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The Addams Family

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10 Nov 2026

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Calendar Girls The Musical

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27 Jan 2027

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19 Nov 2026

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14 Feb 2027

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24 Sept 2026

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LATEST NEWS

Review: Pippin! - Galway Musical Society

Society name: Galway Musical Society Show name: Pippin! Adjudicator date of attendance: 15/04/2026 Galway Musical Society’s production of Pippin was a bold, imaginative, and highly theatrical undertaking that fully embraced the eccentricity and unpredictability of the piece. This is a notoriously difficult musical to stage successfully, with its “show within a show” structure, surreal circus atmosphere, and philosophical themes often proving difficult to balance. Here, though, the company...

Society name: Galway Musical Society Show name: Pippin! Adjudicator date of attendance: 15/04/2026 Galway Musical Society’s production of Pippin was a bold, imaginative, and highly theatrical undertaking that fully embraced the eccentricity and unpredictability of the piece. This is a notoriously difficult musical to stage successfully, with its “show within a show” structure, surreal circus atmosphere, and philosophical themes often proving difficult to balance. Here, though, the company managed to guide the audience clearly through the story while never losing sight of the emotional core at the centre of the production. Director Taylor Dolan deserves enormous credit for delivering a production that felt visually cohesive, emotionally engaging, and consistently entertaining. There was a clear artistic vision from the outset, with every element of the show appearing to work toward the same goal. The circus aesthetic created a world of colour, spectacle, and heightened theatricality, but beneath all the chaos there remained genuine sincerity and emotional truth. One of the production’s greatest strengths was its storytelling clarity. Despite the often-abstract nature of the material, the audience was always able to follow Pippin’s emotional journey. The relationships on stage felt authentic and carefully developed, which gave real weight to the show’s more philosophical moments. Pippin’s progression from idealistic youth to someone searching for meaning and fulfilment was particularly well handled. The quieter, more reflective moments were given room to breathe amidst the spectacle, allowing the emotional beats to land effectively. The ensemble work was also excellent. Chorus members were never treated simply as background decoration; instead, they each contributed purposefully to the storytelling. The use of different circus-inspired groups helped create variety and strong visual images while reinforcing the themes of performance and manipulation running through the piece. The production maintained impressive momentum throughout. Transitions flowed smoothly, entrances and exits were dynamic, and the stage rarely felt static. There was a strong sense of confidence in the direction, with the company fully committing to the style and tone of the show. Musically, the production was in capable hands under John Roe’s direction. Stephen Schwartz’s score is intricate and stylistically demanding, yet the band handled it with confidence and flair. They produced a rich, brassy sound that suited the material well and added greatly to the energy of the evening. Tempos were well judged, helping maintain pace and dramatic tension throughout the performance. Vocally, the company performed strongly. Harmonies were clear and well balanced, while diction across the cast remained crisp and understandable. This was especially important in a show so dependent on lyrical storytelling. The ensemble singing had fullness and strength without losing clarity, demonstrating careful musical preparation and discipline. There were a handful of occasions where soloists became slightly difficult to hear against fuller ensemble sections, but overall, the balance between stage and orchestra was very effective. Declan Gardiner’s choreography, assisted by Sarah Tannian was another success of the production. The movement vocabulary created for the show suited the circus-inspired concept and brought constant energy and excitement to the stage. What was particularly impressive was the way the choreography catered for performers with a wide variety of movement abilities. Every cast member looked comfortable, purposeful, and fully integrated into the production, which is no small achievement in a movement-heavy show such as this. The use of stage space was excellent throughout, with movement patterns continually evolving and helping sustain visual interest. Entrances and exits all felt integrated into the choreography, contributing to the smooth flow. Importantly, the choreography also served the storytelling rather than existing purely for spectacle. This was especially evident in larger ensemble sections where movement reinforced the chaotic, performative world of the Players. Edward Wilson delivered an excellent performance in the title role of Pippin. He captured the character’s youthful innocence and restless longing with sincerity and charm, making him immediately engaging for the audience. Most impressive was the emotional journey he created across the production. Pippin’s search for meaning can sometimes feel abstract, but Edward grounded the character beautifully, allowing the audience to invest emotionally in his development. Vocally, he handled the demanding score with ease. His singing was warm, clear, and emotionally connected, particularly during “Corner of the Sky,” which was delivered with honesty and simplicity rather than unnecessary embellishment. His chemistry with Hannah Cogan’s Catherine also felt natural and believable, helping anchor the production emotionally amidst the larger theatricality surrounding them. This was a mature and thoughtful performance from a very promising young performer. Laura Ní Cheallaigh gave a commanding and entertaining performance as the Leading Player. She maintained strong control of the stage throughout and fully embodied the manipulative charisma at the heart of the role. Her stage presence was confident and assured, and she moved through the production with authority and theatrical flair. Vocally, she handled the material extremely well, producing a mature and controlled sound that suited the role perfectly. Particularly effective was the darker emotional turn in the latter stages of the production. As the show’s carefully controlled narrative began to unravel, Laura introduced a greater sense of anger and desperation that added real dramatic tension to the final scenes. Brandon Collier delivered a wonderfully energetic and larger-than-life performance as Charlemagne. He embraced the absurdity of the role completely, filling the stage with energy and comic bravado. “War is a Science” was especially entertaining, combining strong vocals with excellent comic timing and physicality. His exaggerated death and revival scenes perfectly captured the anarchic tone of the production. Hannah Cogan brought warmth and sincerity to Catherine, providing an important emotional grounding within the often-chaotic world of the Players. Her relationships with both Theo and Pippin felt genuine and heartfelt, helping create some of the show’s most touching moments. “Love Song” was particularly beautiful, delivered with tenderness and emotional honesty. Vocally, she sang with a soft but assured tone that suited the role extremely well. Oisín Ó hÓgáin provided strong comic support as Lewis, fully embracing the character’s arrogance and ridiculousness. His physicality was especially effective, using posture and movement to create an entertainingly overconfident and foolish character. Among the supporting performances, Róisín Lawless brought commanding theatricality to Fastrada. “Spread a Little Sunshine” was hugely entertaining and showcased both her vocal ability and her confident stage presence. Frieda McGrath was charming and engaging as Berthe, perfectly capturing the mischievous wisdom of the character and building an excellent rapport with the audience. Adam Carr gave a highly entertaining performance as Theo, displaying impressive confidence and focus throughout. The Manson Quartet, Petra Killeen, Sarah Tannian, Lorna Collins, and Saoirse McCarthy, were excellent throughout, executing the choreography with precision and contributing strongly to the musical quality of the production. The ensemble as a whole were one of the greatest strengths of the evening. Every performer appeared fully committed to the world of the show, maintaining focus and character throughout. The performances never slipped into unfocused exaggeration; instead, there was a strong sense of intention and discipline behind the work being done on stage. Vocally, the ensemble created a wonderfully rich sound, while movement remained energetic and committed throughout. Visually, the production was extremely impressive. The set design cleverly used relatively minimal scenic elements to create a constantly shifting theatrical environment. The banners were particularly effective, helping create a world that felt both regal and carnivalesque, almost like a fusion of a French court and a travelling circus. There was clear cohesion across all design departments, with scenic, costume, lighting, and choreography elements complementing one another successfully. Stage management, led by Chontelle Kenny, was handled very smoothly. Scene transitions were efficient and cleverly integrated into the action, helping maintain momentum throughout the evening. Having cast members execute scene changes suited the theatrical style of the production and prevented unnecessary pauses. Costumes, hair, and make-up were all completed to a very high standard. The colour palette was vibrant and visually exciting, while the division of chorus groups through style and costume design helped create clear visual storytelling. Attention to detail throughout was impressive, and the Manson Quartet costumes in particular stood out for their elegance and theatrical flair. Hair and make-up complemented the costumes beautifully, with each performer maintaining a clear individual identity while still fitting cohesively within the wider aesthetic of the production. Lighting supported the production effectively overall, with some pleasing colour choices helping establish atmosphere and tone. There may be scope in future productions to push the lighting design even further, particularly in a show as visually adventurous as Pippin. More dramatic contrasts and stronger theatrical “wow” moments could add additional impact to key scenes. Sound was generally strong throughout the evening, with a good balance between orchestra and vocals, though some solo lines occasionally became slightly lost within fuller musical textures. Front of House operations also contributed positively to the audience experience. The atmosphere in the venue before the performance was welcoming and efficient, with audiences seated promptly and professionally. There was a clear sense of excitement and pride surrounding the production, reflecting well on Galway Musical Society as an organisation. Overall, this was a hugely entertaining and highly commendable production. Galway Musical Society tackled an ambitious and unconventional musical with confidence, creativity, and enormous commitment. The result was a visually striking, emotionally engaging, and thoroughly enjoyable evening of theatre that demonstrated both strong artistic vision and excellent company spirit.

