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5 Nov 2024

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12 Nov 2024

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The Addams Family as presented by Letterkenny Musical Society

LETTERKENNY MUSICAL SOCIETY. THE ADDAMS FAMILY, THE MUSICAL An Grianán Theatre, Letterkenny. 5th – 9th March. Adjudication Performance...

LETTERKENNY MUSICAL SOCIETY. THE ADDAMS FAMILY, THE MUSICAL An Grianán Theatre, Letterkenny. 5th – 9th March. Adjudication Performance Saturday 9th March. An Grianán Theatre was the stage for the Letterkenny Musical Society's 2024 production of The Addams Family. A Musical to be staged in 2020 which had to be cancelled as, before our eyes, our world changed forever. The foyer of the theatre was alive with energy. So many people were milling around, and I thought the show had been sold out twice because the noise level was so loud. I was looked after wonderfully by Ms Rushe, and I can honestly say it was such a lovely experience to be back in this theatre and warmly welcomed. As it was my 2nd show of the day, having travelled straight across from Belfast to Letterkenny, I was tired and a little stressed when I arrived due to the concern that I may not get there on time. But I did. I was welcomed warmly with open arms and got a tour of backstage operations before the show opened, which was lovely and settled me down for the evening. I could not have been treated more warmly by Ms Rushe, Mr O’Donnell, and your excellent Front of House Team. Thank you. Director for this Production was Ms Maria Rushe. From the moment the show opened, I was transfixed by the beautiful visual in front of me. Ms Rushes’ direction was very effective. This show has two sides: the darkness and then the comedy element. I loved the way the stage was set and on view before the show, with the creepy green mossy-coloured lights enveloping the stage, the big old stone walls adorning the complete stage dramatically, and that gorgeous full moon beaming down on the audience. Rather than having the stage closed to use this scene while the audience arrived at their seats, it felt as if we were already a part of the show, allowing the audience a glimpse and a view of what was to come. Every scene was a picture. Every character was successfully directed that this show flowed beautifully. Ms. Rushe has vast experience in many facets of production as a performer herself, and this was evident in so many areas in the immaculate castings, the clever direction of the development of each character, the visuals, the production, and the overall picture that was presented to the audience throughout to mention and highlight just one as an example – when Fester said goodbye and flew to the moon, and at the finale, the moon was beamed in and Fester's face was on the moon. This brought the house down with applause. There were many gorgeous moments such as these, way too many to mention in this production, all adding up to the success that it was that had the audience in the palm of your hand, lavishing up the scene and story that was developing before us on stage in such a beautiful way. Bravo. Mr Gerard Bradley was the Musical Director. There was a lovely pace, a beautiful warm tone from the Orchestra, lovely empathy towards the Cast, particularly in the solo numbers, and a remarkable sound throughout the entire show from this very professional Orchestra with Mr Bradley as its Captain. Lovely attention to detail, for example, when Pugsley couldn’t sleep, and Morticia was soothing him in such a comedic way, the underscoring of the Orchestra here with accompaniment was beautiful. It is so delicate and discreet yet effective. “Not Today,” sung by Gomez, was a lovely, gorgeous, emphatic rhythm and bounce. However, “Tango de Amor” was fabulous, and the orchestra was mighty in sound and accompaniment. Mr Bradley, created a lovely empathy between his Orchestra and his Cast. You were as one. Beautiful. You are a very talented gentleman, Mr Bradley. I loved your Musical direction in this performance from beginning to end without fault. Congratulations. The Choreographer was Emmet Stewart. Smashing Choreography throughout. Beautiful movement , so well drilled and wonderful timing and variation. “Tango de Amor” was magnificent. “Anything Else but Love” was outstanding, and “Full Disclosure” with the Company was so simple yet with some beautiful movement, lovely visuals, and precision-like steps moved to perfection by the Company. It highlighted the amount of time, effort, and rehearsals that have gone into this show. Bravo The sets were simply magnificent. This set and all its changes filled the stage, creating a vast area for the Company to work with. It was so versatile, creating a beautiful setting for the show. The gates, the wall, the beautiful stand out piece for me – the moon, The life-like trees downstage left and right bringing the audience right into the storyline, the dining table which was arranged in such a way that every single character sitting around it could be seen and heard while also maintaining a striking visual for your audience enhancing the story and the success of the production. The rack that Pugsley was tied to and pulled by Wednesday was so dramatic and compelling as was that chair. It looked like something out of Game of Thrones, and each time Mr. Beineke sat on it, my eyes watered with the thought of the possible outcome if he answered this question incorrectly with Gomez in control of the lever for the chair. An implement of torture – leaving nothing to one's imagination! The Gothic arches and the beautiful goth doors like church doors were so clever and picturesque, and then the gorgeous set of all Fester faces in the moon at the end of the 2nd half. This is a memory I will never entirely forget: such a surprise and such beauty. The sets were simply outstanding. Bravo to the Crew and the team involved The sound was by NC Sound and Communications. The sound was so very, very good throughout. Given the vast stage, the characters, the whole house, and many radio mics, this job could quickly go wrong! It did not. The excellent sound throughout this entire production, as well as its volume, tone, and balance, added to the success of this production hugely. It was done on a mammoth task and completed to an extremely high standard. Lighting was by Niall Cranney. Lovely lighting. Excellent teamwork and experienced people in this area. The illumination from the green mossy eery lights before the curtain opened to the “Game” beautifully lit through the scene with Fester and the Ancestor's beautiful emphatic use of green and blue lights here, creating a lovely tone and atmosphere as they did throughout the show. An excellent Team here with experience, which most definitely showed—notably the mention of the pinks used in “Secrets” in Act 1. The stage was a glorious fusion of pink, simply gorgeous. A fantastic job on lighting in this production throughout. Costumes by Nomac Productions Waterford and costume Co-Ordinator Ms Lorraine Porter were exemplary. The whole cast in total costumes were so very detailed and appropriate, creating lovely light and dark contrasts. Colours such as Ms. Beineke's yellow dress, the creams of the Ancestors and the black of the Addams Family, and, of course, the showstopping costume of Grandma menagerie of layers which were simply fantastic, all showed a wonderfully thought out vision that Ms. Rushe and her team had to give the best possible version of The Addams family they could. Costumes played a massive part in that success. Props were excellent, and time was put into this area, with Props Manager Tara McLaughlin at the helm. The scythe by the Grim Reaper, the gorgeous grey umbrellas used for the finale of Act 2. Pugsley's fabulous “Coffin bed” ( despite being a coffin, it looked extremely comfortable!) The candlesticks for the dinner are small but noted. The bowl of fruit on the long dinner table was full of fruit. Small details like this show huge attention, care, and pride in production, which is something to mention. I am only mentioning a few. There were many more. Congratulations. Makeup Design was superb under the eye of Niamh Porter. The Makeup, I am sure, took hours, and the team involved did a remarkable job, not only with the front line – all of you, but also with the Ancestors, the dancers, the grim reaper, and the entire company. This area is extensive and time-consuming, requiring much patience, knowledge, and depth of awareness to ensure that the makeup and its effects travel to the audience. I was in the back row