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30 Sept 2026

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Review: We Will Rock You - Castlebar MDS

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

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

Review: Follies - GUMS

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

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

Review: Charlie and the Chocolate Factory - Claremorris Musical Society

Society name: Claremorris Musical Society Show name: Charlie and the Chocolate Factory Date of attendance: 31 st January 2026 There are very few pieces of music that can transport me back to my childhood in the same way that the opening notes of ‘Pure Imagination’ do. Every time I hear those unmistakable strains, something deep and nostalgic is stirred within me as I recall the anticipation of my siblings and I waiting for our favourite film to come on our rented television set, many moons...

Society name: Claremorris Musical Society Show name: Charlie and the Chocolate Factory Date of attendance: 31st January 2026 There are very few pieces of music that can transport me back to my childhood in the same way that the opening notes of ‘Pure Imagination’ do. Every time I hear those unmistakable strains, something deep and nostalgic is stirred within me as I recall the anticipation of my siblings and I waiting for our favourite film to come on our rented television set, many moons ago. And so, making my way to Claremorris Musical Society’s production of ‘Charlie and the Chocolate Factory’, I was so excited to see how this story would unfold on stage. My excitement was rewarded with a most vibrant, often exhilarating piece of theatre. It would have been easy, perhaps, to dismiss Roald Dahl’s beloved tale as lightweight entertainment with little substance beneath the surface. But nothing could have been further from the truth. Claremorris Musical Society invited its audience to suspend cynicism and to embrace ‘pure imagination’. The result was a truly memorable theatrical experience. From the moment we arrived in Claremorris Town Hall Theatre, the front of house experience was warm and genuinely welcoming. The tone was set by colourful décor that reflected the vibrant look of the show itself. Bright colours and playful touches created an atmosphere of anticipation, suggesting that something magical awaited us. There was a notable buzz in the foyer, with a large number of children present. The front of house crew was exceptionally friendly and efficient, managing the lively crowd with ease and warmth. Donna Ruane’s direction was excellent throughout. Her vision was clear and she had a real understanding for the spectacle required and, importantly, the heart of the show. Her work with the children, in particular, was outstanding, as they each delivered exceptionally clever performances. Her work with the ensemble was equally impressive. Pace was slick throughout, with scenes flowing seamlessly into one another, ensuring that the story’s momentum was always the priority. Comedy was handled extremely well. Lovely directorial touches raised the bar throughout. Charlie throwing his letter into the audience as a paper aeroplane was delightfully theatrical. The image of Willy Wonka placing the top hat on Charlie’s head was beautifully symbolic, a simple yet powerful gesture that bookended Charlie’s magical journey. Deirdre Lee did a superb job as musical director, conducting eight very talented musicians from her keyboard with great assurance and precision. The orchestra produced an excellent sound throughout, at times creating an almost cinematic soundscape that complemented the storytelling perfectly. The balance between pit and stage was carefully managed, never overwhelming the performers. Principal vocals were consistently strong. The children’s singing was particularly impressive, with every younger member of the cast singing with remarkable confidence and musicality. Ensemble vocals were excellent, exactly as one would expect from a musical director with such extensive choral experience. ‘The Candy Man’ set a high bar, with a gorgeous, full-bodied sound that drew us in from the very start. The decision to have the full company reprise ‘Pure Imagination’ after the bows proved to be the perfect musical conclusion. It was sung with such warmth and was so chorally impressive, that we left on a tidal wave of nostalgia. The very talented Jay Molyneux devised choreography that was clever, engaging and perfectly tailored to the abilities of his cast. Preparation, creativity and careful rehearsal were evident throughout, ensuring that routines were confidently executed whilst always supporting and driving the narrative. ‘The Candy Man’ was a lovely opening number, with choreography that was simple in structure yet sharp and highly effective in execution. ‘The Queen of Pop’ was brilliantly moved, with the Beauregardes and the fabulous troupe of dancers performing a number