Review: Frozen - Ballinrobe Musical Society

Society name: Ballinrobe Musical Society Show name: Disney’s Frozen The West End Musical Adjudicator date of attendance: 06/05/2026 Ballinrobe Musical Society’s production of Disney’s Frozen, was a warm, visually appealing and musically strong production that clearly understood the heart of the material. Frozen comes with enormous audience expectation, requiring not only vocal strength and technical ambition, but also emotional sincerity, humour and believable relationships. This production...

Society name: Ballinrobe Musical Society Show name: Disney’s Frozen The West End Musical Adjudicator date of attendance: 06/05/2026 Ballinrobe Musical Society’s production of Disney’s Frozen, was a warm, visually appealing and musically strong production that clearly understood the heart of the material. Frozen comes with enormous audience expectation, requiring not only vocal strength and technical ambition, but also emotional sincerity, humour and believable relationships. This production worked hard to honour the magic and warmth associated with Disney theatre, while allowing the cast to bring their own individuality to the story. Alan Greaney’s direction remained faithful to the tone and style audiences expect from the show. The production did not try to reinvent Frozen, and this was a wise choice. Instead, it embraced the traditional feel of the piece, allowing the story and characters to sit at the centre. The narrative moved clearly from scene to scene, and the physical journeys of the characters made sense throughout. This clarity of storytelling is no small achievement in a show with so many scenic, musical and technical demands. There were some particularly lovely character interactions, especially between the sisters, and the comedic moments involving both ages of Anna and Olaf were very successful. The humour was well judged and never felt forced. One area that could have been developed further was “Let It Go”. While competently staged, the relationship between the performer’s movement and the projection effects did not always fully align, which slightly reduced the impact of what should be a major theatrical moment. The opening of Act Two also felt a little unsettled and took some time to regain momentum, though this may partly be due to the writing of the show itself. Musically, Shane Farrell’s work was one of the strongest elements of the production. The orchestra produced a polished, confident sound and supported the performers beautifully without ever overpowering them. Cues were tight, tempos were well judged, and the balance between stage and pit was excellent. The company sound was particularly impressive, with strong harmonies and clear diction throughout. The finale was especially beautiful, producing a full and resonant sound, made even more impressive by the relatively small number of male voices. Aoife McClafferty’s choreography supported the storytelling well, though the show itself does not offer huge scope for dance. The opening number felt a little under-rehearsed, with the flow not quite settling as confidently as it might have. However, there were some attractive arm movements and visual shapes. As the production progressed, the choreography became more assured. “Fixer Upper” was lively, entertaining and full of character, while “Hygge” captured the comedy of the number very effectively. Sarah Corcoran gave a vocally beautiful performance as Elsa. She handled the demanding score with confidence, control and emotional sincerity. Her interpretation leaned strongly into Elsa’s isolation and restraint, which suited aspects of the role, but at times made the performance feel quite internalised. Greater outward expression and a stronger eyeline would help build a deeper connection with the audience. The sassier and more playful side of Elsa did not fully emerge, but Sarah’s vocal ability and emotional vulnerability were consistently impressive. Lorna Dennehy was an absolute standout as Anna. She brought warmth, charisma, energy and authenticity to the role from her first entrance. Her comedy was excellent, but what made the performance especially successful was her ability to balance humour with genuine emotional depth. She understood the nuances of the character beautifully and created a natural, confident and engaging Anna. Her relationships with Hans and Kristoff were particularly strong, and her journey through the show was clear, heartfelt and thoroughly enjoyable. Enda Mulchrone delivered a warm and very likeable Kristoff. His performance was genuine, unassuming, and full of quiet charm. His relationship with Sven was lovely, and his scenes with Anna had an easy chemistry that worked extremely well. His dry, understated comedy was especially enjoyable, allowing humour to come naturally from the character rather than feeling forced. Ethan McNea was unquestionably one of the highlights of the evening as Olaf. His energy was infectious, his comedy was spot on, and his puppetry work was splendid. He brought the snowman fully to life through careful detail, excellent timing and strong vocal characterisation. The way he matched the puppet’s movements to the dialogue showed real skill and attention. Every comedic beat landed, but he also retained Olaf’s warmth and heart, making this a standout performance in every respect. Jamie Callanan was excellent as Hans. Vocally strong and polished, he was entirely convincing as the charming prince and handled the later betrayal with equal confidence. He captured both sides of the character very effectively, making the transition from romantic lead to villain believable and well judged. Emma Loscher as Pabbie and Eimear McGovern as Bulda worked very well together. “Hidden Folk” was energetic and well sung, and they brought warmth, humour and affection to their scene with Kristoff and Anna. Richard Crumlish was suitably snobby and awkward as Weselton, creating an enjoyable and well-shaped character. Niall Conway gave a very funny and engaging performance as Oaken, particularly impressive given the challenge of lifting the energy at the beginning of Act Two. His physical comedy, vocal characterisation, and singing were all strong. Michael Coen brought warmth and fatherly sincerity to King Agnarr, while Aoife Kilcullen’s Queen Iduna was more reserved. There was room to deepen the warmth of her relationship with the children and to develop her reactive acting when not speaking, but the partnership between the two parents was believable. Paul Singleton handled Sven’s puppetry very well, moving naturally around the stage and creating lovely moments with Kristoff. Robin Morley-Manning was a lovely Young Elsa, calm, assured and emotionally grounded. She set up the character’s journey very effectively. Rhea May Murphy was absolutely brilliant as Young Anna, full of energy, comedy and confidence. Her relationship with Young Elsa felt warm and believable, and “Do You Wanna Build A Snowman” was sung beautifully. The ensemble provided a strong foundation throughout the show. Vocally, they produced a rich and rounded sound, supporting the principals very effectively. Their energy and commitment were commendable, though some movement sections would benefit from further cleaning and synchronisation. Overall, they were a solid and reliable backbone to the production. Visually, the set was highly effective. The rocks, moss and steaming pools along the front of the stage created a strong atmosphere, while the textured hessian on the downstage flats worked beautifully with the uplighting. The bridge was particularly impressive, and the additional set pieces were well finished. Kenneth McCarthy’s stage management was strong overall, with scene changes generally flowing well. A few moments, such as the tower window piece, felt slightly unnecessary, but the successful building of the bridge as it moved onto the stage deserved special recognition. Lighting was good overall, with strong front focus and even coverage between upstage and downstage. As with the direction, “Let It Go” would have benefited from a greater visual wow factor, but elsewhere the lighting supported the mood and storytelling well. Sound was very well balanced, with principals, chorus and orchestra sitting comfortably together. Costumes were strong overall, particularly the chorus costumes in the opening number. Most pieces were finished to a high standard, though Elsa’s coronation dress and blue sparkly dress appeared ill-fitted and somewhat misshapen, lacking the polish seen elsewhere. Hair and wigs were detailed and well maintained, with the Hidden Folk wigs particularly effective. Elsa and Anna’s wigs were also strong, and make-up was suitable and well applied. The Front of House experience was friendly and organised, helping to create a positive atmosphere before the curtain rose. The audience felt warmly welcomed, and the excitement in the auditorium was clear. A huge amount of effort had also gone into the display in the corridor leading to the auditorium, which added greatly to the sense of occasion and reflected the care surrounding the production. Overall, Ballinrobe Musical Society should be very proud of this production. It was musically excellent, visually engaging, and full of warmth, with several standout performances and a strong sense of heart. This was a sincere, entertaining and thoroughly enjoyable evening of theatre.

