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Dear Evan Hansen

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30 Sept 2026

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Guys and Dolls

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12 May 2026

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12 May 2026

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Teachers' Musical Society

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9 Mar 2027

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The Prince of Egypt

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22 Nov 2026

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LATEST NEWS

Review: Carrie - UCD Musical Soc

Society name: UCD Musical Society Show name: Carrie Adjudicator date of attendance: 25/02/2026 UCD Musical Society’s production of Carrie was an ambitious and emotionally charged undertaking, tackling a piece that demands both psychological depth and technical precision. At its core, this was a production rooted in strong storytelling, clear character relationships, and a genuine commitment from its performers to honour the material. The company demonstrated a clear understanding of the...

Society name: UCD Musical Society Show name: Carrie Adjudicator date of attendance: 25/02/2026 UCD Musical Society’s production of Carrie was an ambitious and emotionally charged undertaking, tackling a piece that demands both psychological depth and technical precision. At its core, this was a production rooted in strong storytelling, clear character relationships, and a genuine commitment from its performers to honour the material. The company demonstrated a clear understanding of the narrative’s emotional arc, with many moments landing with sincerity and impact, allowing the darker themes of the show to resonate effectively with the audience. Under the direction of Fionn O’Neill, assisted by Doireann McAuley, the production was assured and thoughtfully constructed. There was a strong emphasis on storytelling throughout, with character journeys clearly mapped and relationships grounded in emotional truth. The world of the piece felt believable, and the performers were given the space and structure to fully realise their roles. The pacing was well judged, with a clear sense of momentum driving the narrative forward, and transitions between scenes were handled smoothly. It was evident that the production had been very well rehearsed, with a high level of confidence across the cast. There was also a strong sense that the material had been carefully interrogated, with clear and considered directorial choices emerging throughout. While the conceptual vision was clear, it did not always feel fully realised in the technical and design elements on stage. A greater level of communication and collaboration between the director and the technical teams would help ensure a more cohesive and unified final product. Accent work was another area that would benefit from further attention. While some performers maintained consistency, others occasionally slipped into Irish inflections, which detracted slightly from the setting. Musically, under the direction of Cuan Egan with vocal direction by Áine Kinch, the production was strong and confident. The vocal work across the company was particularly impressive, with a well-supported sound and excellent ensemble blend. Harmonies were well balanced, and diction was clear, allowing the storytelling within the music to come through effectively. The front line delivered a particularly strong sound, contributing significantly to the emotional impact of the piece. The band itself appeared tight and well directed, with solid tempo choices that supported the drama. However, the overall musical experience was somewhat impacted by sound balance issues within the auditorium. The drum kit, positioned to one side, created an uneven auditory experience, with much of the sound coming directly from the band’s location rather than through the sound system. This resulted in a prominence of hi-hats and cymbals, while bass and tom elements were less present in the overall mix. Enclosing the drum kit and working more closely with the sound department would help create a more balanced and cohesive sound. This is less a reflection on the musical direction and more an indication of the importance of strong collaboration between departments. Choreography by Doireann McAuley was a standout element of the production. The opening number was particularly effective, immediately establishing energy, tone, and style. Movement throughout was dynamic and purposeful, clearly rooted in both character and storytelling. There was a strong alignment between the choreography and the directorial vision, resulting in a cohesive physical language on stage. The use of space was thoughtful, with well-crafted stage pictures and strong visual composition. The choreography was executed with impressive precision, reflecting a high level of rehearsal and attention to detail. There were moments where the style shifted slightly into a more jazz-influenced vocabulary, which occasionally contrasted with the stronger hip-hop style that suited the piece so well. Maintaining a more consistent movement language would strengthen the overall aesthetic, but this did little to detract from what was an accomplished and impactful choreographic contribution. In the leading roles, there were several standout performances. Aimee O’Neill as Carrie White delivered a compelling and emotionally rich portrayal. Vocally, she was excellent, demonstrating both power and control, with a strong belt and seamless transitions into her head voice. Her emotional journey was clearly defined, moving convincingly from vulnerability to devastation, and her interactions with others were authentic and grounded. Lia Mullan as Margaret White provided a solid and engaging performance, with a strong vocal presence that blended beautifully with Carrie’s. There is potential to push further into the extremity of the character’s religious zeal, as a greater sense of rigidity and intensity would heighten the dramatic tension. Nonetheless, this was a committed and enjoyable portrayal. Chloe Burke as Sue Snell delivered a very assured performance, particularly in her navigation of the show’s dual timelines. Her transitions between past and present were clear and emotionally distinct, and her warm vocal tone added depth to the character. Her performance felt natural and well grounded, with strong interactions throughout. Brianna Kelly’s Chris Hargensen was sharply defined and highly effective. Fully embracing the “mean girl” archetype, she created a character that was both formidable and believable. Her confidence and stage presence ensured that her authority within the social hierarchy was always clear, and her vocal performance was equally strong. Julie Bowell as Ms. Gardner delivered a confident and authoritative performance, balancing care and discipline effectively. Her accent work was notably consistent, and her strong vocal control added to the overall impact of her scenes. She brought a clear sense of presence to the role, anchoring many of the school-based interactions. Fionn McGrath as Tommy Ross gave a warm and likeable performance, with a bright and appealing vocal tone. He captured the charm of the character well, though there is an opportunity to further develop Tommy’s emotional journey, particularly in building towards his relationship with Carrie. A clearer sense of when he truly begins to see her would strengthen the emotional payoff of their key moments. The supporting cast brought strong energy and commitment to their roles. Colm Fagan as Billy Nolan delivered a highly physical and engaging performance, fully embracing the character’s impulsive and brash nature. His energy and commitment added a sense of unpredictability to his scenes, and his interactions with others were particularly effective. Amy Van Eekeren (Norma), Sophie Byrne (Frieda), and Alanna Kane (Helen) worked cohesively as Chris’s supporting trio, clearly establishing the social dynamics at play. Their performances were consistent and well defined, adding depth to the high school environment. Dylan Anderson (Freddy), Robert Hogan (George), and Colm Nicholl (Stokes) formed a lively and convincing group, capturing the chaotic energy of teenage boys with enthusiasm. Their camaraderie felt natural, contributing to a strong sense of ensemble throughout. The ensemble as a whole were excellent, both vocally and physically. Their harmonies were strong, diction clear, and their commitment to the performance was evident throughout. As dancers, they executed the choreography with precision and confidence, with featured dancers adding further visual interest and texture to the production. The set design was functional and supported the staging well, making effective use of levels and entrances. The conceptual approach was clear, and the minimal use of additional elements allowed the story to remain the focus. However, the execution would benefit from greater attention to detail, as the set appeared somewhat flat and lacking in texture. Exploring more varied materials and finishes would help create a richer and more immersive visual environment. Stage management, led by Daniel Coolahan and Rosa Liege, was generally efficient, with scene changes handled competently. There is scope to refine cueing, particularly in aligning transitions more closely with lighting states to create smoother scene changes. From a presentation perspective, adopting standard all-black attire would help maintain the visual integrity of the performance. The technical elements of the production presented the greatest challenges. Lighting, in particular, requires significant development. The focus of the face lighting was inconsistent, resulting in uneven stage coverage and performers moving in and out of visibility. Greater attention to beam overlap would address this issue. The lack of backlighting in many scenes reduced depth and visual interest, and the colour palette was somewhat limited, relying heavily on red and open white. Expanding and refining the use of colour would enhance the overall visual storytelling. Specials were often too large and overly bright, and were not positioned accurately, while cueing was inconsistent, with several missed or mistimed cues. Additional technical rehearsal time and more precise programming would greatly improve the overall execution. There was, however, a promising use of colour and composition in the opening of Act Two, suggesting a strong potential for further development. Sound design was serviceable but would benefit from further refinement. Missed cues and occasional microphone issues disrupted the flow at times, and the balance between soloists and ensemble needs adjustment to ensure clarity of text. The band mix, as previously noted, was uneven, and addressing this through closer collaboration between departments will be key. Enclosing the drum kit and refining sound reinforcement would help create a more cohesive auditory experience. Visually, the costumes were generally effective, with a clear attempt to capture the 1990s aesthetic. Fit was largely good, though some garments would have benefited from ironing. Carrie’s prom dress did not fully align with the character’s established modesty, and a more appropriate design choice would strengthen this pivotal moment. Hair design was particularly strong, with excellent period detail, and make-up was effective, though it could be pushed further into the 90s aesthetic. Additional work on Margaret White’s overall look would help to better convey her age and character. From a Front of House perspective, there were some particularly engaging and creative touches. The inclusion of a pre-show preamble delivered by the adult characters was an excellent choice, helping to establish tone and immerse the audience in the world of the play before the action began. It created a strong initial connection with the audience and is certainly something worth continuing and developing. The performance began approximately 15 minutes late, without explanation. An announcement would have helped to manage expectations and preserve the goodwill established by the pre-show experience. Overall, this was a thoughtful and well-performed production with many notable strengths, particularly in its performances, choreography, and musical execution. The company demonstrated a clear commitment to the material and a strong work ethic, resulting in a production that was often emotionally engaging and impactful. There is a great deal of talent within this society, and with continued refinement and a focus on cohesion, their work has the potential to reach an exceptionally high standard.

