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UPCOMING EVENTS

Jesus Christ Superstar

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27 Apr 2026

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ROCK OF AGES

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1 Apr 2026

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West Side Story

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2 Sept 2026

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Sweeney Todd - The Demon Barber of Fleet Street

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16 Feb 2026

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Hadestown

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24 Feb 2026

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LATEST NEWS

Review: RENT - Muse Productions

Society name: MUSE Show name: Rent Adjudicator date of attendance: 01/11/2025 MUSE’s production of Rent  was an exceptionally powerful and deeply affecting evening of theatre, one that demonstrated not only the company’s immense artistic capability but also their collective willingness to meet this famously demanding musical with honesty, bravery, and emotional intelligence. From the moment the audience entered the space, there was an unmistakable charge in the air, a sense that this...

Society name: MUSE Show name: Rent Adjudicator date of attendance: 01/11/2025 MUSE’s production of Rent  was an exceptionally powerful and deeply affecting evening of theatre, one that demonstrated not only the company’s immense artistic capability but also their collective willingness to meet this famously demanding musical with honesty, bravery, and emotional intelligence. From the moment the audience entered the space, there was an unmistakable charge in the air, a sense that this production would not merely restage Jonathan Larson’s iconic work, but reinterpret it, inhabit it, and live inside its tension, its sorrow, and its hope. It takes a remarkable level of maturity to handle a show that grapples so openly with grief, addiction, illness, poverty, and the fierce, complicated love that defines chosen family. This young company rose to that challenge with astonishing sensitivity. The atmosphere of the production had an organic immediacy that suited Larson’s raw rock-opera score completely. Rather than leaning into gloss or decorative staging, the creative team embraced a stripped-back, emotionally centred approach that placed the performers and the relationships at the core of the storytelling. As a result, the audience experienced a version of Rent  that felt urgent, intimate, and alive. Moments unfolded with the sense that emotions were being discovered in real time, and that energy created a palpable link between those onstage and those watching. At the heart of this exceptional production was the direction of Martin McNelis, whose work was nothing short of extraordinary. What emerged onstage was not simply a polished staging of a well-known musical, but a cohesive, deeply considered artistic statement. McNelis’s use of the thrust stage was particularly inspired. Working in such a format can easily result in fractured staging or blocked sightlines, yet here the space was used with intuitive intelligence. Every angle offered new depth, and the blocking-maintained audience engagement no matter where one was seated. The intimacy of the configuration allowed the emotional reality of the piece to circulate freely, giving the production an immediacy that drew viewers completely into its world. Martin’s attention to character development was equally impressive. Every person onstage felt fully realised, possessing a history and emotional landscape that informed their every interaction. Relationships, whether romantic, platonic, strained, or newly discovered, were handled with rich nuance. The pacing of the production was also superb. High-energy ensemble moments were contrasted with stillness when the story demanded it, creating a natural ebb and flow that carried the audience through the highs and lows of the narrative without ever feeling manipulated. The emotional arcs felt organic, earned, and profoundly human. The seamless cohesion between direction, musical direction, and choreography made the artistic team’s collaboration appear effortless. Musical director Mary-Rose McNally crafted a sound world that honoured both the rock pulse and the tender vulnerability of Larson’s score. The small band produced a wonderfully rich sound, never overwhelming the cast yet offering full support to their vocal and emotional delivery. The coordination between Roger’s onstage musical moments and the live guitar was handled with impressive precision, particularly in the opening sequence, which can so easily go astray. Throughout the show, the balance between band and vocals was finely tuned, allowing every lyric to be heard clearly, essential in a show where storytelling lives in the musical phrasing. The ensemble harmonies were exceptional: warm, well-blended, and confidently sustained. Mary Rose ensured that each vocal moment served the narrative and emotional truth of the story, and the ensemble responded with a unity that felt deeply rooted in shared purpose. Tempos were steady, thoughtful, and always in service to the heart of the moment, guiding the show’s momentum without ever rushing its dramatic beats. Choreographer Jay Molyneux contributed movement that felt inseparable from the storytelling. Rather than layering dance on top of the action, the choreography emerged naturally from the characters’ emotional states. One of the most striking examples was the canon movement in “Will I?”, executed with a kind of quiet transcendence that amplified the collective fear and fragility expressed in the song. The piece rippled with empathy. Conversely, high-energy numbers such as “Rent” and “La Vie Bohème” burst onto the stage with explosive joy and youthful electricity. The energy was chaotic in all the right ways yet always controlled, carrying the frenetic pulse of the characters’ world. Jay demonstrated a sophisticated understanding of when movement should drive the narrative and when it should simply support it, and the ensemble delivered that vision with conviction. Among the principal cast, there was not a single weak performance. Each actor approached their role with sincerity, vulnerability, and a clear understanding of their character’s emotional pulse. Conor McNelis gave a beautifully nuanced portrayal of Mark Cohen, the filmmaker forever one step removed from the world he documents. His performance captured Mark’s longing to belong without compromising the character’s gentle observational quality. Conor’s vocal delivery was effortless and clear, but it was his grounded emotional restraint that made the portrayal particularly compelling, a subtle masterclass in quiet, introspective performance. As Roger, Nathan Canning offered a raw and deeply felt portrayal of the tortured musician battling grief and fear while yearning for connection. His interpretation never once felt melodramatic; instead, it carried an authenticity that made his pain and hesitation profoundly moving. “Your Eyes” was sung with such emotional fracture that the audience felt every ounce of heartbreak woven through his voice. His chemistry with Mimi was electric, tender, and at times turbulent, exactly as the relationship demands. Aoife McNelis delivered an extraordinary Mimi: seductive yet vulnerable, playful yet broken, fighting her way through addiction while clinging desperately to love. Her portrayal was layered with subtle choices that revealed the character’s fragility beneath her bravado. Vocally, she possessed a smoky depth perfectly suited to the role, and her emotional delivery was compelling in every moment. Cian Ryan’s performance as Tom Collins was a standout of exceptional emotional truth. His love for Angel radiated from him with absolute authenticity, crafting a romantic connection that felt painfully real. His grief during “I’ll Cover You (Reprise)” was almost unbearable in its honesty, a quiet, devastating display of heartbreak that left the audience breathless. As Angel, Ethan Doyle lit up the stage with warmth, joy, and emotional generosity. Every choice was sincere, every movement imbued with purpose. His relationship with Collins felt gentle and deeply lived-in, adding a powerful emotional anchor to the production. Aoife Daly’s Maureen balanced comedic flair with a vulnerable emotional core, capturing the character’s contradictions with intelligence and wit. “Over the Moon” provided much-needed levity and was performed with fearless humour. Shauna Byrne’s Joanne complemented her beautifully, grounding the relationship with strength and emotional clarity. Her vocals were rich and assured, offering a compelling counterpoint to Maureen’s chaotic charm. Cillian Fahy’s Benny was sharply defined: smarmy, entitled, and dripping with well-placed charm that always felt slightly too slick to trust. His portrayal added necessary tension to the story, highlighting the moral divergence between him and the group he left behind. The ensemble formed the backbone of the production, lifting every scene with their vitality, specificity, and unity. Each performer crafted a distinct character, making the world feel inhabited rather than populated. Their vocal blend was consistently strong, and their commitment to the choreography, regardless of natural ability, was admirable. They never felt like an extension of the principals but rather an indispensable part of the story’s heartbeat. Stage management, led by Brian Dowling, ensured absolute fluidity throughout. With cast-led transitions, precision was essential, and the team achieved seamless shifts that preserved the emotional pulse of the narrative. The set design embraced simplicity, using the thrust staging and minimal props to create an adaptable, multi-locational environment. This choice encouraged the audience to fill in visual detail while allowing the performers’ relationships to remain central. Technically, the production excelled. The lighting design was atmospheric and deeply evocative, using shadows, colour, and beam direction to heighten moments of intimacy, chaos, or despair. It never distracted from the story but enhanced it with artistic sensitivity. The sound design was flawless, no easy task in a rock musical. Every line, every harmony, every instrumental layer was clear and balanced, creating a sonic landscape that allowed the emotional nuance of the performances to shine. Costumes, hair, and make-up were meticulously conceived, capturing each character’s identity and journey. The ensemble’s transformations were handled with precision, allowing for quick shifts in role that remained visually coherent. Front of House operations contributed significantly to this experience. Patrons were greeted with a sense of warmth and clarity, guided through the space with ease, and welcomed into an environment that felt safe and inclusive, an important consideration for a production so heavily rooted in themes of belonging, vulnerability, and community. The FOH team set the tone beautifully, establishing a sense of calm professionalism that allowed the audience to settle into the emotional terrain of the piece before a single note was played. In every respect, this was a remarkable production, emotionally courageous, artistically cohesive, and performed with rare sincerity. MUSE delivered a Rent  that honoured the soul of the piece while offering a deeply personal and contemporary interpretation, leaving the audience profoundly moved and reminded of the enduring power of community, love, and chosen family.

