmth. Warbucks’ suits were very impressive, well-tailored and conveyed a great air of authority. Rooster’s pinstripe suit was a standout piece which reflected his exaggerated personality. There was an eclectic mix of characters created for ‘NYC’, with the four ladies in headdresses and sequinned dresses being particularly well turned out. Maids and servants were impeccably dressed in their green and white uniforms. The only element that I felt needed attention was the Hooverville scene which, overall, I felt looked too clean and tidy in its costuming.  Hair and make-up were generally authentic to the era. Wigs, where used, were natural looking and well fitted. Miss Hannigan was suitably dishevelled and servants were tidy and well presented. The only thing that needed attention, I felt, was the overall look of ‘Hooverville’. Hair appeared too tidy, generally, and the ladies’ style of make-up wasn’t entirely appropriate for the down-and-outs. This was a most uplifting and enjoyable production, of which St. Patrick’s Choral Society should be very proud. With so many joyous musical and comical moments, it was a pleasure to attend. My main takeaway? The superb young talent that is being inspired and mentored so well by everyone involved. It was a show full of heart; exactly what I needed as I reflected on the lyrics of ‘Tomorrow’ on the long drive back. Congratulations to all. Pat McElwain Sullivan Adjudicator 2025/2026

Review: The Addams Family - HXT

Society name: Harold’s Cross Tallaght Musical Society Show name: The Addams Family Date of attendance: 12 th  of November 2025 It was a night worthy of any horror story as I set out to visit one of my favourite families, the Adamses’, at Tallaght’s Civic Theatre. Driving rain, flooded roads and bumper-to-bumper shenanigans on the M50 added to the fun. How lovely it was to reach my destination in one piece, for what was a brave reimagining of one of the most popular modern musicals on the...

Society name: Harold’s Cross Tallaght Musical Society Show name: The Addams Family Date of attendance: 12 th  of November 2025 It was a night worthy of any horror story as I set out to visit one of my favourite families, the Adamses’, at Tallaght’s Civic Theatre. Driving rain, flooded roads and bumper-to-bumper shenanigans on the M50 added to the fun. How lovely it was to reach my destination in one piece, for what was a brave reimagining of one of the most popular modern musicals on the circuit. Over the past decade, ‘The Addams Family’ has firmly established itself as a society favourite. With its hilarious book and catchy numbers, it has always been a real crowd-pleaser. For societies, it ticks other important boxes, with lots of great comic roles for members, creative visual opportunities and, of course, a familiar brand which has enjoyed a Netflix resurgence in recent years. I always admire those who take artistic risks and there was no denying that Harold’s Cross Tallaght Musical Society’s vision was very different to other interpretations of the show. Avoiding the more familiar gothic aesthetic, this production transported Gomez Addams and his “normal” family into a world inspired by ‘Día de los Muertos’, the Mexican ‘Day of the Dead’. It was a courageous and creative choice that guided every aspect of the production.  I was delighted with the warm welcome when I arrived in the foyer of the Civic Theatre. Volunteers sold programmes and raffle tickets with a friendly enthusiasm and their colourful, marigold headbands tied in nicely with the ‘Día de los Muertos’ theme. The foyer display of cast photographs was nicely presented, with the frames around each being another nice detail. The overall experience was very positive, with a lovely welcome and sense of occasion. The very talented Niamh McGowan directed with what was a bold artistic vision and we knew as soon as the curtains parted that we were not going to see a conventional interpretation of ‘The Addams Family’. Setting the show within the world of the ‘Día de los Muertos’, gave us a production which evoked celebration rather than the more familiar gothic undertones. Ms. McGowan and her design team had put a lot of thought into the visual presentation. The bold colour choices, the marigolds, the Papel picado, the altar table, all contributed to the strong sense of culture and celebration. ‘Día de los Muertos’ is a festival that celebrates the living and the dead, aligning well with the show’s theme of ancestry. Yet, despite the thematic connections, the reframing didn’t always work for me. Whilst visually very pleasing, I felt that the vibrancy of the design meant that we lost much of the macabre, visual humour which underpins the show. The ensemble’s commitment to this idea was excellent. Unfortunately, however, I felt that they needed to be ‘reined in’ at times, as their background activity often distracted from principal scenes. That said, Ms. McGowan’s wonderful directorial touches were always to the fore. The clever use of ivy garlands “pulled” by ancestors to form Pugsley’s torture device was inventive and visually strong. Comic interplay between principals was very funny, with a very good sense of timing. Overall, Ms. McGowan’s direction was highly ambitious and there was no taking away from the intelligence and conviction behind her vision. Musical Director Dermot O’Callaghan presided over a very polished and well-balanced orchestra. You could sense the excitement in the auditorium during the overture and we just knew that Andrew Lippa’s score was in excellent hands. The band, positioned cleverly beneath the central staircase, produced a wonderfully full sound. Ensemble vocals were a highlight throughout. ‘One Normal Night’ was stunning chorally.  Backing vocals for ‘The Moon and Me’ were beautifully balanced, adding real emotional warmth to Fester’s gentle love song. ‘Move Towards the Darkness’ was, ironically, joyful and uplifting in its power and gloriously layered harmonies. Kudos in particular to the sopranos whose tone and accuracy were just wonderful. A sense of support for cast was always evident as Mr. O’Callaghan’s care with dynamics ensured that underscored dialogue was always heard, even in numbers with the fullest accompaniment.  An excellent job all round. Choreographer, Lauren Dooley, embraced Ms. McGowan’s vision, devising well-rehearsed routines that were thoughtful and theatrical. Her choreography was always full of purpose and told the story through its physicality and many humorous touches. Of course, she was blessed with a very skilled ensemble, which allowed her creativity to come to life in such a vibrant way. ‘When You’re an Addams’ was quirky and sharp, embracing the madness of the show’s premise from the outset. ‘Secrets’, which featured the ladies of the ensemble with fans, was a very polished and precise number, nicely synchronised and always keeping the focus on Morticia. I loved ‘Full Disclosure’, which was the perfect example of controlled chaos. For me, the absolute highlight was ‘Tango de Amor’ which was beautifully staged and performed by five couples, including Gomez and Morticia. It was intensely passionate and combined with stunning accompaniment and creative lighting to produce one of the evening’s highlights.  Jamie Place’s portrayal of Gomez Addams was a riot of fun from start to finish. He played the role with a manic energy and a glint in his eye that endeared him to the audience from the get-go. What appeared like initial nerves and a glimmer of hesitancy, settled very quickly, allowing Mr. Place to find the confidence that let his obvious flair for comedy shine through. I was very impressed by how powerful and expressive his vocal was, whether delivering the frustration of ‘Trapped’ or the more thoughtful ‘Happy/Sad’. The latter was beautifully sincere. Comic timing was sharp and intelligent. Mr. Place’s absurd fox/box ‘disclosure’ was comedy gold, with the joke landing perfectly because of his ridiculously earnest delivery. His hilarious facial expressions and excellent physicality made this a very strong comedic performance all round.  