AIMS | Educate.ie - Schools Awards Nominations 2025/26

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Review: Come From Away - Shannon Musical Society

Public Adjudication Society name: Shannon Musical Society Show name: Come From Away Date of attendance: 21st February 2026 One of the most joyful aspects of this role is getting to see, week in and week out, the extraordinary ability of groups across the country to create productions of real quality in the most diverse and often modest venues. From parish halls to community centres and school auditoriums, it is always amazing to be transported into theatrical worlds that can sometimes rival...

Public Adjudication Society name: Shannon Musical Society Show name: Come From Away Date of attendance: 21st February 2026 One of the most joyful aspects of this role is getting to see, week in and week out, the extraordinary ability of groups across the country to create productions of real quality in the most diverse and often modest venues. From parish halls to community centres and school auditoriums, it is always amazing to be transported into theatrical worlds that can sometimes rival professional productions. There is something quite special about seeing such polished productions in surroundings that, on paper at least, might seem unlikely theatrical spaces. This was very much the case with Shannon Musical Society’s production of ‘Come From Away’, staged in the school hall of St. Patrick’s Comprehensive School. It was a production of impressive confidence, clarity and professionalism. There was also something wonderfully appropriate about experiencing this particular story in Shannon. With one of Ireland’s main international airports located just minutes away, the themes of global travel, unexpected arrivals and the coming together of strangers resonated in a particularly meaningful way. Front of house operations in Shannon are always something of an event in themselves and have become a hallmark of productions by the society. We were immediately immersed in the world of ‘Come From Away’ thanks to the transformation of the foyer space. A large map of the world prominently displayed with a simple ‘You Are Here’ marker immediately set the context of the story. A cleverly assembled baggage reclaim area complete with suitcases and a luggage trolley was a particularly nice visual touch. Signage directing us towards ‘Arrivals’ added to the authenticity. Attention to detail created a nice sense of occasion. A large and highly visible front of house team greeted people throughout the venue, ensuring the evening began with warmth and efficiency. The very talented Michael Anthony-Greene directed with considerable flair and imagination. Mr. Greene had a very clear sense of the narrative, delivering an exceptional production that was full of heart, humour and technical polish. Mr. Greene’s direction showed a very strong understanding of the rhythm and storytelling style that makes ‘Come From Away’ so effective. Throughout the show, the use of chairs, so integral to the staging of this musical, was beautifully coordinated, transforming the playing space with speed and clarity as locations moved between multiple locations. The physical space of the hall itself was also used with imagination. Steps leading into the auditorium allowed the action to spill naturally beyond the stage, extending the playing area and drawing the audience further into the story. Mr. Greene’s work with the cast was exceptional across the board. The principals delivered wonderful performances. The ensemble showed great confidence and focus throughout, testament to hours of careful rehearsal. A most touching moment was the appearance of a young firefighter emerging through the trapdoor with a white balloon to join Hannah following her devastating news. It was a simple but profoundly moving image which captured the heart of the story. It was one of many beautiful moments in what was a most thoughtful, piece of direction overall. Musical Director Carmel Griffin, supported by Vocal Director Karen Barrett, did superb work bringing the score to life. Particularly noteworthy was the band’s percussionist, who had previously performed in the West End production of the show. His bodhrán playing drove many of the musical numbers with energy and authenticity, ensuring that unmistakable Celtic sound was always to the fore. Due to an unavoidable availability issue, the band was missing a fiddle player. This was an unfortunate absence for those familiar with the score, as the fiddle playing is so central to the show’s musical flavour. However, to be fair, the remaining musicians worked extremely well to compensate and the quality of musicianship on display ensured that the overall musical standard remained extremely high. Vocally, the choral work was excellent for the most part, demonstrating careful preparation and musical discipline. There was clear attention to dynamics within the ensemble numbers, with excellent diction and a well-balanced blend between the vocal parts. One area that particularly impressed was Ms. Griffin’s handling of the underscoring throughout the show. Her sensitivity to the performers on stage ensured that every word of dialogue remained audible. Choreographer Stephen O'Ríain had an obvious understanding of the style of movement required for this show. The choreography was rooted in narrative-driven movement, with scenes flowing seamlessly from one to the next in a way that suggested close collaboration with Mr. Greene to bring their joint vision to life. The ensemble’s commitment to this storytelling was exceptional. One particularly memorable moment came during ‘38 Planes’, where a simple yet beautifully executed torch sequence created a striking visual image. Equally effective was the subtle incorporation of sign language early in the show. Mr. O’Ríain also demonstrated great skill in integrating props into the choreography. The carefully synchronised ensemble work during ‘Costume Party’ as the ensemble gradually donned donated clothing, became a simple but deeply effective piece of visual storytelling. The aeroplane sequences throughout the show were another highlight, with the sharp precision of the ensemble suggesting significant rehearsal. In ‘On the Edge’ the choreography captured the rising tension and emotion so well. In contrast, the final céilí section was full of exuberant energy. In fact there was little sense that anyone was acting during that piece, such was the authenticity of their energy and joy. Annette, the local schoolteacher, was played with great warmth and humour by Gráinne Hartnett. She really looked the part, thanks to great hair styling and well-chosen costuming and she embodied the character’s enthusiasm perfectly. Her ongoing obsession with Captain Bristol was played with great humour, with Ms. Hartnett delivering the lines with just the right mixture of excitement and exaggeration. Vocally she also made a strong contribution to the ensemble numbers. Beulah, the head of the Gander Legion, was played with warmth and authority by Edel McFadden, who delivered one of the standout performances of the production. Ms. McFadden captured the character