Review: Rock of Ages - Pop-Up Theatre

Society name: Pop Up Theatre Show name: Rock of Ages Adjudicator date of attendance: 05/04/2026 Pop Up Theatre’s production of Rock of Ages was a hugely enjoyable and energetic celebration of eighties rock culture, embracing the excess, humour, and heart of the show with confidence and enthusiasm. From the opening moments, the company established a strong atmosphere that immediately immersed the audience in the world of the Bourbon Room. The production understood exactly what the show...

Society name: Pop Up Theatre Show name: Rock of Ages Adjudicator date of attendance: 05/04/2026 Pop Up Theatre’s production of Rock of Ages was a hugely enjoyable and energetic celebration of eighties rock culture, embracing the excess, humour, and heart of the show with confidence and enthusiasm. From the opening moments, the company established a strong atmosphere that immediately immersed the audience in the world of the Bourbon Room. The production understood exactly what the show required stylistically, leaning fully into the heightened rock-concert aesthetic while still maintaining emotional sincerity and clear storytelling throughout. Under the direction of Karen Gordon, the production moved with excellent pace and momentum. One of the strongest elements of the evening was the attention paid to character development and relationships. Every performer on stage appeared to exist fully within the world of the show, and even smaller characters felt as though they had their own backstory and purpose. This added authenticity and richness to the production and ensured the comedy never became superficial or one-dimensional. The storytelling throughout the evening was particularly clear and well structured. Karen demonstrated a strong instinct for when to allow moments to breathe emotionally and when to push the pace forward, ensuring the audience remained fully engaged throughout. The naturally outrageous tone of Rock of Ages can easily become chaotic in weaker productions, but here the direction maintained a good sense of control and cohesion. The comedy landed very effectively, with the production hitting the right emotional and comedic beats consistently across the evening. The use of the performance space was also highly effective. Entrances and exits felt purposeful, and the movement of characters around the stage supported the storytelling naturally. The staging never felt cluttered or confusing, and there was a strong sense that every physical journey on stage had been considered carefully. The overall concept of the production felt complete and cohesive, capturing the spirit of a rock concert without tipping into parody. There were a few small areas where further refinement could elevate the production even more. Diction was occasionally inconsistent during the opening scenes, with some dialogue proving difficult to catch clearly. This improved noticeably as the performance progressed, but clearer articulation from the outset would help strengthen the storytelling and ensure every joke and reference lands fully with the audience. The fight choreography also felt slightly untidy in places. While the energy and intention behind these moments were evident, some sequences could benefit from additional tightening and precision to make them appear more polished and controlled. Musically, the production was extremely strong. Musical Director Niamh Crowley, supported by Chorus Master Dave Flynn, created a powerful rock sound that captured the essence of the score while still maintaining balance and clarity. The orchestra brought tremendous energy to the performance without overwhelming the singers, which is a difficult balance to achieve in a show of this nature. The ensemble vocals were particularly impressive, producing a wonderfully full sound despite the relatively small size of the company. The harmonies throughout the production were excellent, and the musical preparation was evident in the precision of entrances and cut-offs. One of the standout strengths of the musical direction was the clarity achieved during the songs, allowing the audience to fully engage with both the humour and emotional storytelling embedded in the music. The production succeeded in feeling musically exciting and authentic to the genre without ever descending into noise or losing theatrical discipline. There were a few minor balance issues at times, particularly with the bass drum, which occasionally felt slightly overpowering for the size of the venue. The low-end sound sometimes hit with enough force to distract momentarily from the vocals. However, this feels like a relatively small technical adjustment that could easily be addressed. Overall, the musical side of the production was of a very high standard and contributed enormously to the atmosphere and success of the evening. Ciara Frahill’s choreography complemented the production beautifully and demonstrated a clear understanding of both the style of the piece and the strengths of the cast. The choreography captured the rock aesthetic effectively while remaining achievable and well executed by the performers. Particularly noteworthy was the work done with the strippers’ ensemble, whose movement quality was fluid, confident, and visually engaging. The choreography avoided becoming repetitive, and it was refreshing to see performers not always executing identical movements, creating more natural and visually dynamic stage pictures. The choreography also integrated smoothly into the storytelling rather than feeling like isolated dance breaks. Scenes flowed naturally into movement, helping maintain momentum throughout the production. Not every number relied on a traditional front-facing performance style, and this variation added greatly to the theatricality and professionalism of the piece. The cast executed the choreography with strong commitment and energy throughout. Among the leading performances, Conor White gave an extremely entertaining portrayal of Lonny Barnett. He displayed excellent comedic instincts and understood exactly the right tone for the role. His humour was playful and cheeky without ever becoming overdone, and he maintained strong audience engagement throughout the evening. His interactions with Brendan Reid’s Dennis were particularly enjoyable and added warmth to the production. While diction was occasionally unclear during the opening sequence, likely due to accent work affecting vocal shaping, this improved considerably once the performance settled. Overall, he captured the spirit and charisma of the character very effectively. Cathal Mulhern delivered a charming and heartfelt performance as Drew Boley. He portrayed the character’s awkward sincerity beautifully, making Drew immediately likeable and emotionally accessible to the audience. His emotional journey throughout the show was very well handled, successfully capturing both the highs and lows experienced by the character. His facial expressions were wonderfully expressive and added significantly to the emotional impact of the performance. Vocally, his voice sounded slightly tired early in the show, but once fully warmed up he delivered his songs with excellent strength and control. Most importantly, he clearly understood