top of page

UPCOMING EVENTS

RENT

2 Aug 2024

Calendar Girls the Musical

20 Mar 2025

Fun Home The Musical

4 Dec 2024

A Christmas Carol the Musical

24 Nov 2024

Rock of Ages

21 Nov 2024

LATEST NEWS

JOB OPPORTUNITY: Musical Theatre Lecturing Positions

Re-sharing an advertisement for DkIT - Deadline extended until June 21st for any interested applicants! We recently advertised for a...

Re-sharing an advertisement for DkIT - Deadline extended until June 21st for any interested applicants! 
 We recently advertised for a number of lecturing positions in Musical Theatre at Dundalk Institute of Technology as follows: 
 
 Assistant Lecturer in Musical Theatre (Pro Rata Contract)·         
 Assistant Lecturer in Musical Theatre: Acting ( Pro Rata Contract)·         
 Assistant Lecturer in Choreography  (part-time)  
 
 We welcome applications from those currently involved in the production, staging, musical direction and performance of musicals. The appointees will be expected to contribute to teaching at undergraduate level on BA Musical Theatre. The positions call for highly motivated individuals who have experience of the musical theatre industry. Candidates should demonstrate a high standard of performance and experience as a facilitator of performance skills.  
 
 Full details are on the vacancies section of the DkIT website https://www.dkit.ie/human-resource/vacancies

INFO - AIMS Awards Winners 2024

INFO: Important AIMS Awards 2024 Stream Information

The big weekend is upon us at last with some folks already making their way down by plane, train and automobile! The crew are hard at...

The big weekend is upon us at last with some folks already making their way down by plane, train and automobile! The crew are hard at work on the finishing touches...just want to reiterate some key information for those who are hoping to stream the event on Saturday! Stay tuned to the socials where Kate will keep you all up to speed on the weekend coverage! Be sure to use the #AIMS24 to appear on the video walls / send messages of well wishes! The stream will only be available here on the AIMS Website.  Backup link Note - this will not  be streamed on Facebook or the AIMS Youtube channel!

Grease as presented by Roscrea Musical Society

Grease as presented by Roscrea Musical Society: Tuesday, 7th May 2024. For the final adjudication of my tenure as Adjudicator, it was a...

