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1 Apr 2026

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Review: Curtains - Boyle Musical Society

*Public Adjudication by Ciarán Mooney Boyle Musical Society Curtains 21 st  of November 2025 Boyle Musical Society drew a full supportive crowd to St. Joseph’s Hall, where the lively murder mystery of Curtains  unfolded in style to an eager community audience who responded warmly throughout the night. During the interval, when asked who they thought had dunnit, several audience members took a stab at guessing, though none predicted the correct culprit. Gasps rose at key plot turns, including...

*Public Adjudication by Ciarán Mooney Boyle Musical Society Curtains 21 st  of November 2025 Boyle Musical Society drew a full supportive crowd to St. Joseph’s Hall, where the lively murder mystery of Curtains  unfolded in style to an eager community audience who responded warmly throughout the night. During the interval, when asked who they thought had dunnit, several audience members took a stab at guessing, though none predicted the correct culprit. Gasps rose at key plot turns, including Georgia’s slip of the tongue, the revelation of the killer, and Carmen’s final moments in front of the curtain. The show won the audience over with its mix of clear characterisation, enjoyable singing, and controlled staging, making for a polished and engaging production. The direction by Karen Gordon was confident, steady, and detailed. The opening Kansas scene, which must pivot mid-action into a different visual perspective, could have been cumbersome, but here it unfolded cleanly. The house curtains were used with purpose, expanding the playing space while hiding the more complex scene changes behind. Placing Aaron’s final verse of I Miss the Music  in front of the closed curtain allowed the next scene to be prepared in secret. Having the dancing girls begin their number in front of the curtain also bought time and blended the action seamlessly. Characters, many of them archetypes from old show-within-a-show traditions, were well-drawn and visually distinctive. The choice to use an actual dead body during The Woman’s Dead  gave the moment a novelty, and a shadow sequence behind a sheet in He Did It  was fun and crisply executed. Overall, scenes landed with the tone and intent required from a solid directorial turn by Ms. Gordon.  Some clump-creating with the crowd work in parts of The Woman’s Dead  created occasional sightline issues. Use of levels helped, but some additional attention to spacing might have eased the cognitive load that occurs when some faces cannot be seen. The fantasy sequence between Cioffi and Niki had charm but just fell short of Broadway-esque dream-like spectacle. This is the sort of moment that could depend on budget as well as creativity. The simpler approach here, though clear, lacked some old-school theatrical magic, such is its intention. Even so, the show as a whole benefitted greatly from Ms. Gordon’s careful control and understanding of the material, and her work was met with clear appreciation from the audience. Musical Director Anne Kielty, doubling as pianist, guided the musicians with ease while providing cues to the singers and musicians with subtle gestures, head-nodding and spine-swaying. The overture was played at a lovely comfortable level as it moved through the various motifs of the show in dream-like fashion. Balance of volume between the band and the stage was excellent throughout, a potential challenge in a venue of this kind. Piano underscoring beneath Cioffi’s end of Act One pontifications added tension beautifully. Principal vocal performances were consistently strong, and the harmonies in the various In the Same Boat  segments were tight and expressive. In keeping with tradition, Ms. Kielty did not take the Act Two opening solo intended for her alter-ego Sasha, giving the opportunity instead to a capable ensemble member. The male vocals in the show’s opening felt comparatively light beside the stronger and more numerous female voices, though this may have been a sound balance issue rather than a musical one. Later moments, such as the saloon scene, showed the men in much stronger vocal form. A few ensemble entrances in the A Tough Act to Follow  sequence at the end of the show were arguably suspect, but these moments passed quickly in an otherwise impressive musical evening. Ms. Kielty’s experience and commitment to the show’s musical direction were evident throughout. Choreographer Eimear Mulvey offered movement that matched the ability of the cast while still adding theatrical flair. Storytelling was kept in focus, and humour was allowed to shine through. The men’s ‘chairography’ in the saloon sequence underlined the innuendo of the lyrics. Adding extra dancers to the end of that number ensured everyone’s involvement, though it did perhaps diminish visual and contextual clarity, without much explanation about where they had come from. Niki and Bobby gave lovely shaping and pirouettes in their much-anticipated dance