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UPCOMING EVENTS

The Witches of Eastwick

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17 Feb 2026

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Annie

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20 Nov 2025

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AIMS Eastern Region - Makeup Workshop with Muck Make-Up

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28 Nov 2025

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Legally Blonde

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15 Feb 2026

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Hello, Dolly!

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24 Nov 2025

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LATEST NEWS

Sweeney Todd as presented by Galway Musical Society

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

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

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

The Sound of Music as presented by Dunmore Musical Society

Society Name:  Dunmore Musical Society Show Name:   The Sound of Music Adjudicator Date of Attendance:  24/04/2025 Brief Overview of Show and Evaluation of Front of House Dunmore Musical Society’s The Sound of Music  was a heartfelt and genuine presentation of this beloved classic, filled with warmth, community spirit, and a clear love for musical theatre. There was something truly touching about the way this story was brought to life by a group of performers who clearly cared about their...

Society Name:  Dunmore Musical Society Show Name:   The Sound of Music Adjudicator Date of Attendance:  24/04/2025 Brief Overview of Show and Evaluation of Front of House Dunmore Musical Society’s The Sound of Music  was a heartfelt and genuine presentation of this beloved classic, filled with warmth, community spirit, and a clear love for musical theatre. There was something truly touching about the way this story was brought to life by a group of performers who clearly cared about their characters and the world they were creating. It is always a brave undertaking to present such a well-known musical, and this group rose to the challenge with energy and enthusiasm. The welcome from Front of House was lovely, polite, and filled with positive energy. It’s always encouraging to see a team that is proud of their show. It was clear that the community supported the group and the production, so much so that that extra chairs had to be put out. Director – Direction and Production Joan MacDonnell’s overall direction provided a clear sense of pace and rhythm that kept the show moving fluidly from scene to scene, which is no small feat in a show with as many moving parts as The Sound of Music . The transitions were smooth, and the company maintained an engaging flow throughout. That said, there is an exciting opportunity for development in character work. Many of the relationships on stage could have been explored in more depth to enhance emotional connection and narrative progression. Offering the cast more individual guidance, especially on backstories, dynamics between characters, and how scenes evolve emotionally, would elevate future productions even further. With more attention to detail in this area, the group’s natural energy and warmth could become even more compelling. Musical Director – Direction and Orchestra Under Eoghan Connolly’s musical direction, the band produced a solid and enjoyable sound that served the show well. There was a confident foundation beneath the singing, and the accompaniment was steady and consistent. The mix leaned a little too heavily into the bass range at times, occasionally overpowering lighter voices and instrumental colours. A slight rebalancing would bring a much richer blend and clarity to the overall sound. Vocally, there were moments where harmonies wandered slightly off-pitch in ensemble numbers. This is an area that could easily be improved with targeted vocal workshops focusing on tuning, breath support, and blend. That said, the von Trapp children were particularly strong, each voice distinct, yet beautifully balanced with the group. Their vocal work was a standout feature and reflects some lovely foundational teaching. Choreographer – Choreography Choreography in The Sound of Music  is often subtle and naturalistic, so it was refreshing to see some creative input from Aoife McClafferty. The decision to incorporate movement in the opening number showed ambition but did feel slightly at odds with both the tone of the convent setting and the comfort level of the chorus. In such cases, simpler formations and well-rehearsed stage pictures may have conveyed the same energy more effectively. However, there were several moments where the choreography served the piece beautifully. Both versions of “So Long, Farewell” were charming and well-structured, and “Sixteen Going on Seventeen” played beautifully to the strengths of Liesl and Rolf. The decision to involve the chorus in the Laendler was a unique choice, though it did slightly dilute the intimacy of this pivotal romantic moment. Holding back here would let Maria and the Captain’s chemistry shine more clearly. Leading Principals – Singing and Acting Maria Rainer – Kate MacDonnell:  Kate was a real joy as Maria. Her voice was vibrant and agile, with lovely transitions between registers and a natural brightness that suited the character perfectly. Her stage energy was infectious, and she brought a lovely duality to Maria’s nature: playful and cheeky, yet nurturing and sincere. A very engaging performance. Captain von Trapp – Conor Walsh:  Conor brought strength and presence to the role. He portrayed the Captain’s stern exterior well, while gradually revealing the character’s softer side. The vocal quality was mellow and controlled, and his scenes with Maria were tender and believable. The romantic arc might benefit from a more gradual emotional build, to fully embrace the transformation from grieving father to loving partner. Liesl – Ciara Farrell:  Ciara gave a poised and graceful performance as Liesl. Her vocal tone was rich and mature, and her dancing was confident and expressive. She presented the eldest child with assurance and charm, bringing a strong sense of character throughout. Friederich – Ben Cheevers:  A wonderfully mature performance from Ben, who carried himself with pride and authority. He captured the character’s position as the eldest son effectively and delivered his lines with clarity and confidence. Louisa – Ella Dowling:  Ella was a sweet and understated presence. With time and experience, she has the potential to bring even more personality to the role. Kurt – Michael Farrell : Michael’s portrayal added greatly to the family dynamic. An assured performance, with some lovely softer moments.  