of the Theatre, and the makeup to me was as clear and beautiful as a bright blue sky on a summer's day. It was wonderfully created with so much detail. It was indeed most effective all around, throughout, and simply stunning with great attention to detail again in this area and others. Bravo Team. Giles Murray played the part of Gomez. From the moment this gentleman arrived on stage, I loved his character, look, accent, wardrobe, stance, and voice. Mr Murray, you have a lovely stage presence and a lovely onstage connection between yourself, Morticia, and the rest of the cast, especially with Wednesday and Pugsley. Your love for your wife, Morticia, was evident throughout. You adored her and had an endearing and lovely onstage connection with each other. Your accent was perfect. Your movement with fluidity and ease around the stage was remarkable. Your solos were consistent: “Two Things,” “Three Things,” and “Four Things.” “Live before We Die” loved this number with Morticia, which was heartfelt, and “Not Today” was simply a highlight of Act 2. Your love for your beloved daughter Wednesday was palpable; she wrapped you around her little finger. This was a gorgeous Father / Daughter relationship, and your song “Wednesday’s Growing Up” brought a lump to my throat. It was sung with such heart and emotion and was so real. “Trapped” is another great vocal. A significant role that suited you. Bravo. The part of Morticia was played by Sarah Terry Sweeney. Very well cast, with excellent vocals and a lovely stage presence as you glided slowly through the show with your relaxation and nobody messed with the Matriarch of the Addams family. Your hair and costumes was fabulous. You danced and moved so gracefully. It was indeed a lovely performance. You were elegant in your dance, mentioning the Tango in particular, which was superb, but also your softer side, showing Alice Beineke the photo album shortly after being introduced to her. You were a strong Morticia equally in every facet of the role, and I thoroughly enjoyed you bringing your mark on this lovely role and making it your own. Elle Terry Sweeney played the part of Wednesday Addams: a gorgeous part, so very well cast. You were a fabulous Wednesday, with a lovely voice. This was an excellent role for you. Your interactions with your father were comedic in places, such as the power you had over him and your nudges to keep secrets from your Mum, Morticia. Visually, you looked great. You loved the relationship you had with your little brother Pugsley. Your vocal and acting in “Crazier Than You” with Lucas Mal and Alice was excellent, beautifully staged, and directed. You have a gorgeous vocal and a beautiful, strong stage presence, and indeed, you were outstanding in this role. Watching you consistently in every aspect of your role as Wednesday Addams was a joy. Sean Bonner played the part of Fester. From the moment this talented gentleman landed ( yes, landed) on stage, I loved your character and what you made of it. So strong. So vocal. You are so experienced in stagecraft and a beautiful actor; you had it all. Your song ‘To the Moon’ was most definitely a highlight. Your character was soft and eccentric, and I loved it. You had a lovely, dry humour, but I loved your physical presence. Fists clenched with a slight stoop, looking down towards the floor to speak and then up to the moon to declare your love for her. This number was gorgeous. It was such a simple lullaby lyrical number that you made your own, and it was indeed just so beautiful and sung with such care and affection for your love – the Moon. “Fester Manifesto” in Act 1 was so very well sung. However, it was indeed “The Moon and Me” with you and the Ancestors that you came into your own here. Excellent character, Mr Bonner. I loved you in this role and all you did with it to make it yours. Ethan Barron played Pugsley Addams. What an immense talent you have, young man. You had the audience in the palm of your hand throughout the evening with your fun and a bit of a naughty character. The audience loved you. The scene where you were being pulled on the rack by Wednesday was acted beautifully. You have a natural stage presence for somebody so young, and it was a joy—your solo “What if” in Act 1 was lovely. Your singing has a beautiful timbre and clarity that is commendable for one so young. I hope you continue your theatrical journey for many years, Mr Barron. You were such a strong Pugsley; in your interactions with Grandma, your mutual adoration of each other came across well. Significant presence and excellent vocal Mr Barron. Donal Kavanagh played the part of Lurch. What a thunderous stage presence you possess. Your movement throughout was so well done, laboured, slow and so effective. This was an excellent role for you. Comedy was also part of this character. When Gomez asked you to hurry up, the audience laughed at what speeding up was and how it was done. And then – your massive vocal at the show's end blew me away. What strength and impact have you made in this role. It was a fantastic part, so very well done with a stunning bass vocal solo. It was simply brilliant—no such thing as a minor role. You were a catalyst in linking the full story throughout, and you did an excellent job. Nicola Shields played Grandma. Firstly, fantastic wig and costume. It was so successful and so very authentic. The great voice when speaking, sounding old and doddery, limping around the stage, but there was a glint in your eye of dry humour that you cannot be taught how to do; it comes to some naturally. Lovely relationship with your grandson Pugsley. You had it all in a bucketload. You fit into this role very comfortably and with ease. Great part. Great visuals and great acting. So very well done, Ms Shields. Chris Duddy played the part of Mal. Great character. You looked the part, and the contrasting ways of life, even in how you dressed compared to the Goth-like Gomez family, were commendable. It was such a funny moment when you arrived at the end of the 2nd half as a biker again. What a great tee shirt! This was a charming role, and I loved what you brought to it in your way. I thoroughly enjoyed you in this part. And when you let rip, boy, did you let rip!! Catriona Doherty played the part of Alice Beineke. Again, what a lovely character you created here. You are an outstanding actress and looked so well beside your husband Mal and your relationship, which was quite funny in parts when you passed out and came to and brought Mal back to when you first met. This was superbly done. Again, another strong vocal. You and Mal were a good team and acted well together. Jamie Lee Gallagher played Lucas. Smart, educated, and an utter gentleman who was so very well dressed and entirely in love with Wednesday Addams. You were a charming Lucas, Mr Gallagher. You and Wednesday suited each other. You looked great together and acted well together, and there was a lovely ease about you on stage that made me think you are very at home in a theatre. “Crazier than You” was already mentioned as a fabulous number. You had a powerful stage presence and lovely interaction with everyone in the Addams family. I warmed to you from the moment you arrived on stage. It is a lovely role beautifully played. From the opening of this show, this Chorus was simply excellent. There are many numbers involving you all and many highlights. “When You're an Addams” and “Full Disclosure” with the entire Company, as Ancestors, male or female, this Chorus was adorable. Great sound, lovely balance in harmonies throughout, and gorgeous volume again with emphatic accompaniment from your Orchestra. I looked forward to each time you all came on stage to sing. Your costumes were again splendiferous, and you created such a beautiful sound every moment. So strong. So professional and so effective. I loved listening to every note. Bravo. This show of yours highlighted your enormous talent and joie de vivre. And I realise this show was so special, having had to cancel it due to Covid and the lockdown four years ago. It was brave to take it on board again, give it the chance it deserved, and allow the Company to get this on stage finally despite many obstacles after such a lengthy time. But you did. And you did it with aplomb. I wish you nothing but success, continued strength, and happiness in this family of yours, which is Letterkenny Musical Society in a beautiful place, An Grianán Theatre, which you call home. Congratulations. Caroline Daly Jones Sullivan Adjudicator AIMS 2023 / 2024 Some photos kindly shared by the society - Photographer - Liam Porter