moment. Cioffi and Niki’s dance duet was sweet and sincere, though the first half felt a touch long without new movement ideas to develop it. Shortening the musical section might have enhanced momentum. During the final In the Same Boat  sequence, some oar carriers blocked the back row of floor performers, creating a slight visual bottleneck. Reordering the groups might have helped to ease this. Still, Ms. Mulvey’s work delivered a confident ensemble that danced with precision and enthusiasm. Iain Howard presented Lt. Frank Cioffi with the aesthetic of a Hollywood movie star in a time gone by. He looked every bit the old-school detective, with all the charisma, charm, and warmth required to create an engaging Cioffi. With some very nice vocalising when he sang, he moved well in his dance with Niki. This is a beast of a script, with long passages of dialogue that receive little support from the action surrounding them. As a result, there were noticeable script-memorisation issues, but Mr. Howard’s likeability and commitment went part of the way to make up for it. His lines were spoken with great intention, nonetheless. Kelly Collins as Carmen Bernstein showed very good timing and rhythms of speech, with a pitch-perfect New York squawk. The line when she calls her husband a “low life” was an example of how she was able to get great laughs from the audience. We saw a slightly unhinged side to her when she threatened to sue everyone in The Show Must Go On. This manic side of her grew in Act Two, where we got a kooky and somewhat unhinged introduction to It’s a Business . The introduction to this number always feels slightly too long, only taking off when the male dancers join. In this version, we got something of a nervous breakdown at the beginning, bringing it to another level, making the character more interesting and lifting what can be a slow-to-start number. This was an excellent turn by Ms. Collins. Janet Glancy as Georgia Hendricks gave an effectively gentle foil to Carmen’s sharpness. The nervousness at the beginning of Thinking of Him  was well measured. She had a lovely, rich, and rounded voice. She harmonised very well with her fellow In the Same Boat ladies. She sang beautifully and her dancing was great. Surrounded by crazy characters everywhere, her acting was sincere, filled with warmth, poise, and an understated strength that anchored the story. Lizi Hannon was characterful and committed as Niki Harris, capturing the slightly ditzy, endearingly bonkers charm essential to Niki’s purpose as the ingénue who keeps both Cioffi and the audience guessing. Her accent was delightful, and the timing of her “I would imagine” was perfect. She harmonised excellently and moved well in In the Same Boat, rounding out a warm, engaging performance. Danny Leonard was honest, sincere, and understated as Aaron Fox. He brought a nice sense of realism to a story filled with whacky characters. He sang I Miss the Music  with tenderness, and his opt-up at the end of his solo showed off his voice. He really came into his own during his sung moments, where we had good energy, articulation, and projection. His musical assurance stood out, though weaving that same intensity into his spoken scenes could elevate the role further. Brendan Reid was camp and leery as Christopher Belling, swigging from a hipflask or glancing at Johnny. His somewhat drunken entrance was a nice touch, his puffing the crowd into their places for the acting exercise was fun, and his moment where he asked Johnny to move the piano was a treat. Very good characterisation overall, and essential comedic moments were provided. Stephen Tighe as Oscar Shapiro, the show’s practical and business-minded producer, was steady and humorous, adding to the very good quartet of What Kind of Man?  Always there by Carmen’s side, he provided consistent characterful support to his fellow actors. A solid turn from Mr. Tighe. Ceara Conlon delivered sharp, lively energy and confident dancing as Bambi Bernét. She balanced ambition and vulnerability, capturing a young performer desperate to prove herself—especially to her mother. She ably fulfilled Bambi’s purpose as an underestimated talent whose determination and flair inject both humour and heart into the story. Harmonies were super in In the Same Boat. Jason Kenny as Bobby Pepper really matched Bambi’s energy during the planning of the dance routine, creating a harmonious pairing of the two actors. Dancing in the square dance number was convincing and well executed, with lovely shaping and an impressive pirouette. His confession about his feelings for Georgia was effective. Enda Regan had very good presence in the part of Johnny Harmon, with a great comedic moment of throwing the clipboard on the floor to take Sydney’s coat, and his hilarious “Say again?” line. Always making the most of his time on stage, his carrying on of the mic and his speaking into it was very funny. This likeability factor was highly effective, and the audience were genuinely sorry to see him die. Conor Hamil was excellent as Darryl Grady. His