the storytelling within the music, which made his musical performances especially engaging. Maggie Villarini gave a highly committed and energetic performance as Sherrie Christian. Her acting was excellent throughout, supported by strong physicality and confident stage presence. She fully embodied the role and maintained a very convincing accent consistently across both dialogue and songs. Her dancing was also particularly strong and added confidence and fluidity to her performance. At times maintaining the vocal characterisation appeared to affect vocal freedom slightly. The nasal quality of the chosen placement occasionally resulted in sharpness and reduced vocal power in certain songs. It would be interesting to hear what additional warmth and resonance might emerge if slightly more natural vocal placement were allowed during some musical moments. Nevertheless, her commitment to the character and consistency throughout the performance were highly impressive. Brendan Reid brought warmth, authenticity, and charm to Dennis Dupree. He captured the laid-back nature of the character while still maintaining the authority and swagger expected of the Bourbon Room owner. His emotional moments surrounding the possible loss of the club were handled with genuine sincerity and helped ground the production amidst the larger comedic moments. His interactions with the cast felt natural and relaxed, and vocally he delivered his musical numbers with confidence and ease. The supporting cast also contributed strongly to the success of the production. Anna Ryan gave a committed and confident performance as Regina Koontz, delivering particularly strong vocals throughout. While the relationship between Regina and Franz could perhaps have been developed slightly further, her overall performance was highly engaging. Mabel Chah as Justice Charlier delivered a performance that felt somewhat underpowered vocally for the material. While the acting itself was solid, the role did not always appear to suit her vocal strengths, and moments of pitch inconsistency occasionally emerged. Some staging choices also obscured facial expression and audience connection. With increased confidence and stronger physical presentation, the role could have even greater impact. Danny Leonard demonstrated impressive versatility in his dual roles as the Mayor and Ja’Keith, successfully differentiating the characters physically and energetically. However, diction and projection proved challenging at times, making sections of dialogue difficult to follow. There is clearly strong character work beneath the performance, and with greater vocal clarity his work could become significantly stronger. Kieran Cunnane gave a committed portrayal of Hertz Kleinmann and captured the essence of the character effectively. At times the performance leaned heavily into aggression and volume. Introducing more stillness and subtle authority could create stronger contrast and make the character feel even more commanding. Jason Kenny was highly entertaining as Franz Kleinmann and fully embraced the comedic style of the role. While a little more restraint in certain moments could allow greater variation and nuance, his performance was extremely enjoyable, and his dance work was a particular highlight. Peter Kenny excelled as Stacee Jaxx, fully embracing the self-absorbed rockstar persona with confidence, swagger, and excellent physicality. He appeared entirely comfortable in the role and delivered his musical performances with strong stage presence and charisma. The ensemble was one of the production’s greatest strengths. They brought huge energy and commitment to every scene, creating a vibrant atmosphere throughout the evening. Despite their relatively small numbers, they produced a remarkably full vocal sound and consistently maintained strong character work. At times, some performances pushed slightly beyond believable reality, but given the heightened style of Rock of Ages, this generally suited the tone very well. The standout subgroup was undoubtedly the strippers, whose confidence, movement quality, and stage presence added enormously to the visual energy of the show. Visually, the production was very successful. The set design effectively captured the gritty rock-concert atmosphere through the use of industrial scaffolding and strong detailing throughout. The projections were excellent and contributed significantly to the storytelling and atmosphere, though it was unfortunate that sections of the screens were obscured by the set structure. The inclusion of the stripper pole was an effective touch that enhanced the Bourbon Room environment, while the toilet set piece was cleverly utilised to create additional playing space and entrances. Stage management by Jemma Gordon ensured the production maintained excellent flow throughout. Scene changes were smooth and efficient, and the use of cast members to complete transitions helped avoid unnecessary pauses in momentum. The lighting design was another major strength of the production. From the opening moments, it established a strong rock-and-roll atmosphere through bold colour choices, effective use of shadows, and excellent backlighting. Cueing was generally very precise, and the restraint shown during quieter moments allowed scenes to feel more grounded and natural. In contrast, the larger musical moments expanded visually in a very satisfying way. Costumes, hair, and makeup all contributed strongly to the immersive quality of the production. The costumes captured the exaggerated glamour of the period effectively, with excellent attention to detail throughout. Lonny’s t-shirts were a particularly enjoyable touch, while Sherrie’s costumes helped support her character development very effectively. Hair and makeup styling fully embraced the excess of eighties rock culture and helped create a cohesive visual world for the production. Front of house also contributed positively to the overall audience experience. The atmosphere in the venue before the performance began was warm and welcoming, helping establish excitement from the outset. The wristbands distributed upon entry were a particularly fun touch and added nicely to the rock concert feel of the evening. Overall, Pop Up Theatre delivered a hugely entertaining and highly accomplished production of Rock of Ages. The company clearly has a strong understanding of the material and embraced its energy, humour, and heart wholeheartedly. While there are a few areas that could benefit from further refinement, particularly around diction and some technical balance, these were relatively minor points within what was otherwise an energetic, polished, and thoroughly enjoyable evening of musical theatre.

Review: We Will Rock You - Castlebar MDS

Society name: Castlebar Musical and Dramatic Society Show name: We Will Rock You Date of attendance: 28th March 2026 ________________________________________________________________________ This was the second show of a two-show day for me, making the trip from Ballinasloe in over to Castlebar. The TF Royal Theatre in Castlebar is a stunning venue. With its huge auditorium and its wide, open stage, it is the kind of space that really demands scale. Castlebar Musical and Dramatic Society met...