Review: Beauty & The Beast - BOSCO Drama Group

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm,...

Society name: Bosco Drama Group Show name: Beauty and the Beast Adjudicator date of attendance: 30/10/2025 Bosco Drama Group’s youth production of Beauty and the Beast  offered an evening filled with heart, enthusiasm, and a genuine affection for storytelling that became apparent from the very first moments. Taking on a show of this scale is an ambitious undertaking for any youth company, yet the cast approached it with admirable courage, determination, and joy. What emerged was a warm, colourful, and uplifting performance in which every young person embraced their role with commitment. Even in the occasional moments where confidence wavered or execution needed more refinement, the cast’s passion for performing shone through. They collectively created that special, unmistakable atmosphere unique to youth theatre, one built on community, encouragement, and the sheer thrill of stepping into a story together. At the heart of the show was the directorial vision of Corinna McCaughey, who approached this well-loved musical with thoughtful ideas and a clear sense of story. The production moved smoothly from moment to moment, and the essential beats of the narrative were easy to follow. Corinna demonstrated an understanding of the emotional core of the piece: the contrast between Belle’s vibrant, curious world and the Beast’s lonely, isolated one; the themes of compassion, transformation, and acceptance; and the playful rhythm of the village scenes. She created a production that allowed young performers to explore these elements within a safe, structured framework. There were moments that would benefit from deeper exploration in the future, especially in terms of energy, intention, and character specificity. Some scenes lacked the momentum needed to maintain emotional drive, often because the performers had not yet fully discovered the stakes or objective of the moment. This is completely normal for young actors, and with further coaching in physicality, motivation, and presence, these scenes have the potential to develop into richer, more confident passages. The blocking occasionally presented challenges. Several scenes placed performers upstage, reducing the clarity of dialogue and diminishing the emotional connection with viewers. These choices are excellent teaching opportunities, helping young performers learn the importance of eyeline, positioning, and sharing their performance outward. A few moments, such as the shifting placement of the well in the village scene or interactions that overlooked the balcony seating, created minor visual inconsistencies. With small adjustments, these elements can be refined to strengthen the storytelling even further. Musical direction, led by Aislinn McGinn, brought warmth and beauty to the production. The orchestra consistently provided a rich, expressive sound that supported the cast with sensitivity. Harmonies were well prepared, and the ensemble sang with unity and confidence. Aislinn clearly guided the young performers with care, ensuring they had musical foundations strong enough to carry them through even the more challenging numbers. Transition cues between dialogue and music occasionally felt extended, with underscoring beginning slightly too late or introductions lingering too long after lines had ended. Greater coordination between Director and MD would help tighten these transitions and keep the pacing crisp. Balance between orchestra and cast also presented a small challenge, as the band sometimes overpowered dialogue. This is an entirely common issue for young performers still building projection skills and simply requires attentive collaboration between MD and the sound team in future productions. Despite these minor issues, the musical atmosphere was vibrant and expressive, contributing greatly to the show’s overall charm. Choreography by Ann Marie Morgan elevated the production with creativity, elegance, and an evident understanding of how movement can drive story. Each number showcased clear rehearsal and clean execution, with the ensemble performing confidently and enthusiastically. Several dancers demonstrated notable ability, adding polish and dynamism to the group work. The “Prologue” was particularly striking, skilfully blending movement and narration to introduce the world of the story. “Gaston” was another standout, with clever tankard choreography and a strong sense of ensemble unity. “Be Our Guest,” while lively and colourful, occasionally lost energy in sections, suggesting an opportunity to revisit pacing and structure to sustain the full spectacle the number promises. The wolf scenes incorporated an interesting swaying motif, but the narrative clarity could be sharpened to enhance the sense of danger. Most importantly, the iconic waltz between Belle and the Beast, the moment where their relationship subtly shifts, would benefit from even closer collaboration with the director to ensure the storytelling of emotional progression is fully realised. Still, Ann Marie’s work consistently provided the cast with both structure and expressive freedom, allowing them to shine. Among the principals, Belle, played by Emily Morgan, delivered a truly lovely performance. Her beautifully controlled voice displayed excellent technique, smooth transitions, and a warm, clear tone far beyond her years. Emily’s portrayal was sincere and grounded, capturing Belle’s independence and gentleness with ease. Her calm stage presence and confident physicality contributed greatly to her character’s credibility. She is a performer with enormous potential.  