weasel-like character (typical critic) made a good impact in his cameo appearances. Accent lessons should be made available from this actor, with the accent itself getting the right kind of laughs from the audience. The psycho moment at the end was brilliantly acted, and the production benefitted from having such a strong actor in this pivotal moment. Aoife Tighe as big-name, no-talent Jessica Cranshaw gave us over-the-top squeaky singing, sparing no subtlety in her signalling that Jessica Cranshaw was rubbish on stage, fulfilling the role’s comedic purpose and all of Cranshaw’s ineptitude. When Conor White stepped forth from the ensemble as Randy, he did so with confidence and competence. Special shout-out to Harve, also, who had a very nice low country-and-western speaking voice. The ensemble burst onto the stage for the opening number of the show-within-the-show, and we knew we were in the hands of a committed cast who wanted to sock this musical to the audience. Acting in the opening sequence was suitably over the top, considering the slapstick required. The committed crowd reactions were noticeably strong throughout and were clearly well-rehearsed. Whoopin’ and hollerin’ in the saloon scene never faltered. There was excellent commitment by all as they gathered round the briefcase, and the torch work in He Did It  was super. Special shout-out to Harve, who had a very nice low country-and-western speaking voice. Set design by Wayne Handy embraced the nostalgic theatricality of the piece. The red curtain and golden footlights immediately set a vintage stage picture, and the shadows cast on the curtain later added atmosphere. Charcoal and gold art deco flats framed the story elegantly. The Kansas scene was strongly established, with tall western facades and a bullseye motif, and when the Robbin Hood  set cleared, the brickwork behind it provided a backdrop that soaked up the light beautifully. The saloon interior worked well (being the other side of the Robbin’ Hood  set), though additional decoration (such as shelves with bottles etc.) might have added some additional detail. The waves and boat for the In the Same Boat  finale were visually impressive, despite being needed for a split second. Lighting by Indigo Lighting (and operated by Nigel Cleary and Tom Cleary) supported the production with well-timed cues and atmospheric colour choices. Stabs of light during sudden changes to the music added intensity and the gorgeous Broadway-style bulbs on the flats enhanced several lively moments. A blue wash for Coffee Shop Nights  effectively suggested Cioffi’s solitude on lonely evenings, and the special on Aaron’s final verse gave the moment its own space in front of the curtain. A slight tardy lights-up for Georgia’s rehearsal scene was noticeable but minor and made me wonder for a second how the cueing was working.  Sound, provided by Vinny Higgins of Red House Productions, maintained welcome clarity throughout. Musicians and singers blended well, and levels were comfortable at all times. Recorded applause in Coffee Shop Nights  (by Brendan McGee) evoked the storytelling nicely and the evening’s proceedings were always comfortable and clear to the ear.  Costumes strengthened the show’s period feel with a myriad of gloves, tuxedos, gowns, and gorgeous signature pieces. There was a slight feeling that the principals evoked the era better than some of the chorus, with approximations of the era used to clothe some of those nestled in the background. The saloon girls’ red and black designs were particularly striking and well matched to the complimentary reds in set and lighting. Niki’s dress for A Tough Act to Follow  captured the dreamlike quality of this romantic Broadway-esque number. Hair and make-up successfully evoked the era and impressively added age where needed. Props, especially the crisp broadsheet newspapers, canes (many canes), and oars, complemented the action effectively. Stage management under Enda Commons ensured smooth transitions, with the curtain used cleverly to facilitate offstage movement. The placement of the square dance set was achieved quietly mid-scene and caused no distraction from those speaking on stage. A delay with the rolling sky had a minor technical hiccup, suggesting that it might have been acting up on the night. Front of House operations ran calmly, with efficient crowd flow and well delivered voiceovers, including a very welcome cúpla focal.  The production suited the company well, allowing strong principals to lead while the ensemble supported with commitment and energy. If they continue selecting shows that showcase their particular strengths, audiences will be well served. The performance provided a highly enjoyable night, warmly received by a community clearly proud of its musical society. The production team did a super job. Characterisation among the principals was crystal clear, singing was lovely and the dancing was well-rehearsed. The ensemble were hugely committed and added significantly to a strong frontline. They did it. They did it. They did it very well indeed.

