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UPCOMING EVENTS

Legally Blonde

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15 Feb 2026

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Hello, Dolly!

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24 Nov 2025

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We Will Rock You

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19 Nov 2025

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Naas Musical Society present Motown and More

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12 Nov 2025

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Alice in Wonderwall Pantomime

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21 Oct 2025

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LATEST NEWS

Sweeney Todd as presented by Galway Musical Society

Galway Musical Society Sweeney Todd Sunday 4 th  May 2025 Theatre often extends beyond entertainment.   It can be thought-provoking. It can offer a sense of escapism.   And even though we escape, the place to which we escape is not always a comfortable space. We can be forced to confront difficult issues and to think about challenging realities.   Such was the case before the curtain even rose on Galway Musical Society's production of ‘Sweeney Todd’ in the Town Hall Theatre. The production...

Galway Musical Society Sweeney Todd Sunday 4 th  May 2025 Theatre often extends beyond entertainment.   It can be thought-provoking. It can offer a sense of escapism.   And even though we escape, the place to which we escape is not always a comfortable space. We can be forced to confront difficult issues and to think about challenging realities.   Such was the case before the curtain even rose on Galway Musical Society's production of ‘Sweeney Todd’ in the Town Hall Theatre. The production utilised the interesting framing device of setting everything inside a bleak, 18 th  century mental asylum, with the cast, as inmates, drawing lots to assume the roles within Sondheim’s macabre masterpiece, which, in turn, played out in the asylum.  Sensitivity around the portrayal of mental illness and intellectual disability on stage can be problematic. There can be a fine line between such sensitivity and sensationalism.   Art has an important role in informing and influencing attitudes and it is important that we do not portray mental illness through a caricatured lens.   The wonderful ensemble in this production were present outside the theatre as we arrived. They sat and stood in silence and that silence was powerful in itself. What ensued in the theatre, as we took our seats, was altogether different.  Ensemble members climbed over seats, some screeched, some wailed in distress, some stimmed, some rocked repetitively, some even screamed in audience members’ faces. All of this disturbing behaviour was accompanied by a soundscape of unnerving music and eerie sound effects. For some audience members, this could have been very triggering. I felt that, had things been more muted, more measured, and less about the shock value, things may have been more grounded and authentic.  I was met with a wonderfully warm welcome and it was clear that my contact person had much experience in dealing with AIMS adjudicators in the past as she read my mind at every turn. A wonderful job, brilliantly executed, that will live long in the memory. Paul Norton's direction was bold and often bizarre.   With inmates assuming the roles of the story's twisted characters, it was quite the avant-garde interpretation, which gave us a haunting, thought-provoking spectacle and many moments of theatrical magic. The bag from which wigs, costume pieces and props, including the iconic rolling pin and razor, were passed to inmates, was a wonderfully original theatrical device, setting up the premise very nicely at the start of the show. The ensemble was incredibly committed to the Mr. Norton's vision.   As good as it was, their background movement occasionally needed to be toned down as it drew focus.   There was great fluidity in having cast orchestrate scene changes, minimising the need for blackouts and maintaining momentum throughout. Judge Turpin's despicable assault was graphic and disturbing, a real gut punch for the audience. Mr. Norton drew strong parallels between the madness of the inmates and the destructive obsessions of Sweeney Todd and Mrs. Lovett as the inmates’ despair and frustration with their confinement shaped the narrative.   It was challenging for an audience on many levels, especially, I would suggest, for anyone unfamiliar with the tale of Sweeney Todd.   For those who knew the show, this was quite the bold take, breathing new life into one of Sondheim’s most iconic works. Musical director John Roe did an excellent job on this highly challenging show, with its intricate harmonies and complex structures.   There was incredible harmony work, excellent diction, and a wonderful intensity to the superb chorus sound. Standout numbers included ‘The Ballad of Sweeney Todd’ and the brilliant ‘God, That's Good!.’ The choral elements of Sweeney Todd are essential to its dramatic impact and Mr. Roe ensured that there was drama aplenty as he created an exceptional sound with his wonderful cast. There was meticulous preparation and rehearsal evident in the impeccable timing and incredible balance of ‘The Ballad of Sweeney Todd’ and the deliciously complex ‘City on Fire.’ There was great collaboration with the sound department to ensure that Sondheim’s recurring leitmotifs were always clearly featured, underlining yet again the importance of music in supporting the narrative.  Jay Molyneux's choreography was innovative, inventive, and refreshing with very sharp, stylised movement, which reflected the broken minds and bodies of the inmates. The ensemble members were never merely background but rather a living representation of the fractured psyches which permeate the tale of Sweeney Todd. Movement was often unpredictable and unsettling, embodying the psychological and psychiatric chaos in what was a very strong metaphor for the human mind's eternal struggle. A wonderful job from Mr. Molyneux and his dedicated ensemble. Alan Greaney was a very impressive Sweeney Todd.   He was less brooding than some traditional characterisations, yet he was commanding in stature and speech with a great air of confidence.   This was a more human characterisation, which invited the audience to empathise with his murderous tendencies.   His descent into vengeance and rage mirrored the inmates’ own struggles with their demons. There was great power and nuance to his singing and his deeply resonant, baritone voice commanded authority.  ‘ Pretty Women’ was hauntingly good.   You could cut the tension with a knife. He had an incredible emotional range, from his more thoughtful, introspective moments to his seething rage during ‘Epiphany’ which was a standout number. Iona Ajisomo gave a very nuanced performance as Mrs. Lovett, playing the role quite differently, in a refreshing departure from convention that challenged our preconceptions of type.   She was more glamorous than unkempt, in stark contrast to the grimness of her surroundings. This gave her a charm that endeared her to the audience.   She was eerily seductive at times, although her amorous advances fell on deaf ears with Mr. Todd. Her beautifully clear, melodic voice was a delight. And her incredible diction in ‘A Little Priest’ was most impressive. She had a wonderful physicality which was fluid and dynamic and her comedic timing was exceptionally strong.   Overall, an excellent portrayal with a refreshing take on the character that really worked. I have been lucky enough to see Ethan Cassley play three very different roles this season.   Every time he sets foot on stage; he brings an energy and a level of theatrical intelligence that just cannot be taught.   His Tobias continued in that vein.   This was a stunning performance.  Mr. Cassley’s  vocal was haunting and his vulnerability and emotional investment in ‘Not While I'm Around’ was one of the high points of the show. His crumbling mental state as the show progressed was very well judged. My only thought was that his psychological demise might have been even more harrowing had he not been surrounded by the large ensemble of fractured minds. His pleading with Mrs. Lovett to wake up was simply heartbreaking, a beautifully played scene. A top-notch portrayal from one of the country’s most talented young performers. Remember the name. Martin McNelis brought much authoritarian cruelty to his portrayal of the sinister Judge Turpin.   