Serena Salmon might well have been born to play Morticia Addams. This was a commanding performance full of precision, poise and intelligent understanding. Ms. Salmon had the audience in the palm of her hand, hanging on every cliché, as she held everyone’s attention with her quiet intensity. Her physicality was exceptionally good. Every movement appeared intentional and full of purpose as she radiated serenity and strangeness. She was vocally superb, always focused on character. ‘Death Is Just Around the Corner’ was a masterclass in understated comedy and characterisation. Focus was always on the words and telling her joyful story of impending doom. In short, it was a performance that wouldn’t have been out of place on a professional stage.  Ríona Keogh delivered a very strong performance as Wednesday Addams. Wednesday is a deceptively difficult role to play. However, Ms. Keogh managed to balance the deadpan intensity with her teenage angst and did so with clarity and confidence. ‘Pulled’ wasn’t just played for comedy. Ms. Keogh understood the nuances of Wednesday’s ‘horrific’ situation; falling in love but confused by how thrilling it actually is. Vocally, it was effortless, with great control, superb diction and clever phrasing.  Physicality was very strong and Ms. Keogh had a great physical awareness on stage. Her scenes with Lucas were deliciously awkward, yet believable.  Seán O’Callaghan may only be 12 years old but his bio would leave most of us in the shade. This very talented young man brought all of his experience to the role of Pugsley and what a performance it was. His composure, clarity and intelligence as a performer was well beyond his years. He was mischievous and delightfully odd, just as he should be, and he performed with a natural ease that made him an audience favourite from the start. ‘What If?’ was excellent, delivered beautifully with intelligent phrasing. Seán was so tuned into the narrative. He listened onstage, reacted truthfully, and never tuned out, even in busy ensemble scenes.  Eoin Salley’s Fester was eccentric and whimsical and the audience loved him for it! He was the perfect blend of warmth and mischievous energy. Mr. Salley’s facial expressions were quite hilarious, ranging from childlike innocence to lovestruck yearning. ‘The Moon and Me’ was especially touching. His impressive vocal really suited the song, bringing out its absurdity without overegging the joke. Mr. Salley had a superb physicality which really added to his quirky characterisation.  Rosaleen Nolan gave a wildly chaotic and hilarious performance as Grandma Addams, stealing many scenes with her anarchic mischief and natural comedic flair. Her unexpected rendition of ‘Pink Pony Club’ was a joyfully absurd moment that underlined her eccentricity and lack of filter. It’s a part that can often be overplayed for laughs but it was in safe hands with a skilful comedienne of Ms. Nolan’s calibre. Her physicality and stooped movement were excellent.  Julie Donnelly delivered a very funny performance as the tightly-wound, Alice Beineke, with a penchant for rhyming. She never slipped into caricature but was quirky without becoming cartoonish. Her performance of ‘Waiting’ was a comic highlight. Her breakdown, as she unravelled spectacularly across the dinner table was hilarious. Her scenes with Mal were very well played and their dysfunctional marriage provided much hilarity.  Paul Laycock was very strong as Alice’s uptight husband, Mal. Vocally, he had a clear, resonant tone that suited Mal’s stoic personality. Mr. Laycock’s strength lay in his ability to allow Mal’s rigid exterior to crumble gradually over the course of the evening; an emotional thawing of sorts. It was a well-judged, understated performance, nicely balanced against the manic, surreal world around him. The very talented Dan Whelan was charming and instinctively funny as Lucas Beineke. His performance was earnest and awkward in equal measure, making his character both goofy and sincere at the same time. Mr. Whelan is a natural comedian. His hilarious reaction to Morticia’s up close and personal greeting was a brilliant mix of panic and utter bewilderment. His facial expressions were pitched just perfectly. His vocal performance in ‘Crazier Than You’ was superb. His chemistry with Ms. Keogh was another strong point. They worked exceptionally well together, creating a refreshingly believable but awkward relationship.  As the vertically unchallenged Lurch, Eddie Brady’s movement was hilariously slow and overly considered. His consistently slow physicality throughout the show was most impressive and this became one of the production’s best visual gags. Facial expressions were quite hysterical at times. Mr. Brady’s extended ‘monologue’ explaining Lurch’s origin story to the Beinekes was a comedic highlight of the entire production. Vocally, he delivered one of the most memorable moments of the evening in ‘Move Toward the Darkness’. Just glorious!  The ensemble, a motley crew of ancestors, was a very central part of the show’s ‘Día de los Muertos’ vision. Their commitment to this idea was undeniable. Vocally, they were consistently strong with excellent choral work and attention to dynamics throughout.  Choreography was performed with wonderful energy and discipline. However, the choice to have the ancestors so animated during dialogue did present challenges. The ensemble’s ongoing background business, mimed conversations, jogging on the spot and continuous gesturing were carried out with commitment but often pulled focus during dialogue. That said, when the ensemble’s movement was more in tune with the narrative, the effect was powerful.  Marie Cusack’s steady hand as stage manager was always evident, even though crew were never seen and there were no set changes, as such. Furniture and other pieces were moved by cast in a very theatrical and highly efficient manner. The show’s clean momentum was clearly due to excellent coordination and collaboration between director and stage manager. It ran seamlessly from start to finish.  The set for this production was most striking with its ‘Día de los Muertos’ concept, embracing warmth, colour and cultural symbolism. The central wooden staircase, was very strong visually and provided many interesting staging opportunities. The terracotta walls gave a distinctly Mexican flavour, in keeping with the theme. The altar-style table was a nod to ofrenda traditions and fittingly doubled up as the Addams dinner table. I did feel that the vibrant colours,  whilst beautifully conceived and created, diluted the darker, comedic edge of the material. Overall, however, the set was beautifully presented and reflected the intended theme perfectly.  Lighting played a huge role in creating a world that was brighter and more colourful than most versions of the show. Within the theme, it worked very well. Haze was used to good effect, enhancing beams from moving heads and creating depth, as required. Moving lights were used very well throughout. ‘Tango de Amor’ was particularly impressive, with moving lights complementing the choreography beautifully. Similarly, the brief but sharp ‘snap’ cues during Gomez’s “two things” moments were very well timed, adding to the visual humour.  The sound design for this production was impressive, for the most part. I loved the pre-show sound effects as dripping and spooky organ music contributed to the mood but never felt intrusive. The band was mixed particularly well, a difficult task, given their location under the set and out of sight. Sound effects throughout the show were excellent. The Addams doorbell, the ratchet during Wednesday’s torture sequence, the arrow’s shoot-and-twang were all timed with precision. These effects added great texture. The violin in ‘Happy/Sad’ and the beautiful introduction to ‘Tango de Amor’ were perfectly featured.  