Society name: Castlebar Musical and Dramatic Society Show name: We Will Rock You Date of attendance: 28th March 2026 ________________________________________________________________________ This was the second show of a two-show day for me, making the trip from Ballinasloe in over to Castlebar. The TF Royal Theatre in Castlebar is a stunning venue. With its huge auditorium and its wide, open stage, it is the kind of space that really demands scale. Castlebar Musical and Dramatic Society met that challenge head-on. Their production of ‘We Will Rock You’ felt right at home there. From the outset, there was a real sense of confidence in how the space was used. At times, it genuinely felt more like a rock gig than a piece of musical theatre, which is exactly what this show needs. That energy came from a combination of things, including strong, committed performances and technical elements that were firing on all cylinders. ‘We Will Rock You’ is not an easy show to pull off. It’s ambitious, technically demanding and can easily unravel if not handled with care. But that evening in the TF Royal, it all came together and the audience was clearly along for the ride from start to finish. Front of house set the tone very nicely from the moment I arrived. There was a real sense of welcome which was relaxed, friendly and well organised without ever feeling over-managed. There was also a nice touch of uniformity with the front of house team, all in black baseball caps branded for ‘We Will Rock You’. It might seem like a small thing, but it added to the sense of occasion and gave everything a polished feel before we took our seats. This is a big venue, and with a full house to manage, there was plenty that could have felt hectic but it all ran very smoothly. Direction, under Donna Ruane, was a real standout and it was clear from the outset that this was a director who knew exactly what she wanted from the piece. One of the most striking elements was the use of digital graphics and how confidently they were handled. Graphics weren’t just decorative. They were doing real work in terms of storytelling, linking scenes, and providing clarity where the narrative can sometimes be tricky to navigate. There was also a real understanding of the humour in the piece. Ben Elton’s writing can be quite madcap and it needs a very specific kind of delivery to land properly. That heightened, knowing style came through strongly here. Pace was excellent throughout. What really stood out was the clarity brought to the storytelling. This is not the most straightforward narrative, but it was handled with real confidence. Deirdre Lee’s musical direction was of a very high standard throughout. There was excellent musicianship across the board, but the guitars and drums in particular stood out. The drummer really drove the show forward, giving it that energy and pulse that’s so vital in ‘We Will Rock You’. There were some really strong musical moments. ‘Radio Gaga’ had a superb choral sound and that sense of ensemble carried right through the show. ‘I Want to Break Free’ featured a particularly strong guitar solo, while ‘Killer Queen’ was full of lovely touches, including some beautifully balanced, harmonising guitar lines. One of the most impressive elements was how well the underscoring was handled. Dialogue sat comfortably on top of the music at all times and every word was clear. There was a real sense that a lot of time had been invested in securing harmonies and it paid off. The balance within the ensemble was consistently strong and the cast sounded confident and well supported throughout. ‘And then there was ‘Bohemian Rhapsody’. There’s always an expectation around that number and it more than delivered here. Strong lead vocals, outstanding ensemble work and all of it very well balanced by the sound team. Superb musical direction from Ms Lee overall. Claudia O’Sullivan’s choreography was another strong element of the production, with routines that consistently supported the storytelling. ‘Radio Gaga’ was a standout in terms of style. The mechanical, almost robotic movement was very effective, and there was excellent synchronicity across the ensemble, which really sold that sense of control and uniformity within Globalsoft. ‘Killer Queen’ brought a completely different feel, with canes incorporated into what was a slick and very polished routine. In contrast, ‘A Kind of Magic’ was much simpler in its approach, but no less effective. In fact, it worked because of that simplicity. The sharpness and precision of the movement gave it real impact. There was an enjoyable looseness to the Bohemians’ ‘Crazy Little Thing Called Love’ with some fun partner work that gave the number great charm. What came across most strongly throughout was a clear understanding of style and tone. The movement always felt appropriate and achievable. Chris McLaughlin took on the role of Galileo Figaro and delivered a really engaging, fully realised performance. There was a wonderfully heightened quality to his acting that suited the style of the show and he leaned into the comedy very effectively. His confusion around the lyrics in his head and the meaning behind his dreams was played with great instinct and there were plenty of genuine laugh-out-loud moments as a result. His vocal performance was nothing short of exceptional. ‘I Want to Break Free’ was particularly impressive as he showcased an upper register that seemed limitless. And then, of course, there was ‘Bohemian Rhapsody’ at the end. It felt like the perfect moment for him to shine and he didn’t disappoint. An excellent performance all round, which was confident, engaging and vocally outstanding. Caoimhe Halligan was excellent as Scaramouche. This was an outstanding performance on every level. From the start, she captured that slightly gothic, outsider quality, the girl who doesn’t quite fit in and doesn’t particularly care. Vocally, Ms Halligan was exceptional. ‘Somebody to Love’ was a real wow moment. There was power there but also wonderful control. Her range was seriously impressive and at times it felt like there was no real ceiling to what she could do. ‘Who Wants to Live Forever’ was simply stunning, one of those moments where the theatre just goes quiet and lets the performance speak for itself. Her comedy work was equally impressive. She had a brilliant instinct for timing and the humour landed effortlessly. The sarcasm, the quick-fire put-downs, the little reactions, were all so well judged. A superb performance and a standout in a very strong cast. Katya Harrison brought a strong, commanding presence to the role of Killer Queen, the controlling figure at the head of Globalsoft. There was a real sense of authority about her from the moment she appeared and her character was polished and ruthless throughout. Vocally, she was very solid throughout, with a powerful sound that helped her dominate the stage in the bigger moments. ‘Killer Queen’ itself was a strong number, really establishing her status, surrounded by her ever-present minions and very much in control. David Alexander brought a strong, sinister presence to the role of Khashoggi, Globalsoft’s ever-watchful commander of police. There was a real authority about him on stage, and he carried that sense of control nicely through each of his appearances. He had a good handle on the humour of the piece as well. His ‘ignorant plucker’ line landed perfectly, delivered with just the right amount of knowing intent. Vocally, he was very solid. ‘Seven Seas of Rhye’ was a particularly enjoyable moment, giving him a chance to show off a strong, well-supported voice. Edward Scott delivered a genuinely hilarious performance as Brit. He showed excellent comic instincts throughout. His timing was spot on and he made great use of physicality to bring the role to life. Vocally, this was another standout performance. ‘I Want It All’ was delivered with confidence and control, while his contribution to ‘Headlong’ was particularly impressive. Excellent work all round from Mr. Scott — a performance full of character, humour, and musical strength. Edward’s sister, Nicole Scott, took on the role of Oz and together they created a really engaging and believable partnership on stage. Vocally, Ms Scott was simply stunning. Numbers like ‘I Want It All’ and ‘Headlong’ showcased her strength and control but it was ‘No One But You’ that really stood out. Taking