Brigitta – Saoirse Shanks:  A confident and articulate young actor, Saoirse had a clear sense of character and delivered her lines with wonderful clarity and conviction. Her strong stage presence and self-assuredness are commendable. Marta – Saoirse Mullins:  A shy but promising performance. With time and encouragement, Saoirse will grow in confidence. Keeping focus forward and remaining engaged in the action will help her blossom on stage. Gretl – Julianna Oleiviera:  A delightful Gretl with a cheeky edge! Julianna’s performance had charm and boldness, offering a fresh take on this iconic role. She lit up the stage with her smile. Supporting Roles – Singing and Acting Mother Abbess – Theresa Turner:  Theresa delivered a quiet strength in her portrayal of the Mother Abbess. Her vocal performance showed promise, with a solid lower range. With some more training in the classical style required for numbers like “Climb Ev’ry Mountain,” there’s no doubt she could develop this role further. There’s untapped potential here. Frau Schraeder – Aine Sheridan: Aine gave a confident and stylish performance, capturing Elsa’s aloof charm and social elegance. Her accent work and physical characterisation were well-conceived. Max – Oisín Foye:  Oisín put in a good effort as Max. With stronger direction and attention to comic timing, his performance could really lift the humour of the role. Continued work on accent consistency would also help him refine his delivery. Rolf – Hugh Reddington:  Hugh gave a thoughtful and capable performance, with a pleasing singing voice. He handled the emotional shift in Rolf’s arc sensitively. This is a young performer with a lot of promise. Frau Schmidt – Sinéad Shanks, Franz – Ray McGrath:  Both portrayed their roles with clarity. Sinéad brought authority and warmth, while Ray’s inner conflict was subtly communicated. These performances added important texture to the von Trapp household. Sr. Bertha - Margaret Gerrard, St. Margaretta - Aoibhinn Ralph, Sr. Sophia - Jessica Gleeson:  This trio supported the Mother Abbess well. Their harmonies would benefit from some additional blending work, but their individual character choices gave life to the convent scenes. Admiral van Schreiber - Martin Silke, Herr Zeller - Pat Walsh, Baron Elberfield - Ignatius Mitchell:  These supporting roles helped create a fuller world. Their accent work was commendable, and their presence gave the final scenes appropriate tension. Chorus / Ensemble – Singing, Acting and Choreography The ensemble brought great energy and commitment. While some musical and movement moments needed further polish, there is a clear spirit of togetherness and enthusiasm that underpins this group. A few movement workshops and choral training sessions would go a long way toward tightening timing and harmonies. The passion is there; it just needs a bit more structure and finesse. Stage Management and Set Design The set design was charming, simple, tasteful, and highly effective. The backdrop of the mountains was particularly impressive and helped transport the audience into the world of the show. The smoothness of scene transitions reflected well-coordinated stage management. A small tip: covering the glowing comms lights would eliminate any unnecessary distraction during scene changes. Technical – Lighting and Sound Lighting had some inconsistencies, particularly with front-of-house focus and colour temperature between upstage and downstage. The use of parcan movers caused a few hot spots, and there were occasional odd colour choices and cue timings. These issues can easily be addressed with further tech rehearsal and focus refinement. The sound design was solid. The balance was mostly effective, though the lowest bass notes were occasionally overpowering and could benefit from EQ adjustments. There were a few near-feedback moments, especially on the children's microphones, so continuing to monitor mic gain and placement will help ensure clarity. Visual – Costumes, Hair and Make-Up Costumes were mostly appropriate and attractive, though some choices could be refined for period accuracy. The nun costumes could benefit from upgrading to more realistic habits, and Frau Schraeder’s outfits might be revisited with a historical lens. Hair was well-suited, though veils on the nuns occasionally revealed hairlines, which detracted slightly from the overall appearance. Neutral makeup tones for children would also be more fitting. Adjudicator’s Suggestions / Overall Comments This was a warm, sincere and heartfelt production of The Sound of Music . Dunmore Musical Society should be very proud of what they’ve achieved. The sense of community and joy was evident throughout the performance, and while there are areas to develop, particularly in character work, ensemble cohesion, and technical consistency, these are all manageable and exciting areas of growth. With continued rehearsal support, vocal and movement training, and a bit more time spent on character relationships and period details, this company has the potential to grow into something truly special. Thank you for a delightful evening and for your clear commitment to storytelling and performance. Keep going—you are absolutely on the right path.