beautifully, nailing a convincing Newfoundland accent that was consistent throughout. She brought a strong sense of presence and authority to the role, while also appearing wonderfully comfortable for narrative moments, addressing the audience directly with confidence and ease. Overall, she gave Beulah genuine emotional depth. Her scenes with Hannah were particularly touching, exploring the shared bond of two mothers with firefighter sons with sensitivity and sincerity. Grace O’Connor delivered a strong performance as Bonnie, the head of the Gander SPCA. Bonnie’s determination to ensure the safety of the animals stranded in the aircraft holds was portrayed with convincing conviction and Ms. O’Connor captured the character’s practical, no-nonsense nature very effectively. She also showed the softer side of Bonnie with great sensitivity, especially in her touching connection with the chimpanzee in her care. These moments were handled with warmth and sincerity as we saw the compassion beneath the character’s determined exterior. Martin McNelis brought impressive presence and authority to the role of Claude, the mayor of Gander. From the start, he established himself as a natural, steady leader. His connection with the audience was there from the outset, drawing us into the narrative from the very beginning. He also brought terrific energy to the chaos of ‘Screech In’ driving the sequence forward with great confidence. Mr. McNelis balanced the humour and authority of the role very well. His interactions with the ensemble reinforced the sense of a community coming together under his capable leadership. One of the show’s most moving moments came during ‘Something’s Missing’ as Claude reflected on the emotional aftermath of the “plane people” leaving Gander. Ryan O’Sullivan Glynn gave a confident performance as Doug, the Gander air traffic controller tasked with handling the unprecedented influx of diverted aircraft. He brought strong characterisation to the role. His delivery throughout was smooth and assured. His relaxed stage presence made the character very believable as a calm and professional presence in such a high-pressure environment. His scenes with Bonnie worked very well, with a convincing rapport between the two. Sally Fox gave a most engaging performance as Janice, the fledgling television reporter who finds herself unexpectedly thrust into the centre of an extraordinary story on her very first day on the job. Ms. Fox captured the character’s mixture of nervousness, determination and growing confidence very effectively, giving a genuine and relatable portrayal throughout. Her sincerity allowed us to connect easily with Janice as events unfolded. Her delivery was clear, well-paced and had just the right level of urgency that the character needed to guide us through the timeline of events. She also displayed a strong comedic touch, finding the humour in Janice’s inexperience without ever overplaying. Brian Roche delivered a wonderful performance as Oz, one half of Gander’s small police force. Mr. Roche commanded the stage with impressive authority and his wonderfully consistent Newfoundland accent brought immediate context and authenticity to the role. His delivery of dialogue was very confident and he handled the narrative pieces with relaxed ease, addressing the audience directly with clarity and a natural conversational style. Whether at the centre of a scene or contributing to the group dynamic, Mr. Roche was completely engaged with the unfolding story, always connected to the action around him. Denise Broderick took on the role of Beverley Bass, the pioneering first female captain for American Airlines, delivering a confident and engaging portrayal. She demonstrated a strong command of dialogue throughout, conveying the character’s professionalism and determination with clarity. While the Texan accent could perhaps have been pushed a little further for authenticity, Ms. Broderick nonetheless captured the essence of the character very well. Her big number, ‘Me and the Sky’, was delivered with real power and commitment. Vocally, it is a demanding piece in terms of range and stamina, and while it presents challenges for any performer, Ms. Broderick’s strength lay in her clear connection to the lyrics and her understanding of the character’s story. I was very impressed by the performance of Niamh Roche as Bob, a role typically played by a male-presenting performer. Ms. Roche offered a refreshingly different interpretation, making the character entirely her own as a sharp, sassy New Yorker who views the unexpected detour to Gander with deep suspicion. She was a very strong actress, displaying excellent comic timing. As the story unfolded, the gradual softening of her scepticism felt very believable. Jimmy Arbab, a secondary school student in St. Patrick’s Comprehensive School itself, delivered a remarkably mature and thoughtful performance as Ali. From the start, he showed a clear understanding of the character’s place within the story, playing Ali with sensitivity and intelligence. His expressive face and natural stage presence allowed him to communicate Ali’s inner turmoil very well. One of the most poignant moments came as he described being pulled out of line at the airport and the humiliation of the ensuing body search, which Mr. Arbab played with great restraint and sincerity. Lorraine Owens gave a wonderfully nuanced performance as Diane, the American divorcee whose unexpected stay in Gander becomes a journey of rediscovery. Ms. Owens portrayed the character with warmth and sincerity, capturing Diane’s initial anxiety as she worries that her son may have been on one of the planes during the attacks. As the story unfolded, she gave us a nicely judged, gradual transformation, revealing a more spontaneous and adventurous side as Diane embraced her circumstances. Her developing relationship with Nick was one of the most compelling and heartwarming elements of this production. This connection was most clearly realised in ‘Stop the World’ which was performed with touching sincerity. Olivia Parkinson’s performance as Hannah, the mother of a Manhattan firefighter, was very moving as she anxiously awaited news of her son. She brought great sincerity and emotional honesty to the role. She had a lovely vocal quality and her impressive voice was at its very best in ‘I Am Here’, which was performed with great tenderness and emotion, making it one of the most poignant moments of the production. Hannah’s connection with Beulah, as they shared a common bond, was so well played and their emotional, final phone call was quite heart-wrenching. Tom Barrett was excellent as Kevin T., the head of an environmental energy company whose unexpected diversion to Gander becomes an opportunity for some personal reflection. Mr. Barrett was completely at ease on stage, particularly during the show’s narrative passages, where he addressed the audience with confidence and natural charm. He also showed a natural flair for comedy, finding humour in the text without ever pushing it too far. He had a lovely vocal tone in the beautifully reflective ‘Prayer’. Mr. Barrett also shone during ensemble moments, always