Grease as presented by Roscrea Musical Society:   Tuesday, 7 th May 2024.   For the final adjudication of my tenure as Adjudicator, it was a pleasure to visit Roscrea and relax in the company of the Pink Ladies, the T-Birds, and all the other characters who comprise the good old comedic romp that is Grease. A fine director of old once told me he refused to direct a show whose dramatic highlight was a girl skipping her period, and he was kind of right. It’s not a show filled with high drama, but when approached in the right manner, it can certainly be a show that is bright, vibrant, colourful and great fun in which to be involved. Step up, Paul Norton, a director who definitely likes to have a bit of fun, and not surprisingly, he made sure that Roscrea Musical Society had more than a few laughs with his production.  Given the very limited stage space and facilities of the Abbey Hall, Paul sensibly opted for a neutral and delightfully created set, with images and motifs appropriate to the era, and created location with the use of good props and dressing and projections. These were handled with tidy efficiency by a good stage crew under the guidance of stage manager, Ian Hanrahan. Mr. Norton made sure that his characters played their roles with fun and exaggerated energy, and he ensured that the space available to the cast was well used. The pace of the show was very good, but as always, with Paul, comedy was the big strength of the production, which is as it should be with Grease. I’m quite sure Roscrea had a great time bringing this to the stage. Highlight of the show was a hilarious towel routine for “Magic Changes” which was very well-performed.  Musical Director, Mary Rose McNally, a bit of a seasoned Rock’n’Roll chick herself, had great fun too, with a very competent and enthusiastic band of musicians, maintaining bright and breezy tempi throughout a very nicely played show. Mary Rose had done very good work on the chorus, making sure harmonies were well-realized, and her principals were musically very secure. There was also a good balance between the musicians and the singers.  Dayna Quinlan was a most delightful choice for the role of Sandy Dumbrowski, combining a lovely youthful innocence with a beautiful vocal quality and convincing acting. At only seventeen, which such capabilities, I suspect she’ll play many character and leading roles in the future. On this occasion, she certainly made a big impression.  Adam Skeffington, looking considerably less monstrous than the last time I saw him, made a great impact as cooler than cool dude, Danny Zuko, strutting with assurance, singing with melodic tones and playing his comedic and romantic scenes very convincingly.  Aoife Digan played a fairly hard-nosed Rizzo in a production which might have allowed her to give more lightness to her character. She was strong and emotional in “Worse Thing I Could Do”, but I’d have liked more lightness and comedy in her “Look at Me, I’m Sandra Dee” number. I also felt that the F-word was slightly out of kilter with the lighter tone of the rest of the show. However, as always, her performance was solid and reliable. Colm Hogan was a strong Kenickie, dominating his scenes with a comical arrogance and delivering his vocals with great confidence. He had a great look and attitude for the role. Megan Maher, as aptly described in the show program, was “short, classy, cute and sassy” in the role of Marty. She was also fun and feisty and gave a strong rendition of “Freddy My Love” with lovely vocal quality.  Eimhin O’Meara played Sonny Latierri, as a dorkish, wannabe-cool-dude with great comedic quality and confidence. A nicely created character, with good vocals and movement.  Laoise O’Connell played a cute, dim and flirty Frenchy, full of fun and comedy and was also an accomplished dancer. She was particularly notable for very good facial expressions. Cole Flanagan as Doody was fortunate to have the funniest number in the show, and made the most of it, supported by his fellow gang members. A very good comedy performance and a rockin’ good voice.  Helen Flynn had great fun with the role of food-aholic, Jan, always vibrant and animated, and very capable in all of her routines, both vocally and dance-wise.  Zach O’Halloran was her counterpart, a lazy and slobbish Roger, but still well able for his dances and his good comedic activity. “Mooning” was well-delivered by both.  Teresa Bourke was a very amusing, catty, and capable Patti Simcox, and I’m quite sure she would have been just as funny without the unnecessary speech impediment. A good character player.  Jason Fitzgerald was an unusually lanky dork as Eugene Florczyk, but he used his height to good effect in creating a withering wimp when confronted by the T-Birds. Very nicely played.  Lisa Hogan was a sexy, sassy and delightfully tacky Cha-Cha Di Gregorio, strong in character and very agile in her dancing.  David Walshe made a very decent vocal job of both Johnny Casino, and Teen Angel, selling “Beauty School Drop-Out” particularly well.  Stalwart performer, the young and lovely Siobhán Bowe, aged herself delightfully to play the stuffy schoolteacher, Miss Lynch, as reliably as she always does.  John Lynch, either enhanced by miracle-grow hair-restorer or a rather natty wig, had a lot of fun with pervy DJ, Vince Fontaine.  A super, energetic and fun-loving chorus of dancers worked hard all night to give life and enthusiasm to all of their routines, which they succeeded in doing with good polish and also a very decent vocal quality throughout.  This was a great fun show for Choreographer, Stephanie Browne, to display a good range of steps and styles. Her rock’n’roll numbers were exciting and very well executed, and there was plenty of imagination and creativity in the rest of the show. She was fortunate to have a very willing chorus to bring all of her routines to life with great proficiency. A very good body of work.  Lighting for the show was generally tidy and effective, with good special areas and plenty of variety and colour for the rock and roll sequences, although cueing wasn’t always as tight as it should have been. Sound quality throughout was very decent and well-balanced. Costumes were well-sourced and all good and appropriate, as one expects for Grease, with T Bird and Pink Ladies Jackets, and good individuality in the principal characters. I loved the towels, etc, for Magic Changes and the Beauty School Drop Out rollers and robes.  Wigs/hairstyles were, again, very tidy and era appropriate, and there were no issues at all with make-up. Plenty of good props and dressing helped to nicely dress the stage.  I have never not enjoyed a visit to Roscrea, passionate and energetic as they always are in presenting their annual musical, and above all, they have a great spirit of camaraderie and fun in everything they do, as typified by this most enjoyable production of Grease. Thank you for the great entertainment, and indeed, for many, many years of friendship and happy memories.  Peter Kennedy Gilbert Adjudicator 23/24

Phantom of the Opera as presented by Wexford Light Opera Society

The Phantom of the Opera as presented by Wexford Light Opera Society: Saturday 4th May 2024. I’m nothing if not consistent. I still think...