Props were a great blend of the show’s usual quirkiness, along with plenty of nods to the ‘Día de los Muertos’ theme. In a show like ‘The Addams Family’, props contribute very strongly to the visual humour and this production was no different.   I loved Grandma’s cobweb-covered pram with its mysterious bottles of ethically questionable concoctions. Wednesday’s crossbow looked great, as did Fester’s rocket. Alice’s guidebook looked delightfully out of place in the Addams world and Lurch’s phone looked like it fitted right in. The ofrenda, with its myriad items of personal value to the deceased, was a prop-laden centrepiece which was very visually striking.  Costumes were a blend of the traditional Addams aesthetic and the ‘ Día de los Muertos' reinterpretation and, in the context of the theme, worked very well, for the most part. The result was lots of colour where more muted, monochrome is typically more common. Principal characters were very well turned out. Morticia’s elegance was reflected perfectly in her costuming and I loved the matador take on Gomez in place of his iconic striped suit. Wednesday’s black dress, gloves and black boots were suitably gothic and Pugsley’s traditional stripes were in keeping with our expectations. I also loved his skeleton pyjamas which were a clever touch. The ancestor costumes were quite the departure from the norm and generally worked very well within the thematic shift.   Each ancestor represented a different historical figure. For the most part, there was good cohesion in the colourful reimagining of the costume plot. However, one neon, luminous outfit appeared to clash with the overall aesthetic and, I felt, could have been toned down.  Hair and makeup design were a visual treat throughout. From the more traditional looks to the reimagined ancestors, there was excellent work across the board in creating a rather spectacular world built around the production’s stylistic choices.   The ancestors’ sugar-skull makeup was a triumph and could have worked equally well in a more traditional Addams production. The marigold flower crowns, with their vivid colours, contrasted nicely with the black and white skeletal makeup, tying in perfectly with the theme. Principals were very well presented. Fester’s excellent bald cap and pale complexion blended perfectly. Lurch’s sunken features added to the visual comedy and Morticia’s sleek black wig complemented her dark elegance. Wednesday’s iconic, gothic look was perfectly captured, right down to her fingernails and Grandma’s wild hair reflected utter chaos.  There is no doubting that Harold’s Cross Tallaght’s production of ‘The Addams Family’ was a dramatic departure from the traditional. I cannot praise the creativity, intelligence and courage enough. Strong performances across a very talented cast contributed greatly to what was a most memorable, thought-provoking production, which fulfilled its primary purpose in providing great entertainment for its audience. Job done! Pat McElwain Sullivan Adjudicator 2025/2026

Review: My Fair Lady - Newcastle West MS

Society name: Newcastle West Musical Society Show name: My Fair Lady Date of attendance: 7 th  November 2025 When I was but a pup, only ten years old, my family moved temporarily to Newcastle West, Co. Limerick, where I spent the final two years of my primary school education before heading on my way to explore the big, bad world. I had never even seen a musical in those days and it would be almost another three decades before a musical society would be formed in the home of Ballygowan spring...

Society name: Newcastle West Musical Society Show name: My Fair Lady Date of attendance: 7 th  November 2025 When I was but a pup, only ten years old, my family moved temporarily to Newcastle West, Co. Limerick, where I spent the final two years of my primary school education before heading on my way to explore the big, bad world. I had never even seen a musical in those days and it would be almost another three decades before a musical society would be formed in the home of Ballygowan spring water. By then, I was long gone from NCW. And so, it was with a genuine pleasure and a sense of nostalgia that I returned to west Limerick to see my fourth show of the season. There are few things that capture the spirit of a community like a musical society putting on a show in a local hall. Newcastle West Musical Society transformed Feohanagh/Castlemahon Community Hall into Edwardian London as they took on Lerner and Loewe’s golden-age classic, ‘My Fair Lady'. Susan Browne, the society’s driving force, wore multiple hats as she took on the roles of director, choreographer, chorus mistress and set designer; an unbelievable feat to keep all those plates spinning! This was a production which wasn’t driven by big budgets or limitless resources but by teamwork and a genuine love for musical theatre. It was a very heartwarming and enjoyable community effort which brought home the reason why this wonderful pastime continues to thrive.  Every effort had been made to create a welcoming and atmospheric space as patrons arrived. The front of house team had clearly gone the extra mile and the foyer was quaintly and subtly decorated to give a flavour of Edwardian London. The welcome was warm and sincere and it was lovely to speak with the show’s director and producer as they spoke enthusiastically about the society’s history and the fact that everyone involved was working voluntarily, apart from the sound department which was hired in.  Susan Browne’s direction was intelligent and careful, for the most part. Her love for the material was clear throughout. She had a good handle on the style of humour required and she guided her cast with a sure hand. Her staging made good use of the space and she allowed scenes to flow naturally and actors to perform with confidence. Pacing was generally strong. Ms. Browne encouraged strong performances from her cast and even drew humour and warmth from the smaller roles. There was a palpable rapport between the performers, a sign of good leadership. The emotional chemistry between Eliza and Higgins was most convincing, hitting just the right dramatic and comic tone. I felt that a few minor things required more attention to detail. Often, it is the smaller things that stand out. The butler told Higgins that Alfred was “downstairs” yet went up the steps when asked to “show him up”. This is a tiny detail but it jarred. Overall, Ms. Browne deserves huge credit. The energy and commitment required to pull her cast and crew together so well in her multiple roles was quite remarkable.  Elaine Davern’s musical direction was resourceful and very impressive, given the scaled-down orchestra used by the society. Five musicians were credited in the programme. However, on the night that I attended, only four were present. Violin, electric bass, and drums were played by a talented trio of volunteer musicians, led exceptionally well by Ms. Davern on keyboard. Ms. Davern covered a multitude, filling in gaps left by the absence of strings, brass and woodwind. There were a few tuning issues in the overture as the violin tried to cover familiar melody lines but there were no noticeable inaccuracies once things settled. That said, it was difficult not to feel the absence of key instruments as some of the score’s colour and texture were inevitably lost. Still, the group deserves great credit for taking on such a mammoth show with limited resources, and for doing so with such obvious passion and skill. Choral singing was full of enthusiasm throughout. The ensemble sound was warm and diction was very good. ‘Get Me to the Church on Time’ had an infectious energy that brought the audience along on the crest of a wave. Solo singing was very strong throughout, with excellent performances from all principals. Overall, whilst the big, familiar orchestrations may have been lacking, there was no shortage of talent and commitment from cast