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UPCOMING EVENTS

Man of La Mancha

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22 Mar 2026

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Back To The 80s

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9 Apr 2026

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We Will Rock You

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18 Mar 2026

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Witches of Eastwick

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28 May 2026

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Disco Inferno

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15 Apr 2026

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LATEST NEWS

Review: We Will Rock You - Cecilian Musical Society

Society name: Cecilian Musical Society Show name: We Will Rock You Adjudicator date of attendance: 22/11/2025  The Lime Tree Theatre proved an excellent venue for the visual and aural feast that was Cecilian Musical Society’s We Will Rock You. Arriving to an open curtain, the audience were immediately invited into a world built on contrast: old alongside new, crumbling facades against sleek technology, manufactured soullessness set beside the unfiltered joy of rock. From the moment the...

Society name: Cecilian Musical Society Show name: We Will Rock You Adjudicator date of attendance: 22/11/2025  The Lime Tree Theatre proved an excellent venue for the visual and aural feast that was Cecilian Musical Society’s We Will Rock You. Arriving to an open curtain, the audience were immediately invited into a world built on contrast: old alongside new, crumbling facades against sleek technology, manufactured soullessness set beside the unfiltered joy of rock. From the moment the opening credits rolled, the production drew the audience into Queen’s iconic sound world and the show’s offbeat, ultimately uplifting story of courage, individuality, and self-belief. The Society approached the material with a clear sense of drive, both emotional and physical, and the evening carried strong forward momentum from start to finish. That said, while the production was energetic and did justice to the legendary score, it was not without areas that could be refined. In places, character development didn’t feel fully explored, which occasionally undercut the cast’s ability to land emotional beats with maximum impact. A show like We Will Rock You thrives on a powerful ensemble; it cannot rely solely on a strong front line. The society have that ensemble strength in abundance, and the evident collaboration across departments resulted in a bold, visually impressive, and cohesive piece of theatre. Front of House was calm, efficient, and professional, engaging amiably with patrons while seating the large auditorium with ease. There was a palpable sense of anticipation in the building, and the clear systems in place ensured the evening began promptly and smoothly. Director- Direction and Production Des Henn guided a strong cast capably through the show’s quirky, dystopian world of “no real music,” and the overall pace benefited from well-thought-out, seamless transitions between scenes and locations. For the most part, the blocking was considered and effective. There were moments where focus and intention were less clear. Some performers drifted upstage without dramatic purpose, which reduced connection both between scene partners and with the audience. More deliberate staging choices here, anchored in specific intention, would sharpen storytelling and heighten impact. While the visual world was confidently realised, some characters felt under-developed. Most notably, Galileo’s characterisation occasionally worked against audience engagement. The choice to include a tic-like action and stammer became distracting at times, and it didn’t feel fully aligned with the character’s function in the narrative. Galileo is an outsider, certainly, and his internal struggle should be visible, but this choice made the struggle read as primarily external, limiting emotional access for the audience. Overall, the direction suggested an excellent eye for detail in certain areas, but less consistency in others. A deeper interrogation of character intentions throughout would elevate an already strong production to an even higher level. Musical Director- Direction and Orchestra This production benefited enormously from the Musical Director’s exceptional skill. Conor McCarthy delivered outstanding work with both cast and band. Under his leadership, a vocally strong company achieved clean, confident harmony work, each vocal line distinct, yet beautifully balanced within the whole. Rather than relying on the inherent brilliance of Queen’s catalogue alone, Conor brought nuance to the score and pushed the cast to meet its demands with real style and musical integrity. From the clipped precision of the Globalsoft world to the raw, unrestrained energy of the Bohemians, the musical world remained consistent and purposeful. The result was a cohesive sound that supported storytelling and allowed both lyrics and musical detail to land clearly. His control of the rock band, particularly with two drum kits in close proximity to the audience, was impressive. There were moments where the volume tipped slightly loud, but in the context of this show, it remained largely forgivable (it is  rock ’n’ roll, after all). Underscoring was well timed and click tracks and sound effects were managed with clarity and precision. Conor’s focus and concentration were evident throughout, and his work formed the backbone of the production’s musical identity and underpinned its central message of rediscovering real music. Choreographer- Choreography Barbera Meaney’s choreography was the final polish on a production on this visually striking production. Working with two distinct choreographical languages, she clearly understood both the contrasting worlds and what each required physically. The Killer Queen numbers were sharp and controlled, clean lines, precise execution, and an intentional sense of self-importance. The shifting formations were consistently dazzling and hypnotic, and the dancers moved with a stylised uniformity that supported the “brainwashed” aesthetic beautifully. In contrast, the Bohemian sequences exploded with raw energy. The movement vocabulary was grounded and punchy, frequently forward-facing, and driven unflinchingly toward the goal as a unified force. There was clear narrative intention in the movement across both worlds, and the choreography helped define character, atmosphere, and stakes, not simply decorate the numbers. Barbera achieved a level of synchronicity that is rarely seen in amateur theatre, and this spoke to both disciplined rehearsal and strong performer commitment.  Leading Principles- Singing and Acting Galileo – Emmet Donlan.  Emmet has an undeniably versatile voice, shifting between emotional colours and tonal qualities with ease. He captured the rock aesthetic with power, while delivering the softer moments with a pleasing smoothness. Dramatically Galileo’s development felt pulled in an unusual direction. The emulation of a tic and stammer became an exaggerated physical choice that overshadowed the character’s internal conflict. Rather than reading as shy, awkward, and troubled, it sometimes pushed the portrayal into something more performative than truthful, reducing the audience’s ability to connect with Galileo’s emotional journey. Scaramouche – Moya Henn.  