As the Beast, Matthew McKinney displayed a naturally pleasant vocal tone and clear musicality. His voice will undoubtedly grow stronger with age, and the foundations of a compelling performer are already visible. Matthew connected particularly well to the Beast’s softer and more humorous qualities in Act 2, demonstrating charm and vulnerability. The darker, more explosive emotional beats of Act 1 are areas for him to explore more deeply as he continues to develop. “If I Can’t Love Her” would benefit from more grounded stillness and intensity, but the understanding is there, and Matthew’s potential is unmistakable. Patrick McAllister, as Gaston, has a strong voice and a confident presence. With greater exploration of Gaston’s exaggerated arrogance and swagger, he could truly command the stage in this role. Youth performers often need encouragement to embrace the boldness required for such characters, and Patrick is more than capable of doing so. His dynamic with Le Fou was playful and well matched. As Cogsworth, Michael McAteer brought a pleasant vocal tone and gentle presence. His comedic potential is strong, and with more emphasis on the character’s fussy pompousness and a larger physical performance, he could land the humour more effectively. His rapport with Lumiere was promising and will elevate with further playfulness and energy. Mrs Potts, played by Emilia Quinn, offered one of the most polished performances of the evening. Her strong, expressive voice and warm characterisation made both her dialogue and her rendition of “Beauty and the Beast” particularly memorable. Emilia’s confidence and grounding onstage added a lovely sense of stability to the show. As Lumiere, Conor Powell delivered energy, charm, and confidence in “Be Our Guest.” With improved diction, projection, and a greater awareness of not backing upstage, Conor’s natural stage instincts will flourish even more. He clearly enjoys performing and has excellent potential. Among the supporting cast, several performances stood out for their energy, charm, and growing technique. Le Fou, played by Shay Devlin, delivered humour, strong harmonies, and promising comedic instincts. Maurice, portrayed by Ben Furlong, showed warmth and a gentle sincerity, though greater physicality and presence would help establish the character’s age and eccentricity more clearly. Sophia Murphy’s Babette was full of life, strong physicality, and clear character choices. Her accent work was good, though diction and projection should continue to be priorities. Robyn Cunningham’s Madame de la Grande Bouche impressed especially through her elegant vocal tone and will benefit from keeping her head lifted to reveal more facial expression. The Silly Girls, Eabha Monaghan, Molly McNally, and Orla Byrne, were a genuine highlight of the production, offering sass, humour, excellent harmonies, and wonderful stage presence. Jack Doherty’s Monsieur D’Arque could benefit from leaning further into the sinister qualities of the character, while young Aidan McCaughey was utterly charming as Chip. The ensemble was an enormous asset to the production, performing with unity, enthusiasm, and clear enjoyment. Their movement quality was consistently strong, with standout dancers lifting the overall visual impact. Vocally, they produced a warm, blended sound with lovely harmonies. They remained engaged throughout, supporting the principals and driving the larger numbers with commitment. Technical elements contributed significantly to the success of the production. Under the direction of Ruairi Gorman, stage management was exceptionally slick and professional, with smooth transitions and well-handled backstage coordination. The set design was visually stunning, with the stained-glass windows and the library piece standing out as particularly beautiful elements. These design choices added sophistication and depth to the storytelling. Lighting design supported the production well, creating atmospheric scenes and clear storytelling moments. A few cueing issues and follow spot inconsistencies occurred, but these are normal developmental moments for a youth crew. Sound design was generally effective, though balancing the orchestra with young performers remains an area for ongoing attention. No cues were missed, and the overall soundscape complemented the world of the show. Costumes were vibrant, detailed, and well suited to the story, with principal costumes and the “Be Our Guest” plates standing out especially. Some village costumes lacked finishing touches, and the decision to dress village girls as boys was interesting. Hair and makeup were good overall but would benefit from more refinement, particularly ensuring visibility of facial expressions, such as adjusting the Beast’s wig curl, which obscured his face. Before the first note ever sounded, the Front of House team helped establish a welcoming tone for the evening. Patrons were greeted warmly and guided efficiently, creating a sense of organisation and friendliness that helped the audience settle comfortably. For many young attendees and families, these early interactions can be fundamental to their overall experience, and Bosco Drama Group succeeded in providing an environment that felt cheerful, inclusive, and well managed. Their attentiveness supported the production beautifully, ensuring the evening began on a positive and reassuring note. Bosco Drama Group’s Beauty and the Beast  was a heartfelt and joy-filled production, elevated by dedicated young performers, strong musical and visual elements, and a team committed to creating a supportive and celebratory environment. It showcased the developing talents of its cast and offered a memorable evening of youth theatre at its most charming.

Review: Rodger & Hammerstein's Cinderella - KIMS

Society name: Kilmainham-Inchicore Musical Society Show name: Cinderella Adjudicator date of attendance: 29/10/2025 Kilmainham–Inchicore Musical Society’s production of Cinderella  offered an evening of musical theatre filled with warmth, sincerity and a genuine sense of community spirit. Rodgers and Hammerstein’s beloved version of the fairytale is a show that demands equal parts heart and humour, and this company clearly approached it with affection and enthusiasm. From the outset, there...