Mr. McNelis was a most creepy, intimidating character and his fixation with Johanna's “light muslin gown” made everyone's skin crawl.   His fabulous lower register in ‘Pretty Women’ was quite hypnotic and he blended so well with Mr. Greaney. The monster of a song that is ‘Johanna (Mea Culpa)’ was brilliantly executed in a most disturbing performance which was graphic and unsettling in the extreme.  Eimear Wolohan brought a beautiful fragility to her portrayal of Johanna.   Her singing was stunning with a gorgeous soprano in ‘Green Finch and Linnet Bird.’ This was made all the better by her exquisite diction and clarity throughout. ‘Kiss Me’ with Anthony was a gorgeous, most earnest duet and Ms. Wolohan was suitably naive in her scenes with Judge Turpin. Keith Hanley underlined his wonderful reputation as a highly intelligent actor in his portrayal of Anthony Hope.   Indeed, he played the role with much hope and optimism.   His fabulous tenor voice and superb interpretation of lyrics made this a standout performance.  ‘ Kiss Me’ with Joanna was beautifully performed but it was the stunning ‘Johanna’ which impressed the most as Mr. Hanley’s soaring vocals connected so intensely with the lyrics. Brandon Collier was a rather violent and sinister Beadle Bamford.   This was juxtaposed with a comedic, almost camp delivery.  ‘ Ladies in Their Sensitivities’ featured Mr. Collier's fine vocal range and he was very funny as he played the harmonium. Diction and presence were excellent throughout and Mr. Collier really got under the skin of this slimy character. Aisling Nolan was a tormented Beggar Woman.   This too was an excellent characterisation.Ms . Nolan had a wonderfully haunting, soprano voice.   However, in the ‘Johanna (reprise)’ in Act Two, diction was compromised by the frenetic energy of her characterisation.   It can be a fine line, but lyrics must trump all. Niall Conway was an excellent Adolfo Pirelli. This was a hilariously funny performance and Mr. Conway's faux Italian accent played with over-the-top delight was superb. The revelation of his perfectly articulated Northern Irish brogue was a comic highlight and a much-needed tension breaker. This was a perfect example of making the most of every moment on stage and Mr. Conway brought his vast experience in creating a fabulous character.  Jay Hall played Jonas Fogg, proprietor of the asylum, quite brilliantly. The biggest compliment that I can pay Mr. Hall is that I wished that Jonas had a lot more to do in the show.   His physicality, focus and attention to narrative detail was excellent in what was a really strong portrayal.  The ensemble in this show was simply astonishing at times.  From the moment we encountered them outside the theatre, t hey were always working, with no let-up, spending most of the show visible on stage.   This requires an incredible amount of focus and attention. It is very difficult to sustain, both mentally and physically, and I'm sure they must have been exhausted after every performance.   They brought tension and unpredictability to the unsettling surrounds of the asylum. Sometimes it is the simple things that stand out the most. The eerie stillness of these tormented souls after Tobias cut Sweeney's throat was a most memorable moment, beautifully played by all.   Movement was incredible and this group was perfectly in tune with Mr. Molyneux’s stylistic choices for the show's choreography. Chorally, this was an outstanding job from all involved, with stunning balance and incredible interpretation within the complex harmonies and structures of Mr. Sondheim's arrangements. Stage manager, Chontelle Kenny, ensured that this show moved along at a cracking pace.There was brilliant use of cast for choreographed, featured scene changes and everything was slick and well-timed throughout.   One small hiccup occurred when Anthony banged on the door in Fogg's Asylum, shouting for it to be opened as he searched for Johanna. Unfortunately, the door unexpectedly swung open of its own accord.   Mr. Hanley simply didn't know his own strength!   But that's live theatre  and t hese things can happen. The set was quite stunning. with everything framed within the foreboding confines of the oppressive asylum. The cold, wet walls and flickering lights echoed its inhabitants' psyches in what looked like a most oppressive atmosphere. Rivetted doors, Sweeney's barbershop, the detail of the bell at the bottom of the stairs, all added to a most authentic visual spectacle. The upper levels provided some wonderful staging opportunities and the ominously barred doors were a reminder that the theme of imprisonment, both physical and mental, was always to the fore. Lighting was simply stunning throughout the show, with great use of shadow reflecting the darkness of the inmates' minds and their disorienting environment.   Blackouts were often unnecessary as cast changed scenes in a choreographed seamless manner.   There was great use of low fog and haze in the creation of this dark, sinister world. Stunningly dramatic beams sliced through haze, creating a disturbing visual for the unnerving ‘Johanna (Mea Culpa).’   Mr. McNelis' excellent performance was accentuated by stunning lighting and smoke effects.   Likewise, there was superb work in the amazing ‘Epiphany’ as Todd descended into a vengeful madness.   There was great creation of focus in the separation between ensemble and main players throughout the show. The ensemble, who surrounded the main playing space, were often lit in a more shadowy, otherworldly state. I loved the recurring dramatic red for Sweeney's kills and the final shaft of light pouring in through the door at the end of the show was a visually stunning picture.  Sound was excellent throughout.   There was superb balance within the orchestra and an outstanding stage/pit balance.   Choral singing was perfectly mixed.   EQ levels for dialogue were very well handled and cueing for microphones was exceptionally strong, apart from one minor slip towards the end of the show, with Mrs. Lovett's mic. Sound effects were appropriate and excellently timed throughout.   A really strong job overall. Props were excellent. From the production of iconic props from the bag at the top of the show, such as the rolling pin and the razor, it was clear that a lot of work had gone into getting things just right. The bird cages on poles were excellent, and there was great attention to detail for bottles of miracle elixir, shaving brushes, and cream, and of course, Sweeney's razors which were all very authentic. The fabulous harmonium looked wonderful, and I loved the detail of the quill and ink pot on top of the harmonium.   Fogg's antique scissors was an incredibly authentic piece.   Costumes, which were all individually made and tailored for the cast, were simply wonderful.It was clear from the outset that meticulous detail had gone into every single costume on the stage and this detail really showed. Simple things like the beggar woman's ripped skirt, and the visually appeal of Pirelli's red and gold waistcoat were superb.   I also loved the wonderfully grotesque animal masks.   Everything was carefully planned and appeared authentic to the era, in what was a brilliantly costumed show.There was incredible attention to detail in the hair and makeup plot also, especially for the inmates, whose hair and open wounds and scabs, darkened eyes, and pale faces suggested that they had never seen the light of day. Joanna's blonde wig was most natural-looking, and Mrs. Lovett's makeup looked more glamorous than grimy, but really added to her quirky characterisation. The beggar woman’s red raw knees were a visceral reminder of her having fallen on such desperate times. This was a brave and bold reimagining of Sondheim's macabre masterpiece, which challenged its audience through its chaotic, haunting, and theatrical storytelling.   It was a superb production from an incredibly talented cast, crew, and creative team.   Huge congrats to all on such a wonderful job.  Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Martina O'Brien