and musicians, which more than compensated. Susan Browne’s choreography was simple but highly effective. Ms. Browne cleverly devised achievable routines suited to her cast’s experience. Dances were so well disciplined and rehearsed, with sharp, synchronised movement impressing greatly. ‘Get Me to the Church on Time’ had great life and energy. One particularly noteworthy thing was how Ms. Browne had clearly instilled strong performance levels and personality in her dancers. There was a palpable joy bursting off the stage as everyone gave their all. ‘The Ascot Gavotte’ was another standout sequence, performed with great rigidity and grace. Again, Ms. Browne’s cast knew the gig and their precision and deadpan movement showed great comedic understanding. The ensemble was clearly aware of their place in the narrative and their commitment to this made even the simplest of routines shine. Dave Wrenne was a wonderful Henry Higgins. He captured both the professor’s arrogance and vulnerability in what was a very considered performance. His timing and characterisation in ‘I’m an Ordinary Man’ and ‘A Hymn to Him’ was brilliantly timed and full of dry humour. Mr. Wrenne intelligence as an actor and his clever command of language made him a natural Higgins. He also had an impressive emotional range. ‘I’ve Grown Accustomed to Her Face’ was one of the highlights of the show, for me. With only Mr. Wrenne on stage, we were drawn into his world, as he gave us a glimpse of a different Higgins; one who was clearly quite vulnerable behind all the bluster. It was a wonderful example of storytelling through song. He brought nuance and maturity to the role, balancing his snobbish exterior with the reality of his loneliness. Overall, a very strong and memorable performance. At just 18 years old, Leaving Cert student Regina Burke’s portrayal of Eliza Doolittle was most impressive. She showed enormous potential and a maturity of performance well beyond her years. Her rich singing voice was beautifully controlled and expressive. ‘Wouldn’t It Be Loverly’ was warm and sincere, whilst ‘I Could Have Danced All Night’ soared effortlessly. Her early scenes had the natural roughness we expect of such a “squashed cabbage leaf”, although I did feel that more needed to be done to perfect the cockney accent. As the show progressed, Ms. Burke evolved so convincingly into the utterly transformed, articulate young woman. She will have learned so much from playing such an iconic role and I have no doubt that the opportunity will arise for her to play Ms. Doolittle for many years to come. Excellent stuff! Dinny Ahern gave us a charming and sympathetic portrayal of Colonel Pickering. His early scenes were especially strong. However, in the second act, I felt that his wonderful accent began to slip on occasion. His presence was warm and engaging and his scenes with Mr. Wrenne provided many of the show’s humorous highlights. Mr. Ahern had wonderful physicality and was very aware of how he stood and moved at all times. His comic delivery was also particularly strong, with his phone call to Scotland Yard showing his comedic skill, in what was a very funny moment. Super work all round. Caroline Walsh was superb as Mrs. Higgins. She was elegant and commanding, taking no prisoners with her no-nonsense approach. Her diction was excellent and she had a very good understanding of pace. Comic delivery was wonderful as she revelled in the role’s dry humour Her rapport with Eliza was excellent and I loved their final scene together.  Paul Moriarty’s Alfred Doolittle was full of personality and charm. His humour and mischievous grin delighted the audience, particularly during ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’. He may not thank me for this but Mr. Moriarty looked every inch the drunken layabout with his wonderful physicality and his deliciously messy costume. He had a powerful singing voice which was most impressive during his big numbers, where his loose dance moves worked perfectly for his character. He had a natural comic touch and never gave in to the temptation of overplaying. A really enjoyable performance from start to finish. Robbie Moriarty was an earnest and appealing Freddy. His performance of ‘On the Street Where You Live’ was one of the high points of the night; well-sung and beautifully sincere. Mr. Moriarty’s fine baritone and wonderful expression brought so much to his characterisation. His sweet infatuation with Eliza was nicely played and he had a light comic touch which endeared Freddy to us from his very first appearance.  Dolores Broderick was a steady, sensible presence as Mrs. Pearce, Higgins’s long-suffering, Scottish housekeeper. She balanced humour and authority well, particularly in her early exchanges with Higgins. Her clear diction and delicious accent added much to the role and she contributed strongly to group scenes with her fellow servants. Adam Noonan and Brian Burke were a most talented duo as Alfred’s sidekicks Harry and Jamie. They bounced very well off one another and brought wonderful energy and expression to all of their scenes. They shone in the bigger production numbers and played very well against Mr. Moriarty. The ensemble played a big part in bringing the show to life. With a mix of ages, they showed great energy and commitment, especially in the big group numbers. I was very impressed with the younger performers who really stood out for their enthusiasm and willingness to throw themselves into the action. The experience gained by these younger performers will, no doubt, ensure future success for the society for another sixteen productions and beyond. There was great energy in numbers such as ‘Get Me to the Church on Time’ and ‘With a Little Bit of Luck’. Choral numbers were very well performed and the overall impression was one of great enjoyment being had by all.  The set design was a great example of the triumph of imagination within limits. Multiple locations were achieved with minimal fuss. The action was framed by four large marble pillars, which were very nicely painted. The trucked, upstage book flats worked very well, giving us the exterior scenes in Covent Garden, then reversing to reveal the wallpapered interior of Higgins’s study. The steps leading off gave an added dimension to the house. It was a very clever design which allowed for fluid scene changes. The Old Inn was an impressive piece, with its large double doors and well-painted signage. Ascot was very cleverly realised with the bunting hanging from the centre-mounted pole and the white picket fencing. My only quibble with this scene was the visibility of the lights and cables in front of the cyc. The front door of Higgins’s residence was wonderful and I particularly loved the detail of the lamp inside the door, giving a real sense of a lived-in space. I loved the very simple but effective draped entrance to the Embassy and the transformation to the garden was very well realised with the picket fencing and trellis. Nice work from all involved. Stage management, under the direction of Tom Madigan and Maurice Nunan, was impressively efficient. Scene changes were executed quietly and smoothly. Crew members moved with purpose and efficiency at all times. One or two small glitches (that stage right tree proved challenging at times) were quickly forgiven. ‘My Fair Lady’ is such a tricky show to stage manage, as we jump back and forth between the study and exterior scenes. It has the potential to descend into chaos and disrupt the rhythm of the show. Not so on this occasion. Well done to all. Lighting was the weakest technical element of the production, although it was clear that the issues arose more from limitations of equipment than lack of effort. The main problem was a lack of consistent front light, meaning faces were often lost in shadow, with particular ‘dark spots’ being very noticeable throughout the performance. Cueing was also an issue at times. The large white cyc, though used to create colour washes, didn’t always deliver the required atmosphere. In particular, there were missed opportunities during the servants’ “Poor Professor Higgins” sequences, which could have benefited from a more theatrical or isolated lighting treatment.  