bursting with personality and flair. The celebratory excitement of ‘I’ve Got a Golden Ticket/Grandpa Joe’ radiated pure joy and ‘It Must Be Believed to Be Seen’ stood out as a very strong ensemble piece. Niall Conway gave a standout performance in the iconic role of Willy Wonka. Mr. Conway’s portrayal was eccentric, intelligent and very funny indeed. From his very first appearance, there was a glint in his eye and an unmistakable undercurrent of mayhem. His comic timing was wonderful, never overplayed. His dual portrayal as both eccentric chocolatier and sweet shop owner was cleverly differentiated. Vocally, Mr. Conway brought a fine baritone voice to the role which was warm, resonant and wonderfully expressive. His interactions with Charlie were beautifully pitched. A memorable portrayal which captured the complexity and fun of Dahl’s iconic character with great nuance and charisma. David Alexander turned in a superb performance as Grandpa Joe, creating a character that was warm, believable and very funny. He embodied the frailty of a man who had been confined to bed for decades. His physicality was excellent. Every small movement had thought behind it and Mr. Alexander, not an elderly man himself by any means, was entirely believable as the aging grandfather. His gradual move from doddery infirmity to celebratory glee was brilliantly judged. His connection with Charlie was heartfelt and sincere. There was genuine warmth and affection in his performance, and the bond between the two felt so authentic. Ronan Egan as Grandpa George, Mairéad McDonnell as Grandma Josephine and Josie Gallagher as Grandma Georgina were a wonderfully cast trio as Charlie’s other three bedbound grandparents. The strength in depth of this cast was highlighted by these three performers who brought great individuality and comic intelligence to what could easily have been throwaway characters. Confined physically to the bed in the loft of the Bucket household, they nevertheless created a dynamic and highly entertaining presence whenever they appeared. Mary Dempsey’s performance as Mrs. Bucket was, for me, a highlight of the show. Ms. Dempsey radiated a natural sincerity that made every moment utterly believable. Her maternal instinct was palpable, with every glance towards Charlie, every protective gesture showing a depth of feeling that was never exaggerated. In ‘If Your Father Were Here’, she delivered one of the most heartfelt moments of the evening. It was sung with longing for her absent husband, for a better life, and for Charlie’s happiness. Vocally, she had a beautifully expressive singing voice. Her delight when Charlie found the Golden Ticket was heartwarming. A most memorable portrayal. Nicole Scott was hilarious as Mrs. Gloop, enjoying every moment of outrageousness whilst keeping control of the comedy at all times. She commanded attention with her very funny physical choices and wonderfully exaggerated presence. She understood the tone and style required and leaned into it with confidence, with a larger than life, hilarious portrayal. Ms. Scott’s facial expressions were a masterclass in comic characterisation and she milked each comedy moment without ever overcooking things. Vivienne Lee gave a highly entertaining performance as Mrs. Teavee, fully embracing the frazzled intensity of a mother at the end of her tether. It came as no surprise that she was frequently swigging from her hipflask. Each discreet (and sometimes not so discreet) sip spoke volumes about her coping mechanisms! Ms. Lee’s interactions with Mike were a believable mix of frustration and denial. Her wonderful comic timing and expressive reactions were so sharp. Paul Singleton’s incredibly elastic physicality in the role of Mr. Beauregarde was hilarious. It was clear from the outset that his body was going to be as expressive as any line of dialogue. He didn’t so much walk as slink and slide across the stage, his limbs seemingly made of rubber, bending and stretching with gloriously exaggerated control. Mr. Singleton was particularly brilliant in ‘The Queen of Pop’. What an amazing mover he proved to be in this number. His sharpness, rhythm and style was superb throughout. Joff Manning cut an imposing figure as the Russian Mr. Salt, bringing a commanding stage presence to the role. He was every inch the self-made magnate, accustomed to getting his own way. His Russian accent was wonderfully sustained and added both colour and comedy to the character. Vocally, he impressed greatly in ‘When Veruca Says’. It was an excellent portrayal overall, confidently delivered with superb presence and control throughout. Rose Murphy and Ailbhe Gallagher were an hilarious duo as roving reporters Cherry Sundae and Geri Jubilee, injecting sharp bursts of comedy every time they appeared. Their gleeful sensationalism and animated delivery gave us a perfectly pitched parody of media hysteria. To have two such skilled comediennes in these roles underlined the remarkable strength in depth of this