The Phantom of the Opera as presented by Wexford Light Opera Society: Saturday 4 th May 2024.   I’m nothing if not consistent. I still think that Phantom of the Opera is thin on story, has fairly one-dimensional characters, and a very vague ending. It is a show that relies on a stunning musical score and the requirement of technical spectacle. However, having witnessed the Wexford Light Opera Society production, I can now admit that, when all the ingredients come together in the most crafted and precise combination, I can at last understand why it has been a phenomenal success on London, Broadway and who knows where else. I am equally confident that if this particular production was on any professional stage, it would stand up beside the best of the best. This production was quite magnificent. Perhaps the battle was half won even before the show started, given the grandeur and the capabilities of the National Opera House. But it’s one thing to have a beautiful stage, and something else altogether to turn it into a phenomenon.  Charged with the responsibility of bringing all the various strands of the production together was Director, Christine Scarry, and her first of many major achievements was to surround herself with the perfect team for the job. With a belief in your set designer, your lighting crew, your wardrobe mistress, your choreographer and your Musical Director, the battle is almost won before it has begun. When you have the confidence and foresight to select the perfect players for each role, you make life that little bit easier, and when you have a strong handle on what works dramatically, a perfect eye for what is aesthetically pleasing, and the wonderful imagination to give a production that extra personal stamp, then your job is complete and the end result is something very wonderful. That was the case with this production. The detail and work that went into every aspect of the show was immense, and drawing it all together with style and panache confirms Christine as a master of her art. I’m sure she may have done one or two dodgy productions in her day, but not THIS day. This day, she was supreme in her achievements, and I’m grateful to have been a spectator of that greatness.  During a night of wonderful music, one of the highlights for me was sitting back and enjoying the Entracte, which was something akin to attending a philharmonic concert, such was the standard and quality of a superb orchestra, under the excellent guidance of Musical Director, David Hayes. Throughout the show, the tones and tempi were excellent, giving life and energy to the score, hitting the crescendos with nerve-tingling ferocity, and melting into sublime, swathes of mellow legato. There was never a question of orchestra and vocalists being in competition, as the level and balance of the accompaniment was always perfect. Thanks to Chorus Mistress, Eithne Corrigan, good attention had been given to the choral work, with strong harmonies and clean, crisp diction. “Masquerade” was the showpiece of the vocal work, although the difficult “Don Juan” opera pieces were also very well-handled. It goes without saying that the principal singers were meticulously prepared.  Tony Carty, playing the role of The Phantom, having already performed a matinee that afternoon, was suffering from a sore throat when I attended on the final night of the show. I could tell in his early musical pieces that he was under some strain, and I mention this only to indicate the level of professionalism that he displayed in this performance. With true dedication, and superb restraint, he held back vocally on the easier and more gentle pieces of music and sensibly saved his powerful voice for those scenes where he needed to make a massive impact. In so doing, he avoided what could have been a disaster for the standard of the whole production. His acting throughout the show was excellent, and in managing his vocals so effectively, he persevered to ensure that the show’s climax was just that. This was theatrical craftsmanship, and I richly applaud his dedication.  The sensation of the show, however, was the performance by Karla Tracey as Christine Daaé. Her stage presence was strong and resolute, her acting was remarkable, her grace and elegance in movement was entirely what was required for her role, and I would quite simply run out of superlatives trying to express my admiration for her sublimely beautiful and powerful voice. In a role that demands much, she gave much more than I could have imagined. Her tone, her diction, her emotion, her range were all taken from the very top drawer of musical accomplishment. She may have been born to play this role. I remain in awe.  There’s a star in the making in the shape of Daniel Furlong, who most effectively took on the role of Raoul, Vicomte De Chagny. Doubtless, he will find himself cast in romantic leads in the future, possessing, as he does, a very fine tenor voice, good acting ability, and great stage presence. This was a confident and very capable performance.  