Young Frankenstein as presented by WLOS

Wexford Light Opera Society Young Frankenstein Saturday 3 rd  May 2025 Expectations are always high when you attend a Wexford Light Opera Society show.   Their productions, staged in one of the finest venues the country has to offer, are always professionally produced and highly entertaining. Their version of the comedy horror/parody ‘Young Frankenstein’ ensured that expectations were met and often surpassed in what was a wonderful night of theatre. Led by an exceptional creative and...

Wexford Light Opera Society Young Frankenstein Saturday 3 rd  May 2025 Expectations are always high when you attend a Wexford Light Opera Society show.   Their productions, staged in one of the finest venues the country has to offer, are always professionally produced and highly entertaining. Their version of the comedy horror/parody ‘Young Frankenstein’ ensured that expectations were met and often surpassed in what was a wonderful night of theatre. Led by an exceptional creative and technical team, the cast embraced the show's absurdity and delivered a most memorable evening’s entertainment.  There are few theatres like the National Opera House for comfort and style, and it is always a privilege to attend a show there.   I was looked after so well and it was clear that society members were going out of their way to create a most welcoming environment for patrons as they arrived. Director Christine Scarry ensured that we were treated to a slick, fast-moving production with great pace and exceptional fluidity to what can be a very challenging show.   Everything was meticulously considered and crafted. The show was very well-rehearsed and cleverly blocked with a good understanding of the show's vaudevillian style and delivery.   There were many nice touches throughout the show.   ‘Join the Family Business’ was a brilliant fusion of direction, choreography, music, and technical elements, in what was a standout moment of the show. ‘Life, Life’ was simply incredible, with the rising table, sparks flying, and brilliantly timed sound effects, all combining in the creation of a brilliantly realised sequence.   ‘Roll in the Hay’ is one of the standout comedic songs of the show. Unfortunately, I felt that it fell a little bit flat on this occasion.   I did feel that the euphemistic ‘hayride’ was a missed opportunity to really push the boundaries in true Mel Brooks style. A small personal preference in what was a brilliantly directed show overall.   Other clever touches included Dracula's unexpected arrival in the coffin and the brilliant reveal of Frederick and Inga on the table.   Excellent work overall. Musical director David Hayes, assisted by chorus mistress Eithne Corrigan, did a simply wonderful job with this show.   You only had to look at the list of assembled musicians to know that this was going to be a very special musical presentation. From the moment the orchestra began to play, we were treated to an almost cinematic musical experience with the most incredible sound, perfectly balanced and completely in tune with the narrative detail of the show. There was great collaboration with the sound department in featuring various instruments as required, such as the gorgeous violin leitmotif in the ‘Life, Life’ section of the overture and Igor's French horn ‘solo.’ Underscoring was incredibly sensitive and well-timed, demonstrating an acute awareness that the single most important thing was the spoken narrative. Choral singing was exceptionally good. Perfectly mixed offstage vocals in ‘Life, Life’ added so much to the dramatic tension as we built to the climactic moment of the Monster’s ‘reanimation.’ A simply outstanding job from start to finish. Choreographer, Thérése O’Sullivan devised some very impressive routines, which were well pitched for the very large ensemble.  ‘ Please Don't Touch Me’ was very well choreographed with great synchronicity.   However, I felt that, because the comedy largely lies in the separation of the couples, that the space between them needed to be more exaggerated for the visual gag to really work.  ‘ Together Again for the First Time’ was a fabulously performed, vaudevillian style routine from Frederick and Igor.  ‘ Welcome to Transylvania’ was quirky as hell but it had to be as Igor is literally making it up as he goes along. This was a wonderful example of choreography supporting the narrative as the townspeople were drawn into the absurdity whilst Igor attempted to distract them from the monster's wailings. Of course, the absolute highlight was ‘Puttin’ on the Ritz,’ borrowed from a certain Mr. Berlin, which was the tap-dancing showstopper that it should be. It is a monster of a number, and Ms. O’Sullivan is to be commended for her fabulous work with the huge ensemble and, in particular, for the fabulous shadow dance, which was so well synchronised and had obviously been rehearsed to within an inch of its life. Colin Flynn was an excellent Doctor Frederick Fronkensteen, sorry Frankenstein, in what was a most confident and dynamic performance, full of whimsical charm and charisma. His performance as the neuroscientist who shuns academic life to take up residence in his newly inherited castle in Transylvania, was quite wonderful. Mr. Flynn was the driving force behind the production, hardly off stage from beginning to end.   The most natural of comedians, he had great comic understanding and physicality. His Frederick was often manic but well able to balance the light and shade of this quirky character as he continued his grandfather's legacy in pursuing the reanimation   of dead tissue. Mr. Flynn's incredible diction in the patter song, ‘The Brain,’ was so impressive and his fine vocal abilities were very evident in ‘Man About Town.’   A superb performance all around.19-year-old Kacey Mooney did very well as Transylvanian, wannabe lab assistant, Inga.   Ms. Mooney impressed hugely with her stunning vocals, in particular, her exquisite yodelling in ‘Roll in the Hay’ and the beautifully seductive ‘Listen to Your Heart.’ She had a wonderfully consistent accent and excellent diction throughout.   Ms. Mooney had a light comic touch and I would have liked to see her push the comic possibilities even further; to throw herself into the role without restraint.   I really look forward to seeing Ms. Mooney building on this wonderful performance over the coming years. David Doyle was very animated as the humpbacked sidekick Igor, with the ever-moving hump.   Mr. Doyle gave us a quirky, weird, and ultimately hilarious characterisation, with wonderful physicality and razor-sharp comic timing.   There were so many comic highlights in Mr. Doyle's performance but ‘Together Again for the First Time,’ with Mr. Flynn, was certainly a standout moment, as was his very funny “Walk this way sequence” which underlined Mr. Doyle’s wonderful physicality. Awareness of the audience was sometimes an issue and Mr. Doyle broke the fourth wall on occasion, which did not seem entirely appropriate for this style of show. Nonetheless, this was a top notch, performance from a very skilled comedian. Sophie Blaney Parslow gave a great performance as Frederick's neurotic, needy, and teasing fiancée, Elizabeth Benning.  H er characterisation was delightfully over-the-top. Ms. Blaney Parslow was a very good singer with great comedic timing and clearly relished her performance in ‘Please Don't Touch Me,’ during which she showed what a superb high register she had.   Little was left to the imagination as the monster had his wicked way with her offstage. ‘Deep Love’ was incredibly funny, one of the comedic highlights of the show as she travelled full circle from discouraging the merest touch from Frederick in the early stages of the show to liberating herself completely, having fallen for the monster's ample charms. Stephen Byrne was a terrific monster who infused meaning into every growl and grunt, having been brought to life by Frederick. Mr. Byrne had the most hilarious range of facial expressions, which added so much to his very likeable characterisation. A lot of work had gone into his makeup and hair and his very unusual looking mohawk added inches to his already towering physique. He was hilarious in the scene with the hermit as he was hit on the head, scalded, and set alight.   Of course, his ‘Puttin’ on the Ritz’ was a standout number driven by Mr. Byrne. It combined comedy, exquisite timing and excellent movement in a most memorable sequence which deserved a standing ovation all of its own. Mr. Byrne’s amazing shadow dance routine was excellent in its precision and his transformation from monster to gentleman, with his delightfully clipped posh accent, was excellent. Antonia Close was a formidable Frau Blucher, the mysteriously dour housekeeper, whose name prompted terrified whinnying every time it was mentioned.  Ms.  Close demonstrated exceptional comic timing, switching from austere, deadpan facial severity to uninhibited, lustful abandon in the blink of an eye.  ‘ He Vas My Boyfriend’ was the performance of the show, for me, with Ms. Close's amazing physicality, attack and powerful, earthy vocal. This was a simply phenomenal performance as Ms. Close immersed herself in the character with exceptional timing, brilliantly judged pauses, and exquisite, deadpan delivery.   Bravo. Brian Kelly did well as Inspector Kemp.   He had good diction and projected very well. His physicality was strong and he was consistent in his impeded movement; his surgeries having cost him “an arm and a leg.” He needed to be more aware of Frederick’s upstage positioning as he welcomed him to Transylvania, as this was played mostly downstage towards the audience. He was suitably suspicious throughout ‘Welcome to Transylvania’ and stood out in his solo dance as he slowly succumbed and became drawn into the shenanigans around him. Pat Lawlor was a wonderful Harold, the blind hermit. His loneliness was palpable, as was his joy when joined by the monster.   It can be difficult to make an impact in just one scene, but Mr. Lawlor grabbed his opportunity with both hands in delivering a very funny portrayal. His ‘Please Send Me Someone’ was beautifully poignant, showing Mr. Lawlor’s fine tenor voice off perfectly. Likewise, Keith Flanagan delivered a very impressive cameo as Frederick's grandfather, Victor von Frankenstein.   His singing in ‘Join the Family Business’ was excellent and he demonstrated very good presence and good comedic timing throughout the number. Dylan Walsh did well as Ziggy, the village idiot. However, at times, I felt that his delivery lacked impact and that more could have been done with his character. To be fair, the part is underwritten, but creation of more comic business and a little bit more work from Mr. Walsh ‘off the ball,’ in terms of his expressions and reactions, could have made this a more impactful portrayal.  There was great work from the ensemble whether playing villagers, ancestors, medical students, or the myriad cameo roles throughout the show. Elizabeth's five entourage members were superb vocally and movement wise, as were the four gentlemen who joined Inspector Kemp in the quintet at the top of ‘Welcome to Transylvania.’   There was great commitment to dance numbers and wonderful ensemble singing, particularly in ‘Please Don't Touch Me’’ and Transylvania Mania.’ There was excellent movement in ‘Puttin’ on the Ritz’ in particular and ‘Transylvania Mania’ showed great characterisation from the ensemble as they were drawn into Igor's ridiculous dance. Accents were not entirely secure in the town hall meeting, during which a number of ‘Irish immigrants’ were in attendance.  T here was a rush to exit before blackout at the end of ‘Please Don't Touch Me,’ presumably to change for ‘Join the Family Business.’   It is always best to err on the side of caution, particularly during a fade blackout, before moving. Colin Murphy presided over a very efficient stage crew, in what was a very busy show for this stage manager.   He utilised cast well, striking furniture and props, as required.   There was great timing of fly cues and amazing work in ‘Life, Life,’ coordinating the flying of the table, spectacular pyrotechnics, smoke, and the myriad special effects which went into making this a standout scene in the show. A super job all around. There was an excellent, steampunk inspired, professional-looking set with giant cogs framing the stage and a very interesting circular platform which was used right through the show to give elevation to principal performers as required. The huge semicircular screen provided great scope for the use of some fabulously designed graphics, which added great depth to the stage in what was a seamless integration of technical and physical scenery.   Side flats were very impressive with their scientific formulae.   There was a wonderful revolving bookcase in the castle which worked very cleanly during one of the funniest scenes in the show. The fly piece which incorporated three steampunk-like portraits for Victor's ‘Join the Family Business’ was quite stunning.   The laboratory looked amazing with its machines and inbuilt LX and the hermit's cabin, complete with a lit stove, provided great detail. Lighting was stunning throughout, always enhancing, and supporting the narrative. There was great use of two follow spots in ‘Together Again for the First Time,’ which added to the vaudevillian feel of the show. Unfortunately, the horses and cart got caught in follow spot during their entrance and it might have been best to either bring Frederick and Igor stage left, or stage right for their entrance or to kill follow spot a little earlier.   There were stunning ghostly effects in ‘Join the Family Business’ and I loved the detail of the shaft of light, indicating the opening to the passageway behind the bookcase. There was very clever work as Frederick and Inga entered the darkened laboratory for the first time by candlelight, as pockets of light were created every time they moved. The amazing bulbs built into the set worked so well in the context of the laboratory and fabulous backlighting gave us a very sharp silhouette for the iconic ‘Puttin’ on the Ritz.’   A super job all round. Sound was excellent throughout, with brilliantly timed sound effects such as thunder, lightning, and the castle door. I did feel that the ‘squelch,’ when Igor stood on Herr Delbruck’s brain and the sound effect when the monster hit his head off the frying pan were too loud and might have been better off either omitted or played at a lower volume, as they came across as ‘panto-esque.’   Cueing of microphones was excellent with nothing dropped and EQ levels were perfect for all performers. Underscoring was incredibly sharp and clear throughout and the notoriously challenging ‘Life, Life’ was seriously impressive from a sound perspective.   Brilliantly designed graphics blended perfectly with the physical set pieces to create a really stunning visual spectacle. The Young Frankenstein logo in the pre-set gave way to animated clouds and lightning.  U sing graphics allowed for great fluidity throughout the show, whether suggesting time passing or a quick change of location.   Props were generally well handled. The skeleton was a great addition to Frederick’s lecture as was Mr. Hilltop’s gurney. ‘Please Don't Touch Me’ featured suitcases and trunks on a trolley. The absence of any hay in the iconic number ‘Roll in the Hay’ was jarring. Herr Delbruck's brain was described as being half the size of the abnormal brain which was eventually used for the monster. However, that did not appear to be the case. All of the instruments in the laboratory, including the goggles looked very well. Lanterns were very authentic in ‘He’s Loose’ and there was great dressing of the hermit's cabin. However, it was quite obvious that there was no soup as nothing was spilt on the monster's lap. Likewise, there was nothing in the bottle for the hermit's toast. This kind of visual detail is important.The shattering mug worked so well, a great visual gag! And well done on sourcing a French horn for Igor.  There was great work in the costume department from the traditional dress of the Transylvanians to the white coats of Frederick's students. There was attention to detail everywhere.   The only thing that jarred was the beige mac, worn front and centre at Victor's funeral, which looked very out of place compared to the black funeral coats and shawls on the rest of the ensemble. The quartet in ‘Welcome to Transylvania’ looked great and the top hats and tails in ‘Puttin’ on the Ritz’ were fabulously classy.Hair and makeup were very well looked after.   However, I did think that the ladies who had their long hair down at the funeral, might have tied their hair up to be more appropriate to both the era and the context.   Victor von Frankenstein and the ancestors all looked wonderful.   The monster's luminous green Mohawk was an unusual choice which grew on me (I wish!) after a while. I loved the subtle detail of Frederick's hair getting steadily crazier as the show progressed, reflecting his tortured mind as he descended into manic mode. The hermit's beard and wig were fabulous, as was Elizabeth's post-coital Bride of Frankenstein wig.   The monster's makeup was very impressive but did need to be touched up as the show progressed. ‘Young Frankenstein,’ based on the Mel Brooks movie from the early 1970s, is full of cheap innuendo, double entendre, sledgehammer humour, and its fair share of dreadful puns.   There is little sophistication, no deep message and plenty of deep love. Sounds just about perfect to me!   Wexford Light Opera Society understood the brief and the show’s very specific comedic style. With boundless enthusiasm, they pulled out all the stops, to give us a fabulously funny, technically impressive, excellent production. A credit to all involved! Pat McElwain Gilbert Adjudicator 2024/2025