Society name: Kilmainham-Inchicore Musical Society Show name: Cinderella Adjudicator date of attendance: 29/10/2025 Kilmainham–Inchicore Musical Society’s production of Cinderella  offered an evening of musical theatre filled with warmth, sincerity and a genuine sense of community spirit. Rodgers and Hammerstein’s beloved version of the fairytale is a show that demands equal parts heart and humour, and this company clearly approached it with affection and enthusiasm. From the outset, there was an unmistakable feeling of togetherness among the cast, a sense that everyone involved was committed to creating a magical world for the audience to step into. Even when the production encountered moments that needed further polish, the collective sincerity and energy of the performers ensured the show remained uplifting, engaging and enjoyable throughout. At the heart of the production was director Sharon McNamara’s clear and thoughtful vision. Her approach demonstrated a deep understanding of the show’s charm and gentle humour, and she guided her cast with a firm sense of story and emotional purpose. The narrative moved fluidly from scene to scene, and many character interactions were shaped with nuance and genuine intention. Sharon showed a particular strength in bringing out the comedic elements of the piece. The show’s humour landed confidently, and she encouraged her cast to embrace the playful absurdity that sits at the core of this fairytale. As a result, the lighter moments had a lovely buoyancy, providing the audience with many smiles and moments of amusement. Not every detail in the production received the same degree of refinement, and some moments would benefit from more attention in future performances. Small but noticeable missteps, such as Cinderella placing the ring on the wrong hand, momentarily disrupted the illusion. Larger moments, too, occasionally lacked clarity. For instance, the Prince’s pursuit of Cinderella as she fled the ball felt visually sparse and underdeveloped. While the intention was clear, the staging did not generate the urgency or energy the scene required. The Transformation sequence, one of the story’s most iconic moments, also did not fully achieve its potential. Cinderella’s costume change was executed well, delivering the moment of surprise expected; however, the accompanying staging, introducing the carriage, footmen and horses, was somewhat prolonged and lacked the theatrical flair needed to elevate the scene into something truly magical. These are areas where additional attention to pacing, transitions and creative staging could strengthen future productions. Musically, the show benefitted from the strong leadership of musical director Amy Penston-Hendley. The orchestra delivered a warm and melodically rich performance, honouring the elegance of Rodgers and Hammerstein’s score. The musicians provided a stable and atmospheric foundation, and there were many moments when their playing added depth and emotional resonance to the scenes. However, the musical execution was not without challenges. Some timing inconsistencies emerged, particularly with entrances and mid-song returns, which disrupted the flow of certain numbers. More significantly, the balance between the cast and the orchestra proved problematic. The band often overpowered the singers, making it difficult for the audience to hear harmonies, and sometimes even lyrics, clearly. Given that the musicians were positioned in a separate room, close coordination with the sound engineer becomes essential. A more collaborative mixing approach would help ensure that the cast’s vocals can shine through without being overshadowed by the instrumental sound. Choreographer Bernadette O’Rourke contributed lively, well-considered movement that supported the show’s tone and made effective use of the stage. Her formations were clean and visually appealing, providing dynamic stage pictures that enhanced the overall production. “The Prince is Giving a Ball” was a standout moment in terms of choreography, bursting with energy and offering the ensemble a chance to shine. The waltz, too, brought an elegant atmosphere, even if the execution varied among performers due to differing levels of dance experience. Some choreography did not land as strongly as intended, but the designs themselves were clever, accessible and well-suited to the abilities of the cast. What resonated most in these sequences was the unity and enthusiasm displayed by the performers, who brought a sense of collective joy to their movement even when technical precision wavered. Among the principal cast, several performances stood out for their sincerity, charm and vocal quality. Aimee O’Neill, in the role of Ella, delivered a portrayal that was authentic, warm and wonderfully grounded. She avoided the trap of presenting Cinderella as an overly sweet caricature, instead offering a relatable young woman with emotional depth. Her vocals were consistently lovely, with “In My Own Little Corner” emerging as one of the production’s highlights due to her clear tone and heartfelt expression. Aimee interacted naturally with the cast around her, providing a dependable emotional centre for the production. As Prince Topher, Rory Dignam brought a gentle, slightly naïve charm to the role. His interpretation leaned into the character’s softer qualities, presenting him as harmless and endearing rather than dashing or traditionally princely. This choice, while refreshing, sometimes lacked the spark needed to fully command attention. Vocally, however, Rory’s performance was steady and pleasing, and his duets with Aimee blended beautifully. Sophia Daly was a standout as Madame, delivering a commanding performance that balanced villainy with humour. Her strong stage presence and expressive vocals made her portrayal both compelling and entertaining. She embraced the character’s domineering qualities with gusto, creating one of the production’s most memorable performances. As Marie, Niamh Parkes gave a gentle and effective performance, successfully navigating the dual identity of the unassuming woman and the magical Fairy Godmother. Her transformation was believable, and her calm stage presence contributed nicely to the show’s more mystical moments. Louise O’Connor offered a heartfelt performance as Gabrielle, capturing the character’s internal struggle with sensitivity. Her relationship with Jean-Michel felt genuine, and she brought a quiet emotional weight to her scenes. Nadine Conlon, by contrast, provided much of the show’s comedic sparkle. Her portrayal of Charlotte was vibrant, expressive and wonderfully timed, with “Stepsisters’ Lament” proving particularly memorable. Her facial expressions and spontaneous reactions added consistent humour and ensured she commanded attention whenever she appeared. The supporting cast contributed greatly to the overall success of the production. David Supple, as Sebastian, was a particular delight. His expressive physicality and comedic instincts created a highly engaging performance. Andrew Roche offered a grounded, principled Jean-Michel whose warmth and sincerity complemented Gabrielle beautifully. Meanwhile, Kevin Macken Tierney brought refinement and poise to Lord Pinkleton, enhanced by an excellent accent and a surprising emotional twist that added depth to his character’s role in the story. The ensemble served as the backbone of the production, providing energy, musicality and support throughout. Their vocal blend was strong, and although sound issues occasionally obscured harmonies, their effort and commitment were evident. Dance abilities varied within the group, but what they shared was enthusiasm and a willingness to engage fully in every moment. Their presence added vibrancy to the stage, and they performed with a sense of unity that enhanced the storytelling. Behind the scenes, stage management led by Colum McDaid kept the production running smoothly. Scene changes were handled efficiently, allowing the story to progress without interruption. Set design was particularly well executed, using opening panels and painted backdrop to create an imaginative and visually pleasing environment. The design made the most of the space available and supported the storytelling in thoughtful ways. Technically, the production offered attractive lighting that enhanced the fairytale atmosphere without overcomplicating the visual landscape. Sound was more uneven, with the band often overpowering the vocals, but this is an area that can be improved with stronger coordination. Visually, the costumes were appealing overall, though there were occasional inconsistencies in palette and style. Cinderella’s transformation dress, however, was an undoubted success. Hair and make-up were neat and understated, allowing performers’ expressions to remain clear. Audience members were greeted before the performance by a Front of House team who brought friendliness, organisation and warmth to their duties. Their confident and welcoming manner contributed significantly to the atmosphere as patrons arrived, creating a sense of ease that helped set the tone for the evening. Operations ran smoothly as the audience filtered in, and their professionalism never distracted from the performance; instead, it supported the overall impression of a well-run, community-centred event. In its entirety, Kilmainham–Inchicore Musical Society’s Cinderella  delivered a charming and heartfelt evening of theatre. The production succeeded in capturing the warmth and optimism of this timeless story, buoyed by committed performances and an overarching sense of community. With more attention to technical balance, finer staging details and visual cohesion, the group has the potential to elevate their already enjoyable work to an even higher level. What they achieved here was a show full of joy, sincerity and genuine love for the art form, a reflection of the dedication and passion that define community musical theatre at its best.