focused, committed and in tune with the narrative. Kevin T.’s long-suffering boyfriend (and secretary!) Kevin J. was played with great comic flair by Ethan Doyle. Doyle brought sharp wit and sarcasm to the role, perfectly capturing his exasperation at the chaos around him. His excellent delivery of dialogue allowed the humour to land naturally whilst keeping the irritation and impatience that defines Kevin J. His memorable outburst with the “hot mess” on board their flight was very funny and his visible disgust at his boyfriend’s antics in the bar was perfectly played. Brian Henry gave an outstanding performance as Nick, the nervy Englishman who finds himself unexpectedly falling for Diane during their enforced stay in Gander. Mr. Henry brought a wonderfully gentle quality to the role, capturing Nick’s reserved nature while also allowing the character’s warmth and comedic side to shine. For me, it was one of the standout performances of the night; another shining star in an already stellar lineup. ‘Come From Away’ relies heavily on the strength of its ensemble, and Shannon Musical Society was fortunate to have a wonderfully committed group of performers who worked tirelessly to maintain the relentless pace and flow of the storytelling from start to finish. The ensemble was essentially the engine of the production, moving furniture, transforming locations and creating new spaces with precision and confidence. Their focus and commitment were excellent, ensuring that transitions were slick and that the momentum never slowed. Together, this ensemble created a real sense of community and coming together; a central theme of the show. Stage management in ‘Come From Away’ can appear deceptively straightforward sometimes. There are no major scene changes in the traditional sense, which might lead to the assumption that the demands on the stage management team are minimal. In reality, the opposite is often true. Stage Manager Denis McNelis and his crew clearly had a great deal to coordinate backstage to maintain the polished flow that the audience experienced. With a large cast constantly entering and exiting, often while quickly grabbing props or costume pieces, the potential for confusion is always there. That none of this was visible to the audience is a credit to Mr. McNelis and his team. The set design was visually striking, creating a strong sense of place and allowing the flexibility required for this fast-moving show. Two large, curved structures framed the playing space, giving the stage a great sense of depth and providing an excellent canvas for lighting effects. A large, wooden backdrop displaying a world map was a reminder of the show’s global context. Side masking was provided by tall towers with horizontal timber slats which were deliberately charred; a tying together, perhaps, of the rugged environment of Gander with the destruction at Ground Zero. The unexpected trapdoor was integrated cleverly into the set. Overall, the design struck an excellent balance between visual impact and simplicity, creating a flexible space that supported the narrative beautifully. Lighting was nothing short of exceptional, both in terms of design and operation. Considerable thought had clearly gone into creating a design that supported the storytelling at every turn. There was a very clear sense of close collaboration with the director. The lighting design helped to create stunning stage pictures, capture dramatic moments and present beautifully atmospheric states throughout. Lighting played a very important role in maintaining the fluidity that is a hallmark of this show. With locations shifting rapidly and scenes flowing from one to the next, the lighting design guided us through transitions seamlessly. The timing of cues was particularly impressive, with changes executed flawlessly. Superb work from everyone involved! The sound design and operation was exceptional across the board, playing a crucial role in supporting the story and musicality of the production. Achieving the correct balance in a show like this is no small task, but the sound team handled it with impressive skill. The blend within the band was excellent, allowing the rich Celtic influences of the score to shine through without ever overwhelming the vocal lines. Equally impressive was the balance between band and performers, with vocals always sitting comfortably above the orchestration. The ensemble sound, in particular, was beautifully managed. Harmonies were clear and balanced at all times. There was one brief technical glitch when Oz’s microphone crackled. It amounted to little more than a moment of turbulence in what was otherwise an exceptionally smooth flight. There was excellent attention to detail in the props department, helping to create a very authentic and believable world for the show. I loved the use of sky-blue chairs, which offered a welcome and appropriate variation on the traditional staging while still maintaining the simplicity that the show requires. Some props contributed strongly to the show’s visual comedy. The enormous box of toilet paper was a nicely exaggerated image and impressively realistic cod fish was so convincing that you could almost smell it. Mobile phones felt appropriate to the era and Ali’s beautifully detailed prayer mat added cultural authenticity to the ‘Prayer’ scene. The superb ugly stick was both functional and visually impressive. Costumes were excellent throughout, helping to establish both the period of the story and the sense of community required. The overall design was authentic to the early 2000s and each character was clearly defined while still blending into the ensemble. Some costume choices also reflected personality and status. There were also some comedic costuming elements, such as the cardiologists’ coats, which added visual humour to their scene. Hair and make-up were very well managed throughout. In a show such as ‘Come From Away’, where performers often appear in busy ensemble scenes, these details play an important role in helping the audience quickly identify characters. Overall, the hair/makeup department ensured that good attention to detail was shown and that performers looked appropriate to both their character and their setting. Another great storytelling tool used to great effect. This was a superb production from Shannon Musical Society, produced with remarkable confidence and skill. From the thoughtful direction and fluid choreography to the superb musical standards and striking technical work, every department contributed to a production that was polished and heartfelt. To see a production of such professionalism staged within the simple surroundings of a school hall was a reminder of the extraordinary dedication and talent that exists within the AIMS community. ‘Come From Away’ is a story about kindness, generosity and the positive things that can happen when communities come together in difficult times. Shannon Musical Society captured that spirit beautifully. It was an uplifting and wonderfully executed piece of theatre that left a lasting impression and deserved the enthusiastic response it received from the audience. Pat McElwain Sullivan Adjudicator 2025/2026