Moya took time to settle into the role, and the early scenes occasionally felt stiff or emotionally guarded. However, as the performance progressed, she developed into a dry-witted, poker-faced rebel, and her delivery began to land with a confident bite. Once the character arc found its footing, it was clearly defined, emerging from her shell, being knocked back, and then reappearing with renewed bravery. Her interactions with Galileo and the wider company were strong and believable. Vocally, she was captivating from the outset: exceptional clarity, power, and control. With continued experience, Moya has all the ingredients to become a truly formidable performer. Killer Queen – Hilary Phayer.  Hilary stepped into the towering high heels of the Killer Queen with a cold, calculating austerity. While the dancers moved behind her with clinical precision, she anchored the stage with power and authority. There was perhaps space to lean slightly further into the character’s darker edge to fully cement the audience’s dislike of her, but this was a strong performance regardless. Vocally, she handled the demands of the role with impressive steadiness, smooth transitions, confident attack, and no loss of control under pressure. Khashoggi – James O’Donovan.  James offered a slightly different take on the typically detached military figure, maintaining the authoritarian exterior while uncovering the comedy that can be hidden in the role. His occasional flirtatious, playful moments gave the character an unexpected dimension and made him almost likeable, an interesting and effective choice. Vocally, Seven Seas of Rhye  was delivered with confidence, navigating its tricky musical demands with ease. Buddy – Brian Henry.  Brian found the heart of the rocker with real warmth. He delivered some of the script’s funniest moments without ever stepping outside character, which takes discipline and strong comic craft. He also brought genuine feeling to the role, and his rendition of These Are the Days  landed as sincerely poignant. Oz – Aoife Hennessy.  Aoife fizzed with energy throughout, consistently engaged and highly watchable regardless of where focus was placed. Her off-script work was particularly strong, active, alive, and purposeful. Her relationship with Britney felt honest and well rooted, achieved without needing to push the physicality. Vocally, she showed power and clarity, and her ease in switching vocal qualities suggests exciting potential as she continues to develop. Britney – Brian Curtin.  Brian matched Aoife’s energy brilliantly, throwing himself into the role with wholehearted zeal. Adorably meat-headed, his accent work was strong and consistent, and his physicality helped define the character clearly. Supported by solid vocals, this was a lively, confident performance that complemented the ensemble well. Chorus/Ensemble- Singing, Acting and Choreography The chorus was the true engine of this production. Their energy, attention to detail, and collective commitment created the cohesion that makes a show like this succeed. Each performer remained individually expressive while still serving the unified storytelling. The precision of the Yuppies was genuinely impressive, and it contrasted beautifully with the Bohemians’ sense of joyful abandon. Vocally, the ensemble work was excellent, harmonies were clear, balanced, and confidently placed. The stage picture remained consistently interesting, and that only happens when an ensemble is fully invested in always telling the story. Stage Management & Set Design Scene changes, led by Stage Manager Ray Bourke, were swift and efficient, and the decision to have many transitions operated by cast members helped maintain momentum and supported the show’s continuous drive. Overall, the backstage operations reflected good planning and strong communication.  The set design was excellent, leaning into the show’s theme of opposites with real clarity. Cracked, crumbling faux stone textures sat effectively alongside metal platforms and railings with clean, modern lines. The finish was strong, and the raised levels created genuine versatility, allowing multiple locations to be established without disrupting flow. Additional pieces, particularly the VW van, were carefully constructed and well finished. Projections were also well designed, maintaining a cohesive visual identity and blending seamlessly with the wider aesthetic. Technical- Lighting and Sound The lighting design was truly striking. Sharp angles and silhouettes were used to excellent effect, contrasted with big, punchy rock ’n’ roll parcan hits. The addition of blinders added an authentic stadium feel, and side light was particularly effective in shaping the stage picture. Front-of-house cover was well focused, and cueing was crisp throughout, supporting the rhythm of the piece without distraction. Sound was superbly mixed: clear, punchy, and well balanced for a show of this scale and style. The band supported the vocals effectively, allowing lyrics to land and story to remain central. Cueing was reliable, with no noticeable missed moments, and the overall soundscape supported both the rock energy and the narrative clarity. Visual- Costumes, Hair and Make Up Costumes were outstanding and played a significant role in defining the contrasting worlds. The sharp, clean lines of the Globalsoft aesthetic were strongly offset by the layered, punk-rock styling of the Bohemians. Detailing and styling were excellent across the board. The costume team deserve real credit for maintaining consistently high standards, performers looked tidy, polished, and stage-ready throughout, with no distracting slips in presentation. Hair and make-up were equally effective, supporting character identity and enhancing the overall look. Wigs were well fitted, well styled, and clearly well maintained—another sign of strong backstage organisation and pride in presentation. Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances. Overall, Cecilian Musical Society delivered a strong, energetic production that provided the audience with a thoroughly enjoyable evening of theatre. There was a clear artistic vision throughout, underpinned by an excellent musical foundation, vibrant and purposeful choreography, and a committed, hardworking cast. The cohesion across all departments spoke not only to careful preparation, but also to a genuine sense of trust and mutual respect between the production team and performers. From a directorial perspective, there is an opportunity to move blocking beyond functional staging. Keep asking why  choices are being made, and ensure every movement is rooted in intention. Additionally, Character development would benefit from deeper exploration: interrogate motivations, refine objectives, and be willing to redirect choices that don’t serve the narrative. And a stronger consistency of detail, particularly in character work, would lift an already impressive production even further. Cecilian Musical Society is clearly a company driven by passion, dedication, and creative energy. Their willingness to take risks and their obvious enthusiasm for the work position them well to achieve an even higher standard. With further refinement in character development and intentional staging, they have every potential to deliver productions of truly exceptional quality.