Review: Come From Away - Bravo Theatre Group

Society Name: Bravo Theatre Group Show Name: Come From Away Adjudicator Date of Attendance: 11/09/2025 Bravo Theatre Group’s Come From Away  was an evening defined by sincerity, skill, and compassion — the very qualities that sit at the heart of this remarkable musical. To stage such a piece on the anniversary of 9/11 gave the performance a resonance that few shows could match. There was an unmistakable sense of reverence in the air; the story of strangers turned friends, fear transformed...

Society Name: Bravo Theatre Group Show Name: Come From Away Adjudicator Date of Attendance: 11/09/2025 Bravo Theatre Group’s Come From Away  was an evening defined by sincerity, skill, and compassion — the very qualities that sit at the heart of this remarkable musical. To stage such a piece on the anniversary of 9/11 gave the performance a resonance that few shows could match. There was an unmistakable sense of reverence in the air; the story of strangers turned friends, fear transformed into kindness, and chaos met with calm felt more meaningful than ever. Bravo’s production was not only technically accomplished and beautifully performed but also grounded in a genuine human warmth that made the evening both uplifting and deeply moving. Director Aoife McClafferty’s approach was confident, cohesive, and full of life. She shaped the piece with a smooth, flowing rhythm that mirrored the heartbeat of the small Newfoundland town at its centre. The pacing was superb, never sluggish, never rushed. Each transition, each shift in mood or location, was clean and deliberate, maintaining the sense of a community constantly in motion but never out of control. Her attention to character detail was one of the most impressive aspects of the production. Even in a show where actors play multiple roles, every individual felt real, distinct, and necessary. The hallmark of Come From Away  is its seamlessness: the ability to shift from one world to another, one character to another, without breaking the flow. Aoife achieved this with impressive finesse. The multi-rolling was handled with clear vocal and physical distinction, from the nervous travellers to the unflappable locals, and though a few Newfoundland accents wavered at times, the emotional truth of each portrayal never faltered. She created a living, breathing stage picture where no one ever felt idle. The ensemble’s constant presence gave the production an unbroken sense of connection; even as scenes shifted, the audience always felt the pulse of the community. Visually, the direction embraced simplicity. The set was used cleverly, with performers moving props and furniture to build new worlds in front of the audience’s eyes. This practical storytelling not only aided the flow but also reinforced the show’s themes of cooperation and adaptability. Aoife’s only missed opportunity was in the limited use of the additional chorus. While the main ensemble worked tirelessly, the extra performers appeared infrequently, which felt like a missed chance to heighten the sense of scale and shared humanity. With a story that thrives on togetherness, spreading the load more evenly might have added greater visual richness. Still, the production’s overall cohesion and emotional power left little doubt about Aoife’s clarity of vision and ability to guide her cast with empathy and precision. Musically, the show was a triumph. Under Shane Farrell’s direction, the sound was alive with warmth, precision, and authenticity. Come From Away  demands a vocal ensemble that functions as one instrument, a single, unified voice, and Bravo Theatre Group delivered that in abundance. Harmonies were lush and beautifully blended, with crisp diction and clean tuning. Every swell and cadence carried emotional weight. Shane’s musical leadership encouraged not just technical excellence but also expressive honesty; every chord, every melody seemed to mean something. The orchestra, small but mighty, played with an energy that matched the story’s spirit. The instrumental colour, particularly the whistle, evoked the Newfoundland folk roots of the score without ever feeling forced. Shane maintained a steady, propulsive pace that kept the show’s momentum alive, and his musicians supported the vocal lines with sensitivity. On the rare occasions when the cast rushed dialogue to meet musical cues, a slight adjustment in