Gypsy as presented by UCD Musical Society

Gypsy as performed by UCD Musical Society: Date of Adjudication: Friday 8th March, 2024. It shouldn’t surprise me at all that on...

Gypsy as performed by UCD Musical Society: Date of Adjudication: Friday 8th March, 2024. It shouldn’t surprise me at all that on International Women’s Day, I was attending a show where a strong and capable woman held the Director’s reins and took responsibility for drawing together all the various strands and elements that make up a Musical Production. The show in question was Gypsy, and the Director was Aoife Joy Keogh, and I’m sure that she didn’t mind that it’s a show where women hold centre stage for almost the entire show. It’s a show that doesn’t get many outings on the amateur circuit, and the reasons are obvious. There are few opportunities for chorus, it’s demanding scenically, it begs for a big orchestra, it (usually) requires a lot of kids, and many see it as a bit of a one-woman show. I can’t argue with any of that, but thank God there are groups like UCD Musical Society who are prepared to go for a show of this nature, for it also happens to have an incredible musical score, great comedy and an immensely moving dramatic story. While it may be based on the memoirs of Gypsy Rose Lee, it really is more about her psychotic mother, Rose, an eternal optimist, a ruthless manipulator, who tries to channel, through her daughters, the success in show-business that she never managed to achieve herself, obviously, with devastating consequences. Aoife Joy Keogh cast her show perfectly, drew out many amazing characters and performances, overcame most of the problems of staging, and presented a show that was as varied and vivacious as the mood swings of her central character. In a story which is basically quite depressing, she put good emphasis on the opportunities to play up the comedy, and there was a sentimental streak in her handling of the relationship between Rose and Herbie. But it was the dramatic moments, the pauses, the silences, the unspoken truths that really hit home in a production that was very well-paced and passionate. It was always apparent how much thought went into this delightful presentation. As roles go, Rose has to be one of the most demanding in Musical Theatre, requiring strong serious acting, strong comedy, a belter of a voice and the charisma to turn a tyrant into a sympathetic leading lady, a tall order for even a seasoned professional, and yet, Ciara McKenna, a student in her mid-twenties, managed to pull it off with a level of excellence that was awe inspiring. Her comedy was pointed and perfectly timed, her singing was remarkable and her serious acting was quite simply superb. You couldn’t not love her, even at her most hateful, for even though of her own making, her story is heartbreaking. Ciara didn’t put a line, a foot, a note nor a look out of place all night, and when her pain culminated in a spine tingling rendition of Rose’s Turn, the audience were on their feet, mid-show, and this adjudicator was beside himself with emotion. Displaying a maturity well beyond her years, this was an exceptional performance from an exceptional young lady. In the role of Herbie, the potential future husband of Rose, Elijah Lopez played his part with humour, patience, sometimes reluctance, sometimes anger, but always with a quiet dignity and a genuine heart. The rocky road of his relationship with Rose was fraught with misfortune, but through it all, he did his best to be a father to her girls and a friend to those she cast aside. Elijah successfully portrayed this character, and did so with fine acting and a very tuneful voice. The part of talented daughter, Baby June, was played by Doireann McAuley. She portrayed that stage struck kid that everyone loves to hate, the constant cheesy grin, the squeaky annoying voice and the show-off dance moves, and she played it so brilliantly that she positively grated on my nerves, and I totally mean that as a compliment! Her singing and dancing were great. Alongside her was Baby Louise, played by Aimee O’Neill, who did a great job of being the ‘talentless’ daughter, being skillfully behind the beat in the dancing and perfectly giving the impression of being the also-ran of the family. That she did so without a hint of jealousy of her younger sister was a tribute to a part well-played. These two together managed so well to present themselves as little kids, despite being considerably older. During a well-organized dance routine, Baby June and Baby Louise are magically (cleverly) transformed into June and Louise as teenagers. Taking over as June, Amber Dixon had great fun playing the more grown up spoil brat, maintaining her youthful energy but adding to it the new dimension of a teenager who wanted to escape the apron strings of her mother and make a life for herself. Always apparent, though, was a very sincere love for her sister. This was a great role for Amber, displaying the breadth of her talents in acting, singing and dancing. The teenage Louise was played delightfully by Liadh Murphy, initially still the tomboy, background figure who only has her little stuffed animals for companionship. Her delivery of Little Lamb was beautiful. When we reach the stage where her mother forces her to become a stripper, she played the reluctance to go down that route brilliantly, and even as she reached the level of stardom, there was a dignity and pride in her performance which strengthened her character. She never allowed self-pity to rear its head, despite being the most wronged person in the cast, and her quiet dignity is what marked this as a very beautiful performance. Amber and Liadh together, performing If Momma Was Married, was one of the musical highlights of the show. Colm Fagan turned in a neat performance as an ambitious young dancer, Tulsa, singing delightfully for All I Need Is The Girl, and showing that he’s no slouch on his feet either. Impressive too, was Jemma Walsh as Agnes/Amanda, capturing the giddiness and innocence of a young wannabe performer. And then there were the strippers. Eva Furlong as Tessie, Julie Bowell as Mazeppa and Sorcha McGlynn as Electra. I’m quite sure they’re really lovely girls, but my God, they were hideous, thanks to brilliant make-up, tacky costumes and excellent acting. Each with their own characteristics and very good, rasping voices, they were individually strong but as a trio in You Gotta Have A Gimmick, they rocked the house. Such great entertainment. There were several other strong characters, such as Irina Agotha as a good dismissive and opinionated Miss Cratchitt, and Francesco Bach as Kansas, one of the quirky Newsboys, who, along with Cian Cunningham as L.A and Eoin Murphy as Little Rock, made a Good song and dance backing group for Baby June. The remaining men in the cast, Connor Kirwan, Eoin Dunnion and Joseph Gibney each doubled up in playing cameo character roles, all of which were nicely portrayed. And since there was no real chorus, as such, I must mention the remainder of the girls, Brianna Kelly, Cara McCrystal, Ella Fitzpatrick, Imani Antoun, Jennifer Yorke, Maya Gaul, Mercedes Estarellas and Niamh O’Brien, each of whom contributed well to the show as auditionees, or dancers or the singing and dancing Hollywood Blondes. Musical Director, Dermot Edmondson, had a beautiful 20-piece orchestra at his disposal to add a wonderful accompaniment to the show, which they did with a robust and enthusiastic treatment. They were strong on tempi and had a lovely balance between the orchestra sections, and despite their numbers, they never drowned out the singers on stage. Principal singers were obviously well-rehearsed and Vocal Director, Ríona Keogh had done good work with the Newsboys, the Hollywood Blondes and the Toreadorables, ensuring that their vocal contributions were up to scratch. Choreographer, Megan O’Neill, did a good job of presenting cheesy, teeth-and-smiles routines with Rose’s Babes, which all fitted very nicely with them being a troop of wannabe performers, rather than slick, polished professionals. She saved her best work for the team that performed All I Need is the Girl with Tulsa, and a very good Broadway routine. There was fine work done, too, with the principals, particularly the excellent “Gimmick” routine with the Strippers. The amount of furniture and props that Stage Managers, Ella Ruddle and Patrick MacFhionnlaoich and their team, had to set up and clear, did result in a few changes being a tad slow, but by and large, the simplicity of the staging did help with the flow of the show, which skips through a multitude of venues quite rapidly. The director chose to use a neutral set for this production, with a very fine painted background representing Vaudeville, and everything else achieved with a few moving doors and a selection of furniture. It was only the sequence where Gypsy’s road to stardom is being mapped out, from venue to venue throughout America, where perhaps more could have been done to make each venue more flamboyant than the last. Even with good lighting, this was when the stage was noticeably bare. Lighting of special areas did help to change location, and there was good use of colour and tone to create atmosphere. The dramatic scenes were always well-highlighted. As suggested above, there was a well-balanced sound system that allowed every word to be heard. The side screens were nicely used to indicate locations, and only on one occasion did they get slightly ahead of themselves, and it was quickly spotted and remedied. Costumes for the show were very good, and cleverly had the look of being showy without being over-glamorized. Recognizing that these performers were playing the Vaudeville Circuit and not Broadway. The various sets of costumes for the support performers were all very good, and the blonde wigs for the Hollywood Blondes were good. Top marks go to the combined efforts of the make-up, hairstylists and the costume department for the stunningly grotesque creations that were the strippers, Tessa, Mazeppa and Electra. Finally, to all at UCD Musical Society, it has been my very great pleasure and privilege to enjoy three of your shows this season, and I am confident that you will be leaving behind you a legacy of energy, enthusiasm and excellence. I have enjoyed that journey with you so much and I can only hope that in the future you will find happy places to carry on your obvious passion for Musical Theatre. To each of you, I predict… “You’ll be swell, you’ll be great. Gonna have the whole world on a plate. Startin’ her, startin’ now, honey, Everything’s Coming Up Roses!” Thank you for a very special night. Peter Kennedy Gilbert Adjudicator 2023/24 Photos by: Molly Coogan and Daniel Jackman.

Sister Act as presented by Newry Musical Society

NEWRY MUSICAL SOCIETY “SISTER ACT” NEWRY TOWN HALL 5TH – 8TH MARCH 2024 Adjudication Performance Date 8th March 2024 Newry Town Hall was...