NEWS: AIMS Adjudication Review Changes in place the 2025/26 Season

Below are some important updates from the AIMS Adjudication Review subcommittee, which were announced at our National AGM earlier this year. A cháirde, We would like to thank all the societies that engaged meaningfully in the AIMS Adjudication review process and also to the individuals that attended the workshop and focus group events in relation to the formation of a formal marking scheme etc. Ahead of the nominations coming out this year, we wanted to inform societies of the changes that...

Below are some important updates from the AIMS Adjudication Review subcommittee, which were announced at our National AGM earlier this year. A cháirde, We would like to thank all the societies that engaged meaningfully in the AIMS Adjudication review process and also to the individuals that attended the workshop and focus group events in relation to the formation of a formal marking scheme etc. Ahead of the nominations coming out this year, we wanted to inform societies of the changes that relate to the Awards which will take place with immediate effect for this season. CHANGES AFFECTING AWARDS NOMINATIONS Increase in Number of Nominees per Category The number of nominees in each award category will be increased from three to five, with the exception of the Youth Performance category. Expanding the number of nominees better reflects the scale, diversity, and quality of productions being adjudicated, particularly given the growing participation across societies. This change also allows for greater recognition of excellence while maintaining the integrity and competitiveness of the awards. Renaming of Best Chorus to Best Choral Singing The award currently titled Best Chorus will be renamed Best Choral Singing. This change more accurately reflects the specific skill being recognised and ensures greater clarity for societies, performers, and adjudicators. The revised title places a clear emphasis on vocal performance, blend, balance, and musicality, supporting more focused and consistent adjudication in relation to Choral Singing. Clarification of Best Ensemble Criteria The Best Ensemble award is now clearly defined as recognising the combined choreography and acting of the ensemble as a whole throughout a production (both principals and chorus). This award will not be adjudicated on a single number, dance routine, or isolated scene, but rather on the sustained cohesion, energy, and contribution of the full cast across the entire production. Reframing Best Choreography as Best Moment of Theatre The existing Best Choreography category is being redefined as Best Moment of Theatre, recognising an outstanding theatrical moment within a production. This category will celebrate excellence in storytelling, impact, and creativity, regardless of discipline, and allows adjudicators to acknowledge moments that transcend traditional category boundaries and significantly enhance the audience experience. This can be in recognition of a particular scene, moment of theatre, musical number, on stage relationship etc. Redefinition of the Spirit of AIMS Award The Spirit of AIMS award is to be restricted to achievements that are not otherwise recognised within the awards scheme. This award should not be presented for performance-based excellence, but instead recognise qualities such as resilience, perseverance, community spirit, or the overcoming of significant adversity. This ensures the award remains meaningful, distinctive, and aligned with the core values of AIMS. OTHER CHANGES Development of a Formal Marking Scheme and Criteria A comprehensive and standardised marking scheme has been developed for the AIMS adjudication process. A formal marking scheme will promote consistency and fairness across adjudicators, societies, and regions, and reduce variability from year to year. Clear criteria and weighting will support objective assessment, improve the quality of feedback provided to societies, and enhance confidence in the adjudication system among the membership. Online Registration for AIMS Adjudication The AIMS adjudication registration process has already began its transition to an online system. Moving registration online will improve efficiency, accuracy, and consistency across the scheme, while reducing administrative burden for both AIMS and member societies. An online system will also allow for clearer timelines, improved data management, and easier access to information for adjudicators and administrators, supporting a more transparent and streamlined adjudication process. Societies must all abide by the six week rule in terms of applying for the adjudication of their show. Note: The AIMS Awards Nominations will be announced on Saturday 16th May at 7pm online . The AIMS Choral Festival will take place the following weekend -= 22nd-24th May 2026.

Review: Jesus Christ Superstar - 9 Arch Musical Society

Society name: 9 Arch Musical Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 21/11/2025  9 Arch Musical Society’s production of Jesus Christ Superstar  offered audiences a deeply considered, emotionally grounded, and strikingly human interpretation of Andrew Lloyd Webber and Tim Rice’s iconic rock opera. From the outset, it was clear that this was a production intent on exploring the humanity at the heart of the story rather than relying on spectacle alone. The...