give-and-take might have created more natural breathing room. But these were fleeting moments in what was otherwise a beautifully calibrated performance. The band and singers complemented one another perfectly; the balance was exemplary. The show’s movement was subtle but vital. Come From Away  is not a dance-heavy piece, yet it depends on rhythm, both musical and physical, to sustain its storytelling. Aoife McClafferty’s choreography understood this completely. Her movement direction was purposeful and organic, avoiding anything decorative or extraneous. Chairs, tables, and bodies were constantly in motion, crafting transitions that felt like part of the music rather than breaks between scenes. The ensemble’s coordination was tight, and their sense of timing, particularly in the chair sequences, was impressive. There were moments where a little more physical daring could have elevated the energy further. The number “In the Bar / Heave Away” cried out for a more uninhibited burst of vitality, a chance for the cast to really let loose and embrace the rough-and-ready spirit of the song. But elsewhere, the controlled energy was exactly right. Every movement felt grounded, every gesture honest. The consistency of Aoife’s choreographic style tied seamlessly to her direction, both springing from the same instinct for truth and connection. Among the cast, individual performances stood out for their emotional precision and genuine humanity. Angela Staunton’s portrayal of Beverley was deeply compelling. She embodied the pioneering pilot with strength and vulnerability, shifting effortlessly between her various roles. Her rendition of “Me and the Sky” was one of the evening’s most poignant moments, heartfelt, inspiring, and vocally superb. Angela’s clarity and authenticity made her a magnetic presence throughout. Christine Connor was equally engaging as Diane, capturing the character’s gentle humour and warmth. Her chemistry with Patrick Byrne’s Nick was tender and believable, their scenes unfolding with quiet sincerity rather than forced sentimentality. Christine’s singing was expressive and secure, her tone consistently appealing. A more pronounced physical transformation between Diane and her other roles might have enhanced the clarity of her multi-rolling, but her emotional truth never wavered. Jay Origan brought a riot of humour and humanity to Beulah, delivering one of the production’s most memorable performances. Her comedic timing was impeccable, and her ability to shift from laughter to tenderness with ease gave her portrayal real depth. Even when her accent faltered, her natural charisma carried the character. She lit up the stage, embodying the warmth and resilience of Gander’s people. Sarah Kenny’s Hannah was the emotional anchor of the piece. Her performance of “I Am Here” was heartbreakingly tender, full of quiet strength. Sarah conveyed grief with restraint rather than melodrama, making her portrayal all the more moving. Her sensitivity as a performer made every scene she touched resonate with honesty. As Bonnie, Lisa Folan brought a delightful mix of awkward charm and gentle humour. She captured the essence of someone doing their best to help in extraordinary circumstances. Her chemistry with her fellow performers, particularly Jay Origan, was warm and believable. Andrea Treacy was a strong presence as Janice, the nervous first-time reporter. Her energy and clarity of intention made her instantly likeable. She handled her character’s duality, switching between Janice and the confident flight attendant, with precision, though a slightly more exaggerated physical shift might have clarified it further. Vocally, she was confident and bright, an integral part of the ensemble sound.  Niall Conway’s Claude was charismatic and full of life. He combined humour with genuine leadership, making him a standout whenever he appeared. His accent work was solid, and his voice carried power and authority.  