cast. Another standout performance came from Hazel McGlynn in her delightful portrayal of Mrs. Green, the mouldy vegetable peddler whose entrepreneurial instincts kicked into overdrive during the chocolate ‘boom’. Though very much a cameo role, it was played with such flair that it became one of the most memorable character turns of the evening. It was the work of a skilled actress, proving that, in the right hands, even the briefest appearances can leave a lasting impression. Perhaps the most remarkable aspect of this production was the extraordinary calibre of the children who were cast in principal roles. At the centre of it all stood Ryan McDonnell as Charlie Bucket, delivering an exceptional performance that held the show together. What a talented young man he proved to be. He brought sincerity, warmth and emotional intelligence to the role, capturing Charlie’s optimism and resilience so well. Musically, Ryan was very impressive. He had a beautiful singing voice with great expression and control. In ‘Willy Wonka! Willy Wonka!’ he shone as he expertly guided us through Wonka’s origin story with confidence beyond his years. Ryan also had a lovely comic touch, handling lighter moments with impressive timing. Ódhran Morley Manning delivered a very funny and confident performance as Augustus Gloop. Complete with padding and traditional lederhosen, he was wonderfully exaggerated from the outset. Ódhran looked like he was enjoying every minute on stage with gluttonous enthusiasm. He had a lovely singing voice too that balanced nicely with his comic characterisation. Hazel Cheevers gave a brilliant performance as the Russian ballerina and thoroughly spoiled Veruca Salt. Hazel radiated entitlement and was every inch the over-indulged daughter accustomed to getting everything she wanted. In ‘When Veruca Says’, Hazel showcased her brilliantly expressive singing voice to tremendous comic effect. Her accent was strong and consistent, complementing the excellent physicality she brought to the role. Every gesture was carefully judged. Abbie Flatley was quite fabulous in the role of Violet Beauregarde. From the outset, she captured Violet’s fierce competitiveness and larger-than-life confidence with conviction. There was a boldness to her performance that suited the character perfectly. Abbie gave a fully committed portrayal that never dipped in intensity. ‘The Queen of Pop’ was brilliantly performed and showcased what a tremendous voice she had. A superb all-round performance from another wonderful young talent. Just when it seemed that the well of young talent couldn’t possibly run any deeper, along came eleven-year-old Michael Farrell in the role of Mike Teavee. What followed was an astonishingly good performance. He captured the over-indulged, screen-obsessed youth with such great skill and intelligence that we couldn’t help but warm to him. Michael showed impressive musicality, excellent phrasing and a confidence well beyond his years. He even managed to get in a moonwalk! The ensemble, made up of a talented bunch of adults and children, showed excellent acting and reacting throughout the production. They were fully engaged in each scene, listening and responding at all times. The dancers in ‘The Queen of Pop’ were wonderfully sassy and brimming with confidence. The ensemble was particularly outstanding in the brilliant Act One finale, ‘It Must Be Believed to Be Seen’, where their exceptional vocals combined with fantastically sharp and precise movement to create a show-stopping moment. Special mention must also go to the Oompa Loompas, whose wonderful vocals and suitably quirky movement brought smiles to our faces as they rounded out an ensemble performance of the highest standard. David Keane’s stage management was brilliantly slick, ensuring that the storytelling never faltered for a moment. In a show as episodic and visually demanding as ‘Charlie and the Chocolate Factory’, seamless transitions are key and Mr. Keane achieved these with great consistency. Scene changes flowed effortlessly, allowing the story to move along at a superb pace. An excellent crew did truly Trojan work thanks to careful coordination and disciplined execution. Using well-rehearsed cast to assist with certain transitions, notably in moving the sweet shop, was very effective and often felt like an extension of the staging rather than standalone scene changes. The set design was ambitious, imaginative and quirky; exactly what is needed for a show of this nature. The side flats were beautifully realised with industrial cogs and a chocolatey colour palette framing the action perfectly and creating an immediate sense of Wonka’s mysterious world. The sweet shop truck, painted in vibrant reds and bursting with oversized confectionery, was a child’s dream. The use of giant lollipops and Wonka bars branding added great scale and colour. The Bucket household was wonderfully contrasted with the glorious colour of Wonka’s world. The stacked bed up in the loft, cluttered