Our House as presented by LMVG

Leixlip Musical and Variety Group Our House – The Madness Musical Tuesday 29 th  April 2025 It is to Leixlip Musical and Variety Group’s eternal credit that, year after year, they produce top quality, highly professional and innovative productions in a GAA hall which, let's face it, is not built for large scale theatrical productions. The seating, the queue for the ladies, the lack of comfort afforded in most theatre spaces around the country, matter not to those who are lucky enough to...

Leixlip Musical and Variety Group Our House – The Madness Musical Tuesday 29 th  April 2025 It is to Leixlip Musical and Variety Group’s eternal credit that, year after year, they produce top quality, highly professional and innovative productions in a GAA hall which, let's face it, is not built for large scale theatrical productions. The seating, the queue for the ladies, the lack of comfort afforded in most theatre spaces around the country, matter not to those who are lucky enough to attend a Leixlip show, because they know that what they are guaranteed is an outstanding piece of theatre. And that is exactly what was served up when I attended ‘Our House – The Madness Musical’ in St. Mary’s GAA Hall.   Front of house was warm, friendly, and highly efficient. The air of excitement and expectation was palpable. The facilities may have been limited, but it was, after all, a Leixlip show and people knew that they were about to witness something special. The driving force behind that something special was director Claire Tighe and her exceptional team of creatives.‘Our House’ is a show that requires a very clear vision, as two parallel storylines intertwine in a narrative which, in the wrong hands, could descend into chaos and confusion.   Thankfully, the group had just the right director at the helm; a director who knew the venue and the show inside out. And it showed.   Ms. Tighe ensured that there was an incredibly fluid pace to this fast-moving show. There was a wonderful balance between frivolity and poignancy.   I loved the sliding doors motif, reflecting the pivotal, seemingly insignificant moments in our lives that can hugely impact future events.   The brilliantly slick use of doors as a clever theatrical device to cover scene changes, costume changes, and to create distractions, was military-like in its precision and so cleverly executed.   There were superb characterisations throughout, with very real relationships between the central characters. The central character Joe has the most costume changes that I have ever seen in a show and his lightning quick transformations were a potential banana skin. However, in typical Ms. Tighe style, nothing was left to chance and the audience was left scratching heads and picking jaws off the floor as we tried to figure out what sorcery was at play as Joe walked through one door in one costume and came out another door, changed. The use of the ensemble was quite stunning throughout from their superb dancing and singing to their committed performances of a myriad cameo roles.   Dermot O'Callaghan did a superb job as musical director, bringing the iconic songs from the Madness back catalogue, (as well as Labi Siffre's ‘It Must Be Love’), to life with an exceptionally talented band. I was truly in my element listening to the soundtrack of my youth and its impressively revamped vocal and orchestral arrangements. It was both nostalgic and fresh and, unusually for a jukebox musical, the songs slotted cleverly into the narrative. The music of Madness is, by its nature, very brassy and how wonderful it was to hear the iconic saxophone riffs that were so well featured throughout. Principal singing was top-notch across the board, with some standout vocal performances from both Sarah and Kath in particular. Chorally, there were some very interesting arrangements, and Mr. O'Callaghan had done meticulous work with a very talented principal cast and ensemble. The energy and attack in numbers like ‘Baggy Trousers’ was off the scale and the attention to detail in some beautiful harmony work was very impressive, particularly in the wonderful ‘NW5’ and ‘The Sun and the Rain’.   A wonderful job by Mr. O’Callaghan. It is difficult to find enough superlatives to describe the choreography by Claire Tighe and Jen Dawson which was so brilliantly conceived and executed from start to finish.   There was energy, vibrancy, precision, creativity, and technical accuracy that one rarely sees on the amateur stage.   Most importantly, the choreography always supported and drove the narrative in a clever, creative way.   One by one, each number outdid the one before. ‘ Our House’ captured the chaotic party atmosphere, brilliantly full of life and carefree abandon.  ‘ Baggy Trousers’ was an absolutely phenomenal routine, channelling teenage, hormone-fuelled exuberance with unbelievable energy and astonishing performance levels.Think ‘Revolting Children’ on drugs.   There were so many highlights in the choreography.  ‘ Tomorrow's Just Another Day’ was fabulously sharp with marching prisoners, incredible formations, and wonderful synchronicity.  ‘ Wings of a Dove’ was a powerful opening to Act 2, a blast of colour, exceptional energy, and precision of movement. ‘The Sun and the Rain’ was a brilliantly devised, hilarious take on ‘Who Will Buy,’ with clever use of props, a super kick line and the obligatory, quick change for Joe, cleverly executed.  A simply stunning job from Ms. Dawson and Ms. Tighe. Brian Dalton was hugely impressive as the central protagonist, Joe Casey.   This was a superb performance on so many levels.   Mr. Dalton's ability to seamlessly morph from law-abiding Joe to lawbreaker Joe was quite astonishing. Add to that his never-ending, insanely fast costume changes and this was quite a remarkable portrayal. There was much complexity to Joe and Mr. Dalton really captured his inner turmoil as he struggled with moral dilemma. Vocally, he was very strong with a superbly expressive delivery and his physicality, which changed depending on which version of Joe he was playing, was excellent throughout. A truly wonderful all-round performance. Lauren Dooley played Joe's love interest Sarah in a most beautiful and engaging performance.   Ms. Dooley is a superb actress, with an exceptional emotional range, and she brought so much depth to this role as she skilfully played Sarah’s journey from working class, love-struck innocence to trainee lawyer in what was a most compelling and captivating portrayal.   Her chemistry with Mr. Dalton was exceptional and it was clear that a lot of work had been put into getting this connection exactly right.   Ms. Dooley's singing was hugely impressive.  ‘ NW5’ was the musical highlight of the show for me, in what was a stunningly raw and heartfelt rendition.  A s uperb job from Ms. Dooley. Jenny McCabe was wonderful as Kath Casey, Joe's mother. This was a powerhouse performance from Ms. McCabe, who used her vast experience to create a multi-layered, utterly real character with razor-sharp wit and emotional depth. Kath has had a tough life but her inner strength was played brilliantly by Ms. McCabe. ‘One Better Day’ was a standout moment musically and dramatically as Ms. McCabe and Joe's Dad played a most beautifully pitched, emotional flashback.  Excellent work from a most skilful performer. Ian Tighe had a full circle moment in playing Joe's deceased father, referred to only as Joe's Dad. Mr. Tighe had previously played Joe with the society in 2011 and how fitting that he should return to the Leixlip stage, fourteen years later, to play this role. His understanding of Joe’s divergent realities added layers to what was a truly wonderful performance from Mr. Tighe. He brought amazing presence and gravitas to the role. Much of the show was spent observing others and that can often be difficult for a performer. However, Mr. Tighe's focus and subtle reactions as various scenes played out, underlined his skill as an actor as he willed Joe to make the right choices in life. ‘One Better Day’ with Ms. McCabe, was a beautifully emotional scene as Kath told him that she was pregnant with Joe. It is so difficult to separate Sam Lee and Cillian Hogan's performances as Joe’s best mates, Emmo and Lewis, as these two were an inextricably linked comedy duo that bounced off one other, quite literally.  