Society name: 9 Arch Musical Society Show name: Jesus Christ Superstar Adjudicator date of attendance: 21/11/2025  9 Arch Musical Society’s production of Jesus Christ Superstar  offered audiences a deeply considered, emotionally grounded, and strikingly human interpretation of Andrew Lloyd Webber and Tim Rice’s iconic rock opera. From the outset, it was clear that this was a production intent on exploring the humanity at the heart of the story rather than relying on spectacle alone. The company approached the material with seriousness of intent, emotional honesty, and a strong sense of ensemble purpose, resulting in a performance that felt cohesive, thoughtful, and often profoundly moving. Jesus Christ Superstar  is a demanding work on every level. Musically, it requires stamina, stylistic confidence, and sustained vocal intensity across a score that leaves little room for rest. Dramatically, it asks performers to navigate complex relationships, conflicting ideologies, and raw emotional states without the benefit of spoken dialogue to bridge transitions. This production demonstrated a clear understanding of those challenges and met many of them with confidence and artistic maturity, creating a piece of theatre that was engaging and emotionally resonant throughout. Once the performance began, momentum was maintained with clarity and intent. The storytelling was coherent and focused, with a clear desire to connect the audience to the inner lives of the characters rather than presenting them as distant or symbolic figures. While, as with any ambitious production, there were moments that might benefit from further refinement, the overriding impression was one of sincerity, ambition, and a genuine commitment to engaging with the emotional depth of this challenging piece. Direction by Alan Greaney delivered a thoughtful, emotionally rich, and deeply human interpretation of the work. The emphasis on character and relationships was evident throughout, resulting in interactions that felt authentic, grounded, and emotionally truthful. This was a production that clearly sought to explore the people behind the biblical figures, offering insight into their doubts, loyalties, fears, and contradictions. In doing so, it presented a version of the story that felt refreshingly intimate and accessible. The emotional detail within relationships was particularly strong. The bond between Jesus and his followers felt lived-in and complex, while the fractures within the group emerged organically rather than feeling imposed for dramatic effect. This relational clarity added significant weight to the narrative and ensured that emotional stakes remained high throughout the evening. Pacing and flow were also handled with care; the production moved continuously, with smooth and purposeful transitions that sustained tension and supported the inevitable progression of the story. Several visually and thematically inspired directorial choices stood out. The use of scaffolding pipe to form the cross, operated via a winch, was both visually striking and symbolically resonant, reinforcing the raw, industrial aesthetic of the piece while avoiding unnecessary literalism. The decision to leave Jesus on stage during “Superstar” was particularly powerful, forcing the audience to confront his humanity rather than distancing him through abstraction. Equally effective was the choice to keep Judas in black during this sequence, allowing the number to function less as a triumphant showpiece and more as a bitter, unresolved confrontation. Judas’s twisting of the lyrics into something almost taunting aligned beautifully with the production’s focus on moral ambiguity and emotional realism. Musically, the production was of a consistently high standard under the direction of Shane Farrell, with Katie Feeney as Chorus Mistress. The band was tight, responsive, and stylistically assured, delivering the score with energy, precision, and sensitivity to the performers on stage. Balance between band and vocals was particularly well managed, allowing lyrics and harmonies to remain clear and impactful despite the density of the score. This spoke to strong preparation and attentive musical leadership. Vocal performances across the company were impressive. Harmonies were clean, well tuned, and thoughtfully balanced, particularly within the ensemble and apostle group. There was a clear understanding of blend and style, and the overall vocal sound felt cohesive rather than fragmented. Chorus work was especially commendable, with confident entries, clear diction, and sustained focus even during physically demanding sections. Choreography by Jay Molyneux demonstrated creativity, energy, and a strong sense of theatrical impact. While not every choreographic choice resonated equally, the overall standard of execution and clarity of movement vocabulary were impressive. The prologue was performed with commitment and technical skill, though the choice to present Jesus as a contemporary dancer in this section did not entirely clarify narrative intent for all viewers. Following this, the choreography became increasingly assured and effective. “What’s the Buzz” was particularly successful, featuring inventive, high-energy movement that reflected differing personalities within the group, while “King Herod’s Song” emerged as a standout moment, with a bold concept and sharply defined choreography executed with confidence and precision. At the heart of the production were several strong principal performances. Jamie Callanan delivered a compelling and deeply affecting portrayal of Jesus, grounded, emotionally honest, and refreshingly human. Moving away from more distant, otherworldly interpretations, he presented Jesus as a man grappling with doubt, responsibility, and emotional exhaustion. Vocally, his performance was outstanding, with an ethereal quality and impressive control across the score. “Gethsemane” was a highlight, delivered with emotional intensity and vocal assurance that resonated powerfully with the audience. His interactions with Judas and Mary Magdalene were particularly strong, creating relationships that felt layered, believable, and central to the storytelling. Keith Hanley brought a vocally powerful and expressive performance to the role of Judas Iscariot. His singing was consistently strong, delivering moments of real musical brilliance. Dramatically, there were times when the characterisation felt less fully shaped, resulting in some inconsistency in Judas’s emotional journey. With further nuance and clearer development of internal conflict, this performance could reach even greater depth, but the potential and vocal foundation were undeniably strong. Hannah Wright brought warmth and sensitivity to Mary Magdalene, with a vocal performance that was a particular strength. “I Don’t Know How to Love Him” was delivered with control, nuance, and a clear emotional throughline. Her physical relationship with Jesus was clearly defined, though at times slightly more demonstrative than necessary. Her restrained response to Jesus’s death offered an interesting contrast, though some audiences may have expected a more overt emotional release given the intensity of their relationship. Robert Cosgrove delivered an energetic and committed performance as Simon Zealots, with confident vocal delivery and a strong sense of urgency. Paul Singleton brought authority and gravitas to Caiaphas, his resonant bass voice and commanding presence conveying both self-importance and underlying fear. Niall Conway approached Pontius Pilate with sincerity, and while his characterisation felt somewhat underdefined compared to others, “Pilate’s Dream” was vocally well performed and hinted at deeper potential within the role. Adam Carr was an undeniable highlight as King Herod, fully embracing a bold drag-aristocrat aesthetic with unhinged flamboyance. Vocally strong and physically assured, his fearless commitment made this sequence one of the most memorable of the evening. Supporting roles were handled with care and cohesion. Brandon Collier’s Annas complemented Caiaphas effectively, while the apostles—Jay Hall, Clara Totman, Cameron Henaghan, Brian McAteer, Akshay Prakash, Callum O’Donnell, Jack Rawlings, Rufus Calvey, Abby Doran, and Laura Ní Cheallaigh—functioned as a unified and emotionally engaged ensemble. Their camaraderie and vocal blend were particularly effective, with several moving moments in the finale. Caroline Greaney, Róisín Nic Aodhgain, and Niamh McSweeney added a darker, more sinister edge as the High Priestesses, enhancing dramatic tension. The ensemble as a whole was a significant strength, vocally well balanced with secure harmonies and clear diction, and physically committed to the choreography. Stage management by Chontelle Kenny and Jacqlyn Cronin was efficient and well-coordinated, while the ambitious set design provided striking images, if occasionally busy.  The technical execution of the production played a strong supporting role in reinforcing its emotional depth and narrative clarity. Lighting design was particularly effective, demonstrating a clear understanding of mood and atmosphere. Despite the complexity of the set and the amount of movement on stage, focus remained accurate and reliable throughout, ensuring performers were consistently visible while still allowing for striking stage pictures. Lighting cues were cleanly executed and sensitively timed, enhancing the pacing of the production rather than drawing attention to themselves. Front-of-house focus was consistently strong, contributing to a polished and professional visual presentation. Sound design was equally well managed and provided a solid foundation for both the musical and dramatic elements of the show. Balance between band and vocals was carefully judged, allowing the score’s power to be realised without overwhelming the performers. Vocals were clear and well supported across the stage, with lyrics and harmonies remaining intelligible throughout. The consistency of the mix, with no noticeable missed cues or abrupt shifts, contributed significantly to the overall professionalism of the production. Visually, the production was cohesive and well considered. Costume design successfully blended contemporary and traditional elements, aligning with the grounded, human approach taken to the storytelling. Textures and layers added visual interest without distraction, and character differentiation was clear, particularly among the High Priests and principal roles. Hair and make-up complemented the costumes effectively, with thoughtful individual styling that supported characterisation while maintaining a unified aesthetic. Front of House operations contributed positively to the overall experience. Audience members were welcomed in a friendly, calm, and organised manner, creating a sense of anticipation and care before the performance even began. This professionalism and warmth reflected well on the society and provided a strong foundation for the production that followed. Overall, this was a powerful, ambitious, and emotionally resonant production that demonstrated artistic integrity and a strong sense of purpose. With continued refinement, 9 Arch Musical Society is well positioned to build on this success and continue producing work of depth, clarity, and impact.