Review: Curtains - Boyle Musical Society

*Public Adjudication by Ciarán Mooney Boyle Musical Society Curtains 21 st  of November 2025 Boyle Musical Society drew a full supportive crowd to St. Joseph’s Hall, where the lively murder mystery of Curtains  unfolded in style to an eager community audience who responded warmly throughout the night. During the interval, when asked who they thought had dunnit, several audience members took a stab at guessing, though none predicted the correct culprit. Gasps rose at key plot turns, including...

*Public Adjudication by Ciarán Mooney Boyle Musical Society Curtains 21 st  of November 2025 Boyle Musical Society drew a full supportive crowd to St. Joseph’s Hall, where the lively murder mystery of Curtains  unfolded in style to an eager community audience who responded warmly throughout the night. During the interval, when asked who they thought had dunnit, several audience members took a stab at guessing, though none predicted the correct culprit. Gasps rose at key plot turns, including Georgia’s slip of the tongue, the revelation of the killer, and Carmen’s final moments in front of the curtain. The show won the audience over with its mix of clear characterisation, enjoyable singing, and controlled staging, making for a polished and engaging production. The direction by Karen Gordon was confident, steady, and detailed. The opening Kansas scene, which must pivot mid-action into a different visual perspective, could have been cumbersome, but here it unfolded cleanly. The house curtains were used with purpose, expanding the playing space while hiding the more complex scene changes behind. Placing Aaron’s final verse of I Miss the Music  in front of the closed curtain allowed the next scene to be prepared in secret. Having the dancing girls begin their number in front of the curtain also bought time and blended the action seamlessly. Characters, many of them archetypes from old show-within-a-show traditions, were well-drawn and visually distinctive. The choice to use an actual dead body during The Woman’s Dead  gave the moment a novelty, and a shadow sequence behind a sheet in He Did It  was fun and crisply executed. Overall, scenes landed with the tone and intent required from a solid directorial turn by Ms. Gordon.  Some clump-creating with the crowd work in parts of The Woman’s Dead  created occasional sightline issues. Use of levels helped, but some additional attention to spacing might have eased the cognitive load that occurs when some faces cannot be seen. The fantasy sequence between Cioffi and Niki had charm but just fell short of Broadway-esque dream-like spectacle. This is the sort of moment that could depend on budget as well as creativity. The simpler approach here, though clear, lacked some old-school theatrical magic, such is its intention. Even so, the show as a whole benefitted greatly from Ms. Gordon’s careful control and understanding of the material, and her work was met with clear appreciation from the audience. Musical Director Anne Kielty, doubling as pianist, guided the musicians with ease while providing cues to the singers and musicians with subtle gestures, head-nodding and spine-swaying. The overture was played at a lovely comfortable level as it moved through the various motifs of the show in dream-like fashion. Balance of volume between the band and the stage was excellent throughout, a potential challenge in a venue of this kind. Piano underscoring beneath Cioffi’s end of Act One pontifications added tension beautifully. Principal vocal performances were consistently strong, and the harmonies in the various In the Same Boat  segments were tight and expressive. In keeping with tradition, Ms. Kielty did not take the Act Two opening solo intended for her alter-ego Sasha, giving the opportunity instead to a capable ensemble member. The male vocals in the show’s opening felt comparatively light beside the stronger and more numerous female voices, though this may have been a sound balance issue rather than a musical one. Later moments, such as the saloon scene, showed the men in much stronger vocal form. A few ensemble entrances in the A Tough Act to Follow  sequence at the end of the show were arguably suspect, but these moments passed quickly in an otherwise impressive musical evening. Ms. Kielty’s experience and commitment to the show’s musical direction were evident throughout. Choreographer Eimear Mulvey offered movement that matched the ability of the cast while still adding theatrical flair. Storytelling was kept in focus, and humour was allowed to shine through. The men’s ‘chairography’ in the saloon sequence underlined the innuendo of the lyrics. Adding extra dancers to the end of that number ensured everyone’s involvement, though it did perhaps diminish visual and contextual clarity, without much explanation about where they had come from. Niki and Bobby gave lovely shaping and pirouettes in their much-anticipated dance moment. Cioffi and Niki’s dance duet was sweet and sincere, though the first half felt a touch long without new movement ideas to develop it. Shortening the musical section might have enhanced momentum. During the final In the Same Boat  sequence, some oar carriers blocked the back row of floor performers, creating a slight visual bottleneck. Reordering the groups might have helped to ease this. Still, Ms. Mulvey’s work delivered a confident ensemble that danced with precision and enthusiasm. Iain Howard presented Lt. Frank Cioffi with the aesthetic of a Hollywood movie star in a time gone by. He looked every bit the old-school detective, with all the charisma, charm, and warmth required to create an engaging Cioffi. With some very nice vocalising when he sang, he moved well in his dance with Niki. This is a beast of a script, with long passages of dialogue that receive little support from the action surrounding them. As a result, there were noticeable script-memorisation issues, but Mr. Howard’s likeability and commitment went part of the way to make up for it. His lines were spoken with great intention, nonetheless. Kelly Collins as Carmen Bernstein showed very good timing and rhythms of speech, with a pitch-perfect New York squawk. The line when she calls her husband a “low life” was an example of how she was able to get great laughs from the audience. We saw a slightly unhinged side to her when she threatened to sue everyone in The Show Must Go On. This manic side of her grew in Act Two, where we got a kooky and somewhat unhinged introduction to It’s a Business . The introduction to this number always feels slightly too long, only taking off when the male dancers join. In this version, we got something of a nervous breakdown at the beginning, bringing it to another level, making the character more interesting and lifting what can be a slow-to-start number. This was an excellent turn by Ms. Collins. Janet Glancy as Georgia Hendricks gave an effectively gentle foil to Carmen’s sharpness. The nervousness at the beginning of Thinking of Him  was well measured. She had a lovely, rich, and rounded voice. She harmonised very well with her fellow In the Same Boat ladies. She sang beautifully and her dancing was great. Surrounded by crazy characters everywhere, her acting was sincere, filled with warmth, poise, and an understated strength that anchored the story. Lizi Hannon was characterful and committed as Niki Harris, capturing the slightly ditzy, endearingly bonkers charm essential to Niki’s purpose as the ingénue who keeps both Cioffi and the audience guessing. Her