Sound was generally very good throughout. One of the advantages of not having a full orchestra was that cast weren’t competing with musicians and it was a much easier mix for the sound department. The balance between singers and musicians was very well maintained. Dialogue was very clear, with appropriate EQ levels. Cueing of microphones was generally solid. The hall’s acoustics could have been challenging but good mixing ensured that this was well handled. Overall, a well-managed and professional job. The props department had been busy and most resourceful. From flower baskets in Covent Garden white garden chairs at Ascot, when things were good, they were very good. There were a few exceptions though. Men ‘drank’ from empty beer bottles and Pickering’s newspaper had colour advertisements and photographs as well as crosswords. (crosswords didn’t appear in British newspapers until the 1920s) These kinds of details matter. That said, there were also some very impressive and authentic pieces, such as the phonographs in Higgins’s study, Pickering’s pipe and the trolley with its various decanters. Overall, a really good job, with props adding realism throughout. For the most part, costumes were well sourced and presented. However, there were some inconsistencies. Modern footwear occasionally broke the illusion, and the maids’ uniforms, which were cut above the knee, were rather ‘un-Edwardian’. Similarly, Alfred Doolittle’s costume shop top hat took away from his otherwise polished wedding attire. Freddy’s slim fit trousers in Act 2 were far too modern looking. All of that said, the costumes generally supported the storytelling very well and the audience’s enjoyment was in no way diminished by these minor issues.  Hair and makeup weren’t always consistent with the era. Principals were, generally, well presented. However, I felt that some of the ensemble ladies, both in Covent Garden and as servants, appeared too modern in their choices, with bright red lipstick and contemporary eye shadows jarring somewhat. Simpler, softer tones would have been more in keeping with the Edwardian era. Hairstyles didn’t always sit comfortably in the setting, with some modern hairstyles (Freddy’s in particular) taking away from the visual authenticity. Newcastle West Musical Society’s ‘My Fair Lady’ was a wonderful example of what volunteer-driven community theatre can achieve with passion and raw talent. It was clear that this was a labour of love for everyone involved, especially Susan Browne, whose heart and soul had gone into every aspect of the production. It was a production that wasn’t all about professional polish but about people coming together to celebrate a common passion. With a little investment in technical elements and continued nurturing of young talent, I have no doubt that this talented society will continue to go from strength to strength.  Pat McElwain Sullivan Adjudicator 2025/2026

Review: Jesus Christ Superstar - Odd Theatre Company

Society Name: ODD Theatre Company Show Name: Jesus Christ Superstar Adjudicator Date of Attendance: 25/10/2025 ODD Theatre Company’s Jesus Christ Superstar was an electrifying and profoundly creative reinvention of Andrew Lloyd Webber and Tim Rice’s iconic rock opera. Performed in an intimate venue, this production stripped the show back to its emotional core while amplifying its raw, visceral energy. The company’s decision to stage it as an actor-musician production proved a stroke of...

Society Name: ODD Theatre Company Show Name: Jesus Christ Superstar Adjudicator Date of Attendance: 25/10/2025 ODD Theatre Company’s Jesus Christ Superstar was an electrifying and profoundly creative reinvention of Andrew Lloyd Webber and Tim Rice’s iconic rock opera. Performed in an intimate venue, this production stripped the show back to its emotional core while amplifying its raw, visceral energy. The company’s decision to stage it as an actor-musician production proved a stroke of genius, an audacious concept that fused performance and instrumentation into a single, organic storytelling language. The result was not merely a retelling of the Passion, but a living, breathing act of theatre: unpredictable, deeply human, and often spellbinding. From the moment the audience entered the space, it was clear that something special was about to unfold. The industrial, stripped-back set, set an anticipatory mood. The atmosphere was charged, the space brimming with creative tension.  Director Cian O’Dowd demonstrated both bold imagination and technical mastery in a production that managed to feel intimate yet epic. His actor-musician concept was perfectly suited to the piece: the performers not only acted, sang and danced, but also played their own instruments, weaving the score into the storytelling. It was a seamless merging of form and function that made every beat of music feel personal, every lyric grounded in lived emotion. The decision to place the High Priests on an elevated platform, instruments in hand, was a particularly inspired image. Watching them look down on the action, sometimes descending to interfere, like sinister puppet masters, gave a chilling sense of omnipresent control. This visual idea of manipulation and hierarchy ran through the entire staging, a testament to Cian’s precision in visual storytelling. Despite the small space, the production never felt confined. Movement was purposeful and fluid, transitions were beautifully timed, and each scene bled effortlessly into the next. The relentless drive mirrored the inevitable path to Jesus’s crucifixion, creating a sense of building intensity that was both thrilling and harrowing. Cian’s decision to cast women in several traditionally male roles was handled with intelligence and care. Rather than drawing attention to itself, it expanded the story’s humanity and power dynamics, offering new shades of authority and empathy. Similarly, allowing Jesus and Judas to accompany themselves on piano and guitar during key moments lent a disarming intimacy, music literally became their means of prayer, reflection, and doubt. The choice to end without a Resurrection was bold but entirely fitting. The production’s emotional crescendo reached its peak with the crucifixion, and to follow that devastation with an epilogue of hope would have diluted the intensity that had been so carefully built. The silence that followed the final moments felt both reverent and devastating. Every detail of the character work was carefully considered. Performers who played multiple roles were distinct and unrecognisable from scene to scene, a credit to sharp direction, attentive costuming, and a company entirely committed to storytelling. This was direction of exceptional maturity: emotionally intelligent, conceptually brave, and beautifully executed. The dual musical direction of Keelin Kilduff and Cian O’Dowd was nothing short of extraordinary. To have a cast not only perform one of musical theatre’s most demanding rock scores but do so while playing the instruments themselves required monumental discipline. The level of preparation and musical understanding was astonishing. Vocally, the small ensemble achieved a remarkably full and balanced sound. Harmonies were rich and well-blended, and even when the cast were in constant motion, their tuning remained precise. The vocal energy sustained throughout the piece gave the score new texture and freshness. Under the assured leadership of Ben Cooke, the onstage musicianship was thrilling. Rather than hidden in a pit the onstage musicians enhanced the sense of immediacy, reminding us that music itself was the driving force of the narrative. Though the lack of clear sightlines occasionally caused slightly uneven