They brought  tremendous energy and a superb on-stage rapport to their portrayals, looking like something from ‘The Inbetweeners.’  C omic timing was exceptionally good from both and dancing was strong and always in character.   Superb work from both. Likewise, Clíona Nic Shuibhne and Ella Coughlan were an outstanding duo as Billie and Angie, Sarah's best friends.   They were sneery, sassy and full of teenage, rebellious attitude, in complete contrast to the sweet demeanour of Sarah.   These two worked so brilliantly together.   The banter between the two of them was quick-fire, seamless, and so natural. The perfect duo. Vocals were strong but it was their incredible dancing, always in character, that really impressed the most. Jamie Hennessy looked like he had just stepped off the set of ‘Love/Hate’ as the manipulative Reecey, who was the catalyst for the ill-fated trajectory of law-breaking Joe's narrative.   Mr. Hennessy was suitably edgy and looked quite intimidating but I felt that he could have developed the more menacing side of Reecey’s character.  Mr. Hennessy sang with a most expressive vocal and very impressive upper register. Ciarán Tighe, yet another member of the ‘Tighe Dynasty,’ fulfilled the role of antagonist Mr. Pressman, the dodgy property developer. Mr. Tighe played the role with just the right amount of sinisterness, without ever drifting into caricature and he balanced this with an understated comic touch that made him difficult to hate outright.   His strong presence and solid vocal made this a very well-rounded portrayal. What can I say about this ensemble?   They were incredible, to a person. They were insanely committed and energetic.   There were simply no passengers in this production.   Not only did they sing and dance brilliantly, with performance levels that were off the charts, but they also played multiple cameo roles, underlining the incredible strength in depth of the company.   There really was exceptional work from all.   It is almost impossible to single anybody out as performances across the board were exceptional.  However,  Fionn O’Dwyer, Ben Cole and receptionist Julie were standout ensemble performers. Stage manager Mary Purcell did a very good job on this opening night's performance.   One of the great strengths of the show was how smooth the transitions and the coordination between cast and crew were. The clever set design allowed for great fluidity and the crew capitalised on this to bring the designers’ and director's vision to life in a very pacey, fast-moving show.  The fabulous framing of a tube station was a wonderful set design concept, bringing to life the urban working-class setting of 1980s London.   Simplicity was key in creating an open, fluid performance space with its generously extended apron providing much depth, particularly for the large dance numbers.   The upstage raised level and the downstage right upper level provided great staging opportunities. The screen, set behind the centrally positioned broken wall, provided excellent scope for interesting visual elements throughout. The literal sliding doors, both trucked and tracked, were a wonderful theatrical device.   There was clever use of the steps to form the courtroom scene. Equally clever was the exterior of the Casey Street house, which provided cover for striking the car. Overall, a very clever, visually appealing set, perfectly conceived and finished for the style of show.Lighting was simply stunning from start to finish, brilliantly atmospheric. This was evident from the get go, with brilliant lighting transitions heralding each section of the overture. Lighting is crucial in driving the narrative of ‘Our House.’   There was great use of colour to emphasise Joe's dual realities.   Specials were cleverly used to focus attention during pivotal moments.   There were wonderfully clever effects used as reality split into the parallel timelines.   I loved the concept of Joe's Dad being lit in blue to create a ghostly, otherworldly atmosphere.   However, I did feel, at times, that we lost Mr. Tighe’s expression as things were occasionally too dark.   There were far too many lighting highlights to mention here, but ‘NW5’ was stunningly atmospheric and the final cue and picture were beautifully timed. Sound was very impressive throughout. Cueing was remarkably good. And the band was mixed to perfection. Balance between stage and pit was, for the most part, really well handled and, I have no doubt, will have improved as things bedded in during the run. Sound effects were excellently chosen and cued, adding greatly to the atmosphere and authenticity of the show. The courtroom voiceovers were wonderful with just the right amount of effect.   A super job overall.A large part of the technical success of the show was the on-screen graphics which added so much depth to the stage. The ‘Our House’ logo in the pre-set was vivid and bold. ‘Driving in My Car’ featured a brilliant animated sequence, as Joe and co. were transported from road, to rollercoaster, to the sky, to a delightfully absurd Star Wars sequence.   Other images included a glitter ball and of course flames added much to the drama in the latter stages of the show.   The missing apostrophe in ‘Rays Car Wash’ was unfortunate. When everything else is so good, it is often the small things that stand out.  There was great attention to detail in the props department, with everything appearing appropriate to the era and the context of the show. The fabulous car was an obvious highlight and there was great fun had with lightsabres, umbrellas, fans, etc.   The coffin brought a layer of authenticity and poignancy in the closing stages of the show.  Attention to detail was also written all over the costume plot for this show, which reflected the cultural backdrop of working-class Camden in the 1980s. Nothing was left to chance. From the school uniforms to the red and black showgirls, to the quirky prison uniforms, to the clever colour scheme at the end of the show, this was a costume team on top of its game.   Mr. Pressman was sharply suited and booted and Reecey was edgy and menacing by contrast.   Joe's dual costuming worked so well.   The amount of thought and meticulous attention to detail that went into this alone, deserved a standing ovation. The work, the timing and, let's face it, the stress that must have gone into getting these changes exactly right was phenomenal.   Take a bow all involved.There was excellent attention to detail also in the hair and makeup department. Granddad was well aged and I enjoyed the subtle differences in grooming between law-abiding Joe and law-breaking Joe.   The ensemble styling complemented the working-class setting perfectly and there was equally appropriate styling for ‘Wings of a Dove’ at the top of Act 2.This was one of those shows where a brilliantly harmonious blend of many elements combined to create something very special indeed.   It was a wonderful night’s entertainment, a compelling look at choices and their consequences. The production team made some very bold and creative choices themselves, which were executed with military precision by a very talented cast and crew.  It  was a joy to watch and to listen to the nostalgic soundtrack of my youth. Could that day have gotten any better?  No. No it couldn’t. Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Elaine Brunton

Shrek as presented by Avonmore Musical Society

Avonmore Musical Society Shrek the Musical Saturday 26 th  April 2025 Once upon a time, on audition day in Arklow, County Wicklow, Director Amy Penston-Hendley was heard crying into her coffee… Amy : We're doomed! We're never going to find a brilliant comic actor, of gigantic stature, who can sing, break wind at will and deliver a flawless Scottish accent. Andrew Docherty : Hold my beer! Sometimes, a role just fits like a glove and, on this occasion, the glove fit just about perfectly onto...