Review: Jesus Christ Superstar - Entr'acte

Society name: Entr’acte Show name: Jesus Christ Superstar Adjudicator date of attendance: 21/02/2026 Entr’acte’s production of Jesus Christ Superstar was, in many respects, an ambitious and highly accomplished undertaking. This is a show that demands exceptional musical precision, clarity of storytelling, and a strong, cohesive directorial vision to fully land its emotional and narrative impact. From the outset, it was clear that this company approached the piece with confidence and intent....

Society name: Entr’acte Show name: Jesus Christ Superstar Adjudicator date of attendance: 21/02/2026 Entr’acte’s production of Jesus Christ Superstar was, in many respects, an ambitious and highly accomplished undertaking. This is a show that demands exceptional musical precision, clarity of storytelling, and a strong, cohesive directorial vision to fully land its emotional and narrative impact. From the outset, it was clear that this company approached the piece with confidence and intent. The scale of the production was immediately evident, and as the performance unfolded, it became clear that this was a visually striking and musically assured interpretation, underpinned by a huge amount of work and commitment from all involved. There was a great deal to admire throughout the evening. The standard of performance, both vocally and physically, was consistently high, and the technical execution across lighting, sound, and staging demonstrated a strong level of professionalism. While the production qualities were undeniably impressive, I found that the overarching concept did not fully resonate with me. There were many bold and imaginative choices, and while these were often executed with skill and confidence, they did not always feel cohesive or fully supportive of the emotional core of the piece. As a result, I occasionally found it difficult to connect as deeply with the storytelling as I might have hoped. That said, the direction by Niamh McGowan showed clear strength and control throughout. The staging was thoughtfully constructed, with strong use of space and a clear understanding of how to create dynamic and engaging stage pictures. Blocking was purposeful, and the physical journeys of characters were, for the most part, clearly defined. The production moved with a strong sense of momentum, and there was very little sense of lag or uncertainty in pacing. Ensemble work in particular was a standout aspect of the direction, with clearly defined group dynamics and a strong sense of cohesion that supported the storytelling effectively. Where I felt the direction was less successful was in its conceptual choices. There were several moments where bold reinterpretations were introduced, and while these were often visually striking, they did not always enhance the emotional weight of the narrative. The replacement of the traditional “39 lashes” with a boxing sequence is a key example. This was undoubtedly a brave and inventive idea, and it was staged with precision and commitment. It felt somewhat disconnected from the emotional significance of the moment. The lack of a clearly defined count within the sequence also diminished its impact, as the repetition and inevitability of the lashes is an important part of the storytelling. Similarly, the central relationship between Jesus and Mary Magdalene did not feel as emotionally grounded as it might have been. While both performers delivered competent and well-sung performances, the connection between them lacked the depth and authenticity needed to fully draw the audience in. This, in turn, affected the emotional stakes of several key moments. The journey of Jesus through Act 2 also felt somewhat underdeveloped. The role requires a gradual physical and emotional deterioration, allowing the audience to experience the cumulative impact of his suffering. Here, the transition felt more abrupt, with a sudden shift rather than a steady descent. As a result, some of the emotional impact was lessened. There were also some strong ideas introduced that could have been explored further. The concept of the Apostles marking themselves with numbers during the Prologue was a particularly striking visual motif, but it was not revisited clearly enough later in the production to fully realise its potential. Likewise, the interpretation of “Could We Start Again Please” felt somewhat unclear in its focus, shifting towards the relationship between Mary and Peter rather than their connection to Jesus, which diluted its narrative clarity. Accent choices also created some initial confusion. It was not immediately clear in Act 1 that performers were using their natural accents, and this lack of consistency made it more difficult to fully establish the world of the production. This became clearer in Act 2, but a more unified approach from the outset would have strengthened the overall cohesion. Musically, however, the production was outstanding. Under the baton of Róisín Heenan the presence of a 32-piece orchestra created a rich, full and immersive sound that elevated the entire performance. The band was exceptionally well balanced, and the musical direction demonstrated a clear understanding of the score’s demands. The iconic music of Jesus Christ Superstar was delivered with power, clarity, and precision, and there was a strong sense of cohesion between pit and stage throughout. There were a few minor refinements that could be made. At times, the guitar distortion, particularly in the opening, was slightly too heavy, which affected the clarity of pitch in some of the melodic lines. Given how recognisable these motifs are, a cleaner tone would allow them to come through more effectively. Vocally, the standard was very strong across the cast, with clear harmonies and confident delivery. There were moments, such as in “Poor Old Judas,” where additional harmonies felt somewhat unnecessary and detracted slightly from the simplicity of the piece. The decision to have the Apostles return at the end to