Review: Sister Act - North East Musical and Dramatic Society

Society name: North East Musical and Dramatic Society Show name: Sister Act Adjudicator date of attendance: 20/11/2025  North East Musical and Dramatic Society’s production of Sister Act  offered an evening of lively, energetic musical theatre, presented with warmth, enthusiasm, and a clear affection for this much-loved show. While bright, comedic, and uplifting on the surface, Sister Act  is a deceptively demanding piece that requires strong ensemble cohesion, confident musical leadership,...

Society name: North East Musical and Dramatic Society Show name: Sister Act Adjudicator date of attendance: 20/11/2025  North East Musical and Dramatic Society’s production of Sister Act  offered an evening of lively, energetic musical theatre, presented with warmth, enthusiasm, and a clear affection for this much-loved show. While bright, comedic, and uplifting on the surface, Sister Act  is a deceptively demanding piece that requires strong ensemble cohesion, confident musical leadership, clarity of storytelling, and bold character work. This production demonstrated solid foundations in many of these areas, with moments of real enjoyment and flashes of theatrical flair that connected well with the audience. From the outset, it was evident that this was a company keen to entertain. The show moved at a steady pace, maintaining momentum across scenes and musical numbers, and there was a consistent sense of energy on stage. While the production did not always reach the exuberant “wow” factor that Sister Act  can achieve at its very best, it nonetheless delivered an engaging and enjoyable night at the theatre, supported by several strong performances and a committed ensemble. The direction by Gavin Quigley delivered a production that was clear in vision and coherent in its storytelling. Scene changes were smooth, and the blocking ensured that the narrative remained easy to follow. There was a clear sense of structure and organisation throughout, allowing the story to unfold without confusion. The overall rhythm of the show was well managed, and the production moved forward with purpose. That said, Sister Act  thrives on bold character choices, heightened comedy, and strong contrasts between the worlds of the nightclub and the convent. While the blocking fulfilled its practical purpose, many moments felt played at a surface level, where deeper exploration of character relationships and motivations could have added greater richness and impact. Encouraging performers to fully inhabit their characters, particularly in quieter scenes and transitions, would help elevate both the emotional depth and comedic payoff of the piece. Visually, the production had a cohesive design concept that supported the narrative effectively, with a clear understanding of the stylistic demands of the show. However, the opening number, which is crucial in immediately drawing the audience into Deloris’s world, would have benefitted from additional rehearsal focus. A stronger sense of confidence, precision, and energy in this opening moment would help ensure the audience is fully engaged from the outset, rather than the production having to work harder later to establish momentum. Musically, the foundations of the production were strong. The band under the guidance of Shane McVicker played confidently throughout, with well-judged tempos and accurate cueing that demonstrated solid musical discipline and a good understanding of the rhythmic demands of the score. The work done with the chorus by Jade Quinn was particularly commendable with the cast on harmonies. The nuns’ ensemble vocals were one of the production’s greatest strengths, sounding full, balanced, and confident in many of the choral numbers. This level of ensemble singing is no small achievement in a show that relies heavily on close harmony work and speaks to careful rehearsal and vocal preparation. The opening number felt vocally weaker than it needed to be. As with the staging, this moment is critical in establishing the musical confidence of the show, and greater attention to vocal attack, clarity, and energy would make a significant difference. Once the production settled, the overall vocal standard improved noticeably, suggesting that early nerves or under-preparation may have played a role. The most significant musical challenge came from the sound balance. Bass levels were consistently overpowering, at times to the point of discomfort, which impacted the audience’s ability to fully appreciate the vocal performances. While the band itself played well, the mix frequently placed the orchestra above the singers rather than supporting them. Closer collaboration between the musical and technical teams would transform the overall musical experience. The choreography for this show was overseen by Jordan Rosborough, it contained several strong ideas and moments of genuine entertainment, particularly in numbers that leaned into high energy and character-driven movement. However, the consistency of execution varied across the production. The opening number again proved to be a weak point, lacking cleanliness and confidence and appearing under-rehearsed. In a show like Sister Act , this opening needs to be sharp, bold, and unapologetically showy to immediately establish the style and energy of the piece. “Raise Your Voice” featured well-conceived individual sections with clear musicality and interesting movement vocabulary, but transitions between these sections felt disjointed, causing the number to lose its overall flow. With additional rehearsal time focused on smoothing these transitions, the choreography could feel far more cohesive. “Take Me to Heaven” was a highlight in terms of energy, particularly from the younger dancers, who performed with enthusiasm, precision, and confidence. The older nuns appeared less secure, suggesting either a need for further cleaning or choreography better tailored to suit the strengths of all performers. Ensuring that everyone looks confident and successful on stage is key to maintaining ensemble unity. “I Could Be That Guy” was particularly successful, with the use of the cop dancers proving a clever and well-executed concept that added humour and theatrical flair. This number demonstrated a strong understanding of how choreography can support both character and storytelling. The leading performances were generally strong and well cast. Louise Steele as Deloris Van Cartier was portrayed with confidence and vocal assurance, with a strong stage presence and ease in the character’s glamorous, self-assured persona. Vocally, the role was well handled, and interactions with Eddie and Mother Superior were clearly defined. There remains an opportunity to deepen the comedic and emotional layers of the character by leaning further into vulnerability beneath the bravado. Cathay Evan’s Mother Superior was approached with dignity and vocal control, though some musical material sat outside the most comfortable range, affecting emotional connection in places. Dramatically, the performance felt slightly restrained, and there is scope to explore greater emotional contrast, particularly in the evolving relationship with Deloris. Sister Mary Robert was portrayed with sweetness and sincerity by Nicole McCann Finegan, capturing the character’s innocence very effectively. While transitions between vocal registers were challenging at times, her growth and confidence across the show were clearly communicated. Sheena Duffy as Sister Mary Patrick brought infectious energy and enthusiasm to the stage, engaging well with the ensemble, though bolder comedic choices could further enhance the role. Sean Harkin portrayed Eddie Souther as sweet, earnest, and endearing, with a particularly strong vocal performance. His chemistry with Deloris was one of the more successful relationships in the production, and “I Could Be That Guy” stood out as a highlight. Among the supporting cast, Mags Kirk Carrick as Sister Mary Lazarus delivered sharp comic timing and an enjoyable performance that consistently landed with the audience. Roraidh Irwin sang Curtis well but lacked the menace required to fully establish the character as a credible threat, and stronger, darker choices would raise the dramatic stakes. The trio of Adam Lynagh, Ultan O’Cinneide and Brian Harty as TJ, Joey, and Pablo respectively worked extremely well together, with strong chemistry and an entertaining collective presence. Monsignor O’Hara was portrayed dependably and appropriately by Paul Kiernan, grounding the role with calm authority. Lisa Buckley showed good commitment to the quirks of Sister Mary Martin of Tours but would have benefited from more guidance on her off script moments. Carmel Harte as Sister Mary Theresa, and Barry Kelly as Ernie added strongly to the world of the show with their characterisation. Michelle and Tina, played by Joanne Finnegan and Paige Cunningham had strong “girl power” energy in their characters, but needed additional vocal and choreographical support to truly pack a punch.  The ensemble was vocally one of the strongest elements of the production, delivering rich and confident singing throughout. Movement quality varied between younger and older members, with the younger dancers appearing cleaner and more confident. Dramatically, the ensemble brought life to each scene, though greater individual character development would deepen the storytelling further. Stage management under the management of Lisa Marie Mc Cooey and Sadhbh Finnegan was efficient and professional, with smooth scene changes that maintained momentum. While some cue points occurred during emotionally sensitive moments, slightly detracting from their impact, the overall management was effective. The box set design worked well across all scenes, providing clarity and flexibility, and the projections were a particular highlight, well designed, imaginative, and stylistically consistent, though occasionally washed out by lighting. Lighting design was a major strength, with thoughtful use of gobos, colour, and detail that enhanced atmosphere and storytelling. Minor adjustments to Front of House coverage would ensure performers are consistently lit across the stage. Costume design was strong overall, particularly in the sparkly cop costumes and habits, though greater attention to finishing details would further polish the visual presentation. Hair and make-up were generally effective, though improvements in wig quality and fitting would prevent distraction. The Front of House experience contributed positively to the evening. Audience members were welcomed in a friendly and professional manner, helping to establish a relaxed and welcoming atmosphere before the performance began. The flow of seating appeared calm and efficient, and the overall impression was one of warmth and genuine hospitality that reflected well on the society. Overall, this Sister Act  demonstrated clear commitment, enthusiasm, and a strong sense of community. With continued refinement, deeper character work, and attention to technical balance and detail, North East Musical and Dramatic Society has every reason to feel encouraged about its future productions.