NEWRY MUSICAL SOCIETY “SISTER ACT” NEWRY TOWN HALL 5TH – 8TH MARCH 2024 Adjudication Performance Date 8th March 2024 Newry Town Hall was lit up like a beacon on the evening of 8th March to see Sister Act. A society celebrating its 79th year. Both inside and out, this lovely Theatre was awash with laughter, noise, and an air of excitement I was greeted by an absolute gentleman and stalwart of this Society, Mr Donal Fegan, Chairman of the Society. Effusive in his welcome, it was a joy to be in his company. I am so grateful to you for your time and for making me feel so at home at the interval, taking me backstage to meet the cast after the show, and escorting me to my car. You are a charming man and an asset to this Society as Chairman. Thank you. There was however an issue with the view from my seat and unfortunately the person representing front of house did not cover themselves in glory in helping me. Thankfully a lady next to me heard the exchange and stepped in to help – THANK YOU! Mr. David Cunningham was the Director of this show. Mr Cunningham had a vision for this show with the Production team. This was a strong cast and for the most part the show flowed well and looked super. Sets in the most were very good apart from a couple of scenes where a little more effort could have made a big difference. I did feel in some places, the pace of the show was slowed with the use of the black curtain across the stage in numerous scenes. Scenes with Mother Superior and Dolores were laboured particularly in scene changes and broke the continuation of the story in a few areas such as the Confession Box scene, the scene with Curtis and his crew, and “I haven’t got a prayer” (beautiful vocal) sung my Mother Superior. When the whole stage was utilized, the story flowed much more freely. The use of the black curtain to be pulled across and putting the actors in front of it for their dialogue and various scenes, I did feel it was used to excess. Once the black cloth was lifted, the whole set was complete with life, character, and colour, and the story continued. The cast was directed very well individually with the various characters well developed and strong in their interactions. Good casting and acting and the contrasts between them all worked exceptionally well. The Choreographer was Ms Lisa Irvine. Super choreography here, Ms Irvine. The show's more significant choral numbers leaped off the stage with energy, joy, and professionalism. They were fast-moving, colourful, and energetic. “Take Me to Heaven” lifted the roof of the Town Hall. Vibrant, joyful, and very colourful, this was one of the show's most uplifting, energetic, and lively scenes. “Fabulous Baby” had confidence and flair, and Deloris owned the stage. The finale was joyful, celebratory, and magical. I wanted to stand up and clap myself. “Get the Vibe Make Some Noise” was very well executed and performed with precision and was a highlight of the show. You are a very talented Choreographer, Ms Irvine. Your talent shone through your dancers and ensemble and enhanced the show immensely. Indeed, Choreography was a highlight of the evening. Super. Fiona Flynn was the Musical Director for this production as well as Conductor, and Chorus Mistress. In some parts, I felt that the orchestra was a little too loud for the performers on stage (the bar scene); however, for the most, the musical direction here was very good. A vast orchestra played beautifully throughout, and you, Ms Flynn, are a very assured Conductor, bringing the Orchestra and Company together. Music in this show is demanding, with variations between gospel, pop music, and numbers such as “Here Within These Walls,” which are quieter, move reverend, and prayerlike. The principals were well rehearsed and very assured of their music. Well done Ms Flynn. The Stage Manager was William McLennon. As mentioned, I felt that some of the scene changes could have been a little faster in some parts. I believe a Stage Manager in any production is an unsung hero behind the scenes, and organization, dedication, and expertise are vital in bringing a show to life. In this role, Mr. McLennon, you were most certainly all of these, creating a memorable experience for your audience and, most importantly, your cast. Having the privilege of going backstage after the show, I was very impressed by the work of your setup, meticulous organization and tidiness, and rapport with your crew and cast. This company, Mr. McLennon, is blessed to have you as their Stage Manager. Set Construction was by Theatre Sets Ireland Limited. Sets in the more significant ensemble numbers were very effective, with beautiful gothic-like arches and attractive and practical stained-glass windows that were huge in appearance and effect and were magnificent visually for the audience. I did feel that some sets were a little too minimalistic at times, for example, the Mother Superior Office, which only had a desk and chair on stage, and the Confession Box scene, which just had the wall of a confession box with characters sitting on chairs on either side in the middle of the stage. I felt this could have been filled with more detail, such as more furniture and attention to detail. Lighting was Shane Tumilty and the team's responsibility. It was excellent throughout. Beautiful colours, visions, striking reds, blues, and yellows create life, fun, drama, dance, pop, and religion. Lighting throughout was perfect, consistently professional, and very effective. Lighting lifted the show to another level, warmed the stage, created spaces and pops of colour throughout, and most definitely enhanced the show hugely. The spots were perfect. The ice blue lighting on the nuns as a choir was stunning, as was the gorgeous lighting for the finale and throughout every ensemble and choral number. Well done. The sound was by McCusker’s Pro Audio. Balancing the sound between the live Orchestra and the performers on stage can be a challenge, and for the most part, the balance was perfect. However, the sound for the Chorus numbers was excellent. When the sound and the performances were ideally in sync with one another, the balance captured the beauty of this musical in every aspect and significantly contributed to its overall success. The costumes were by Ciara Jennings, & Kathleen McAteer (Sew Me Costumes). Deloris’s bling dress for the Opening of the show set the bar high for the rest of the show as this was indeed an eye-catching, glamourous diva-like dress that gave us an idea of the character of Ms. Cartier and the type of character she was going to be from the first moment on stage. Nun costumes were very authentic and looked comfortable. The one costume that stood out for me glaringly above all the rest and in the most excellent way was Curtis’ red leather coat! Gorgeous! The props were good. Props to me always play a critical role in setting the scene or scenes; the jukebox in the Bar was very authentic, Curtis’ gun to mention, the fan on the desk, and the TV where Curtis discovers Deloris's whereabouts to mention but a few were perfect throughout. Maille Connolly played the part of Deloris Van Cartier. From the moment this young lady stepped on stage, there was an energy and a dynamism, bringing out her sassiness and vulnerability to her character, which was endearing. An excellent vocal performance displays her journey from a lounge singer wanting only to be famous to a woman who finds herself and her true purpose in life later in the show after her stay in the Convent. Ms Connolly is a vibrant, fun character who acted well in this role. Lovely singing voice, great comedic timing, and great chemistry with the Company. It was a treat to watch this young lady in this role. Veronica Barr played the part of the Mother Superior. What a beautiful voice full of emotion and empathy, and a part that Ms Barr took on board and made her own to great success. There was a grace about you, Ms Barr, that I very much liked, and gradually, as the show progressed and your character developed, I did warm to you in this role. Your rendition of “Haven’t Got A Prayer” was a highlight of this show for me. For me, it was the moment in the show that you showed beautifully and with such grace the internal struggles you faced with change and control. Your vocal here was exceptional and sung beautifully. You could hear a pin drop in the audience. You had a beautiful, stoic demeanour, with a softening beauty of your character in the latter part of the show. Sister Mary Robert, played by Judith Quinn, was another lovely performance. In the beginning, this quiet, shy, withdrawn nun blossomed into a butterfly in the later parts of the show. Your vocal “The Life I Never Led” was a showstopper. Maeve Bell played Sister Mary Patrick. What a delightful character you were, Ms Bell. Your enthusiasm was infectious, consistent optimism, cheerfulness, smiling, bubbliness, and vivacity. Your comedic timing was also perfect, and this role suited you perfectly. The parts of Sr Mary Lazarus, Sr Mary Theresa, and Sr Mary Martin of Tours were played by Eithne Bell, Janice Gribben, and Helena Hughes, respectively. Charming parts, played very well by these young ladies, with your humour, camaraderie, and a little impishness on occasion blending beautifully and enhancing the performance and success of the show enormously. There were lovely vocals throughout, and there was indeed a lift when you arrived on stage on many occasions. You were influential in these roles, ladies, with each character bringing a vast amount of laughter and memorable presence on stage, consistently reminding your audience of the power of community. Anna Smyth played the part of Michelle. It's a lovely role you played with just the right amount of sassiness and perfect comedic timing. You had a natural flair and ease as you moved around the stage. You delivered a confident performance and a lovely, warm tone to your voice. This part suited you very well, Ms Smyth. Lovely. Shannon Copeland played Tina, the lovely Tina. Although not a prominent role, there is no such thing as a small part. You had a lovely enthusiasm about you, and you consistently brought a spark to the stage throughout. Eoin Sands played the part of Eddie Southern. What a great Eddie you made, Mr Sands. You were awkward but with charm. You have a tone to your vocals and a stage presence that flows. You were very comfortable on stage. I particularly liked “I Could Be That Guy ” - simply brilliant; you came into your own in this number, and you shone. Well played Mr Sands in a role that suited you immensely. Ruairi McAlinden played the part of Curtis. This part was made for you! Your appearance, booming threatening voice, and attitude towards Deloris and your boys brought enormous life to this show. I looked forward to each time you came on stage. That red coat was a find! Loved it! Vocally, you were powerful, had excellent diction, and made an impact visually in every scene. Your role brought critical tension and drama to the otherwise reverend show, and the contrast between your character and others worked so well. A significant part played with great aplomb and success. Well done, Mr McAlinden. Super part for you in every way. The parts of Curtis’s henchman were Joey (played by Brian Reavey), Pablo (Shane O’Keeffe), and TJ (Conor Sands). And you were hilarious. You each had a very different character, which was a clever direction in this show. You could move superbly and were great dancers, but your demeanour when Curtis was around you produced hilarious scenes. “Lady in the Long Black Dress” highlighted your very different personalities beautifully, and yet, as individual as you were, you were also a team. And a huge success. I applaud you. Paddy Heaney played Ernie. It's a lovely part. It was memorable and well-played. You were very jittery and nervous, yet you portrayed the seriousness of the situation to the audience. You set the tone for the more severe side of Sister Act very early on, and it worked very well. It was a memorable performance for all the right reasons. Great cameo part. You were wonderfully played. Daryll Galloghly played Monsignor O’Hara’s part. Firstly – I LOVED those shades!!! What a significant part! You had excellent comedic timing, were hilarious, and freely moved around the stage as if you were born on it. You had a lovely rapport with the nuns and Mother Superior. Your character, for me, stood out. You have a vibrant voice, which suits this role and character. You brought the audience to roar with laughter (the sunglasses bop!), yet you were also authentic and believable as a Monsignor. And yet you handled this role in other parts sensitively and with lovely emotion. The gorgeous role was played beautifully. The Chorus were excellent. From the awful-sounding ear-bursting wails of the “Choir” in the beginning with horrendous vocals and “harmonies” to turning into a world-class choir singing in front of the Pope. It was a vast turnaround, and you became a fantastic gospel Choir and a force to be reckoned with. What a beautiful sound. This show has many types of music, from gospel to soul to traditional hymns. “Raise Your Voice” was exceptional. It lifted the roof and will forever stay in my mind as a melodic sound that resonated off the Theatre walls. Your harmonies were gorgeous and so well-balanced. You had fantastic energy. Your various personalities, through your chorus numbers, allowed each of you to shine individually. You had fantastic energy. The sound you created was so lovely. There is a beautiful sense of community in your Society. I felt that immediately as I walked into the Theatre. Congratulations to the entire cast and crew of this Sister Act The Musical production. Bringing such a bubbly, cheerful, and yet demanding show to the stage is no small feat, and it was evident to me that an enormous amount of time, effort, dedication, and passion went into this production. I believe your vibrant energy created fun and lively energy that kept your audience entertained from beginning to end. I thank you all for a beautiful evening and a lovely theatrical experience in the stunning building that is your home, Newry Town Hall. It was a pleasure. Caroline Daly Jones Sullivan Adjudicator 2023/24 Photographs by Jim McGuigan