entrances, these moments were fleeting and forgivable given the complexity of the setup. Sound balance was generally excellent, though the keyboards sometimes overpowered the vocals, particularly in quieter, more introspective moments. In such a small space, a touch more restraint could have brought greater clarity to the lyrics. Nonetheless, the sonic landscape created by the cast was breathtaking. The energy, precision, and passion of the music gave the production its heartbeat. Áine Foley’s choreography complemented the production’s intensity with sharpness and intelligence. Working in a limited space, Aine created movement that felt dynamic yet never cluttered. Her use of upper-body choreography kept the action alive without overwhelming the space. Every movement had purpose; nothing was gratuitous. The choreography worked hand-in-hand with the music, underlining shifts in tone and emotion rather than decorating them. The “Superstar” number was a particular highlight, fizzing with energy and precision. A touch more consistency in energy among the featured dancers would have tightened the impact further, but overall Aine’s work was inventive and deeply effective. At the centre of the production was Adam Trundle as Jesus. His portrayal was thoughtful and technically accomplished. His musicianship was evident from the start; his piano and guitar work added an emotional layer that grounded the character’s spirituality in humanity. His Jesus was quiet and reflective, more philosopher than zealot, though this understated approach occasionally came at the cost of magnetism. The charisma that drives others to follow him was understated rather than commanding. In Act Two, Adam’s restraint paid off: his anguish and exhaustion in the final scenes were more moving. As Judas, Liz Stears gave a performance of stunning intensity. From her first moments on stage, she exuded purpose and turmoil. Her voice, powerful, gritty, and precise, cut through the space, but it was her emotional control that truly elevated the performance. Liz conveyed the inner conflict of Judas with nuance and pain, allowing us to understand rather than simply judge him. Her renditions of “Heaven on Their Minds” and “Superstar” were electrifying. Emmagene Cooke’s Mary Magdalene broke from the usual softness of the role. Her Mary was strong, pragmatic, and self-assured, yet capable of moments of piercing vulnerability. Her belt voice was formidable, though occasionally a gentler tone might have brought additional emotional variety. Her raw, grief-stricken cries during the crucifixion sequence were unforgettable, haunting and heart-wrenching in their authenticity. Orla Williams’s Simon Zealotes radiated energy and devotion, her dynamic presence commanding the stage in her titular number. Gearóid McGauran’s Caiaphas was a study in restrained menace, his deep voice and deliberate movements giving him the authority of a figure who wields quiet but absolute power. Both offered performances rooted in clarity and control. Among the supporting cast, Cormac Malone delivered a nuanced and compelling Pilate, capturing both the public and private sides of a man burdened by moral conflict. His “Pilate’s Dream” was tender and tormented, while his later scenes were chillingly composed. Cormac Dredge’s King Herod took a dramatically different approach from the usual flamboyance, offering a darker, more sinister take that leaned into grotesque humour and violence, a fascinating, unsettling reimagining. Conor Kilduff’s Annas brought poise and precision, his singing confident and smooth, while Daniel Ryan as Peter gave a heartfelt portrayal that charted his faith and fear with sincerity. His duet with Mary in “Could We Start Again Please” was beautifully judged, a brief but emotionally resonant moment of stillness in the chaos. The ensemble were the unsung heroes of this production. Their ability to juggle singing, acting, and live musicianship while maintaining tight ensemble unity was extraordinary. Their harmonies were lush and balanced, and they maintained unwavering focus throughout. In a show where every performer was visible and constantly active, their consistency was commendable. A few smaller scenes might have benefited from slightly more even energy across the group, but overall, this was a company functioning as a single, cohesive organism. Stage Manager Clodagh Donnelly ensured a smooth, professional flow throughout. With minimal set changes, precision was key, and everything, from prop handling to transitions, was executed flawlessly. The design work was striking. The graffiti-covered platform evoked both the ancient and the post-apocalyptic, creating a world that felt timeless. It placed the story in a symbolic no-man’s-land, part rock concert, part wasteland, part temple. The layering of levels allowed for clever visual storytelling, giving status and hierarchy clear physical form. Lighting design was effective and expressive, using shadow and silhouette to great emotional impact. The betrayal and crucifixion sequences were particularly powerful, the light sculpting the actors into haunting, painterly compositions. The only minor drawback was an overuse of one chase effect that occasionally distracted from the action. Sound design was mostly excellent, managing the unusual blend of live instruments and vocals with skill. Some moments, particularly those dominated by keyboard, could have benefited from a gentler mix, but overall, the sound supported the intensity of the score without overwhelming it. The costume design leaned heavily into a Mad Max-inspired aesthetic, gritty, torn fabrics, leather textures, and asymmetrical cuts that gave the world a sense of decay and defiance. Each character carried their own colour palette, defining personality and allegiance while maintaining cohesion. The “Superstar” costumes glittered with celestial light, a striking contrast to the earlier grunge palette. Judas’s continued black attire provided a poignant visual reminder of her isolation. The only visual inconsistency appeared in Herod’s chorus, whose costumes wavered between sparkle and grit without committing to one direction. Make-up and hair design were outstanding. The apostles’ tribal markings added unity and identity, while the ghostly, pale faces of the High Priests gave them an eerie, otherworldly aura. Every visual element reinforced the story’s tone and atmosphere. The Front of House team handled the evening with the same professionalism that characterised the performance itself, welcoming, organised, and attentive. Their calm efficiency ensured a smooth-running night, while their evident enthusiasm mirrored the infectious energy emanating from the stage. ODD Theatre Company’s Jesus Christ Superstar was a remarkable achievement, fearless, inventive, and emotionally searing. It was a production that challenged both its performers and its audience, stripping away the expected polish of the musical-theatre canon to reveal something raw and immediate. The integration of live instrumentation elevated the piece from a musical to an experience, a total immersion in sound, story, and emotion. Ultimately, this Jesus Christ Superstar stood as a testament to what can be achieved when ambition is matched by talent and discipline. ODD Theatre Company have proven themselves once again to be fearlessly creative, artistically intelligent, and unapologetically original. Photos by Liam Mullen

Review: Made in Dagenham - Tullyvin MS

Public Adjudication Society name: Tullyvin Musical Society Show name: Made in Dagenham Date of attendance: 18 th  October 2025 There is something so uplifting about amateur musical theatre produced by local, community-based groups. There is a palpable passion and sense of togetherness as collective energies come together to create a unique, shared experience for performers and audiences alike. Tullyvin Musical Society’s ‘Made in Dagenham’, performed at Tullyvin Community Centre, was exactly...