Avonmore Musical Society Shrek the Musical Saturday 26 th  April 2025 Once upon a time, on audition day in Arklow, County Wicklow, Director Amy Penston-Hendley was heard crying into her coffee… Amy : We're doomed! We're never going to find a brilliant comic actor, of gigantic stature, who can sing, break wind at will and deliver a flawless Scottish accent. Andrew Docherty : Hold my beer! Sometimes, a role just fits like a glove and, on this occasion, the glove fit just about perfectly onto the stubby, chunky, green fingers of the protagonist.   And it wasn't just me who thought so.   The multitude of children, who were lucky enough to get tickets for the matinee performance of Avonmore Musical Society's ‘Shrek the Musical’, were completely in agreement as they cheered and laughed at their favourite ogre's antics. But it wasn’t only the flatulent swamp-dweller that impressed. This was a fabulous production, with a very strong front line, a talented, committed ensemble and wonderfully impressive visuals that had us dancing in the aisles by the finale. I was afforded the warmest of welcomes upon my arrival at St. Mary's College, Arklow on a gloriously sunny Saturday afternoon.   Front of house was very busy as families with children buzzed around, excited to see the show. The foyer was nicely decorated with photos and entries for a Shrek-themed colouring competition from local children. Upon entering the hall, there was wonderful energy in the room.  F ront of house announcements were delivered in an obligatory Scottish accent, setting the perfect tone for what was to follow. Homegrown director Amy Penston has literally grown up in Avonmore Musical Society and what a thrill it must have been for her to take on this mammoth show.   Ms. Penston did a great job on what was a most heartwarming production, full of energy, warmth, and many hilarious comedic moments. It was a very fast-paced and slick show, with some lovely touches throughout.   I loved the animated storybook at the top of the show, which set the tone for the magical fairytale world that we were about to enter. Ms. Penston instilled great energy and exuberance in the ensemble.   From time to time they were a little bit overly exuberant, occasionally pre-empting rections because of their enthusiasm.  ‘ Travel Song’ worked very well against the brilliant animated graphics in the background. There was superb operation of the dragon by the three black-clad puppeteers. However, I did feel that the positioning of the dragon vocalist so far away, on stage right, weakened the connection between the two.   A super job overall from Ms. Penston. Musical director Conor McCarthy, played in and conducted a fabulous eight-piece orchestra.   This was a very talented lineup of musicians and it showed in the wonderful sound that lifted the roof off St. Mary's College. The band was very tight indeed and tempi were secure throughout. One of the main challenges for a musical director and sound operator in ‘Shrek the Musical’ is the considerable dynamic range from number to number. Some of the numbers are very brass heavy and, as such, can often overpower vocalists.   Donkey was often overpowered by such brassy orchestration, due to her songs, written for a male voice, being in such a low register. The musical highlight of this show was definitely the chorus singing.   There was a wonderful sound in ‘What's Up, Duloc?’ and a stunning chorus sound in ‘Wedding Procession’. Principal singing was excellent throughout, whether in the upbeat, high-energy numbers or the emotion-filled ballads. A typically strong job from the very talented Mr. McCarthy. Martina Lynch's choreography was well-rehearsed and dynamic, always in keeping with the fun and madcap nature of the show. ‘What's Up, Duloc?’ embraced the madness, giving us a quirky, fun routine with the ensemble executing a kick line whilst on their knees, combining visual comedy and choreography so well.  ‘ Forever’ was a fabulous routine, with six ‘skeletons’, who were very strong movers. ‘Morning Person’ featured a wonderful tap routine from the rats’ chorus.   There was great fun with the Three Blind Mice in the very funny ‘Make a Move’, with one rodent even managing the splits. ‘Freak Flag’ was simply fabulous, full of energy and brilliantly performed and ‘I'm a Believer’ had everyone on their feet at the end with its unbridled joy.   A super job all round from Ms. Lynch. Andrew Docherty delivered a towering, tour-de-force comedic performance as everyone's favourite, flatulent ogre, Shrek.   Mr. Docherty's physicality was exceptionally good as he lumbered around the stage and his deft comic timing and hilarious facial expressions were an absolute joy. Mr. Docherty delivered a brilliantly uplifting performance of ‘Who I'd Be’, which was intelligent, thoughtful, and sincere.   There was always great attention to narrative detail and every word that Mr. Docherty spoke or sang was deeply invested in the story.His duet, ‘I Think I Got You Beat’ with Fiona, was a comic highlight of the show. ‘When Words Fail’ was beautifully sincere, and ‘Build a Wall’ was highly passionate with wonderful storytelling.   A brilliant, professional performance from Mr. Docherty. Ellie Willoughby was a most endearing Princess Fiona.   She was an exceptionally clever actress and a brilliant comedienne, with wonderful comic timing. ‘I Think I Got You Beat’, with Mr. Docherty, was a brilliant duet and their ‘burp off’ was utterly hilarious. Ms. Willoughby exuded warmth and charm throughout in what was a very layered and nuanced performance which captured the show’s theme of acceptance beautifully.   A really top-notch performance from a very talented lady. Orlagh Sunderland played the wise-cracking Donkey, full of energy, exuberance, and a wonderful physicality.  This was a highly sassy performance and Ms. Sunderland was clearly a very talented comedienne, with strong coming timing and a hilarious range of facial expressions.   However, diction was often an issue, compromised somewhat by her highly energetic characterisation.  Her fast-paced, snappy delivery required a little bit more attention to clarity of diction in order to raise her performance to the next level. When gags were clear, they were brilliant.  “ Oh my God, you ate the princess!” went down a storm, delivered with great power and conviction. Overall a super characterisation.  Sean Hendley was a very animated Sean Hendley gave a very animated, cartoonish portrayal of Lord Farquaad.  His facial expressions and physicality were simply hilarious.It 's fair to say that Mr. Hendley is a man who is ‘vertically unchallenged’ and, as such, he needed to maintain the illusion of the costume by crouching down to keep his ‘feet’ on the ground. Full credit to Mr. Hendley for maintaining the amazing physicality of the role throughout.   I have no doubt that his knees are still sore.  ‘ The Ballad of Farquaad’ was hilariously funny.   I loved his proposal on one knee, which went down a storm.   His hilarious realisation and delivery of “The ogre has fallen in love with the princess!” was comedy gold.A wonderful all-round comic performance from Mr. Hendley. Christine Dunne Firmo was the stunning, powerhouse voice of the dragon, breathing life into a superbly operated puppet that was most impressive visually. This was a wonderful performance, and Ms. Dunne Firmo was clearly enjoying every moment with her stratospheric, effortless vocals impressing greatly. On the afternoon that I attended, Amber Simmons played the role of Young Fiona.   This was a lovely performance from Amber, who had the most beautiful singing voice in ‘I Know It’s Today’ Lauren Gammell was equally impressive as Teen Fiona, delivering a fine performance in the same number with great   support from Mr. McCarthy. The very talented Kevin Macken-Tierney was a wonderful Pinocchio, with a fabulous voice and physicality. His movement was very strong and his shrill high voice was perfect for the role. His falsetto in ‘Freak Flag’ was most impressive in what was a brilliantly performed number. Fionn Ó Conchúir doubled up as Gingy and Papa Bear, impressing with his versatility. His Gingy had an excellent delivery and was very funny. His voice at the top of ‘Freak Flag’ was wonderful.   James Kearon really impressed as the Pied Piper.   The three blind mice, Olivia Connell, Ella McEvoy and Zoe Cummins, made fabulous backup singers with their strong vocal harmonies and slick movement.   Stacey Carter was most impressive as Mama Bear with her stunning strong vocals in ‘Freak Flag’ being a standout musical moment.   Rob Donnelly was an almost unrecognisable, cross-dressing Big Bad Wolf and it was a look that really suited him.With such an enormous cast of non-speaking roles, space does not permit me to go through every named character.   But this ensemble was extremely strong and their commitment and talent to every single cameo role, dance number and choral performance was evident throughout. Stage manager Barry Ryan did good work throughout, with very efficient, unfussy movement of set pieces. The positioning of the haze machine on stage left was a bit of an issue as we were aware of haze being constantly pumped on stage during scenes and this was a distraction. The operation of the remote controlled rats was very impressive and there was clever use of crew wearing blue capes and helmets to move Farquaad's bath. Overall, very strong stage management and efficient execution of changes.The set incorporated some very well-designed and finished set pieces with some cleverly chosen graphics.   The first thing I noticed was the impressive walkway around the orchestra which was used to great effect when characters were traveling.   Projection worked wonderfully well to provide depth and to allow for swift changes of location.   The Shrek logo in the pre-set was wonderfully striking.   Scenic artistry was of a very high standard.   I loved the cleverly designed, encased proscenium and the castle gates and ramparts looked very well, as did Shrek's out house for his big reveal at the top of the show.   Fiona's fabulous tower was another high point.   Overall, a very visually pleasing set, enhanced greatly by well-chosen graphics. The lighting, when it was good, was brilliant. There was fabulous use of colour, reds and greens in ‘Forever’. At times there was an over reliance on shining intense lights into the audience which felt unnecessary.   A stunning picture was created for Donkey and Fiona's freeze in ‘When Words Fail’.   The haze machine was in overdrive throughout, occasionally taking away from the intended point of focus.   Haze is a valuable and very effective tool for enhancing stage lighting.   However, it should not be a feature in itself.  There was superbly atmospheric lighting combined with wonderful graphics as we anticipated Fiona's transformation, which of course never happened, as she stood on the altar. This was a magical picture. Sound was generally very good. There was great use of appropriate sound effects for burps, farts and birdsong.   Donkey's ‘Don't Let Me Go’ needed significantly more level, largely due to it being in such a low female register with the result that lyrics were lost. largely due to it being in such a low register for a female singer.   ‘Travel Song’ was similarly affected in the brassier moments. All of this aside, there was great balance within the pit and other principal vocals were very well supported. Cueing of mics was very strong and EQ levels appeared to be set appropriately across a very large cast in what is a roast of a show for a sound operator. There was a wonderful selection of graphics in use which aided smooth transitions between scenes.   Some of my favourites were the ‘Travel Song’ animated background and the detail of animated fireflies in the swamp. Props were very well chosen, often quirky.   Villagers' tools looked authentic as did the soldiers' swords.   Fiona's storybook with detachable pages brought a touch of magic to proceedings.   The dragon puppet was very impressive.  Bluebird and Bluebird's nest looked great but the inflatable deer had seen better days and was looking a tad deflated in the leg department.   Cases and lanterns were used to good effect as cast paraded Anatevka style upon eviction from the swamp.There is absolutely no cutting corners in the costume department when it comes to a show like ‘Shrek the Musical’. Avonmore Musical Society pulled out all the stops to get this element just right. This was a show bursting with colour and a wonderful array of costumes, from Shrek's iconic tartan trousers to Farquaad's hilarious ‘little guy’ costume.   There was great attention to detail everywhere.   The skeleton morph suits in ‘Forever’ looked very well, as did Fiona's iconic green dress. The rats looked fabulous in their top hats and tails, as did the three blind mice with their tall skirts and white fluffy hats.   There was a great reveal of the wolf's red dress and Fiona's fabulous wedding dress was quite the creation.  The hair and makeup department did a wonderful job also.   This was such a busy show, with so much detailed makeup and, particularly, prosthetics required to get the very specific looks just right.   Shrek's prosthetics and and his chunky fingers were brilliantly detailed as were the yellow wigs for Duloc.   Dragon's wonderful red wig was nicely diva-esque and the rats' makeup was suitably rodent-looking. Rob Donnelly's wolf makeup made him completely unrecognisable and it was only towards the end that I realised what part he was playing. Donkey's smig beard and prosthetics looked wonderful.  The overriding sense that I took away from this wonderful show was the wealth of talent in depth in the society. From the titular character, right down to Farquaad’s dad, Dwarf, there was so much talent on display, from young to old and plenty in between. The future is very bright for Avonmore Musical Society as they continue to tap into this wonderful pool of talent. I, for one, am “a Believer” and will be first in line to see whatever future productions are in the pipeline. Pat McElwain Gilbert Adjudicator 2024/2025