Legally Blonde as presented by Castlebar Musical & Dramatic Society

LEGALLY BLONDE CASTLEBAR MUSICAL AND DRAMATIC SOCIETY 7TH – 9TH MARCH 2024 Adjudication Performance 7th March 2024 It was a glorious day...

LEGALLY BLONDE CASTLEBAR MUSICAL AND DRAMATIC SOCIETY 7TH – 9TH MARCH 2024 Adjudication Performance 7th March 2024 It was a glorious day upon my arrival into the town of Castlebar as I looked forward to this performance of Legally Blonde by this lovely Society who this year are celebrating their 10th Birthday. The front of the House was a tight ship. It was well run, with many front-of-house staff milling through the theatre on the busiest of evenings when I arrived. I was looked after by Ms Anne Marie Gibbons, PRO of the Society, and the full team. It was very well supervised and executed, and the theatre, as large as it is, was filled rapidly and with little fuss. Well done, Front-of-House Team. I was surprised to see just how big this venue was, and, once I was shown to my seat there was a charming vibe already emanating from this audience as they awaited the performance to begin. The director for this production was Ms Donna Ruane. Ms Ruane had a lovely vision for this show. It is sometimes, I believe, quite challenging to translate the film we all know to a stage production that is so dynamic and vibrant and so full of energy. Ms Ruane brought a sense of fun to this show as Director. It is one of Ms. Ruane’s strengths to bring out critical moments in the show beautifully, which impacted the audience through lovely emotion, lovely humour, and good casting. We were immediately brought into Elle’s world, a world of pink, fun, and fluffiness, and I instinctively wanted Ms Woods to succeed. Ms Ruane's lovely direction for this role was excellent. This was a very entertaining show. Particular mention was the Harvard Law School scenes, “Bend and Snap” and the courtroom scene with Carlos which was particularly well done with beautiful comedic timing. This cast was well-balanced and worked very well together, and I do believe it worked well with Ms Ruane at the helm also and the rest of her production team. Ms Claudia O'Sullivan was the choreographer for this show. As I type, the first thought that comes into my head immediately is, “Bend and Snap.” What a tremendous choreographic number this was. The energy bounced off the stage, and the fitness levels must be colossal!! The energy throughout your Choreography was so slick and well-moved, and everyone was so very well in tune with one another, with not a foot wrong. “Oh My God” was so energetic that it bordered on excited hysteria!! “What You Want” was moved well, with so much energy again, and it was one of the show's highlights for me. Superb Choreography here and such an immensely long number which required so much fitness. Not once did the energy levels and electric vibe change. I looked forward to the dance numbers and was not disappointed. Very well done, Ms O’Sullivan. The Musical Director for this show was Ms. Deirdre Lee. Ms Lee had a clear understanding of the music and brought out the best performances from the cast. The music throughout added beautifully to the show, and this Orchestra was very well-balanced and created a lovely sound, never overshadowing the cast. An excellent Job, Ms Lee, and it enhanced the show wonderfully. The Stage Manager for this production was Mr. Brian Murphy. This show ran very smoothly from start to finish. To give but two examples, the scene where Elle takes some new clothes and the clothes rails are slowly and smoothly moved on stage by the backstage crew dressed professionally in black on either side, not disturbing the dialogue or the players. The scene where Paulette's salon is brought on stage again while the cast was speaking was expertly well done, along with the videography of illusions that donned the theatre throughout with scenes of golf courses, Harvard Law, Jail, and Library. The list is endless, all the intricate little details which I love were so beautifully woven into the production was so very well run by Mr Murphy as Stage Manager and his team—well done. Set Design Construction and Props were the responsibility of re-staging set design Co and, most importantly, the very clear and distinct videography. These projections worked well. Examples include the men's department store and golf course. Paulette's set salon was beautiful, so pretty, and so versatile. The clothes rails in the men's department store and that excellent caravan were visually and practically superb. The only set that I felt could have been better was the set for Oh My God, you guys with the Delta Nu. I do think the set could have had more depth to it and some more detail as it was pretty flat. I understand that sets are a massive part of any production, and there are many reasons why a set is used or developed in the way it is, but just personally, when so much videography is used in other scenes when there is an actual physical set that it could be more embellished, decorative and more accurate. However, in complete opposite, Paulette’s Salon was simply superb; I loved the wallpaper, the attention to detail, and the colours, which were all so lovely. It was so beautiful, and the incredible detail that had been put into this was obvious. The sound was by Frankie McDonald—McDonald AV. The Sound was excellent throughout. Mics between the Orchestra, principals, and ensemble were very balanced. Very well done here, given the amount of vigorous movement, dancing, singing, and dialogue involved. I did not once hear a flaw, error, or imbalance. There is no mean feat in such a lively production. Very done, Mr. McDonald. Simply awesome. Lighting was by Indigo Lighting. Again. Excellent. Beautiful colours, bursts, and flashes are beautifully used throughout. I felt some areas could have been lit with more spots or vital lighting, such as the Delta Nu Sign on the opening set. I couldn’t read it properly from where I was seated. It needed more light on the sign so the audience knew where this particular part of the story was happening. It's just a minor issue, but I must mention it. There was excellent use of spots elsewhere, particularly on Elle and other main characters. These colours spot lit the main characters successfully and effectively, to create beautiful visuals, and enhance the storyline beautifully. Costumes by Nomac Productions were smashing. Particular mention to ALL of Elle’s wardrobe, Paulette’s wardrobe was a sheer winner throughout, Emmet, the poor student, Warner the wealthy, and Vivienne Prim and Proper. Still, Kyles's costume also drew a laugh from the audience with his cool costume and his swagger, and the chorus all were costumed effectively and were a visual explosion of lovely colour throughout. Props were provided by Re-Staging Set Design. Superb attention to detail here, from Emmet's satchel to Paulette's salon to the courtroom scene with Carlos, and one could not forget to mention it. However, Bruiser and Rufus were glorious editions to the performance, drawing oohs and aahs and awws throughout the show. Props were a huge contributor to this lovely feel-good show's overall magic. Well done to the props team. Great job. Lorna Dennehy played Elle Woods. Bubbly, pretty, gorgeous voice, massive energy, fantastic dancer, and an excellent Elle from start to finish. From the very first second you bounced onto the stage, you were a bright light, a beautiful Elle Woods, with lovely chemistry with your fellow cast members, notably Warner and Emmett, but also with your other characters, specifically Serena, Margot, Pilar, and, of course, your beautiful friendship with Paulette Bonafonte. You have a lovely voice, with a colossal dynamic and tone moving from energetic to emotional, from being so vulnerable to being so strong. “So Much Better” was an absolute highlight, showing off your vocal range beautifully with so much emotion. You were so charming. I warmed to you immediately. You moved beautifully and with great energy in so many dance numbers, and it was lovely to witness you in this role you created as Elle Woods. Well done, Ms Dennehy. Margot, Serena, Pilar, and Kate were played by Nicole Scott, Emma Daly, Ewa Cieslak, and Sophia Byrne, respectively. What a fabulous troupe you all were in this show full of life and joy you were when you each walked on stage. You were a tour de force to be reckoned with, with breath-taking energy and a friendship and loyalty to Elle that was admirable and a joy to watch every single time you, arrived on stage. Your physical fitness levels and energy were something to be envied (a part I will never audition for !!), as were your bubbly personality and great costumes. It was magnificently played and so wonderfully cast. Bravo. Paul O’Brien played Emmet Forrest, a lovely, heart-warming character loving the simple things in life with no drama. Humble, earnest, and lovely humility endeared me to Mr O’Brien’s character in this role. I loved your transformation from a rather shy, reserved, and quiet man into the lawyer you became and the confidence you gained through the show. With a vocal that seemed a little nervous initially and underconfident, you did get more confident as the show progressed, and you were a lovely Emmett. This was a charming, simple, humble part, and you wore your heart on your sleeve. I liked your portrayal of Emmett Forrest Mr O’Brien from beginning to end. Olwyn Behan played Paulette Bonafonte's part. What a glorious role. What a gorgeous character you were, Ms Behan. And a beautiful vocal. “Ireland” was a highlight of the show for me. There was such lovely rapport between you, Elle, and the rest of the cast; you were lonely, unbelieving in yourself, and blind to your beautiful personality, believing you would never find love and being unhappy. And you blossomed in this part. You moved around the stage effortlessly with lovely, funny facial expressions and drama. Your song Ireland showed your utter vulnerability and longing for a man who will love you as much as you loved the idea of Ireland. You played this part very well, Ms Behan. I loved you in it. Well done. Again – fab costumes!. Matthew Largent played the part of Professor Callaghan. What a strong character Mr Largent made in this role. He had a bit of an attitude of great self-importance and very egotistical in this role. Mr. Largent had an air of authority about him from the first moment he arrived on stage. The song “Blood in the Water” was well played, while a bit of light on the higher notes however, it was still a good vocal. Strong character. Well-acted Mr Largent. Enda Mulchrone played Warner Huntington III. Mr Mulchrone played and acted well in this part. I did feel that Mr. Mulchrone's vocal performance was somewhat inconsistent, where, at times, some notes broke or were lighter than others or under the note in singing. I felt Mr. Mulchrone could have been a little more passionate, and more emotion could have been given firstly to breaking up with Elle, and then to his romance with Vivienne, and then to his desolation at Vivienne breaking up with him. Visually, Mr. Mulchrone, you looked great, fabulous costumes. and with Vivienne and Elle aesthetically, you were a fantastic group and well-cast. It was just a little on the vocal and the emotions that I felt you could have given more on the evening I attended. Katie Padden played the part of Vivienne Kensington. Straightlaced, proper, strict, and very serious, this part was played very well by Ms Padden. I lost some words in the earlier scenes when she was initially introduced to the audience. I felt that some of the dialogue was spoken into the wings rather than to the audience for some of Ms Padden's dialogue. I think more emotion and love was needed and her feelings for Warner could have been a bit stronger in the overall performance. Ms Padden has a beautiful speaking voice. Sarah Granahan played the part of Brooke Wyndham. Again, a great part played with great energy, fiery passion, and the urgency of a woman who has been accused of the wrong and is fighting her case to be cleared and freed of the murder of her husband. “Whipped into Shape” was a visual treat with enviable energy from beginning to end. Superb acting and comedic timing. Ms Granahan, you played your part very well, and again, I envied your energy! Well done. Aoife Halligan played Ms. Hoops, a supportive role for Brooke Wyndham as a fellow inmate in jail with Ms. Wyndham. Ms Halligan played a lovely part here. And there is no such thing as a small part. Well done, Ms Halligan. I also wish to mention the part of Kyle. I loved your entrance through the audience with the house lights on you, and your swagger was brilliant and hilarious. Your charm and the love you had for yourself (!) were so funny. However, your interactions with Paulette really won me over in this part for you. You lit up the stage, the audience lapped up your fun sense of humour, and your joie de vivre, and the dialogue between yourself and Paulette and her reactions was one of the best pieces of comedy I have seen on a stage on my journey this year. Chorus- Every number in this show was sung well and to a very high standard, with lovely balanced harmonies and excellent sound and tone. With so many numbers, this chorus played a massive role in this show's success. Harmonies were beautiful, moving from soft singing in the more emotional scenes to tremendous singing in the more significant numbers, including choreography mentioning “Bend and Snap” and “Oh My God you Guys” in particular. This Chorus was a vocal delight from start to finish. Well done to every one of you. You are a lovely, talented, and very young Society who did a marvellous job with this year's show. And as a Society as a whole, I applaud you all. It was a pleasure to be in your company this evening, and I applaud every one of you for your performances on stage, backstage, in front of the house, in the committee, orchestra, or production team. It was my pleasure to be in your company, and I wish you ongoing success and many more years to come. Thank you. Caroline Daly Jones Sullivan Adjudicator 2023/2024 Some photos shared by the society - Photographer - Alison Laredo

Michael Collins as presented by Killarney Musical Society

KILLARNEY MUSICAL SOCIETY, MICHAEL COLLINS A MUSICAL DRAMA THE GLENEAGLE INEC ARENA KILLARNEY 5th, 6th, & 7th March 2024 Adjudication...