accent was delightful, and the timing of her “I would imagine” was perfect. She harmonised excellently and moved well in In the Same Boat, rounding out a warm, engaging performance. Danny Leonard was honest, sincere, and understated as Aaron Fox. He brought a nice sense of realism to a story filled with whacky characters. He sang I Miss the Music  with tenderness, and his opt-up at the end of his solo showed off his voice. He really came into his own during his sung moments, where we had good energy, articulation, and projection. His musical assurance stood out, though weaving that same intensity into his spoken scenes could elevate the role further. Brendan Reid was camp and leery as Christopher Belling, swigging from a hipflask or glancing at Johnny. His somewhat drunken entrance was a nice touch, his puffing the crowd into their places for the acting exercise was fun, and his moment where he asked Johnny to move the piano was a treat. Very good characterisation overall, and essential comedic moments were provided. Stephen Tighe as Oscar Shapiro, the show’s practical and business-minded producer, was steady and humorous, adding to the very good quartet of What Kind of Man?  Always there by Carmen’s side, he provided consistent characterful support to his fellow actors. A solid turn from Mr. Tighe. Ceara Conlon delivered sharp, lively energy and confident dancing as Bambi Bernét. She balanced ambition and vulnerability, capturing a young performer desperate to prove herself—especially to her mother. She ably fulfilled Bambi’s purpose as an underestimated talent whose determination and flair inject both humour and heart into the story. Harmonies were super in In the Same Boat. Jason Kenny as Bobby Pepper really matched Bambi’s energy during the planning of the dance routine, creating a harmonious pairing of the two actors. Dancing in the square dance number was convincing and well executed, with lovely shaping and an impressive pirouette. His confession about his feelings for Georgia was effective. Enda Regan had very good presence in the part of Johnny Harmon, with a great comedic moment of throwing the clipboard on the floor to take Sydney’s coat, and his hilarious “Say again?” line. Always making the most of his time on stage, his carrying on of the mic and his speaking into it was very funny. This likeability factor was highly effective, and the audience were genuinely sorry to see him die. Conor Hamil was excellent as Darryl Grady. His weasel-like character (typical critic) made a good impact in his cameo appearances. Accent lessons should be made available from this actor, with the accent itself getting the right kind of laughs from the audience. The psycho moment at the end was brilliantly acted, and the production benefitted from having such a strong actor in this pivotal moment. Aoife Tighe as big-name, no-talent Jessica Cranshaw gave us over-the-top squeaky singing, sparing no subtlety in her signalling that Jessica Cranshaw was rubbish on stage, fulfilling the role’s comedic purpose and all of Cranshaw’s ineptitude. When Conor White stepped forth from the ensemble as Randy, he did so with confidence and competence. Special shout-out to Harve, also, who had a very nice low country-and-western speaking voice. The ensemble burst onto the stage for the opening number of the show-within-the-show, and we knew we were in the hands of a committed cast who wanted to sock this musical to the audience. Acting in the opening sequence was suitably over the top, considering the slapstick required. The committed crowd reactions were noticeably strong throughout and were clearly well-rehearsed. Whoopin’ and hollerin’ in the saloon scene never faltered. There was excellent commitment by all as they gathered round the briefcase, and the torch work in He Did It  was super. Special shout-out to Harve, who had a very nice low country-and-western speaking voice. Set design by Wayne Handy embraced the nostalgic theatricality of the piece. The red curtain and golden footlights immediately set a vintage stage picture, and the shadows cast on the curtain later added atmosphere. Charcoal and gold art deco flats framed the story elegantly. The Kansas scene was strongly established, with tall western facades and a bullseye motif, and when the Robbin Hood  set cleared, the brickwork behind it provided a backdrop that soaked up the light beautifully. The saloon interior worked well (being the other side of the Robbin’ Hood  set), though additional decoration (such as shelves with bottles etc.) might have added some additional detail. The waves and boat for the In the Same Boat  finale were visually impressive, despite being needed for a split second. Lighting by Indigo Lighting (and operated by Nigel Cleary and Tom Cleary) supported the production with well-timed cues and atmospheric colour choices. Stabs of light during sudden changes to the music added intensity and the gorgeous Broadway-style bulbs on the flats enhanced several lively moments. A blue wash for Coffee Shop Nights  effectively suggested Cioffi’s solitude on lonely evenings, and the special on Aaron’s final verse gave the moment its own space in front of the curtain. A slight tardy lights-up for Georgia’s rehearsal scene was noticeable but minor and made me wonder for a second how the cueing was working.  Sound, provided by Vinny Higgins of Red House Productions, maintained welcome clarity throughout. Musicians and singers blended well, and levels were comfortable at all times. Recorded applause in Coffee Shop Nights  (by Brendan McGee) evoked the storytelling nicely and the evening’s proceedings were always comfortable and clear to the ear.  Costumes strengthened the show’s period feel with a myriad of gloves, tuxedos, gowns, and gorgeous signature pieces. There was a slight feeling that the principals evoked the era better than some of the chorus, with approximations of the era used to clothe some of those nestled in the background. The saloon girls’ red and black designs were particularly striking and well matched to the complimentary reds in set and lighting. Niki’s dress for A Tough Act to Follow  captured the dreamlike quality of this romantic Broadway-esque number. Hair and make-up successfully evoked the era and impressively added age where needed. Props, especially the crisp broadsheet newspapers, canes (many canes), and oars, complemented the action effectively. Stage management under Enda Commons ensured smooth transitions, with the curtain used cleverly to facilitate offstage movement. The placement of the square dance set was achieved quietly mid-scene and caused no distraction from those speaking on stage. A delay with the rolling sky had a minor technical hiccup, suggesting that it might have been acting up on the night. Front of House operations ran calmly, with efficient crowd flow and well delivered voiceovers, including a very welcome cúpla focal.  The production suited the company well, allowing strong principals to lead while the ensemble supported with commitment and energy. If they continue selecting shows that showcase their particular strengths, audiences will be well served. The performance provided a highly enjoyable night, warmly received by a community clearly proud of its musical society. The production team did a super job. Characterisation among the principals was crystal clear, singing was lovely and the dancing was well-rehearsed. The ensemble were hugely committed and added significantly to a strong frontline. They did it. They did it. They did it very well indeed.