Review: Calendar Girls - Greasepaint Productions

Public Adjudication Society name: Greasepaint Productions Show name: Calendar Girls The Musical ________________________________________________________________________ ‘Calendar Girls - The Musical’ is a beautiful show, full to the brim with heart, which never fails to strike an emotional chord with its audience. Greasepaint Productions’ version at St. Mary’s Hall, Buncrana, brought us on an emotional rollercoaster of a journey as it told the true story of a community of women coming...

Public Adjudication Society name: Greasepaint Productions Show name: Calendar Girls The Musical ________________________________________________________________________ ‘Calendar Girls - The Musical’ is a beautiful show, full to the brim with heart, which never fails to strike an emotional chord with its audience. Greasepaint Productions’ version at St. Mary’s Hall, Buncrana, brought us on an emotional rollercoaster of a journey as it told the true story of a community of women coming together during a time of sadness and loss to make a difference. This wasn’t a production which relied on large budgets or special effects and there wasn’t a bell or a whistle in sight. Instead, it leaned into the simplicity of the story and delivered it with a sincerity that was heartwarming from start to finish.  The front of house experience set the tone for the sense of community that would permeate the evening’s proceedings. There was an air of warmth and friendliness as patrons were welcomed into the foyer. It was personal and sincere, echoing the mood of the show. A particularly moving feature of the foyer was the display of sunflower artwork created by students from local school, Scoil Mhuire. Each sunflower represented memories of loved ones and families affected by cancer. Reminders that both Foyle Hospice and Donegal Hospice would benefit from the proceeds of the show, added to the positive sense of collective effort. It was all about a community coming together, not just to tell a story, but to support causes that touched many local lives. Direction by Dónall Henderson demonstrated a good understanding of the balance required, moving between humour and heartbreak with sensitivity. The more emotional sequences were handled with restraint. ‘Time Passing’, in particular, was staged with great simplicity yet it still proved very moving. The focus was on truth and sincerity, trusting the book and the cast to do the emotional work. One of the strongest aspects of the direction lay in the clarity with which relationships were established and sustained. The rapport between Annie and Chris was immediately believable. The bond between Annie and John was warm and loving. These connections gave true emotional context to the production. Mr. Henderson also showed confidence in staging the show’s more complex sequences. ‘Dare’   was especially well handled, building a strong sense of anticipation, excitement and shared courage among the women, with staging that emphasised togetherness. The notoriously difficult final photo shoot scene was another success, skilfully managing the demands of props, comic business and musical timing.  Musical direction by Noel Thompson, with support from Louise Crossan as vocal coach, was generally solid throughout. The instrumental balance was generally well handled, allowing vocals to sit comfortably on top of the sound without feeling overpowered. Choral singing was generally good throughout, especially in the larger ensemble numbers where the ensemble produced a suitably full-bodied sound. Harmonies were especially strong in ‘Dare (Reprise)’   and the rousing finale, ‘Sunflower of Yorkshire’, was delivered with a joyously rich sound that sent the audience out on a musical and emotional high. Principal singing was generally of a good standard. There were, however, moments where timing issues arose for some principals. Underscoring throughout the show was handled with sensitivity, enhancing key moments without losing dialogue or detail.  Dónall Henderson was a busy man, also taking on the role of choreographer. I felt that choreography was perhaps the least consistent element of the production. While Mr. Henderson’s choreography suited the narrative, I felt that there were moments where greater structure and performance levels would have strengthened the overall impact. ‘Who Wants a Silent Night?’ was the most successful number, with simple, unforced choreography that suited both the context and the narrative intent. The movement reflected the celebratory atmosphere of the WI Christmas party, allowing characters to express freedom and fun without resorting to overly formalised steps. This worked well, keeping the focus on ensemble energy rather than dance technique. ‘So I’ve Had a Little Work Done’ introduced four air hostesses whose routine, while neat and synchronised, felt very safe. These issues did not detract significantly from the production as a whole, but they did represent missed opportunities. Maria Fitzpatrick gave a strong and engaging performance as Chris, bringing humour, boldness and a likeable presence to the role. Her brash confidence was played with good comic timing. She was particularly funny having ‘won’ the cake-baking competition with her Marks and Spencer masterpiece. Ms. Fitzpatrick understood Chris’s blunt honesty and mischievous nature yet never descended into caricature. Vocally, Ms. Fitzpatrick was impressive, with a powerful and confident singing voice. ‘Sunflower’   showcased her vocals at their best, delivering the song with emotional weight and control, though the impact might have been further enhanced with more considered movement and physical structure. She brought tremendous energy and drive to ‘Dare’, right through to her hilariously timed final appearance.  Mary Lane gave a very strong, deeply thoughtful performance as Annie. From her first appearance, she drew the audience in with her warmth, decency and inner strength. She brought raw vulnerability to scenes dealing with John’s diagnosis and eventual death. This was most evident in ‘Scarborough’, delivered with beautiful clarity and heartfelt sincerity, and in ‘Very Slightly Almost’, where the emotional balance was perfectly judged. Alongside this emotional depth, Ms. Lane also showed a wonderful sense of fun and vitality. Her energy in ‘Dare’ was infectious, clearly delighting in shocking poor Ruth. ‘Kilimanjaro’ was just heartbreaking, sung with wonderful control and understatement, capturing Annie’s grief so honestly.  