KILLARNEY MUSICAL SOCIETY, MICHAEL COLLINS A MUSICAL DRAMA THE GLENEAGLE INEC ARENA KILLARNEY 5th, 6th, & 7th March 2024 Adjudication Performance 6th March 2024 I had the absolute pleasure of attending the lovely INEC in Killarney on the evening of the 6th of March 2024. Lashing wind and rain did not stop the audience from turning up in their droves for this performance of Michael Collins, a Musical Drama production. I looked forward to this production as I took my seat in this lovely INEC Arena, a special place for hundreds of us. Killarney is indeed a beautiful place, and after my long drive from Wexford that day, it was lovely to see such camaraderie and friendship amongst this team, with the lovely Sorcha O’Connor looking after me and making me feel so at home and so very welcome. The Front of House team was professional, huge in numbers, dressed well, all in black, and worked well together. Well done to everyone on the Front of House team. Bravo. Mr Oliver Hurley directed this production. Mr Hurley created a powerful and moving production that successfully brought history to life in a visually impacting way to the stage. Mr Hurley created lovely pictures, visually powerful storytelling, beautiful music, and solid performances. It had beautiful, intricate attention to detail and a most talented, confident cast displaying a passion in their characters, giving so much depth to the story and, indeed, the show’s success. Extensive use of the enormous stage was used beautifully and very cleverly, particularly concerning the moving staircases or steps, which were on casters and used so very effectively throughout to change a scene visually very quickly by the simple movement of one or indeed all of the staircases. The individual performances, the choral movements, the clever use of sets, and the sheer mammoth task of bringing this show to life left the audience wanting more, and that is, in my opinion, what a good Director brings to a show to knit the whole production together. Super Job. Mr Oliver Hurley was also a Choreographer for this production. The choreography here was beautifully visually, moving as one, and professional. And yet, each cast member and ensemble moved with ease with specific mention of the ensemble movement in the more significant musical numbers of the show, such as “The Call of Freedom,” powerfully moved, setting the scene and capturing the spirit of their rebellion and the utter and desire for independence. “A New Dawn” with looking forward with hope for the future. The choreography for this show was highly energetic, ideally moved with not one step out of place, and a visual exhibit of near perfection, passion, and life. Beautifully moving, strong, solid, and professional. Mr. Michael Young was the Musical Director for this show. When the show opened, a magnificent sound emanated from the pit in this fine theatre. Mr Young had a team of exceptional talent here in this group of musicians, each an expert in their field, each song, movement, overture and solo accompanying the cast beautifully, with great feeling and tone and a beautiful balance between the Orchestra and the cast entirely. Mr Young and his Orchestra beautifully brought out the best in his team, accompanying the cast through huge, robust numbers to the quieter, more emotional ones. This Orchestra was a joy to listen to. This was an assured, confident, melodic, and emotional music extravaganza. Thank you, Mr Young, for your wonderful Musical Direction with this team. Stage Managers were Mr. Frank Ashe and Ms. Pam Brosnan. A good team here. I very much liked the sets. I loved how simple they were and yet how successful they were. This is a vast production and no mean feat for any Stage Manager; however, you made this look simple, which I know it was not, having visited backstage after the show. Well done to you and your team in your role as Stage Managers—a great job and a good partnership. Sets consisted of the use of movable staircases throughout the performance. These were a) huge and b) clever and filled the vast stage of the INEC, yet they never overwhelmed the cast or were too busy. These staircases glided around the stage, moved beautifully, and very much enhanced the production, allowing the stairs to be used as seats for the cast to sit on, as speaking points such as Michael Collins speeches, as different levels of height and depth visually for the Ensemble throughout creating beautiful pictures all with the steps however all so different and enhanced continually by the glorious lighting. Every single set piece in this production worked very well and cleverly. Sound Design and Operation was by Star Systems Thurles. The sound throughout this production, from beginning to end, without any fault whatsoever, was magnificent, flawless, and powerful. This is a big venue, a big show, a big cast, a lot of music, a lot of dialogue, and a lot of people speaking, singing, moving, and dancing together across a vast stage and a whole house in a massive venue. Simply terrific. Bravo. Mr John Hurley looked after Lighting Design and Operation. Again, I will say the same as I did about the sound. Fantastic lighting throughout this show. Magnificent work on spots on individuals, beautiful colour creations, and shooting colours in scenes such as the superb red pillar light effects on the stone walls at the opening of Act 2, matching the backdrop in black with Michael Collins written in vibrant red. There are many uses for beautiful lighting throughout this show. All of this enhanced the show for its audience and cast, and I loved the contrasts used in various scenes to darken, brighten, or envelop the actors and the cast. It was simply wonderfully done. The lighting in this production was a resounding success. It was a visual picture and a treat and greatly enhanced this production from beginning to end. Well done Mr Hurley. Costumes were provided by Nomac Productions, Tralee Musical Society, Killarney Musical Society, and Val Sherlock Wigs. With a strong wardrobe team, they were appropriate, pristine, and authentic. Visually very effective. Props, under the care of Marie Maloney, Martina O’Riordan, and Stage It, Wexford showed meticulous attention to detail. I mentioned some of them to highlight a few and show how good the props were. The typewriter is so fantastic; it is a piece of history. The newspapers, the forms which had on them, typed up beautifully “Articles of Agreement Treaty between Great Britain and Ireland, specifically stating “signed in London” on the 6th of December 1921 in bold old fashioned calligraphy print. Fabulous. Magnificent attention to detail and well done, Props team. Keith Dwyer Green played Michael Collins. Tall, eloquent, and beautiful acting skills added to the success of Mr Dwyer Green as Michael Collins. In his acting, Mr Dwyer Green was a vigorous Michael Collins, and his commanding stage presence looked great. He had a lovely stage presence and rapport with his fellow actors and cast. His relationship with his best friend Harry Boland, played by Lloyd Fitzgibbon, was very well played. A vast amount of dialogue and a huge vocal role are required here in this part. I did feel that the higher range vocally in the part was a little too high for you in a few places. . The vocal in one or two higher parts was a little strained than your lower register. This is a small remark given the complexity and