play instruments was an interesting one, but it did not feel fully integrated into the overall concept. Without a clear narrative or visual payoff, it felt somewhat disconnected from the rest of the production. Choreographically, the work was excellent. The movement, created by Niamh McGowan, was clean, energetic, and consistently well executed. There was a strong sense of style throughout, with choreography that supported both the musical and dramatic elements of the piece. Entrances and exits were handled smoothly, and the ensemble work was particularly effective in driving the narrative forward. The choreography never felt decorative; it always had purpose and intention, which greatly enhanced the storytelling. Among the principal performances, there was much to commend. Joe Jennings as Jesus delivered a vocally strong performance, demonstrating good control and musicality, though there were some challenges in transitioning into the upper register. Dramatically, I found it difficult to fully connect with the character, particularly in terms of the charisma required to justify his influence over others. The emotional and physical journey through Act 2 would benefit from greater progression, allowing the audience to fully experience his descent. Ruairi Nicholl’s Judas was a standout performance. Vocally excellent and dramatically compelling, there was a strong sense of backstory and intention behind every choice. His betrayal scene was particularly effective, and while the Elvis-inspired “Superstar” number did not fully align with the overall concept for me, it was performed with confidence and flair. Katie Taylor as Mary Magdalene delivered a beautifully sung performance, though I would have liked to see greater emotional vulnerability and connection. April Kelly brought strong energy and conviction to Simon, while Gavin Coll’s Caiaphas impressed vocally but would benefit from a more commanding physical presence. In the supporting roles, Anna Bergin’s Pontius Pilate was vocally powerful and grounded by a strong stage presence. Further exploration of her internal conflict, particularly when Jesus is brought back before her after Herod rejects him, would add depth to this pivotal moment. Daniel Ryan’s Herod offered an interesting and entertaining interpretation, while Dan Whelan’s Annas provided a distinctive and engaging characterisation, with a strong sense of presence. The High Priests, Clodagh Donnelly, Sarah Egan, Louise Gilmore, Beth Strahan, as a group were vocally strong but could benefit from a more unified and authoritative physicality. Gavin Murphy’s Peter was well sung and energetically performed, while the Apostles, Kevin Bates, Lar Bathe, Caoimhe Boyle, Colin Doran, Colleen Doyle, Cian Gallagher, Ciara McKenna, Damian Sweeney, Caoimhe Tyndall, created a cohesive and committed ensemble, particularly in “The Last Supper,” which was both vocally and dramatically effective. The chorus and ensemble were undoubtedly one of the strongest elements of the production. They brought consistent energy, precision, and commitment to every scene, maintaining character and engagement throughout. Movement was synchronised and purposeful, and vocally they provided a strong and reliable foundation for the production. Their presence added significantly to the overall atmosphere and momentum of the show. Visually, the set design was highly effective. The integration of the orchestra into the set created a cohesive and immersive environment, and the detailed graffiti elements added texture and interest. The variety of entrances and levels kept the staging dynamic and engaging. Scene changes were generally smooth and efficient, though the use of Apostles to facilitate some transitions occasionally disrupted the storytelling, particularly in moments where they should have been emotionally engaged elsewhere. There was also a slight sense of urgency during the crucifixion sequence, which impacted the flow of that moment. Lighting was a standout feature, with striking visuals and a strong understanding of the rock aesthetic of the piece. The use of tungsten blinders and side lighting created powerful images, particularly in the lead-up to Judas’ death. There were some minor issues with face lighting at the extreme downstage area due to the angle of the rig, but overall, the design was highly effective. Sound was well managed, with accurate cueing and a strong overall mix. There were a few moments where the balance between orchestra and vocals could be refined to ensure clarity of text, but these were relatively minor within an otherwise strong design. The costume design, while clearly detailed and thoughtfully constructed, was one of the areas that did not fully work for me. The strong 80s-inspired aesthetic did not feel fully aligned with the visual language of the set, and the inclusion of modern elements such as mobile phones created a sense of inconsistency. The High Priests’ costumes in particular suffered from issues of fit, which detracted from their authority on stage. However, the level of detail and care in the overall design was evident, and with a more cohesive alignment to the wider concept, this could become a much stronger element of the production. Hair and make-up were well executed and supported the performers effectively. From a Front of House perspective, the atmosphere on arrival was warm and welcoming, creating a positive first impression. Overall, this was a production of significant ambition and high achievement. The musical standard was exceptional, the ensemble work was a major strength, and the technical elements were executed with skill and confidence. While the conceptual approach did not fully resonate with me, there is no doubt that this was a production created with care, commitment, and a genuine passion for the piece. With continued refinement and a focus on aligning concept more closely with emotional storytelling, this company is clearly capable of producing work of a very high calibre. Photos by akw.media (& also Darragh)