with blankets, patched quilts and hanging laundry, told a story of poverty. The integration of projection and lighting within the set worked so well. The glass elevator, outlined in glowing light, was both simple and theatrically effective. There was an audible gasp when it began to rise! Overall, a wonderfully strong design which added so much to the visual appeal of the show. The lighting design and operation were excellent throughout, always enhancing the mood and complementing the energy. There were countless highlights from a lighting perspective. ‘The Queen of Pop’ was particularly striking, with vibrant colour and dynamic movement. The use of moving lights reflected the energy and bravado of the number perfectly. In contrast, ‘If Your Father Were Here’ was beautifully lit, showing a sensitive understanding of mood and adding to the poignancy of the scene. The moving light that tracked Mrs. Bucket was perfectly timed, isolating her and providing us with emotional focus. The chasing light effect as the Golden Ticket winners fell onto the stage at the top of Act Two was a simple but clever inclusion. The use of blinders as the SS Wonka was set worked superbly. The sound design and operation were superb throughout. No obvious cues were missed. There was always a great balance within the orchestra. Vocals were beautifully balanced against the band, ensuring that lyrics were consistently heard. Sound effects were equally impressive and added great character to the production. From Augustus’s disturbingly funny burp, to the industrial warning sirens that heightened tension within the factory scenes, each effect was chosen and executed with care. Overall, an expertly managed sound design. The costume design was wonderfully detailed and contributed greatly to the storytelling. From the poverty of the Bucket family to the extravagance of the Golden Ticket winners, this was a most impressively costumed show. Each costume told us who these characters were before they even spoke. The Bavarian-inspired dresses were bright and playful. The Oompa Loompas’ did not disappoint those of us who grew up with the original movie. The squirrels’ soft grey costumes, complete with massive tails, were particularly effective. Wonka himself was a visual triumph. The plum coat, vibrant waistcoat, striped tie and top hat created that iconic image that we expected. There was excellent attention to detail in the props department, with each carefully chosen item helping to bring the story to life. The Bucket household, in particular, was richly authentic. The four newspapers spelling out the headline ‘Wonka Factory To Open At Last’ was inventive and playful. Mrs. Green’s vegetable cart was another triumph. Complete with ‘mouldy’ vegetables and perfectly branded signage, it was a nicely comedic visual. Augustus’s string of sausages added to the physical comedy of his character. Wonka’s oversized list of rules was used to comic effect; the scale of the prop adding to the absurdity. Overall, the props department did a wonderful job in adding to an already powerful visual spectacle. Hair, wigs and make-up were of a very high standard throughout. The ageing make-up and carefully chosen wigs for the four grandparents were particularly effective. The Oompa Loompas’ vivid green wigs and orange make-up were strikingly uniform and consistent, achieving a wonderfully ‘cloned’ visual. I loved Mrs. Teavee’s immaculate blonde wig, which perfectly matched her highly strung persona. Mrs. Bucket’s natural, understated look complemented her sincerity and characters such as Mrs. Gloop and the roving reporters were given more exaggerated looks to heighten comedy. This was a wonderful production by Claremorris Musical Society. It was genuinely difficult to identify a weak link anywhere, such were the consistently high levels of performance, technical execution and artistic vision. From principal roles to ensemble, from orchestra to backstage crew, every department worked at an impressively high standard. What was most heartening of all was the society’s extraordinary work with its young performers. The platform given to these talented children allowed them to shine with exceptional confidence and skill. Nurturing such talent is so important and I have no doubt that the seeds sown will result in a dazzlingly bright future for Claremorris Musical Society as this exceptional generation of young talent continues to entertain. Space this watch!...Strike that, reverse it! Pat McElwain Sullivan Adjudicator 2025/2026

Review: Jesus Christ Superstar - 9 Arch Musical Society

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

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

Review: 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 21st 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.

WESTERN SOCIETIES

Below is our comprehensive list of WESTERN societies.

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

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