Patrick Byrne’s Nick was equally assured. His portrayal of the gentle, slightly awkward Englishman was endearing and nuanced, and his accent work was exemplary. Despite performing on crutches, Patrick maintained focus and physical control, his professionalism evident in every scene. Martin Pierce, as Kevin J, was exceptional. His range of characterisation was astonishing, particularly in his portrayal of the Egyptian passenger, which was filled with quiet dignity. He demonstrated both emotional intelligence and strong technical ability, one of the production’s most versatile performers. Norman Quinn brought warmth and grounded sincerity to Kevin T, creating a believable and touching partnership with Pierce’s Kevin J. A greater physical contrast in his secondary roles could have added an extra layer of clarity, but his voice and emotional connection were first-rate. Jamie Callanan’s Bob was instantly likeable, relaxed, confident, and full of charm. His comic instincts were sharp, yet he never tipped into caricature. His smooth vocals added a mellow tone to the ensemble numbers, and his stage presence was easy and assured.  Brian Roche’s Oz provided solid support within the group, his warm voice and quiet reliability adding texture, even if his character distinctions were less defined than others. The ensemble as a whole was a testament to teamwork. Their cohesion and discipline were extraordinary. The vocal blend, the synchronised transitions, and the emotional unity on stage reflected hours of careful rehearsal and a shared sense of purpose. While the additional chorus could have been integrated more frequently, their presence enriched the sound and expanded the sense of community. The ensemble moments, particularly “Welcome to the Rock” and “Something’s Missing”, were among the most powerful of the night, filling the space with sound, movement, and emotion. Visually, the production struck the perfect balance between simplicity and imagination. The set’s rustic minimalism, wooden slats, plain furniture, earthy tones, created a world that could become anything. The design invited the audience to fill in the blanks, just as the people of Gander opened their doors to strangers. Lighting added atmosphere and texture, with subtle shifts that marked time and emotion. The use of backlight through slatted panels suggested both confinement and openness, a beautiful metaphor for the show’s central tension between fear and generosity. Some technical inconsistencies in the lighting cues occasionally disrupted this otherwise strong design. The spots, though effective, sometimes appeared overly bright or mistimed. Yet the overall concept was clear and appealing, with a painterly understanding of tone and texture. Sound design, on the other hand, was consistently excellent. Every voice was clear, every harmony balanced, and the relationship between band and singers felt perfectly judged. In a show where all characters remain visible throughout, that clarity is no small feat. Costume choices were understated but highly effective. The layered, neutral clothing allowed actors to switch identities quickly while maintaining realism. Each look suggested something about the person, from business traveller to volunteer cook, without ever feeling overdesigned. Hair and make-up followed the same principle of authenticity. Nothing was exaggerated; everything served the story. Behind all of this, the stage management was remarkably smooth. With the cast managing transitions themselves, every scene change felt integrated into the action. The movement of chairs and tables became part of the show’s heartbeat, demonstrating trust and collaboration within the company. It was, however, the atmosphere in the auditorium that ultimately defined the evening. On this particular date — September 11th — the story’s themes carried an extra layer of resonance. The audience’s silence during moments of reflection and their spontaneous applause during moments of hope created a sense of shared emotion that few productions achieve. By the time the final notes faded, it was clear that Bravo Theatre Group had delivered something truly special: a production that not only entertained but also honoured the spirit of empathy that Come From Away  celebrates. The Front of House team mirrored that same spirit of kindness. They greeted audience members with warmth and care, ensuring that everyone felt welcomed and comfortable. Their calm professionalism complemented the company’s work on stage, bookending the evening with the same sense of community that defined the performance itself. Bravo Theatre Group’s Come From Away  was more than just a musical, it was an experience of shared humanity. Executed with heart, precision, and respect, it stood as a moving reminder of how, even in moments of crisis, people can come together to do something extraordinary.