Review: Sister Act - St. Michael's Theatre MS

Society name: St. Michael’s Theatre Musical Society Show name: Sister Act Date of attendance: 19 th  November 2025 There are few modern musicals with a feel-good factor as great as ‘Sister Act’. With its energy, comedy and 1970s Motown-inspired score, there is always great potential for an uplifting, entertaining spectacle. It’s a perfect show for musical societies with a large female ensemble and it gives opportunities to shine to a wide range of ages. St. Michael’s Theatre Musical Society,...

Society name: St. Michael’s Theatre Musical Society Show name: Sister Act Date of attendance: 19 th  November 2025 There are few modern musicals with a feel-good factor as great as ‘Sister Act’. With its energy, comedy and 1970s Motown-inspired score, there is always great potential for an uplifting, entertaining spectacle. It’s a perfect show for musical societies with a large female ensemble and it gives opportunities to shine to a wide range of ages. St. Michael’s Theatre Musical Society, New Ross, embraced the joy with great enthusiasm and charm. For the most part, the evening delivered, with some very strong performances, a really tight orchestra and a wonderfully energised ensemble. There were several shortcomings in lighting and stage management which, I felt, hampered the overall look and flow of the production. These did not eclipse the cast’s obvious talent or the heart of the show. However, they did, on occasion, take away from the storytelling. Nonetheless, enthusiasm and talent compensated greatly, ensuring that the audience was still treated to a very enjoyable night of theatre from a dedicated, hard-working cast. Front of house at St. Michael’s Theatre was busy and efficient. ‘Religious personnel’ kept a close eye on proceedings as the audience entered and used their influence well, in selling programmes and, no doubt, a raffle ticket or two. Front of house volunteers did very well, setting a warm, welcoming tone and ensuring that things moved along as the foyer filled up in the minutes before curtain up. The live front of house announcements were great fun, priming us for what lay ahead, with the “Amen!” call and response getting the audience well warmed up.  Kevin Kennedy’s direction was generally strong. There were many comedic highlights and a good understanding of the show’s heart. There was good work with principals and some fine ensemble work, particularly from the nuns’ chorus members who were always engaged and full of purpose. There was clever use of the downstage left and right apron areas, which allowed for scene changes on the mainstage while action continued. Fluidity between scenes was problematic at times, as was the overall lighting design. It’s a briskly paced show and transitions need to flow as seamlessly as possible to maintain the required energy and momentum. As well as directing the show, the talented Mr. Kennedy was also a valuable orchestra member. I would suggest that, had he been out front observing the show, he would have been better poised to notice the elements which needed attention and could have made the necessary tweaks to elevate this from a good production to a very good production.  Musical direction by Philip Kennedy was very solid throughout. Mr Kennedy had assembled a fine orchestra, providing us with a polished sound that was faithful to the show’s 1970s Motown feel. There was impressive balance within the orchestra and an excellent stage/pit blend, which ensured that singers were always heard, without ever being overwhelmed by the bigger, ‘brassier’ arrangements. Mr. Kennedy’s work with the ensemble was excellent. The nuns’ choral moments, in particular, were absolute showstoppers, with superb harmonisation, dynamics and balance. The Latin chorus, leading into ‘Take Me To Heaven’ was beautifully atmospheric and the bigger dance routines never lost vocal accuracy, despite the very energetic choreography. Solo singing was very strong across the board and the orchestra’s accompaniment was sensitive, when required.  Claire Kickham’s choreography was very well rehearsed and suited the cast’s level perfectly. Creating movement for a large, mixed ability ensemble, which looks synchronised and impressive, is a real skill and Ms. Kickham did exactly that, without ever losing the sense of fun which is at the heart of the show. The nuns, in particular, were very well drilled, from the simplest of gestures to the full-on production numbers. Unfortunately, I felt that many of the bigger production numbers suffered from what was, in my opinion, weak lighting design which didn’t complement the cast’s onstage energy. Ms. Kickham did a really good job and, with stronger lighting, her work would have been elevated even higher. Michaela White delivered a commanding performance as ‘nun on the run’, Deloris Van Cartier. Ms. White had great charisma and a sense of fun which endeared her to the audience throughout. From the opening scene, we knew that Deloris was more than comfortable in the spotlight. She was confident and brash, yet never appeared arrogant. Ms. White gave her character the necessary relatability, which ensured that the audience was rooting for her from the outset. Vocally, Ms. White was perfectly cast. She had great tone and a most impressive belt which soared, even against the fullest of orchestral accompaniment. It’s a demanding sing for Deloris but Ms. White made it appear effortless. Her vocal consistency in dance numbers was excellent and her softer moments demonstrated some lovely colour and control. A ‘fabulous’ performance overall. Timmy Moloney’s portrayal of Eddie Souther was one of the highlights of the evening, for me. Mr. Moloney embraced Eddie’s awkwardness with a light comic touch that was so sincere and he never crossed the line into caricature. He had a wonderful physicality that communicated Eddie’s lack of confidence and this was consistently maintained throughout. Vocally, Mr. Moloney was very strong. But it wasn’t just his voice and musicality that impressed when singing. His emotional connection with the lyrics in ‘I Could Be That Guy’ breathed life into the number that I haven’t experienced before. From his initial self-doubt, to his bold confidence and back again, it was a very clever interpretation full of humour and heart. Overall, a textbook example of how restraint and intelligent acting can elevate a supporting role into a memorable performance. Eryn Buckley  gave a truly wonderful vocal performance as the convent’s postulant, Sr. Mary Robert. ‘The Life I Never Led’ was beautifully sung and quite flawless. Her exquisite control, excellent phrasing and effortless delivery were well deserved of the extended applause from an audience which knew they had just heard something deeply moving and quite special. I felt that additional work could have been done with the director to push the character’s initial shyness and social anxiety even more. These characteristics were certainly there but, I felt, they needed some fine-tuning to really capture the shift from timidity to self-belief, which was there musically but needed more focus emotionally and physically, in my opinion.  Joanne McCabe was a strong Sr. Mary Patrick full of joy, energy and enthusiasm. She captured the character’s boundless enthusiasm very well, fully committing to the childlike delight that we expect from the role. Comic timing was sharp and her expressive, wide-eyed reactions were suitably animated and funny. Ms. McCabe was well able for the role’s vocal requirements, always maintaining character when singing.  Julie Kinsella was an outstanding Sr. Mary Lazarus, the convent’s dry-witted choir conductor. This was a very funny performance indeed. Ms. Kinsella got every last morsel out of the script, with unhurried delivery which allowed the humour to land and breathe, to hilarious effect. Her vocal performance was equally strong, especially her rapping, which was delivered with great confidence and comic flair.  Teresa Buckley had exceptional stage presence as the authoritative Mother Superior. From her first appearance, her stillness and control were striking. Her ability to tell a story, whether through script or song, was highly impressive. Her scenes with Deloris were particularly strong, as we were so aware of her struggle to balance tradition with the changing environment around her. Ms. Buckley’s emotional range, from sheer frustration with Deloris to genuine warmth and care, was wonderful. ‘I Haven’t Got A Prayer’ was a masterclass in storytelling and inner conflict.  