massive responsibility that landed on your shoulders in this magnificent role, and indeed, you acted it with aplomb, fire, leadership, and passion However, you were an excellent Collins for all the reasons mentioned above. What endeared me to you was that you played this role from your heart and with your heart. And that was truly lovely to see. Congratulations. Clodagh Harrington played Kitty Kiernan. Visually, melodically, a joy and a lovely actress. From the moment you stepped on stage, Ms Harrington, I was impressed by your presence, the ease with which you moved about the stage, and, primarily, your gorgeous facial expression. Your eyes and your smile lit up the stage and your character. You glided around the stage in this part, and you created your Kitty Kiernan beautifully, and she was gorgeous. Your interaction in every scene, particularly with Michael, Harry, and the Players, was very well done, and “Every Heart Awaken” with these two and the Ensemble at the end of Act 1 was gorgeous. This was an excellent role for you, Ms Harrington, and suited you down to the ground. You were a lovely Kitty Kiernan, and your joy, sorrow, pain, and love for these men who entered your life were palpable, and you were a joy to watch on stage vocally and theatrically. Lloyd Fitzgibbon played the part of Harry Boland. Mr Fitzgibbon was strong in this role. Mr. Fitzgibbon, this was a wonderful part for you. You had a lovely connection with Michael Collins and had a beautiful connection with the love of your life – your Kitty Kiernan. You took this part and made it your own, Mr Fitzgibbon. Throughout this production, your energy, passion, leadership, friendship with your fellow men, connection with De Valera, lovely stage presence, emotion, and heartbreak were all too apparent. You have a beautiful voice. You sing from your soul, and your performance and the character you created made you one to remember in your role as Harry Boland, Mr Fitzgibbon—a joy. Tim Moran played the part of Eamon De Valera. Superbly cast. I am unsure if you look like De Valera or if it was an excellent wardrobe costume and makeup. Still, you were indeed visually an impeccable De Valera—you had excellent diction, crisp, authoritative, a leader, and a man who took no nonsense. You commanded the stage throughout. A significant role, Mr Moran, that suited you. You were critical to the success of this production and a key player overall with a substantial and comfortable stage presence that did work—well done. Aaron McClaren played the part of Joe Emmet. What a significant part. I had a soft spot for this lovely character from when he stepped on stage as Michael Collins's wingman and loyal, trustworthy friend and shadow. I nearly cried with you when your good friend Michael Collins was killed. It's a gorgeous part so well played, and you made it yours. You would have given your life for Michael Collins. That was obvious. With you by his side, Mr. McClaren as Joe Emmet, Michael Collins was a lucky man. Bravo. PLAYER 1 was Fiona Crowley. This was a lady who impressed me from the moment she arrived on stage with her lovely lyrical voice so well suited to this part with a beautiful warm facial expression and a stage presence that did highlight that this young lady is a natural on stage and born to be on it. Lovely acting talent, so softly yet clearly spoken, and a gorgeous vocal and an adorable accent only added to the performance as a leader and as a quartet with Players 2, 3, & 4 were a vital link in the chain of events and the story. Gerry Adams played PLAYER 2 (Peter). Again, he was a powerful presence on stage, a strong vocalist, and very eloquent. He was assured and confident in this role, again, so well-cast and again a strong link, with excellent rapport and a leader with excellent stage experience. He looked great as a part of this vital group of four and was a key player again with a lovely stage presence. Siobhan Bustin played PLAYER 3 (Delia). A lovely vocal, very well cast in this role, and again, this quartet visually and collectively had a significant impact on stage. Ms Bustin showed lovely calmness and confidence in this role. You moved beautifully and quickly around the stage and were a tremendous team player. You have a significant role, beautiful acting, and a natural love tone and warmth in your vocals in this lovely role. Derek O’Leary played PLAYER 4 (Michael), a robust and confident player in this group. Mr O’Leary looked great and was part of the strong link required by each player in this show to ensure its success. His stage presence and vocals were lovely. He was assured and confident and played this part very well. Elaine Kearney played Mother Ireland. And the haunting “Anuna” style of your vocals was so lovely. The powerful, eerie stage presence glides gracefully and beautifully around the stage slowly and carefully. Ghostlike and mysterious and a beautiful voice. A vital role in the show. Great costume, great stillness, and indeed great sadness portrayed here, Ms Kearney. It's a lovely part which you played very well. Derry Healy played Arthur Griffith's part. Again, he had physical strength in his stage presence and a great speaking voice eloquently sung with fight, passion, and power. You would inspire a turtle to run with your leadership qualities, Mr. Healy. Again, it's a fabulous part with great vocals and cast. Strong, a leader, and a great actor. Well done. Eamonn Kelly played the part of Cathal Brugha. A warrior, passionate, vocal, and intense. He has a great costume and a lovely stage presence. There is no such thing as a small part. You were indeed a vital cog in the wheel of this historical journey in this show. Abby Cronin, Sister 1, Kyla Shine Leane, Sister 2, and Charlene Brosnan, Sister 3, played the Kitty sisters— pretty, significant interaction, lovely stage presence, and a good team. Even cast as Kitty Kiernan sisters, you each individually display a wide range of emotions and, importantly, the strength of women during such a disturbing political time in Ireland. This Chorus. Wow. You blew me away with your sound, harmonies, passion, volume, and magnificent singing throughout this show under Mr. Michael Young, Musical Director, Chorus Master, and Ms. Sorcha O’Connor, Chorus Mistress, respectively. What a sound. What magnificent harmonies. What passion. What love. “Fly The Flag of Freedom” I will never forget “The Treaty Song,” “Mouth of the Flowers,” Finale, “Epilogue” Finale Act 2. The beautiful, moving, and so emotional “Every Heart Awaken” lifted the roof of the INEC in Killarney. I hope the above gives you an understanding of your power in this show. Bravo, I applaud every one of you for the sound you created and what you brought to your stage tonight to us, your audience. Congratulations. It's a fabulous venue, and what a gorgeous production you put on for your audience tonight. It was a joy. Thank you for the loveliest of evenings to you all. It was indeed delightful to be back in Killarney. It is a beautiful place, with beautiful people. And I thank you so very much for bringing your talent and show to your audiences for its duration. May you continue to prosper for a very long time to come. Bravo, and thank you. Caroline Daly Jones Sullivan Adjudicator AIMS 2023 / 2024 Some photos kindly shared by the society - Photographers: Marie Lyne Kelly, Marie Carroll O Sullivan and Valerie O Sullivan