Public Adjudication Society name: Tullyvin Musical Society Show name: Made in Dagenham Date of attendance: 18 th  October 2025 There is something so uplifting about amateur musical theatre produced by local, community-based groups. There is a palpable passion and sense of togetherness as collective energies come together to create a unique, shared experience for performers and audiences alike. Tullyvin Musical Society’s ‘Made in Dagenham’, performed at Tullyvin Community Centre, was exactly that kind of evening. Life imitated art, as cast and crew pulled together and supported one another, in difficult circumstances, to achieve something they believed in, just as the Dagenham Ford workers had done before them back in 1968. Based on a true story, ‘Made in Dagenham’ poses many challenges for any society. A myriad fast-changing locations, challenging music, and the need for sharp comedic delivery keep the cast and crew on their toes from start to finish. Tullyvin Musical Society faced these challenges head-on, mirroring the very spirit of solidarity at the show’s core. The beautifully decorated foyer set the perfect tone for the evening. As we entered the community centre, we were immediately immersed in the world of the show. Great effort had gone into the atmospheric décor and the front of house team’s 1960s-themed attire. It was a nicely nostalgic touch. There was something very special about the genuine, warm welcome which was extended to everyone with such enthusiasm and efficiency.  It was clear that Tullyvin’s front of house team had thought carefully about audience experience.  Aoife Shalvey made her directorial debut, having worked as Assistant Director for the society’s last production. And what a show to take on as a first-time director! Ms. Shalvey had a good awareness of pace, ensuring that the show moved along in a fluid, entertaining way throughout. She balanced comedy and conviction well and she had a good handle on the show’s tone. She embraced the humorous tone without losing sight of the emotional core of the show. It was an impressive debut and Ms. Shalvey will have learned a great deal from the experience. A bit more attention to detail would have brought this production to another level. Of course, that will come with experience and Ms. Shalvey has a bright future ahead as a director.  Dave McGauran’s musical direction was nothing short of excellent. From the first bars of the overture, the audience was enthralled by the precision and gusto of his very accomplished eight-piece band, which was impressively well-balanced and never overpowered the cast. The wide range of styles was very well handled, from rousing anthems like ‘Everybody Out’ to poignant ballads such as ‘The Letter’. Vocal dynamics were generally very good. Harmonies in ‘Made in Dagenham’ were nicely balanced, even if the male chorus ran slightly ahead of the band in their excitement. The ensemble sound in ‘Pay Day’ and ‘Viva Eastbourne’ was raucous and energetic, adding greatly to the narrative context. There was a very strong rapport between the pit and the stage overall. Underscoring was exceptionally well handled, with the band level being pulled right back, where required, to ensure that dialogue was always heard. Excellent work all round. Aisling Rountree’s choreography was inventive and full of purpose, always driving the narrative. Ms. Rountree has a keen eye for creating routines that feel organic to the world of the show and her ability to tap into the heart of the story was very clear. All of the factory floor sequences worked very well. Routines were well-rehearsed and precise whilst still maintaining the raw energy required. I loved the guys in the titular number with their industrial energy perfectly matching the setting. Their use of props, such as tyres and torches was great fun. ‘Cortina’ was a comic highlight, poking fun at 1960s advertising with the cheesy performance style of the ladies and the equally cheesy, gyrating Cortina Man. The routine was slickly staged, funny and very well performed. There was great unity and power in ‘This Is What We Want’ and ‘Always a Problem’ was quirky and fun with Harold and his aides. ‘This is America’ was suitably precise, with its well-rehearsed military exercises and there was lovely work from the two majorettes and their twirling batons. ‘Stand Up’ was uplifting and organic in its movement, leaving anyone with a pulse feeling a heartfelt sense of togetherness and solidarity. A super job from Ms. Rountree. At the centre of the production was Andrea Fitzpatrick’s strong performance as Rita O’Grady. This was a convincing portrayal with Ms. Fitzpatrick demonstrating great emotional depth and vocal power. There was humanity to Ms. Fitzpatrick’s interpretation of the role that was most compelling. Her Rita felt very real. She was warm and witty, endearing herself to the audience from the start. She demonstrated considerable strength throughout the show but managed to balance this with some lovely moments of vulnerability. Vocally, Ms. Fitzpatrick was very strong. Her performance of ‘Stand Up’ was an emotional high point of the evening. Her powerfully delivered speech segued into the song with conviction and passion that literally encouraged everyone to “stand up”. An impressive performance all round. Enda Gill gave a heartfelt performance as Rita’s husband, Eddie. He played Eddie’s struggle to adapt to the changing world around him with great sincerity. Mr. Gill had a fine comic touch and a natural stage presence which made him instantly likeable. This made his inner conflict all the more poignant. ‘The Letter’ was one of the highlights of the show, performed with heart wrenching sincerity and well-judged emotion. Mr. Gill’s scenes with Ms. Fitzpatrick were very well paced, capturing all of the complexities of their relationship, from the tenderest moments, to the heartache, to their eventual reconciliation.  Pamela McCormack was quite the scene stealer as the irrepressible, often foul-mouthed, Beryl. Her peppering of expletives into almost every interaction, was a source of great hilarity. Ms. McCormack’s comic timing was strong and her energy lifted every scene she was in. She didn’t overplay to the point of caricature, thus ensuring that we never lost sight of Beryl’s humanity. She was vocally strong and added much to the ensemble numbers. A very entertaining portrayal. Emily Smith gave a quietly understated performance as Clare. Ms Smith played the role with an endearing sincerity. ‘Wossname’ showcased her fine soprano voice, as she belted out one of the most entertaining numbers of the night. She did well at capturing the character’s vulnerability and determination. I did feel that more work could have been done with the director to help push Clare’s quirkiness and comedic side. This could have elevated a very good performance to an excellent one.  Only seventeen years old, Aiveen Sexton was charming as the wannabe airline pilot, Cass. Her sincere delivery and optimistic outlook endeared her to the audience from the outset. Ms. Sexton was a beacon of quiet hope throughout, in total contrast to Beryl and her tougher, more vocal colleagues. Vocally, she contributed well to the strong ensemble sound and she had excellent presence during choreographed numbers. It was a well-judged performance which highlighted great potential for future productions. Alannah Pepper did very well in the role of Sandra. She had strong comic timing and clearly understood the tone of the show very well. Ms. Pepper balanced the glamour and the grit of her character nicely, making Sandra more than just comic relief. Her friendship with Rita felt natural and warm. Ms. Pepper had very good stage presence and natural timing, which suggests wonderful potential for leading roles in future productions. Vocally, she shone in ensemble numbers, demonstrating impressive range and a great sense of musicality. Her range was slightly stretched at the end of ‘Everybody Out’ but that isn’t surprising, given that it was the second performance of the day, at the end of a week’s run. ‘Veteran’ society stalwart, Jackie McQuillan, played veteran union stalwart Connie, bringing a commanding presence and gravitas to the stage. Ms. McQuillan played the role with a no-nonsense attitude and a dry wit which contrasted nicely with the younger factory workers. ‘Same Old Story’ was delivered with genuine emotion, in what was a very moving and understated performance. Her warm connection with Rita was both believable and touching.  Liam McEnerney provided much levity as Harold Wilson. His caricature of the Prime Minister bordered on farcical but it was very funny indeed. From his silly mannerisms to his often salacious asides, Mr. McEnerney enjoyed every scene he was in. There was good comedic chemistry between himself and Barbara Castle and ‘Always a Problem’ was most entertaining. He didn’t always nail Harold’s Yorkshire accent. However, this was easy to forgive, given how much fun he brought to the production. Gemma O’Reilly was a strong, “fiery” Barbara Castle. She had a great mix of authority and comedic timing which made her an audience favourite from the start. She had a fabulously expressive voice and her performance of ‘Ideal World’ was a musical highlight of the evening.  