Peter O’Connor was a warm Monsignor O’Hara with a nicely understated authority. He avoided caricature with his naturalistic delivery, steering clear of the temptation to overplay. This provided a fine contrast to Mother Superior and ensured that his comic impact in the wonderful ‘Sunday Morning Fever’ was even stronger. His spoken delivery in this number was clear and very funny. He had a light comic touch, at his best in the very humorous confessional scene. A thoughtful, well-judged performance. Jamie Lyster had a tuneful voice in the role of the villainous Curtis Jackson. He made the most of his vocal opportunities and he was generally secure in those, apart from a momentary struggle with the melody In ‘When I Find My Baby’. More attention to the character’s menacing side could have transformed Mr. Lyster’s performance. It felt like all of the skills were there but the necessary tension wasn’t always apparent. It was a very competent portrayal but not quite the frightening presence that the narrative might suggest. Mr. Lyster was supported by a superbly colourful trio of henchmen. James Dobbs brought great energy to the role of Pablo, with his exaggerated physicality and hilarious facial expressions. Vocally, he blended well whilst always maintaining consistency of character and a focus on the comedic intent. Keith Flanagan was a very funny TJ, with excellent comic timing and expression. Every reaction landed thanks to Mr. Flanagan’s strength as a comedian. He combined his excellent comic instincts with a most impressive singing performance and he was a fine mover too. Jonathan Kelly was equally strong as a threatening, but very humorous, Joey. Mr. Kelly used his excellent stage presence and understanding of the show’s comedic tone to give a performance which complemented the dynamic portrayals of his fellow henchmen. He, too, had a great range of well-timed facial expressions and he was clearly comfortable with physical comedy. He sang well and was very comfortable with harmony.  There was great support from Norma Doyle as Sr. Mary Martin of Tours and Joan Deegan as Sr. Mary Theresa. Úna Hayden and Claire Kickham, as Tina and Michelle, were vocally secure and moved very well in their opening nightclub scene. However, I felt that they needed to work more on their characterisations to bring some larger-than-life showbiz pizazz and flamboyance to their roles as seasoned nightclub performers. Greater projection of confidence and more exaggerated performance levels during those opening sequences, would have added greatly to their portrayals.  Ensemble performances were strong throughout. From the police station to the bar, the eclectic mix of characters was always in keeping with the comic tone of the show. They always moved with purpose and had a clear understanding of the narrative, adding depth to the production with each appearance. The nuns’ ensemble was superb. They demonstrated great unity and infectious energy, which was most uplifting. Their rich harmonies, strong movement and boundless enthusiasm, elevated the show with every appearance.  The set design suited the St. Michael’s stage quite well. The stone-effect side flats suggested an ecclesiastical environment which was sometimes set against a black backdrop. This backdrop was a star cloth which was used at various key points. It caused quite a few issues for the stage crew, as it didn’t always fly in to floor level and occasionally got caught when flying in and out. It also needed to be stretched as it bunched and its unsightly folds were highly visible when lit. The large, gothic, stained glass windows, downstage left and right, were very striking, especially when lit from behind. A glitter curtain was used to great effect, infusing the glitzier numbers with energy and glamour.  The nature of live theatre is that things can go wrong. As much as we strive for perfection, there will always be something that doesn’t quite go to plan. On the night that I attended, it appeared that the stage crew, led by stage manager Lizzy Heffernan, didn’t have their best night. I’m very conscious that, had I been at another performance, I may have witnessed something very different. That is the nature of the technical side of what we do. Communication between stage management and the lighting operator seemed inconsistent. Multiple scenes began with crew members still onstage when lights came up, pulling us out of the story. The star cloth was not properly rigged, leaving a visible gap along the bottom centre at times. A potentially dangerous incident with the door truck in Act 2, as it visibly wobbled and came close to toppling over, suggested insufficient rehearsal time with crew. With tighter coordination, additional rehearsal time for crew and better cueing, a lot of these issues could be resolved for future productions. Lighting was, unfortunately, a weak link in this production. I felt that many other strong aspects of the show were let down by the lack of the bold, colourful, dynamic lighting design that is expected when producing a vibrant, energetic show like ‘Sister Act’. Many of the nuns’ big ensemble numbers, where bright colours and dramatic cue changes would have enhanced the energetic choreography, were lit in basic washes that had no sense of the energy or dynamism that is required. There were many missed opportunities for using lighting to enhance the storytelling. Had the lighting design matched the music, choreography and set, this production would have had a much stronger impact overall. Sound design was very strong, with suitable levels of amplification and a very good balance between vocals and band. Dialogue was clear and rarely overshadowed by underscoring. Cueing was very well handled throughout, demonstrating a comfort and familiarity with the show. Ensemble balance during full-cast numbers was excellent, with superb harmonies uplifting all of those scenes. ‘Raise Your Voice’ and ‘Take Me to Heaven’ were wonderful in this regard and this was all the more impressive given the amount of bodies on stage. A superb job all round. The props team did good work, with thoughtful attention to detail throughout. The convent items, such as hymnals, statues and wooden bowls were authentic. The police station was well-dressed and random items like the shopping trolley, the retro TV set and the street lamp all helped to add depth to the show’s world. There was strong attention to the period in costuming. The 1970s styling was very impressive and appropriately over the top. TJ’s brown suit, Deloris’s leopard print dress and Curtis’s red suit all ticked the loud and gaudy box perfectly. The nuns’ habits looked very well and the tabards for their transformation moments were excellent, adding great visual excitement to those moments. Eddie’s wonderful costume reveal was perfectly achieved and was one of the comedic highlights of the show. Time does pass between Act 1 and Act 2 and that needed to be considered in creating the costume plot, as some main characters wore the same ‘daywear’ throughout the show. ‘Spread the Love Around’ looked fabulous (baby!) with its visually stunning silver and white theme. Hair and makeup were generally good. Deloris’s wig was delightfully dramatic, perfect for her character. Her makeup was consistently strong throughout. However, I felt that several of the nuns were overly made up for the convent setting. This did not take away from their performances but it did affect the authenticity of the storytelling somewhat. Tina and Michelle’s identical red wigs, whilst visually striking, felt odd, and I thought that more distinctiveness would have been appropriate. Pablo’s enormous moustache and sideburns were hilarious. His look may have bordered on caricature but, given the tone of the show, it really worked. Overall, good work in creating an authentic 1970s look.  This was a most enjoyable production overall. The energy, enthusiasm and spirited choreography suggested an evident love for the material. The cast worked hard, putting their hearts and souls into every moment. There were some excellent, truly memorable principal performances. However, I did feel that the show was prevented from reaching its full potential due to stage management and lighting issues. All of that said, there was much heart and humour in the production, which carried us along on a wave of joy. Full credit to the very committed cast who ensured that the audience left laughing and singing. 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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