the lead vocal, she brought a real sense of sincerity and emotion to the song. She was also a very strong actress, with a natural comic touch that worked particularly well in her scenes with Brit. Rounding out the Scott ‘dynasty’ Gerard Scott was great fun as Buddy. His offbeat, easy-going presence, drifting in and out of the action was most engaging. His comic timing was excellent and he handled the fourth wall breaks with real ease. Not to be outdone by his fellow Scotts, he too had a superb singing voice. ‘These Are the Days of Our Lives’ was a standout moment, beautifully melodic and delivered with a real sense of poignancy that gave the audience a chance to see a different side to his character. Judy MacNamara made a strong impression in her cameo as the Teacher, a character that can easily pass by, but here it felt sharp, and well-defined. She had excellent stage presence, and from the moment she appeared there was a real sense of control and purpose. The ensemble was truly exceptional and played a huge part in the show’s overall success. Vocally, they were excellent throughout. There was a real sense that a great deal of work had gone into the choral preparation and it paid off. The Gaga Girls, in particular, produced lovely harmonies in ‘Somebody to Love’, while ‘Bohemian Rhapsody’ was a real standout, with the ensemble delivering a beautifully balanced and powerful vocal that sent shivers down the spine. Choreography was very well drilled, with strong synchronicity and a clear sense of uniformity where required, particularly in the Globalsoft numbers. Everything felt tight and well-rehearsed. Focus and engagement were excellent throughout. There was never a sense of anyone switching off and every member of the ensemble contributed to a wonderful sense of unity throughout. The Bohemians, as a group, were particularly impressive in terms of energy and commitment to the storytelling. There was a great sense of an eclectic community in all of their scenes. Stage management, led by Declan Gibbons, was very strong overall, with Mr Gibbons and his crew ensuring that the show moved smoothly from scene to scene. One of the most effective choices here was the use of the cast to handle much of the set movement. There were a couple of moments, however, where that established convention shifted slightly and crew members were visibly involved. These moments stood out, simply because we had already accepted that cast were the orchestrators of the seamless transitions. It’s a small point, but from a stylistic point of view, maintaining that consistency throughout might have preserved the illusion more. That said, it’s important to stress that the crew themselves did an excellent job in everything they were required to do. The set for this production relied heavily on the use of digital graphics and it was a choice that paid off in a big way. These weren’t just decorative backdrops, they were central to how the show was built and understood. They set the tone, not just in terms of the humour, but also in establishing the tongue-in-cheek, self-aware style that ran through the production. Visually, there were some really striking moments. The ‘Flash’ graphics, with the electrocuted skeletons, were bold, impactful and very well timed alongside the lighting effects. There were also some excellent physical set pieces. Killer Queen’s throne was a standout, as was the very impressive Volkswagen van. The use of platforms, trussing and industrial-style elements gave the stage a very solid framework. Excellent work all round. Lighting played a huge role in complementing the scale of the production. In a venue of this size, that sense of scale is vital and it was achieved very effectively here. There was a strong rock gig aesthetic running throughout, which suited the show perfectly and helped create that concert-like atmosphere. The integration of lighting into the set, particularly within the truss structures, worked very well, contributing to that feeling of being at a live stadium show rather than a traditional musical. ‘No One But You’ stood out as one of the most atmospheric scenes of the night. The use of haze, combined with strong, defined beams of light cutting through it, created a beautiful, reflective quality. In contrast, ‘Flash’ was full of energy and precision. The coordination between lighting and music was excellent, with cues landing cleanly and helping to drive the action forward, particularly during the torture sequence. ‘We Will Rock You’ delivered exactly what you would hope for. It was bold, full of colour and movement, with excellently timed cues. Across the board, there was a clear understanding of when to go big and when to pull things back. That balance made all the difference. Sound was excellent throughout and handled with a great deal of care and musical understanding. There was a clear understanding from the outset that this is a show that needs to be big and bold but, crucially, that never came at the expense of clarity. The overall balance was superb, both within the band itself and between band and vocals. What really stood out was the vocal mix. With so many radio mics in play, it could easily have become muddied but it never did. Underscored dialogue was handled particularly well. The instrumental balance was equally impressive. Guitar solos were pushed forward when needed and different elements of the band were allowed to shine at the right moments. The choral sound was another highlight, both onstage and off. EQ levels for dialogue were well judged and cueing was very tight in what was very polished and solid operation. There was excellent work from the props department, with a clear attention to detail throughout. The canes in ‘Killer Queen’ were a great touch, used very effectively within the choreography and adding to the overall polish of the number. The hospital beds were solid and practical. The ‘Harley’ stood out as a particularly strong prop, adding real visual impact on stage, while smaller items like the television and the all-important video cassette tape helped to progress the storytelling very well. The Bohemian scenes, in particular, benefited from some lovely prop work. The retro feel was well captured, with pieces that felt authentic rather than decorative. Brit’s junk-built instrument was a highlight and, of course, Galileo’s iconic half mic stand was exactly as it should be. Costuming was a real strength too, with a clear sense of style running through each of the show’s different worlds. The contrast between Globalsoft and the Bohemians was well defined. There was a strong sense of uniformity, especially in numbers like ‘Radio Gaga’, where the precision of the choreography was matched by the sleek costuming. The Gaga girls were especially striking, with their white boots, silver skirts and jackets catching the light beautifully and adding to the overall visual of those scenes. In contrast, the Bohemians were exactly as they should be, a motley, rebellious mix of styles. Tartan, leather, denim, headbands, it all came together to create a sense of individuality, without ever feeling too chaotic. Excellent work all round from the costume department. Hair and makeup were very well handled throughout. In the Globalsoft scenes, there was a strong sense of uniformity. Hair was neat, controlled and consistent, feeding into the idea of conformity very well. In contrast, the Bohemians were wonderfully chaotic. Big, bold and questionable hair choices added to their individuality and sense of rebellion. There were some nice individual touches as well. Galileo’s Freddie-inspired moustache was a simple but effective nod. Super work all round. This was a confident, assured and thoroughly entertaining production that knew exactly what it wanted to be. What came across most was the clarity of direction. Donna Ruane had a very definite vision for the show, in terms of its tone, humour and style and that vision was consistent across every aspect of the production. Just as importantly, every performer on stage bought into that “one vision”. There was a great understanding of how the show needed to be played, with its heightened delivery, knowing humour and the balance between comedy and heart. That understanding made a huge difference. An excellent production, and a real credit to everyone involved. Pat McElwain Sullivan Adjudicator 2025/2026 Photos by Alison Laredo.