Brian Feerick demonstrated great comic timing in the role of Monty and his early scenes with the girls on the factory floor were very well played. His reactions and facial expressions as the girls laid it on the line during ‘This is What We Want’ were very funny. But it was his hospital scene with Rita, after Connie’s passing, that showed Mr. Feerick’s real skill as an actor and his excellent emotional range.  Paula McEntee’s Lisa Hopkins was a well-realised portrayal. The plant manager’s wife was an unlikely but essential ally for Rita and Ms. McEntee did very well as her quiet admiration grew and her warmth and support for her husband’s adversary became stronger.  Eugene Hill played Mr. Hopkins with comic frustration and bluster that made him instantly likeable. His rather desperate focus on keeping the American overlords happy was very funny and he managed the fine line between authority and silliness very well.  Colm Shalvey gave a larger-than-life performance as the cigar-chomping executive Mr. Tooley. This was a very entertaining portrayal of the American corporate villain, full of arrogance but with a good comic edge. Mr. Shalvey had a very strong voice and ‘This is America’ was sung with the authority of a man enraged at finding a group of working-class women standing in his way.  The younger O’Gradys, Sharon and Graham, were delightfully portrayed by Zoe Hannigan and Tighearnán Ó Maol Tuile. There was a touching innocence to their portrayals, which were grounded in reality as Rita’s family life began to crumble. Tighearnán sang beautifully at the top of ‘School Song’ and Zoe’s recorder playing was very impressive.  The ensemble work was strong throughout, with the factory workers and government aides providing great energy and commitment to the storytelling. Chorally strong, they brought numbers to life with a very good understanding of dramatic context.  ‘Pay Day’ and ‘Viva Eastbourne’ were suitably raucous and there was excellent strength and resolve in the uplifting ‘Everybody Out’ and ‘Stand Up’. There was a real sense that the strength of community offstage contributed greatly to the solidarity onstage.  The set design worked very well for this production. Dominated by brickwork, we had an immediate sense of industrial working-class Britain in the 1960s. The dominating Ford logo on the back wall provided further context, as did the various safety signs. The two side aprons, with steps leading to doors with their cleverly detailed, faded paintwork, provided some nice staging opportunities throughout. The use of two upstage revolves, a tried and tested feature of previous productions of ‘Made in Dagenham’, ensured slick and seamless transitions between the show’s multiple locations. Overall, this was a wonderful use of limited space; flexible, functional and visually appealing. Scene changes were executed very slickly, thanks to stage manager Stephen Hannigan and his well-rehearsed crew. The revolves contributed greatly to the fluidity of these changes. The crew is to be commended for both the timing of these transitions and their quiet preparation of locations when the various ‘rooms’ weren’t visible to the audience. Props and set pieces moved on and off silently and efficiently, a sign of careful planning and strong backstage coordination.  Lighting was an area that I felt needed more creativity and more directorial input. Overall, the design was basic but functional. Creation of atmosphere is paramount when lighting musical theatre and there was a number of missed opportunities in this regard. The ‘throwback’ to Connie joining the Labour Party during ‘Same Old Story’ needed attention. It was in her mind, not in real time, and, as such, required separation and a more ‘other-worldly’ feel. Sudden lighting transitions and unnecessary ‘snap’ cues jarred at times. Slow fades over a few seconds would have complemented moods nicely. Some scenes were very well lit. There was good separation of locations and excellent timing for the challenging ‘Everybody Out’. There was creative use of colour, with the red, white and blue, in ‘This is America’. There was lovely work in creating focus once we got into ‘We Nearly Had It All’. Overall, a basic but functional design, operated very well, which could have benefited from more attention to detail in general. Sound design was very well-managed, with only occasional balance issues in larger choral numbers. The band was particularly well mixed. Dialogue was clear throughout, with suitable EQ levels and cuing of microphones was solid. Sound effects were generally well-chosen and, for the most part, set to appropriate levels. These included all of the factory effects as well as the Liverpool-bound train during ‘Everybody Out’. The feedback when Rita tapped the conference microphone was a nice touch but I felt that the absence of additional reverb on her mic during the speech was a missed opportunity. Very good work overall. For the most part, props, were impressive for a production of this scale. Everything from sewing machines and period telephones to kitchen dressing, such as the cornflakes box and other items, looked authentic and era appropriate, helping to place the action in its historical context. The pull-out ‘profit’ sign worked very well in ‘Always a Problem’ and Graham’s football was perfect. Sharon’s stethoscope was a really nice touch, as were the aides’ mini Union Jack flags. A few things were in need of some attention. Harold’s desk was very underdressed for a busy Prime Minister and the same distinctive red and white chairs turned up in multiple locations.  The costume department did great work in recreating the late 1960s aesthetic. The women’s dresses were evocative of the era and their factory coats were reflective of the industrial conformity of the Ford plant. I felt that Barbara Castle’s dress, as lovely as it was, could have done with some more length to be more ‘politician-like’ and a change of costume for her trip to Eastbourne would have been appropriate. Tooley’s stars and stripes robe and his white cowboy suit were suitably arrogant. The stars and stripes dresses and military fatigues for ‘This Is America’ were excellent choices. ‘Viva’ Eastbourne’ was great fun with good colour choices adding to the celebratory feel.   There was good work from the hair and makeup department too. The 1960s aesthetic was well captured with good attention to detail for hairstyles and makeup colour choices. There were some very well-chosen wigs too; most notably Barbara’s “fiery” do and a very fetching blonde for Cortina Man. Tullyvin Musical Society’s vibrant production of ‘Made in Dagenham’ was everything that amateur musical theatre should be. It captured the beating heart of the Ford workers’ tight-knit community, through the collaboration, commitment, and creativity of their own. It was touching, it was funny and it was uplifting, prompting a capacity crowd to spontaneously “stand up” and show genuine appreciation. A shining example of what happens when a community stands together. 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
Baldoyle Musical Society
Ballinasloe Musical Society
Ballyshannon Musical Society
Ballywillan Drama Group
Banbridge Musical Society
Bardic Theatre
Bellvue Academy of Performing Arts
Birr Stage Guild
Boyle Musical Society
Bray Musical Society
Carrigaline Musical Society
Castlebar Musical & Dramatic Society
Castlerea Musical Society
Cecilian Theatre Arts
Claremorris Musical Society
Cork City Musical Society
Craic Theatre
Creative Minds Productions
Currid School of Performing Arts
DCG Project, The
DCU Drama Society
Donegal Youth Musical Theatre
Drogheda Musical Society
Dunboyne Musical Society
Dundalk Musical Society
Dunmore Musical Society
Encore Performing Arts Academy
Enniskillen Light Operatic Society
Ennistymon Choral Society
Fermanagh Musical Theatre
Fortwilliam Musical Society
Fun House Theatre Company
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 Drama 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
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. MacNissi's Choral & Dramatic Society
St. Michael's Theatre Musical Society
St. Patrick's Choral Society, Downpatrick
St. Patrick's Hall Musical Society, Strabane
Stage Left Youth Theatre
Stage One New-Musical Group (S.O.N.G.)
Striking Productions Carlow
Studio 55 Productions
The Little Sea Musical Society
The Now and Then Production Company
Tralee Musical Society Youths
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
University of Limerick Musical Theatre Society
Wicklow Musical & Dramatic Society
Youghal Musical Society
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