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
9 Arch Musical Society
Aghada Centre Theatre Group
Arklow Panto Creations
Baldoyle Musical Society
Ballinasloe Musical Society
Ballyshannon Musical Society
Bardic Theatre
Bellvue Academy of Performing Arts
Birr Stage Guild
Bosco Drama Group
Boyle Musical Society
Bray Musical Society
Carrigaline Musical Society
Castlebar Musical & Dramatic Society
Castlerea Musical Society
Cecilian Theatre Arts
Claremorris Musical Society
Cork City Musical Society
Craic Theatre
Creative Minds Productions
Currid School of Performing Arts
DCU Drama Society
Donegal Youth Musical Theatre
Dun Laoghaire Musical & Dramatic Society
Dundalk Musical Society
Encore Performing Arts Academy
Enniscorthy Musical Society
Ennistymon Choral Society
Fermanagh Musical Theatre
Fermoy Musical Society
Fortwilliam Musical Society
Fun House Theatre Company
Glasnevin Musical Society
Glenamaddy Musical Society
Glencullen Dundrum MDS
Golden Apple Players, The
Greasepaint Productions
Inchicore Variety Group
Jack Cunningham Productions
Kells Musical Society
Kill Musical & Dramatic Society
Killarney Musical Society
Kilmacud Musical Society
Kilmainham Inchicore Musical Society
Kilrush Choral Society
Letterkenny Musical Society
Light Opera Society of Tralee (LOST)
Limerick Musical Society
Lisnagarvey Operatic and Dramatic Society
Londonderry Musical Society
Loughrea Musical Society
Mary I Dramatic Arts Society
Mitchelstown Musical Society
Moycullen
Naas Musical Society
Nenagh Choral Society Ltd
Nenagh Choral Society Youth Academy
Newcastlewest Musical Society
Newry Musical Society
Newry Youth Performing Arts
North East Musical and Dramatic Society
North Wexford Musical Theatre
O'Connell Musical Society
Phoenix Performing Arts College
Phoenix Productions
Pioneer Musical & Dramatic Society
Pop-Up Theatre, Sligo
Portadown Phoenix players
Portmarnock Musical & Dramatic Society
Queen's University Belfast Musical Theatre Society
Rathmines & Rathgar Musical Society
Ratoath Musical Society
Roundwood Variety Group
Roundwood Variety Group
Rush Panto Society
Sheevawn Musical Youth Theatre
Sligo Fun Company
Sligo Musical Society
St. Agnes' Musical Society
St. MacNissi's Choral & Dramatic Society
St. Michael's Theatre Musical Society
St. Patrick's Hall Musical Society, Strabane
Stage Left Youth Theatre
Stage One New-Musical Group (S.O.N.G.)
Striking Productions Carlow
Studio 55 Productions
The Little Sea Musical Society
The Odd Theatre Company
Tralee Musical Society Youths
Trinity Musical Theatre Society
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
University of Limerick Musical Theatre Society
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