Review: We Will Rock You - Tullamore Musical Society

Society name: Tullamore Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/02/2026 Tullamore Musical Society’s production of We Will Rock You was an ambitious and high-energy take on a show that demands clarity of storytelling, bold stylistic choices, and a strong musical foundation. Set in a dystopian future where individuality and live music have been eradicated, the piece relies heavily on cohesion across all creative elements to ensure the narrative remains...

Society name: Tullamore Musical Society Show name: We Will Rock You Adjudicator date of attendance: 20/02/2026 Tullamore Musical Society’s production of We Will Rock You was an ambitious and high-energy take on a show that demands clarity of storytelling, bold stylistic choices, and a strong musical foundation. Set in a dystopian future where individuality and live music have been eradicated, the piece relies heavily on cohesion across all creative elements to ensure the narrative remains accessible. What emerged here was a confident and engaging production, underpinned by strong performances and a clear sense of theatricality. At the heart of the production was Chris Corroon’s direction, which provided a strong and cohesive framework for the entire show. From the outset, there was a clear concept in place, and importantly, it was sustained throughout. The storytelling remained easy to follow, which is no small achievement in a piece that can often feel fragmented. The narrative flowed with purpose, and the pacing was particularly well judged. There was a palpable energy driving the show forward, with transitions between scenes handled smoothly and efficiently. Chris demonstrated a keen understanding of how to shape the emotional journey of the piece. High-energy moments were allowed to fully land, while quieter sections were given the space they needed, creating a dynamic contrast that kept the audience engaged. The balance between momentum and stillness was handled with care, ensuring that the show never felt rushed, but equally never lost its drive. Character work was a standout strength. It was evident that significant attention had been given to developing clear and distinct personalities across the cast. Relationships felt authentic and purposeful, grounding the more abstract elements of the show. The chemistry between characters added depth and credibility to the storytelling. A particularly inspired directorial choice was the presentation of Killer Queen in drag. This added a rich layer of theatricality and humour, aligning beautifully with the flamboyant, camp sensibility associated with Queen’s music. It was not simply a visual decision but one that fed directly into character dynamics and storytelling. Comedy throughout the show was handled with confidence. Timing was clearly prioritised. There was a strong awareness of audience reaction, and actors were well directed in holding for laughs, creating a natural rhythm that never felt forced. This contributed significantly to the overall enjoyment of the piece. The use of the set within the direction was also particularly effective. It was not simply a backdrop, but an active storytelling tool. The space was used cleverly to delineate the contrasting worlds within the narrative, with staging choices reinforcing rather than distracting from the story. Overall, this was a thoughtful, energetic and well-executed piece of direction, demonstrating a clear and confident directorial voice. Musically, the production was in safe and capable hands with Enda O’Connor. The band delivered a strong and energetic performance, capturing the essence of Queen’s iconic rock sound while maintaining control and cohesion. This balance is crucial in a show where the music is such a central driving force, and it was achieved effectively here. Tempos were well judged throughout, supporting both the pacing of the production and the energy of individual numbers. There was a clear sense of musical shape, with songs building and resolving in a way that felt both satisfying and purposeful. Vocal work across the cast was strong. Despite a relatively small number of male voices, harmonies were clear and well balanced, a testament to careful musical preparation. The ensemble created a full and supportive sound. Diction was another notable strength, with lyrics delivered clearly and effectively, ensuring that the narrative remained accessible through the music. The overall sound retained the essential “rock” quality of Queen’s music without sacrificing clarity, which is a fine balance to achieve. Laura Douglas’ choreography was performed with enthusiasm and commitment by the cast, and there was a clear intention to support the storytelling through movement. There was an opportunity to further refine and differentiate the choreographic language within the piece. One of the key thematic contrasts in We Will Rock You lies between the rigid, controlled Cyber World and the freer, more expressive Bohemian environment. While this contrast was present, it could be developed more strongly to enhance the visual storytelling. The Cyber World sequences would particularly benefit from increased precision and sharpness. These characters are intended to feel almost robotic, and this requires clean lines, unified movement, and precise timing. At times, lines lacked clarity and beats were not always hit uniformly. Conversely, the Bohemian choreography could be pushed further towards freedom and fluidity. The movement here felt somewhat structured and linear, whereas a more expansive and spontaneous approach would better reflect the nature of these characters. Exploring more varied formations and less rigid patterns would help to create a clearer contrast between the two worlds. It is important to note that the choreography itself was well constructed; it simply required further refinement in execution and a more pronounced stylistic distinction. The cast’s enjoyment of the movement was evident and translated well to the audience. The principal cast delivered a series of strong and engaging performances. James Deegan’s Galileo was an excellent portrayal, supported by outstanding vocals that demonstrated both control and musicality. His characterisation captured the awkwardness and vulnerability of the role effectively, with a subtle stammer adding depth without becoming distracting. His relationship with Scaramouche was particularly well developed, with a believable chemistry that supported the emotional arc of the story. One area for development would be eyeline, as a tendency to focus downward at times limited audience connection, particularly in a raked auditorium. Aoife Digan’s Scaramouche was a standout performance. Vocally powerful and consistently secure, her singing sat