Tony Brennan and Pat Lawlor, as Richard Firman and Gilles Andres, respectively, provided a light comedy duo, as the new owners of the Opera Populaire, confounded by the misfortune of dealing with a theatrical ghost and living Prima Donnas. Witty in the execution of their pieces, they were most impressive in the vocal challenges of the tricky ‘Notes’ numbers.  Ami Stahlut was a most impressive Carlotta Giudicelli, with a fabulous soprano range and a wonderful presence on the stage. She was dramatic and stubborn and delightfully self obsessed, making her character worthy of ridicule and many a good laugh. Very well played and beautifully sung.  Her counterpart was a pompous and buffoonish Piangi, played with great character and comedy by the very capable and likeable George Lawlor. With fine facial reactions and a stuffy awkwardness, he squeezed as much comedy as possible from his characterization. There was a dry, controlled, severity about Nicola Roche in the role of Ballet Mistress, Madam Giry, very strong and secure in her vocals, and mysterious in her station as go between from the Phantom to the rest of the Opera. Very confidently and dramatically played.  As stated in a previous review of Phantom, I’m never quite sure of the relevance of Meg Giry to the story, but regardless of that, Niamh Cullen gave good voice and personality to her role, with a confident presence and a warm character.  Eric Hayes made an impact as Buquet, the stage technician of dubious character, who meets an untimely end. Other notable performances came from James McDermott as a relieved Monsieur Lefevre, Dylan Walsh as the dramatic theatrical Monsieur Reyer, Stephen Byrne as the auctioneer and Catherine Walsh as the Confidante.  What made the chorus stand out in this production was their commitment and precision in everything that they performed. Routines were meticulously rehearsed, pictures on stage were sharp and artistically beautiful, and when they had an opportunity to shine vocally, they grasped it with both hands and sang their hearts out. I sensed their total belief that they were an integral part of something special, and they responded accordingly. Excellent work. Choreographer, Thérése O’Sullivan, took every possible opportunity to enhance the production with beautiful movement, whether it was the ballet dancers rehearsing or performing in the Operas. The full chorus have limited opportunities to shine, but in all they were asked to do, they were meticulous and energetic, with “Masquerade” being awesome in presentation and execution. But the terpsichorean highlights of the show were undoubtedly those moments when the Corps De Ballet took centre stage. Excellent work.  With a superbly designed and brilliantly built and painted set, perfectly selected projections, an amazing and industrious stage crew, under the direction of Stage Manager, Colin Murphy, perfectly built and sourced props and one of the finest stages in Ireland, this was a recipe for success. When you combine all the above with a superbly detailed lighting and effects plot and virtually flawless sound quality, then you get as close to technical excellence as it’s possible to get. What might have edged it even closer to perfection would have been a bigger organ, with bigger organ pipes that dominated that scene, a heavier fake body for the hanging of Buquet that stopped more abruptly, with a neck snap for horrific impact, and a much speedier falling of the chandelier, perhaps blacking-out with a light explosion, before it hit the stage. But I’m nit-picking really. Scene after scene, I was mesmerized by the visual strength of the sets, the use of candlelight, the controlled use of fog/mist, the flash effects, and just how smoothly and seamlessly everything moved and fit together. Technically, the show was quite simply beautiful.  Congratulations to the wardrobe team for selecting such a top-notch costumier to supply this show with a wonderful and varied wardrobe. The day wear for the principals and chorus were apt and respectable, and the theatrical wear for the Operas was luscious and beautiful. Particularly lovely were the several sets of beautiful ballet outfits for the Corps De Ballet. When the full cast took to the stage for the splendid “Masquerade,” it truly was an awesome spectacle, from wigs, to masks, to outfits, to footwear. Make-up was generally very good, although perhaps Carlotta and Piangi’s could have been more exaggerated and also the Phantom. From where I was sitting, I didn’t really catch the horrific effect when his mask was removed.  Finally, it behooves me to acknowledge that in the course of carrying out one’s duties as an adjudicator, one also has the privilege of gaining much knowledge from the experience of others. During this season, I have had many teachers in many disciplines, but tonight I was fortunate enough to gain wisdom and experience from two professors. Professors Christine Scarry and David Hayes. I shared that privilege with Wexford Light Opera Society, who blossomed and bloomed under such accomplished leadership. Thank you all for a sublime theatrical experience. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Paula Malone Carty

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
bottom of page