Review: Follies - GUMS

Society name: Galway University Musical Society Show name: Follies Date of attendance: 7 th February 2026 Galway University Musical Society’s decision to stage Follies in Galway’s Black Box Theatre was, on paper, a bold, maybe even audacious, undertaking. Follies is one of Sondheim’s most intricate works, reflecting on memory, regret and romantic disillusionment. It is a piece steeped in middle age and regrets around roads not taken. Confession time…When I heard that it would be tackled by...

Society name: Galway University Musical Society Show name: Follies Date of attendance: 7th February 2026 Galway University Musical Society’s decision to stage Follies in Galway’s Black Box Theatre was, on paper, a bold, maybe even audacious, undertaking. Follies is one of Sondheim’s most intricate works, reflecting on memory, regret and romantic disillusionment. It is a piece steeped in middle age and regrets around roads not taken. Confession time…When I heard that it would be tackled by a cast comprised largely of performers in their late teens and early twenties, my initial reaction was one of trepidation rather than anticipation. I spent my drive to Galway asking myself how I might best frame such reservations. I arrived prepared to admire the group’s ambition and to forgive their limitations. However, what unfolded was something altogether different. I was mistaken and I am delighted to admit it. Thanks to Keith Hanley’s strikingly clear and intelligent direction, I became oblivious to the fact that I was watching ‘students performing Sondheim’ and found myself fully absorbed in characters navigating the challenging emotional landscape. Front of house on the evening was competently overseen by the Black Box Theatre’s in-house team, who ensured that patrons were admitted and seated efficiently. There was a relaxed atmosphere in the foyer, with a real cross-section of attendees, from enthusiastic student supporters to proud parents who, judging by the mix of car registrations in the car park, had travelled from the four corners of Ireland to see this ambitious production. There wasn’t much in the way of displays but some effort had been made to acknowledge the rehearsal process, with photographic displays visible in the foyer. With a little more thought, this could have further heightened the sense of event surrounding the performance. Making your directorial debut with ‘Follies’ might be considered brave. To do so with assurance and flair is something most directors can only aspire to. Keith Hanley ripped up the rule book, taking on Sondheim’s beast of a show for his first outing at the helm and from the beautifully staged opening prologue, it was clear that this was a production in very good hands. Character work was exceptional. The performers’ grasp of text, subtext and tone indicated detailed work on the rehearsal room floor. Nothing was thrown away. The narrative of ‘Follies’ is notoriously challenging for audiences unfamiliar with the piece to absorb, as it constantly drifts back and forth between present reality and ghostly reflection. It relies heavily on atmosphere and, in particular, on lighting states that need to suggest past memories bleeding into the present. Mr. Hanley’s collaborative work with the lighting department was a high point of this production. Without his theatrical understanding and the designer’s technical expertise, this would have been a very different production. Under the guidance of musical director Abbie Flannery, assisted by Ben Donohoe, the notoriously intricate score was delivered with great clarity and confidence. From the opening bars, it was clear that much work had been done by Ms. Flannery and her team to ensure that everything was musically secure. She conducted her thirteen-piece orchestra, an impressive blend of talented student musicians alongside seasoned professionals, with flair. They produced a sound that was full and controlled, never overwhelming the vocals. Particular attention had been paid to dynamics, with superb balance throughout, whether in sensitive accompaniment or more climactic moments. Chorally, the production was exceptional. The balance and clarity of each line was an indication of much hard graft in rehearsals. Principal vocal performances were strong throughout. A wonderful job from Ms. Flannery and a huge contributary factor to the overall success of the production. Choreography was in the capable hands of Emily Smith, assisted by Mary Roe and there were many moments of flair and imagination that contributed to the overall polished presentation of this challenging show. There were many nods to golden-age Broadway and good focus on storytelling which tied in with Mr. Hanley’s clear vision. There were several standout sequences. The umbrella tap sequence was visually charming and the kick line within the montage sequence captured expectations of a Follies reunion. “Who’s That Woman?” was particularly memorable. It was sharp and cleverly staged as the ‘older’ performers were joined by their younger, ghostly counterparts. Overall, I did feel that bigger production numbers were not as precise. At times, more uniform sharpness in arms and footwork would have elevated some ensemble routines from good to excellent. That said, what the movement occasionally lacked in polish it more than compensated for in wholehearted investment. Jonathan Newman delivered an exceptional performance as Ben Stone. He exuded authority and restraint, with the confidence of a man accustomed to being in control. And yet it was such a cleverly masked front. Vocally, Mr. Newman was very assured. His richly resonant baritone lent warmth and gravitas to the role. Despite playing a character significantly older than himself, Mr. Newman captured Ben’s nuances with impressive maturity. There was no hint of caricature. Instead, his portrayal felt deeply truthful and thoughtful. In ‘Live, Laugh, Love’ he revealed a more unsettling dimension, delivered with sound theatrical instinct. Cane in hand, he became the consummate, charismatic showman before allowing the facade to disintegrate as he descended into panic and anger. A wonderful performance all round. Robert Cosgrove delivered an outstanding performance as Buddy Plummer, likable, insecure and clearly hiding something under his upbeat demeanour. It was a performance loaded with subtext as Mr. Cosgrove presented a man who knew he was never really first choice. Vocally, he impressed throughout. ‘The Right Girl’ was particularly impressive, both musically and dramatically. However, it was the emotional undercurrent that really sold this number. His physicality and his suppressed anger added so much to the tension. In the ‘Loveland’ sequence, Mr. Cosgrove unveiled Buddy’s vaudevillian side, with sharp comic timing, but the underlying sadness was always there. The tension between showmanship and desperation was beautifully played. Overall, a highly confident and intelligent portrayal that balanced humour with pathos in what was a standout performance of the evening. Ella Conneff gave a superbly judged performance as Phyllis Rogers Stone, the sophisticated former showgirl who becomes Ben’s emotionally bruised wife. Ms. Conneff had impeccable timing and an instinctive understanding of Sondheim’s wit. Her delivery was measured and precise, always thoughtful. What impressed me most was the sincerity she brought to the role. She avoided the caricature of sophistication, giving us a very human portrayal underpinned by intelligence and self-awareness. She had a wonderfully expressive singing voice. ‘Could I Leave You?’ was, quite simply, a highlight of the production. Acting through song at its best, Ms. Conneff ensured that every lyric had intention and clarity. Kate Timothy was an exceptional Sally, the romantic dreamer whose heart is stuck in a past that no longer exists. Ms. Timothy captured Sally’s fragile fixation on Ben with great sensitivity. She too avoided caricature. The longing behind her optimism was skilfully played. Vocally, she was superb. ‘Don’t Look at Me’ was delivered with great clarity and control. ‘In Buddy’s Eyes’ showed the complexity of Sally’s existence as we were slowly drawn into her emotional journey in what was a truly beautiful performance. But it was in ‘Losing My Mind’ that Ms. Timothy truly excelled. Her connection to the lyric was deeply affecting as we witnessed the slow, emotional unravelling of a woman trapped in romantic delusion. The four younger counterparts are such a key part of the challenging narrative of ‘Follies’. They are the living representations of memory and regret. Edward Wilson (Young Ben), Liam Farren (Young Buddy), Erin Doyle (Young Phyllis) and Holly Prestage (Young Sally) were a haunting, ever-present reminder of choices made by our four protagonists. Mr. Wilson brought a lovely warmth to Young Ben, his vocal in ‘You’re Gonna Love Tomorrow’ was particularly impressive. Mr. Farren was very convincing as Young Buddy, aided not only by an