Sister Act as presented by Castlebar Musical & Dramatic Society

Society Name:  Castlebar Musical and Dramatic Society Show Name:  Sister Act Adjudicator Date of Attendance:  29/03/2025 Brief Overview...

Society Name:  Castlebar Musical and Dramatic Society Show Name:  Sister Act Adjudicator Date of Attendance:  29/03/2025 Brief Overview of Show and Evaluation of Front of House Castlebar Musical and Dramatic Society’s production of Sister Act  offered its audience an enjoyable and spirited evening of musical theatre. The show, based on the beloved 1992 film, is a joyful celebration of sisterhood, faith, and finding one's voice. The production made good use of the large stage space and featured strong performances, crisp musical direction, and a committed ensemble. It was clear from the outset that the society had poured considerable time, energy, and heart into this show. Front of House operations were warm and efficient. Patrons were welcomed with enthusiasm and guided with clarity, contributing to a positive pre-show atmosphere. The overall mood in the theatre was one of excited anticipation. The venue itself, with its generous stage and technical capabilities, brought both opportunities and challenges, but the team handled these with admirable effort and professionalism. Director – Direction and Production Donna Ruane’s direction provided a steady and thoughtful framework for the production. This was a well-paced, cleanly executed staging that made room for humour, emotion, and character development. While it may not have taken major creative risks, it was nonetheless a successful, cohesive production. The storytelling was always clear, and characters were well defined, with some particularly touching moments, especially in the development of Deloris and the nuns’ growing relationship. Blocking was effective and ensured visibility for all performers. The choice to not keep some moments more spatially intimate and bringing focus to centre stage could be explored even further. For instance, moments of isolation for characters like Mother Superior might benefit from being physically boxed in using lighting and staging to visually support their emotional journeys. Scene transitions were handled with charm and wit, with some particularly amusing moments involving furniture being spirited offstage by cast members. These small, clever touches added personality to the production and kept energy levels high. This was a director who clearly cared about telling the story with integrity, humour, and warmth. Future stagings could build on this solid foundation by leaning more into dynamic visual storytelling and symbolic use of space and light. Musical Director – Direction and Orchestra Deirdre Lee delivered a well-balanced and musically cohesive show. The band produced a solid, rich sound that filled the expansive auditorium with ease. Harmonies across the ensemble were particularly impressive, tight, well-rehearsed, and confidently delivered. Tempos felt just right, giving the production a brisk pace that allowed scenes to flow smoothly from one into the next. The music of Sister Act  is inherently dynamic, moving between disco, gospel, and soul-inflected musical styles, and the orchestra navigated this landscape with ease. While the musical direction didn’t feature standout flourishes, it also didn’t falter, this was a consistently strong and reliable musical foundation that supported both principals and ensemble with confidence. The musical director’s work was particularly noticeable in the group numbers, which were vibrant and energising, and never felt underpowered despite the scale of the space. Choreographer – Choreography Claudia O’Sullivan approached the choreography with style, clarity, and a deep understanding of the material. Sister Act  isn’t a show known for big show-stopping dance numbers, but that didn’t stop this production from bringing energy and inventiveness to every routine. Movement was always well-placed, with careful attention paid to spacing and transitions. Formations were clever and purposeful, ensuring visual interest without overwhelming the storytelling. The routines reflected the joyful gospel spirit of the piece, and the cast appeared confident and well-rehearsed. There was never a moment where the choreography felt forced or out of place, it always served the narrative and tone. While there’s room in future productions to introduce more complexity where cast abilities allow, the restraint shown here worked well within the style and needs of the show. Leading Principles – Singing and Acting Deloris Van Cartier – Lorna Dennehy:  Lorna gave a thoroughly enjoyable and confident performance as Deloris. Her powerful vocals, combined with strong comic timing and commanding stage presence, anchored the show beautifully. She embodied Deloris’ sass, warmth, and eventual transformation with charm and authenticity. She handled both the showier numbers and the more heartfelt moments with equal strength. A standout performance. Mother Superior – Vivienne Lee: Vivienne offered a solid interpretation of Mother Superior, though her characterisation didn’t quite reach the necessary gravitas or emotional authority. There was a sense of something held back, perhaps a more austere presence or sharper delivery would have brought the character into fuller relief. Vocally, the songs sat in an awkward register, which may have impacted overall impact. Still, her interactions with Deloris were thoughtful and sincere. Sister Mary Patrick – Maria McNulty Hughes:  Maria brought bright energy and commitment to the joyful Sister Mary Patrick. Her bubbly personality and enthusiasm were infectious. Vocally, she showed great enthusiasm, though the upper register could benefit from additional support and tuning. Nonetheless, she captured the spirit of the character well and was a consistent presence in ensemble moments. Sister Mary Robert – Caoimhe Halligan:  Caoimhe gave a sweet, earnest performance. Her gentle portrayal built