Annie as presented by Castlerea Musical Society

Society name:  Castlerea Musical Society Show name:  Annie Adjudicator date of attendance:  08.05.2025 Brief Overview of Show and Evaluation of Front of House Castlerea Musical Society’s production of Annie  offered a sincere and well-intentioned evening of community theatre, marked by clear effort, visible enthusiasm, and a genuine desire to share a beloved classic with its audience. While the final product fell short in several technical and artistic areas, there remained a prevailing sense...

Society name:  Castlerea Musical Society Show name:  Annie Adjudicator date of attendance:  08.05.2025 Brief Overview of Show and Evaluation of Front of House Castlerea Musical Society’s production of Annie  offered a sincere and well-intentioned evening of community theatre, marked by clear effort, visible enthusiasm, and a genuine desire to share a beloved classic with its audience. While the final product fell short in several technical and artistic areas, there remained a prevailing sense of goodwill, and a few bright performances managed to lift the piece in places. Undertaking a musical of this scale and popularity is always ambitious, and the society is to be commended for the hard work evident in staging this production, even if the execution did not quite match the ambition. The atmosphere created by the Front of House team was warm, friendly, and welcoming. Staff greeted patrons with smiles and provided helpful guidance throughout, contributing to a positive start to the evening. The venue itself was well presented, and there was a tangible sense of local support and pride. This communal spirit was lovely to witness, and it is clear that Castlerea Musical Society has strong ties to its community, which was reflected in the audience’s warm reception of the cast and crew. This support is vital for groups developing their creative output, and it is encouraging to see such engagement. Director – Direction and Production Directionally, this production faced some significant challenges. While Ronan Lardner made admirable efforts to pull together a complex show, the overall pace of the piece struggled to gain momentum. The action frequently lagged, particularly in the transitions between scenes, which affected audience engagement. This sluggish flow could have been remedied with sharper blocking, more decisive scene changes, and firmer attention to pace during dialogue and musical numbers. Character development across the board was surface-level, and deeper emotional journeys were not always present. Warbucks, a character who undergoes a significant arc from cold businessman to loving father figure, remained largely static, missing the opportunity for audience connection. Similarly, Miss Hannigan, a role ripe with comic complexity and emotional subtext, needed a much more layered portrayal to be effective. These issues suggest that more time spent in rehearsal on character exploration and scene work would have yielded stronger storytelling and a deeper connection to the material. That said, the production was cohesive in tone, and the world of the play was maintained with consistency. There was a clear desire to remain faithful to the spirit of the show, and that foundation provides something to build on for future productions. Choreographer – Choreography Choreography by Ria Purcell was relatively simple throughout the show, which is understandable given the varying levels of dance experience in the cast. While the routines lacked complexity, they were functional and attempted to match the mood of the scenes. The cast clearly committed to their movement, even where technique was lacking. “Easy Street” had a nice sense of characterisation and worked well as a trio. “Hard Knock Life,” typically a high-impact opener from the orphans, felt underpowered and missed an opportunity to showcase the children's energy and character work. More dynamic use of the space, cleaner group formations, and better musicality would have enhanced the number. While not all members of the ensemble were natural movers, more workshopping and repetition in rehearsal could have helped them grow in confidence and polish. With a stronger choreographic structure and more time devoted to physical storytelling, this aspect of future productions could be considerably strengthened in the future. Leading Principals – Singing and Acting Annie – Ruth Lafferty:  Ruth brought charm and sweetness to the title role, and while clearly still developing as a performer, she held the stage with a quiet confidence. Her vocal tone was naturally pleasant, though a firmer musical foundation and more nuanced phrasing would help her develop even further. Ruth has great potential and would benefit enormously from mentorship and coaching to support her through demanding musical theatre roles. Mr. Warbucks – David Cooke:  David struggled with both line retention and emotional connection in the role of Warbucks. His performance lacked the authoritative presence required of the character, and the arc from brusque tycoon to affectionate father figure was not sufficiently explored. While some moments of stillness hinted at deeper feeling, these needed to be more clearly directed and supported to make a meaningful impact. Miss Hannigan – Fiona Madden : Fiona gave a bold performance, and while her vocal delivery was strong and she projected well, the character of Hannigan requires more depth and tonal variety. The comedic drunkenness often fell into repetition, and her disdain for the children, a key aspect of her motivation, was not fully realised. With more directorial guidance, Fiona has the vocal tools and presence to make Hannigan truly memorable. Grace Farrell – Enya Reilly:  Enya gave one of the more grounded performances in the show. She carried herself with warmth and elegance, and her interactions with Annie were affectionate and sincere. Her vocals were clear and tuneful. However, the romantic subplot between Grace and Warbucks remained underdeveloped. Greater chemistry and more layered performance choices could strengthen this relationship in future stagings. Supporting Roles – Singing and Acting Mrs. Greer – Frances Cooke:  Frances presented as an appropriately stern but poised household manager. She offered a composed stage presence and punctuated moments with light humour. Her characterisation was consistent and well-judged. Drake / Roosevelt – John Mitchell:  John delivered two distinct performances with clarity and confidence. His vocal strength and command of diction were impressive, and he shifted between the two characters convincingly. A strong supporting player. Rooster – Jake Reilly:  Jake approached the role with plenty of enthusiasm but struggled with clarity of speech and faced challenges in landing comedic beats. More work on vocal control, diction, and directing energy outward rather than sideways would help deliver his performance more effectively. Lily – Chloe Donnellan: Chloe captured Lily’s over-the-top persona with commitment. Her vocal tone was well-suited, although she occasionally tipped into shrillness that hindered intelligibility. A balance between comedic exaggeration and vocal clarity would enhance her impact. Orphans – Mollie - Clodagh McCann, Pepper - Ava Cullinan, Duffy - Niamh McDonagh, July - Roisin Doherty, Tessie - Ziggy Pollington, Kate - Isla Walsh:  A lively and energetic group who clearly enjoyed performing together. Their enthusiasm was palpable, and many had flashes of stage presence that suggest real future potential. The group would benefit from further vocal and acting coaching, particularly in sustaining lines and maintaining character throughout. Ensemble Roles – Mrs. Pugh - Ciara Gallagher, Star to be/Boylan Sister 1 - Roisin Grant, Ward/Ickes - Declan Carroll, Bundles/Hull - Pat McDonnell, Howe/Judge Brandeis - Michael Sheridan, Sophie - Caoilinn Flynn, Cecille - Ciara Mahony, Healey - Niall Heaney, Perkins - Olivia Walsh, Morganthau - Kayla Joyce:  All contributed positively to the creation of the show’s environment. Their energy was sincere, and they helped maintain momentum between scenes. There is room to further develop line interpretation and scene objectives for even greater authenticity. Dog Catcher – Ethan Tully, Wacky – Kai Nicholls: These two young performers brought great joy to their appearances. Their commitment and enthusiasm were notable, and it’s clear they took pride in their roles. Chorus/Ensemble – Singing, Acting and Choreography The ensemble’s contribution was enthusiastic, though varied in ability. There were clear attempts to maintain energy and engagement, and while some members dropped focus when not central to the action, the overall effect was warm and supportive. Vocally, the ensemble had a pleasing sound, particularly in full-company numbers. However, choreography often lacked cohesion and could have benefited from more cleaning and rehearsal time. Introducing workshops focused on basic performance skills would be a valuable investment in raising the overall standard. Stage Management and Set Design The set design used a central box set structure with smaller moving elements that cleverly supported the story. While the colour palette was somewhat muted and lacked visual richness, the physical space functioned effectively. Additional texturing or creative lighting would help elevate the look and feel of future designs. Stage management was generally sound, though several transitions were slow or awkward. More efficient scene changes would significantly improve the pacing and keep the audience engaged.  Technical – Lighting and Sound Lighting was functional but lacked imagination. A show like Annie  offers opportunities for visual storytelling through colour, gobo patterns, and focus, which were largely underused. Face light was even, and there were no major technical mishaps, but the visual interest of the show could be lifted significantly with more creative lighting design. Sound was reasonably well managed. While a few microphone cue issues were noted, the band and cast balance was generally effective. Most of the vocal clarity issues seemed to stem from performance projection rather than technical error. Visual – Costumes, Hair and Makeup Adult costumes were well chosen and period-appropriate. The children’s costumes, particularly in the orphanage scenes, appeared more modern and occasionally broke the illusion of time and place. Annie’s signature looks were highlights and reflected attention to character identity. Hair and makeup were handled neatly. While Annie’s wig was slightly oversized and overwhelmed her face, the rest of the cast presented well. A few more touches of period styling could enhance the overall authenticity. Adjudicator’s Suggestions and Overall Comments This was a production marked by heart, effort, and community involvement. While the performance fell short in many artistic and technical areas, the foundational elements of team spirit and ensemble enthusiasm were present. With further investment in directorial guidance, vocal and movement training, and technical creativity, Castlerea Musical Society has the potential to grow into a more confident and cohesive company. Future productions would benefit from more intensive rehearsal planning, particularly around character development, musical cohesion, and choreography. Engaging experienced mentors and inviting external workshops could also greatly assist in lifting the standard. Above all, the company should be proud of the sense of camaraderie and local pride that clearly exists, qualities that, with the right support, can lead to great strides in production quality. Photos by Darragh C

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
Aghada Centre Theatre Group
Arklow Panto Creations
Baldoyle Musical Society
Ballinasloe Musical Society
Ballyshannon Musical Society
Ballywillan Drama Group
Bardic Theatre
Bellvue Academy of Performing Arts
Birr Stage Guild
Boyle Musical Society
Bray Musical Society
Carrigaline Musical Society
Castlebar Musical & Dramatic Society
Castlerea Musical Society
Cecilian Theatre Arts
Claremorris Musical Society
Cork City Musical Society
Craic Theatre
Creative Minds Productions
Currid School of Performing Arts
DCU Drama Society
Donegal Youth Musical Theatre
Drogheda Musical Society
Dundalk Musical Society
Dunmore Musical Society
East Clare Musical Society
Encore Performing Arts Academy
Enniscorthy Musical Society
Enniskillen Light Operatic 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
Glenties Drama Group
Golden Apple Players, The
Greasepaint Productions
Kells Musical Society
Kill Musical & Dramatic Society
Kilmacud Musical Society
Kilrush Choral Society
Letterkenny Musical Society
Light Opera Society of Tralee (LOST)
Limerick Musical Society
Lisnagarvey Operatic and Dramatic Society
Londonderry Musical Society
Loughrea Musical Society
Mallow Musical Society
Mary I Dramatic Arts Society
Moycullen
Naas Musical Society
Nenagh Choral Society Ltd
Newcastlewest Musical Society
Newry Musical Society
Newry Youth Performing Arts
O'Connell Musical Society
Phoenix Performing Arts College
Phoenix Productions
Pioneer Musical & Dramatic Society
Pop-Up Theatre, Sligo
Portadown Phoenix players
Portarlington Musical Society
Portmarnock Musical & Dramatic Society
Portrush Music Society
Queen's University Belfast Musical Theatre Society
Rathmines & Rathgar Musical Society
Ratoath Musical Society
Roscrea 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 Now and Then Production Company
Tralee Musical Society Youths
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
University of Limerick Musical Theatre Society
Youghal Musical Society
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