uncanny physical resemblance to Mr. Cosgrove but by well-studied similarities in tone and delivery. Ms. Doyle delivered a confident and vocally assured performance as Young Phyllis, shining especially in ‘You’re Gonna Love Tomorrow’. Holly Prestage was an outstanding Young Sally, utterly believable as Ms. Timothy’s younger self. Her wonderful physicality and vocal quality made this another strong pairing. Esther Moore brought great vitality to the role of Hattie Walker, the optimist who refuses to let go of her youth and her place in the spotlight. Her performance of ‘Broadway Baby’ was a genuine highlight of the evening, delivered with energy and a wonderful belt, the number was brassy and thoroughly entertaining. Mark Regan undertook the dual roles of Dimitri Weissmann and Roscoe with impressive versatility. As Weissmann, he was fabulously flamboyant, commanding the stage with authority and theatrical flourish. His performance of ‘Beautiful Girls’ was delivered with energy and expressive clarity. In contrast, his Roscoe was more controlled and assured. Ciara Doherty brought poise and dignity to the role of former opera singer Heidi Schiller. There was such grace in her portrayal, perfectly suited to a character confronting the fading of what was a glorious career now confined to memory. Her performance of ‘One More Kiss’ was quite stunning. Joined by Sarah O’Dowd as her younger self, the duet became one of the production’s most haunting moments. Clodagh O’Sullivan delivered a commanding performance as Carlotta Campion, lifting the roof of the Black Box Theatre with a rousing rendition of ‘I’m Still Here’. Ms. O’Sullivan’s voice was powerful yet controlled, with a belt that soared effortlessly. Aela Daly delivered a strong and assured performance as Stella. She relished her featured moment in ‘Who’s That Woman?’, leading from the front with great confidence and poise. Eimear Gormally portrayed Solange with great charm, wisely avoiding the temptation to play the role as a caricature of age. Instead, she allowed Solange’s personality to emerge through nuance rather than exaggeration. There was also solid support from Mike O’Sullivan as Theodore and Caitlyn Coyne as Emily. Mr. O’Sullivan brought a gentle warmth to Theodore and Ms. Coyne’s Emily was engagingly portrayed. The ensemble proved to be one of the production’s greatest strengths. What impressed me most was the palpable sense of collective focus, with every performer appearing fully tuned into the narrative. Vocally, the group was superb, as the ensemble navigated Sondheim’s challenging harmonies with confidence. Balance within choral numbers was particularly impressive. The ensemble brought energy and purpose each time they appeared. Movement was full of purpose and well woven into the storytelling. Excellent work overall from a highly committed and talented ensemble. The set design was simple and functional. A series of red brick walls, framed by scaffolding, created a large, open playing space, with an upper level and staircase providing useful options for the director and choreographer. The upstage platform was used effectively throughout the show and offered various staging opportunities. Overall, I felt that the design served the practical mechanics of the show well. However, I did feel that it was perhaps too pristine for a show set within a theatre which was about to be demolished. I also felt that a more transformative design choice for the ‘Loveland’ sequence was required, as we were transported to a surreal fantasy world. Budgetary constraints can often be an obstacle, especially for student productions. However, some modest changes, adding colour to reflect the surreal shift of the sequence, could have made a big difference. Stage management was in the capable hands of Anna Tracey, assisted by Caoimhe Rogers, and their work played a big part in maintaining the production’s impressive pace and fluidity. Scene transitions were efficient, ensuring that momentum never stalled. The use of cast members, and the ‘waiters’ in particular, to move furniture and other elements was very effective. Instead of concealing these changes with blackouts, the decision to incorporate them into the action was both practical and theatrically interesting, allowing the production to flow seamlessly. Lighting design and operation were excellent throughout. Establishing the boundaries between memory and reality in ‘Follies’ can be a significant challenge and lighting is one of the most important storytelling tools used to communicate this with clarity. The clear distinction between the warmer tones used to represent the present and the cooler tones that accompanied the ghostly figures of the past was beautifully effective. Batten lights embedded within the scaffolding were used to striking effect. The use of haze added to the otherworldliness of the ghostly sequences. Bold colour choices also worked well, with the vibrant reds and blues of ‘Buddy’s Blues’ being particularly effective. Sound design and operation were exemplary. It’s always a challenge trying to achieve the appropriate balance in a score as intricate as ‘Follies’ but, on this occasion, it was handled exceptionally well. The orchestra was beautifully balanced, never overwhelming the performers on stage. Microphone levels were set with great care, both in terms of overall volume and EQ. Soloists were consistently clear and well supported. Ensemble singing was particularly impressive. Underscoring was extremely well handled. Cueing throughout was consistently accurate, rounding out a superb piece of work that greatly complemented the overall polish of the production. It was not an overly busy show props wise but those used were generally well chosen and appropriate to the period. There was good attention to detail in general. One small detail did momentarily break the otherwise convincing illusion. The glasses carried on the waiters’ trays were clearly empty, despite being distributed and subsequently ‘drunk’ from by various characters. It is often the smallest details that draw attention when the overall standard of a production is so strong. Costume design was thoughtful with good attention to detail and authenticity for the period. The past was subtly distinguished with creams, whites and greys, a choice that reflected careful attention to detail. The reunion guests themselves were suitably opulent in appearance. I loved the way Young Heidi’s green feather echoed the green dress worn by her older counterpart and the ballerinas’ green ribbons connected both worlds visually. Such details demonstrated a keen eye within the costume department. The ‘Loveland’ sequence introduced colour and accessories, including flowers and the somewhat unexpected but effective balloons, which contributed to the surreal atmosphere of the fantasy world. Hair and make-up were generally well handled, with careful attention paid to period authenticity and overall character presentation. Importantly, the design team resisted the temptation to over-emphasise ageing through heavy make-up, a decision which, in this context, proved both wise and effective. Hairstyles were thoughtfully chosen to reflect slightly more mature versions of the characters, while gentle greying of hair and the occasional soft facial line hinted at age without becoming distracting. The overall look felt authentic and appropriate. As mentioned, I was initially sceptical when I heard that GUMS were staging ‘Follies’. By the final curtain at the Black Box Theatre, my doubts had long since evaporated. The production’s intelligent direction, exceptional musical standards and a remarkably talented cast put my reservations to rest and taught me a lesson about preconceived notions. This was a production team that understood ‘Follies’. The clear storytelling, the thoughtful characterisations and the collaboration between performers and production team combined to create a thoroughly entertaining production. The depth of talent on display was striking. Ambitious choices don’t always pay off. However, on this occasion, Galway University Musical Society’s bold decision was more than vindicated. Pat McElwain Sullivan Adjudicator 2025/2026

WESTERN SOCIETIES

Below is our comprehensive list of WESTERN societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

Society
9 Arch Musical Society
Abú! Performing Arts
Athenry Youth Musical Theatre
Ballinrobe Musical Society
Boyle Musical Society
Bravo Theatre Group
Castlebar Musical & Dramatic Society
Castlebar Pantomime
Castlerea Musical Society
Claremorris Musical Society
Dunmore Musical Society
Ennistymon Choral Society
Galway Musical Society
Galway University Musical Society
Glenamaddy Musical Society
KATS
Loughrea Musical Society
Marian Choral Society, Tuam
Moycullen
Pop-Up Theatre, Sligo
Renmore Pantomime Society clg
Sligo Fun Company
Sligo Musical Society
St. Brendan's Choral and Dramatic Society
Stage Left Youth Theatre
Twin Productions
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