well towards her character’s emotional and vocal breakthrough. While her rendition of “The Life I Never Led” was heartfelt, it could benefit from further technical vocal development, particularly at the break between registers. With some targeted vocal coaching, her belt and head voice transitions could be made smoother and more confident. Sister Mary Lazarus – Aoife Halligan:  Aoife brought humour and zest to the role of Sister Mary Lazarus. Her timing was strong and her delivery full of attitude. While she may have seemed a bit young for the "cranky elder nun" stereotype, she handled the role with confidence and flair. Her presence added welcome comedic moments to the show. Curtis – Matthew Largent:  Curtis was played with commitment and a strong tenor voice by Matthew. The performance sometimes leaned a bit too much into caricature, and the genuine menace needed to make him a true threat never quite landed. A more grounded, intimidating approach would help sharpen the contrast between his world and Deloris’ newfound sisterhood. Vocally, he performed his number with polish. Eddie – Eamonn McNicholas:  Eamonn delivered one of the most charming performances of the evening. As the gentle and awkward Eddie, he showed excellent comedic instincts and warmth. His number was a highlight, and his ability to transition from confident performer to self-effacing underdog was wonderfully done. A lovely performance that endeared him to the audience. Supporting Roles – Singing and Acting Monsignor O’Hara – Eamon Smith:  An interesting choice of “Irish” accent, but Eamon’s performance was full of energy and authority. He navigated his scenes with clarity and delivered a believable leadership presence. TJ, Joey, Pablo – Enda Mulchrone, Ethan McNea, Brendan Mullins:  A hilarious trio with great chemistry. Each performer brought their own flair to their character, and together they were truly delightful. Their number was one of the comic highlights of the production, tight, well-rehearsed, and full of character. Michelle / Sister Mary Martin of Tours - Katya Harrison:  An energetic and vocally strong performance. The character switch between Michelle and the nun was executed well, with good distinction and timing. Tina – Kara Gibbons Murray:  A competent performance with a strong vocal ability, but there was a noticeable gap in confidence and energy compared to her counterpart. With more experience, Kara will grow in presence and performance strength. Ernie – Damien Fee:  A lovely comic performance. This small role was played with spot-on timing and physical humour, offering one of those brief but memorable moments of levity. Sister Mary Teresa – Katie Loftus:  Katie added strong character energy to the featured nuns. Her engagement and enthusiasm were clear and helped support the ensemble scenes with subtle but effective contributions. Chorus/Ensemble –  Singing, Acting, and Choreography The ensemble in Sister Act  was one of the show’s great strengths. Their vocal work was exceptionally strong, with clear harmonies and good diction. Movement was crisp, transitions smooth, and their collective energy palpable. There was a great sense of camaraderie, particularly important in a show like this where “sisterhood” is central. The ensemble delivered both humour and heart, and their commitment was evident throughout. A well-coordinated, joyful chorus who added tremendous value. Stage Management & Set Design The set design made good use of the large stage, though at times the space felt a bit underused or too open. The static stone wall backdrop was effective, but the raised side sections could have been employed more dynamically. Projections were used well, though there was one notable mismatch in Eddie’s apartment where the scene was set in the bedroom, but the backdrop was a living room. Overall, stage management ensured a well-run show, and the team deserves credit for maintaining pace and flow across a technically demanding production. Scene changes were generally smooth, though a few moments felt slightly slow, or could have used better coordination. Technical – Lighting and Sound Lighting was a mixed element of this production. While some scenes had lovely stage pictures, there were notable dark spots in front-of-house areas that affected visibility. There also appeared to be interference from the line array speakers, creating shadows at the DSR and DSL entrances. Some better cross-focus or repositioning of the speakers could help. Sound was mostly very good, if perhaps a touch too loud, but the mix was balanced and clear. Cues were well executed, and there was strong balance between vocals and band. Visual – Costumes, Hair and Make-Up Costumes were a visual delight, particularly Deloris’ wardrobe, which sparkled and shone just as it should. The nuns’ habits were appropriately styled and visually cohesive. The male costumes, including the gangsters, were well chosen and added to the 70s vibe. Eddie’s quick changes were particularly impressive and slickly handled. Hair and makeup were subtle but suitable, though mostly hidden under habits. Adjudicators suggestions/ comments-  overall comments on the production and comments to enhance the standard for future performances. This was a vibrant and heartfelt production, led by a committed team who clearly understood and respected the spirit of Sister Act . There were many lovely performances, strong vocals, and confident staging choices. While not groundbreaking in its interpretation, it was thoroughly entertaining and showcased the society’s talents well. For future productions, opportunities include deepening character arcs, especially for key roles like Mother Superior and Curtis, and exploring more ambitious staging and lighting choices to enhance mood and theme. With some fine-tuning of technical elements and vocal support for developing performers, Castlebar MDS has the potential to elevate already solid work to something truly special.
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