beautifully within her range. Her characterisation was sharp and confident, capturing the sarcasm and edge of the role with precision. Facial expressions were used to great effect, adding nuance and humour, and her accent work was excellent throughout. This was a fully realised performance that combined technical skill with strong stage presence. John Conroy’s Killer Queen was both striking and memorable. The decision to present the character in drag was executed with confidence and flair, adding a significant layer of theatricality. Vocally strong and controlled, John maintained a commanding presence throughout, embodying the authority of the role. The visual presentation was particularly effective, contributing to a bold and impactful interpretation. Amanda Cunningham’s Khashoggi was a commanding and well-controlled performance. The choice to cast the role as a woman brought an interesting dynamic, handled with confidence and clarity. The character’s authority and menace were conveyed effectively without tipping into caricature. Vocally strong and well-acted, her performance was consistent throughout, with her demise particularly well executed through effective use of physicality and facial expression. Barry Dunne’s Brit brought strong energy and physicality to the stage. His connection with Oz was clear and engaging, and their relationship provided both humour and warmth. Vocally, his performance was solid, with an interesting texture maintained through the gravelly quality of his voice. The main area for development lies in the accent. A more neutral or natural approach may better serve the performance. Sinead Handy’s Oz was a strong and confident portrayal, underpinned by excellent vocal ability. The character was clearly defined, and her energy was engaging throughout. Her relationship with Brit was particularly effective, and her accent work was consistent. This was a well sustained and enjoyable performance. Malcolm Whelan’s Buddy was warm, charming and likeable. His portrayal made the character easy to connect with, and he delivered some very effective comedic moments. While there were occasional slips in the accent, they did not significantly detract from an otherwise engaging performance. Among the supporting roles, Joan White’s Teacher stood out as an excellent example of making the most of a smaller part. She brought clarity, character and confidence to the role, ensuring it was memorable and distinct. Strong acting choices elevated what can often be an underwritten role. The ensemble provided a strong and energetic backbone to the production. Vocally, they created a full and balanced sound that supported the principals effectively. There was a clear commitment to character throughout, adding depth to the world of the show. Movement was performed with enthusiasm, though increased precision would enhance the overall visual impact. Their energy consistently lifted the production, making them a valuable and integral part of the performance. Stage management, led by Wayne Handy, was slick, clean and efficient. Scene changes were well timed and executed smoothly, contributing significantly to the overall flow of the production. The set design was both intriguing and effective. The pre-set initially felt somewhat disjointed, with elements that appeared at odds with the clean aesthetic of the Cyber World. The inclusion of fire projection seemed incongruous with the narrative. However, as the production progressed, the functionality of the set became clearer. The design proved to be versatile and cleverly constructed, allowing for the creation of distinct spaces. The moving staircases were a particular highlight, providing dynamic staging opportunities and helping to define different locations. Projections were of a high quality and added depth to the visual landscape. The use of linear glow tape and LED lighting was particularly effective in reinforcing the futuristic aesthetic. The sliding door and use of levels were also well executed. The set ultimately proved to be a strong and well utilised component of the production. The lighting design was very strong, making effective use of the available rig. Colour choices and shapes added energy and atmosphere, supporting the mood of each scene. Cueing was precise, with well-considered cue points that enhanced the storytelling. At times, the Front of House wash felt slightly dull, and there was a missed opportunity to fully heighten a key rock-and-roll moment towards the end. In “Seven Seas of Rhye,” the red lighting for the cages was effective, though the focus was slightly too wide, catching guards who should not have been highlighted. This is a minor adjustment that could be addressed through closer collaboration between departments. Sound was generally good, though there were moments where the band overpowered the solo vocals, particularly in larger ensemble numbers. A slight rebalancing would help ensure clarity of solo lines. That said, sound effects, particularly the sliding door and cage mechanisms, were very effective and well timed, adding to the immersive quality of the production. Costumes were well designed, with strong attention to detail. The styling supported the concept, with clear distinctions between different groups. The alien-like guard costumes at the beginning created a striking visual, though it would have been interesting to see this aesthetic maintained. There was a slight inconsistency among the Yuppies, with most but not all featuring the purple plait; greater uniformity here would enhance cohesion. The Bohemian costumes were particularly strong, rich in detail and individuality, capturing the spirit of the characters effectively. Gaga Girl costumes were also visually appealing and well considered. Hair and wigs were of a very high standard, well styled and appropriate to the characters, while make-up complemented the overall aesthetic, completing the visual world of the production. From the moment of arrival, the Front of House experience set a welcoming and efficient tone for the evening. There was a strong sense of organisation, with audiences guided smoothly into the space. The transition from Front of House into the performance space was seamless. It was clear that thought had been given to creating a comfortable and professional environment before the performance began. Overall, this was a strong and enjoyable production that demonstrated clear ambition, creativity and talent across all departments. With continued attention to detail, particularly in areas such as choreographic precision, accent consistency and technical balance, Tullamore Musical Society is well placed to build on this success and achieve even greater heights in future productions. Photos by Paul Moore

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