Sweeney Todd as presented by Galway Musical Society

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

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

Annie as presented by Castlerea Musical Society

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

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

Sweeney Todd as presented by Pop-up Theatre

Society Name: Pop Up Theatre Show Name: Sweeney Todd Adjudicator Date of Attendance: 25.04.2025 Brief Overview of Show and Evaluation of Front of House Pop Up Theatre’s production of Sweeney Todd  was an ambitious, inventive, and atmospheric retelling of Sondheim’s notoriously complex musical thriller. From the moment one entered the venue, it was clear that this would be an immersive theatrical experience. The creative team made strong, brave choices in their approach to both staging and...

Society Name: Pop Up Theatre Show Name: Sweeney Todd Adjudicator Date of Attendance: 25.04.2025 Brief Overview of Show and Evaluation of Front of House Pop Up Theatre’s production of Sweeney Todd  was an ambitious, inventive, and atmospheric retelling of Sondheim’s notoriously complex musical thriller. From the moment one entered the venue, it was clear that this would be an immersive theatrical experience. The creative team made strong, brave choices in their approach to both staging and audience engagement, and although not all of them landed perfectly, the overall tone was one of dedication and creative exploration. It’s no small task to tackle a piece as musically intricate and emotionally intense as Sweeney Todd , but the company leaned in with enthusiasm, a clear aesthetic, and genuine dramatic intention. The Front of House team were courteous, efficient, and welcoming. Their warmth and professionalism helped set a relaxed and anticipatory atmosphere before the curtain rose. While the unusual staging meant some audience members had slightly compromised views, staff did their best to assist, and the general buzz and excitement added to the show's immersive quality. Director – Direction and Production Karen Gordon’s vision for this production was bold and inspired. Her decision to stage the piece in thrust formation, with actors weaving in and out of the audience, created a sense of claustrophobia and tension that was very fitting for the grim tale. This layout invited the audience into the grimy alleys and haunted parlours of Fleet Street, which was an effective atmospheric choice. Some of the spatial elements, however, posed challenges, particularly for audience members seated in areas with less direct sightlines. While immersive theatre is thrilling, it must balance innovation with accessibility. The overall concept was cohesive and thoughtful. There were several moments of visual and dramatic brilliance, particularly the fluidity of movement between audience and performance space, and the imaginative staging of ensemble scenes. However, more care was needed in maintaining the internal logic of the world being built. For instance, some costume pairings blurred class boundaries in ways that felt unintentional and confusing. Character dynamics, such as high society women walking arm in arm with their maids, or prostitutes, compromised the class structure that is so integral to the plot’s tension. Characterisation was another area that could have benefited from deeper exploration. Sweeney and Mrs. Lovett, while played with commitment, seemed emotionally static. These are characters with rich internal lives and a gradual descent (or ascent) into madness, and the lack of a visible arc diluted the show’s dramatic payoff. That said, other characters showed clear development and careful crafting, and there was evidence of a director who had a clear grasp of the show’s tone and themes.  Musical Director – Direction and Orchestra The musical direction under Niamh Crowley was one of the highlights of the production. The orchestral sound was full-bodied, lush, and perfectly suited to Sondheim’s haunting score. Particularly impressive was the handling of complex rhythmic patterns and tonal dissonances, elements which often trip up even the most seasoned performers. The musicians were tightly unified, and the transitions between tempos and dynamics were seamless. It was remarkable to observe such flawless cuing, especially considering the positioning of the MD, who was placed side-stage, largely hidden from both cast and chorus. Despite this, entrances were crisp, exits were clean, and the ensemble never lost tempo or cohesion. This speaks to the clarity of rehearsal, the strength of direction, and the trust between musical leader and cast. There were occasional issues with tuning and diction among some principals. In a show as lyrically intricate as Sweeney Todd , the intelligibility of lyrics is crucial to both narrative clarity and audience engagement. These minor setbacks, however, did not detract significantly from the overall musical quality, which remained a major strength throughout. Choreographer – Choreography Ciara Frahill brought fresh, intelligent movement to the production, particularly evident in the opening number, which was a dynamic and visually striking piece of storytelling. The choreography was modern and expressive without feeling anachronistic. It supported rather than distracted from the mood, and it cleverly echoed the unease and urgency of the score. Ciara’s use of spatial awareness and movement across the thrust stage was particularly effective. The ensemble work flowed beautifully, with natural transitions and well-defined formations that enhanced the chaotic yet controlled energy of the narrative. The choreography felt organic to the world, never inserted for spectacle alone, and that grounding added a great deal of authenticity. There is always room for tightening in such large-scale movement pieces, but the commitment of the cast ensured that any small moments of looseness were quickly covered with energy and intent. Leading Principals – Singing and Acting Sweeney Todd – Dave Flynn: Dave’s Sweeney had presence and vocal depth, but greater attention to diction and character development was needed to bring the role fully to life. The menace required for the