Bernie Doherty brought warmth and considerable wit to the role of Cora, Knapely’s choir mistress. Her relationship with Danny was particularly well observed. Described by him as “the best dad a mum could ever be” Ms. Doherty was warm in her affection but firm in her boundaries. Ms. Doherty showed excellent comic timing, delivering Cora’s quips with a natural humour that landed so well with the audience. She brought a wonderful sense of fun to ‘Who Wants a Silent Night?’, clearly relishing the opportunity to cut loose a little while remaining fully in character. Vocally, she impressed in this number, her strong voice delivering each line with energy and comic intent.  Sue Doherty Mellon was very funny as the stern, retired schoolteacher Jessie. She captured the character’s rigidity and formality very well, yet allowed the audience to see flashes of vulnerability when required. Vocally, Ms. Doherty Mellon showed a good, characterful voice, though there were some timing issues in ‘Mrs. Conventional’. ‘What Age Expects’ proved to be one of Jessie’s strongest moments, offering a poignant reminder of how older members of society can sometimes feel sidelined or invisible. While the melody was not always secure, the delivery was emphatic, heartfelt and sincere, qualities that ultimately carried the number.  Mairé Grant brought glamour and a knowing sense of humour to the role of Celia, instantly setting her apart from the other members of the WI. She carried herself with poise and elegance, even if her golfing skills left something to be desired. Ms. Grant played Celia with just the right balance of confidence and warmth. Her comedic timing was sharp. Vocally, Ms. Grant was strong, especially in ‘So I’ve Had a Little Work Done’, where her singing was confident and character driven.  Caroline McGee’s wonderful and deeply affecting performance as Ruth, captured the complexity of a character who is, on the surface, the organiser supreme of the WI, yet inwardly fragile and profoundly lonely. Ms. McGee’s performance was touching, sincere and tragically funny. Ruth’s strained relationship with her husband, and his apparent infidelity, gave Ms. McGee plenty of subtext to work with and she conveyed this private heartbreak with restraint, allowing her sadness to surface subtly throughout. ‘My Russian Friend and I’ was beautifully sung, deeply poignant and tinged throughout with heartache. A superb performance overall and one of the most moving portrayals of the evening. Caroline Doherty gave a solid performance as Marie, the formidable chairwoman of the Knapely Women’s Institute. Ms. Doherty brought a nice clarity to the role, establishing Marie’s authority from the outset. Where she truly came into her own was during Marie’s confrontation with Chris in Act Two. Her emotional response was played extremely well, allowing us to clearly see Marie’s anger and wounded pride. At the WI Conference, I felt that there was an opportunity for Marie’s outrage to be pushed further. A stronger, more visibly indignant reaction here might have heightened the drama.  That said, Ms. Doherty’s overall performance was strong and intelligent throughout. Benny Porter’s portrayal of John, around whom the entire story revolves, was most moving. From his first appearance, Mr. Porter had a natural rapport with the audience, greeting them with warmth and gentle humour as he introduced the residents of Knapely during the opening number ‘Yorkshire’. His relaxed stage presence and clear musical timing immediately drew the audience in and set John at the heart of the community. His relationship with Annie was beautifully played, with a tenderness and familiarity that was heartwarming. As John’s health declined, he portrayed the progression with believable physical and emotional choices. His final monologue was beautifully delivered and genuinely heart-wrenching, framed powerfully by the surrounding community, the very people he had introduced at the top of the show.  Ciaran McLaughlin brought warmth and humour to the role of Rod, Knapely’s local flower shop owner and Chris’s ever-patient husband. Mr. McLaughlin got the fact that Rod’s humour is a coping mechanism for dealing with the “crazy paving” of life with Chris. It was a relaxed and confident portrayal, balancing comedy and emotion throughout.  Brendan Fletcher did very well as Colin, Jessie’s husband, proving that there is no such thing as a small part. A fine character actor with excellent facial expression and physical awareness, he wrung every possible comic opportunity from his limited stage time with his wonderfully funny reactions. He was always contributing to the storytelling. A fine example of strong character work in a minor role. There was strong support too from Donal Kearney in his role as Denis, Celia’s husband. His delivery was clear and he was most expressive, enabling Mr. Kearney to get the very most out of his stage time. His reactions were always well judged and he was always in tune with the narrative. Another example of thoughtful work in a smaller role. Lisa Wilson and Majella McLaughlin were a wonderful pairing as Miss Wilson (Tea) and Miss Wilson (Coffee) They were almost clones of one another, with their matching glasses and tied back hair. This added greatly to the visual humour. They looked like they were enjoying every minute on stage. Their ‘reveal’ in the photography scene was very funny indeed. Shauna McKinley was a strong Brenda Hulse, delivering her presentation with delight and Janet McGrory was a suitably upper crust Lady Cravenshire. The three teenagers were played with great skill by Ultan Henderson as Danny, Amy McGee as Jenny and James O’Toole as Tommo. Mr. Henderson was full of energy and character. His “Hello Yorkshire I’m a virgin!” got a great reaction from the audience and he shone in ‘Protect Me Less’, showcasing a fine voice. His drunken scene was very well judged. It could so easily have been overplayed but was handled with restraint. Ms. McGee had lots of attitude and a very strong presence as Marie’s rebellious daughter. She was also very strong in ‘Protect Me Less’. Mr. O’Toole’s energy and teenage bravado were very much to the fore and his comic timing was strong. He too had a strong voice and this was very evident at the end of ‘Who Wants a Silent Night’. His reaction to Celia’s “grooming” was hilarious. Dónall Henderson was most engaging as Lawrence, the amateur photographer who befriends John and finds himself unexpectedly propelled far beyond his comfort zone when tasked with photographing the WI ladies in their “native habitat”. Mr. Henderson played Lawrence as socially awkward but well-meaning, bringing nervous energy and awkward politeness to his characterisation. There was a clear sense of a man slightly overwhelmed by events but determined to do the right thing, which made Lawrence both endearing and credible. His hospital scenes were particularly effective, played with understatement and sensitivity. Mr. Henderson came into his own during the photography scene, where he confidently drove the action as the women moved from one photograph to the next.  ‘Calendar Girls’ offers relatively few opportunities for the ensemble to shine but Greasepaint Productions managed to integrate ensemble members into plenty of action in a meaningful, purposeful way. The inclusion of additional women within the WI, alongside the principal performers, added great authenticity, strengthening the idea of a living, breathing community in Knapely. There was a great sense of togetherness in the opening number ‘Yorkshire’, and the energy was strong in ‘Who Wants a Silent Night?’ ,  where the ensemble sang and moved with clear enjoyment and commitment.  The set was simple, functional and effective. The stage was nicely framed by stone-textured walls evoking a sense of a rural village hall. Upstage was a set of full-height opening doors ,  which, when closed, featured a painted backdrop depicting the rural Yorkshire landscape. When the upstage doors opened, the reveal of the Women’s Institute interior was a welcome surprise with its nicely featured stained glass windows. It all moved very smoothly, ensuring that transitions were slick and fluid without heavy scene changes.  Stephen King’s work as stage manager was solid throughout, contributing greatly to how smoothly the production ran overall. Costuming the crew alongside the cast was a smart decision, allowing scene changes to happen in full view without drawing attention to the mechanics. This resulted in largely seamless transitions throughout the show. Given the very tight backstage space, Mr. King deserves full credit for maintaining such a high level of organisation and control, ensuring that cues were met and the show maintained its momentum from start to finish.  The lighting design was, for the most part, simple and effective, supporting the storytelling without drawing undue attention to itself. There were several moments where lighting enhanced mood and focus, most notably through the use of follow spot, which worked particularly well in ‘Scarborough’ and in Chris’s ‘Sunflower’ .  In ‘Time Passing’, the lighting was nicely subdued, creating a reflective atmosphere that complemented the emotional tone. There were, however, some questionable design choices. The use of moving lights in ‘Mrs. Conventional’   felt somewhat inappropriate to the tone. Greater coordination between the lighting operator and onstage action was also needed, particularly in relation to blackouts. On several occasions, scenes clearly ended but performers began to walk off in full light, with the blackout coming late. Overall, while the lighting achieved its basic function and had several strong moments, more considered design choices and tighter execution would have elevated things considerably. Sound was excellent throughout, with a consistently strong balance between the orchestra and cast vocals, allowing lyrics to be clearly heard without ever overpowering the music. The band itself was also well balanced, with all instruments sitting comfortably in the mix. Cueing from the operator was very solid, with no missed entries suggesting confidence and familiarity with the show. Sound effects were well chosen and used sparingly but effectively, adding texture and authenticity to the storytelling. The tannoy announcements during the fete scene were well produced, with just the right amount of effect.  This was a very busy props show and the props department rose impressively to the challenge. There was clear and consistent attention to detail throughout. In the opening number, everyday items such as bags, books and newspapers helped to create a believable, lived-in world and added authenticity to the ensemble’s presence on stage. there were many standout props throughout. Brenda Hulse’s projector, complete with working light, was an especially effective detail, while the hospital couch, deliberately grey and uncomfortable in appearance, was a great choice. John’s mobile drip , walking stick   and wheelchair were all well sourced, reinforcing the reality of his illness. The photography scene, in particular, was so well dressed and every prop was precisely placed, with no margin for error. The   John Clarke Memorial Wing plaque was a superb piece adding to the emotional weight of the final scene.  The costume design played a strong role in defining character and supporting the storytelling. Celia’s glamorous look was particularly effective, setting her apart visually from the outset. The WI Christmas party costumes were a real highlight, with fun Christmas jumpers, Santa hats and seasonal accessories creating an immediate sense of warmth, humour and community. The playful reveal of Miss Wilson Tea and Miss Wilson Coffee’s outfits during the photography scene was very funny. For the finale, the ladies’ classy black dresses were suitably elegant and in contrast to what had gone before.  Hair and makeup were well presented, with everything appearing naturalistic and appropriate to the setting. Makeup remained consistent under stage lighting, while hair was secure and practical, holding up well through movement and costume changes. Nothing distracted from the storytelling. Solid work from all involved. Overall, this was a warm, engaging and thoughtfully presented production, with some strong performances and a real sense of community on stage. The WI ladies deserve enormous credit for their bravery in the iconic photography scene. Where the production occasionally fell short was in areas of technical polish, particularly lighting coordination. Nonetheless, these were minor issues in the context of a production that succeeded where it mattered most in telling this beautiful story with heart, humour and honesty.  Pat McElwain Sullivan Adjudicator 2025/2026

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