role never quite landed, and a broader emotional range, particularly the descent into madness, was not fully explored. As a result, Sweeney’s journey felt more linear than layered. Mrs. Lovett – Hazel Doolan: Hazel approached the role with confidence, but more vocal support and emotional shading were needed. Mrs. Lovett’s complexity, her wit, desperation, and eventual unraveling, requires more variety in both vocal and physical choices. The performance stayed on one emotional level for much of the show, which limited its impact. Judge Turpin – Hugh O’Neill:  Hugh’s portrayal was unsettling and physically imposing, in line with the character’s sinister nature. A little more focus on vocal clarity and accent consistency would elevate the performance even further. Anthony Hope – Jack Courtenay:  Jack’s Anthony was sincere and likable, though his portrayal occasionally lacked assertiveness. This character often serves as the moral compass of the piece, and more vocal strength and emotional conviction would help anchor that role more effectively. Beggar Woman – Aoife Kelly:  An absolute standout, Aoife delivered a nuanced, layered, and physically committed performance. Her characterisation was rich with detail, each twitch, mutter, and flicker of recognition added depth. Her facial expressions and vocal inflections made the mystery and tragedy of the Beggar Woman vividly clear. Beadle Bamford – Kieran Cunnane:  Kieran leaned fearlessly into the grotesque. His performance was both chilling and darkly humorous, with excellent use of body language and a consistent, disturbing accent. One of the most memorable portrayals in the production. Supporting Roles – Singing and Acting Johanna – Katelyn Rafter:  Katelyn presented a poised and engaging Johanna. Her stage presence was graceful, and she handled the role’s demands with ease. Some additional layering in her emotional beats would enhance the character’s inner conflict. Tobias Ragg – Niall Kerr:  Niall’s Tobias was charming, naïve, and loveable. His performance was heartfelt and honest, and his vocal tone suited the role well. A sensitive and endearing portrayal. Adolfo Pirelli – Conor White:  Conor was a joy to watch. His flamboyant physicality and vocal energy made Pirelli a delightfully theatrical character. The switch in accents was flawlessly executed and added comic sharpness to the role. Mr. Fogg – Maurice Kehoe:  Maurice gave a strong and appropriately unhinged performance. His scene was brief but impactful, showing clear character commitment and vocal authority. Chorus/Ensemble – Singing, Acting and Choreography The ensemble in this production was a clear asset. Their commitment to the world of the piece was unwavering, and each performer brought individual characterisation, ensuring that the crowd scenes felt alive and textured. Their vocal sound was balanced, strong, and well-rehearsed, an impressive feat considering the complexity of the choral arrangements. Their movement across the stage was polished and thoughtful, creating dynamic pictures while supporting the leads. This was an ensemble that understood its role as both storyteller and atmospheric backdrop, and the synergy among them elevated the entire production. Stage Management & Set Design The set design was functional and effective, utilising the venue’s thrust configuration to create a fluid, immersive environment. The use of house facades on either end of the hall was a clever touch, enhancing the sense of place for audience members seated at the sides. Minimal stage management was needed, as furniture shifts were integrated smoothly into the action by the cast. This approach supported the piece’s momentum and tone without pulling focus. Overall, it was a smart and efficient use of resources that served the production well. Technical – Lighting and Sound Lighting was a triumph in this production. Moody, atmospheric, and beautifully tailored to each scene, it underscored the narrative with precision. Shadows were used to great effect, heightening tension and mystery, and the cueing was sharp and reliable. Spot work was impressively accurate, which is not easy in a thrust setting. Sound design, while mostly excellent, faced a few physical limitations due to the venue’s layout. The mix itself was well-balanced, and voices were generally clear and distinct. However, depending on where one sat, some speakers were angled away from the audience, which occasionally affected the directionality of the sound. Nonetheless, the quality of the overall mix and the interplay between vocals, orchestra, and choir was strong. Visual – Costumes, Hair and Make-Up Costumes were largely appropriate and well-executed. In immersive theatre, detail becomes paramount, and small things, such as visible safety pins or improperly fastened gowns, can distract from the costume plot. Closer detail to costume decisions, when casts have made character choices, is needed. This will help avoid clashes in social strata. Hair and make-up were particularly strong. Hairstyles were consistent with the era and enhanced each character’s presence. The make-up was atmospheric and appropriate. The Beggar Woman could have pushed further into transformative territory to heighten the dramatic irony of Sweeney not recognising his beloved wife.  Adjudicator’s Suggestions / Overall Comments Pop Up Theatre should be proud of what they achieved with this production. Tackling Sweeney Todd  is no small feat, and the overall concept, commitment of the cast, and strong creative vision made for an enjoyable and often haunting evening of theatre. Moving forward, refining diction and vocal technique among the leads will greatly enhance narrative clarity. Ensuring the design elements, particularly costume and staging, work together to support the story’s internal logic will help preserve immersion. And continuing to explore the emotional arcs of major characters will add depth and impact to key moments. This was an imaginative and courageous production, filled with promise and passion. With continued focus on detail and cohesion, this company is capable of producing truly unforgettable work. Photos by Sam Elliott Photography

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