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Legally Blonde as presented by Castlebar Musical & Dramatic Society

LEGALLY BLONDE CASTLEBAR MUSICAL AND DRAMATIC SOCIETY 7TH – 9TH MARCH 2024 Adjudication Performance 7th March 2024 It was a glorious day...

LEGALLY BLONDE CASTLEBAR MUSICAL AND DRAMATIC SOCIETY 7TH – 9TH MARCH 2024 Adjudication Performance 7th March 2024 It was a glorious day upon my arrival into the town of Castlebar as I looked forward to this performance of Legally Blonde by this lovely Society who this year are celebrating their 10th Birthday. The front of the House was a tight ship. It was well run, with many front-of-house staff milling through the theatre on the busiest of evenings when I arrived. I was looked after by Ms Anne Marie Gibbons, PRO of the Society, and the full team. It was very well supervised and executed, and the theatre, as large as it is, was filled rapidly and with little fuss. Well done, Front-of-House Team. I was surprised to see just how big this venue was, and, once I was shown to my seat there was a charming vibe already emanating from this audience as they awaited the performance to begin. The director for this production was Ms Donna Ruane. Ms Ruane had a lovely vision for this show. It is sometimes, I believe, quite challenging to translate the film we all know to a stage production that is so dynamic and vibrant and so full of energy. Ms Ruane brought a sense of fun to this show as Director. It is one of Ms. Ruane’s strengths to bring out critical moments in the show beautifully, which impacted the audience through lovely emotion, lovely humour, and good casting. We were immediately brought into Elle’s world, a world of pink, fun, and fluffiness, and I instinctively wanted Ms Woods to succeed. Ms Ruane's lovely direction for this role was excellent. This was a very entertaining show. Particular mention was the Harvard Law School scenes, “Bend and Snap” and the courtroom scene with Carlos which was particularly well done with beautiful comedic timing. This cast was well-balanced and worked very well together, and I do believe it worked well with Ms Ruane at the helm also and the rest of her production team. Ms Claudia O'Sullivan was the choreographer for this show. As I type, the first thought that comes into my head immediately is, “Bend and Snap.” What a tremendous choreographic number this was. The energy bounced off the stage, and the fitness levels must be colossal!! The energy throughout your Choreography was so slick and well-moved, and everyone was so very well in tune with one another, with not a foot wrong. “Oh My God” was so energetic that it bordered on excited hysteria!! “What You Want” was moved well, with so much energy again, and it was one of the show's highlights for me. Superb Choreography here and such an immensely long number which required so much fitness. Not once did the energy levels and electric vibe change. I looked forward to the dance numbers and was not disappointed. Very well done, Ms O’Sullivan. The Musical Director for this show was Ms. Deirdre Lee. Ms Lee had a clear understanding of the music and brought out the best performances from the cast. The music throughout added beautifully to the show, and this Orchestra was very well-balanced and created a lovely sound, never overshadowing the cast. An excellent Job, Ms Lee, and it enhanced the show wonderfully. The Stage Manager for this production was Mr. Brian Murphy. This show ran very smoothly from start to finish. To give but two examples, the scene where Elle takes some new clothes and the clothes rails are slowly and smoothly moved on stage by the backstage crew dressed professionally in black on either side, not disturbing the dialogue or the players. The scene where Paulette's salon is brought on stage again while the cast was speaking was expertly well done, along with the videography of illusions that donned the theatre throughout with scenes of golf courses, Harvard Law, Jail, and Library. The list is endless, all the intricate little details which I love were so beautifully woven into the production was so very well run by Mr Murphy as Stage Manager and his team—well done. Set Design Construction and Props were the responsibility of re-staging set design Co and, most importantly, the very clear and distinct videography. These projections worked well. Examples include the men's department store and golf course. Paulette's set salon was beautiful, so pretty, and so versatile. The clothes rails in the men's department store and that excellent caravan were visually and practically superb. The only set that I felt could have been better was the set for Oh My God, you guys with the Delta Nu. I do think the set could have had more depth to it and some more detail as it was pretty flat. I understand that sets are a massive part of any production, and there are many reasons why a set is used or developed in the way it is, but just personally, when so much videography is used in other scenes when there is an actual physical set that it could be more embellished, decorative and more accurate. However, in complete opposite, Paulette’s Salon was simply superb; I loved the wallpaper, the attention to detail, and the colours, which were all so lovely. It was so beautiful, and the incredible detail that had been put into this was obvious. The sound was by Frankie McDonald—McDonald AV. The Sound was excellent throughout. Mics between the Orchestra, principals, and ensemble were very balanced. Very well done here, given the amount of vigorous movement, dancing, singing, and dialogue involved. I did not once hear a flaw, error, or imbalance. There is no mean feat in such a lively production. Very done, Mr. McDonald. Simply awesome. Lighting was by Indigo Lighting. Again. Excellent. Beautiful colours, bursts, and flashes are beautifully used throughout. I felt some areas could have been lit with more spots or vital lighting, such as the Delta Nu Sign on the opening set. I couldn’t read it properly from where I was seated. It needed more light on the sign so the audience knew where this particular part of the story was happening. It's just a minor issue, but I must mention it. There was excellent use of spots elsewhere, particularly on Elle and other main characters. These colours spot lit the main characters successfully and effectively, to create beautiful visuals, and enhance the storyline beautifully. Costumes by Nomac Productions were smashing. Particular mention to ALL of Elle’s wardrobe, Paulette’s wardrobe was a sheer winner throughout, Emmet, the poor student, Warner the wealthy, and Vivienne Prim and Proper. Still, Kyles's costume also drew a laugh from the audience with his cool costume and his swagger, and the chorus all were costumed effectively and were a visual explosion of lovely colour throughout. Props were provided by Re-Staging Set Design. Superb attention to detail here, from Emmet's satchel to Paulette's salon to the courtroom scene with Carlos, and one could not forget to mention it. However, Bruiser and Rufus were glorious editions to the performance, drawing oohs and aahs and awws throughout the show. Props were a huge contributor to this lovely feel-good show's overall magic. Well done to the props team. Great job. Lorna Dennehy played Elle Woods. Bubbly, pretty, gorgeous voice, massive energy, fantastic dancer, and an excellent Elle from start to finish. From the very first second you bounced onto the stage, you were a bright light, a beautiful Elle Woods, with lovely chemistry with your fellow cast members, notably Warner and Emmett, but also with your other characters, specifically Serena, Margot, Pilar, and, of course, your beautiful friendship with Paulette Bonafonte. You have a lovely voice, with a colossal dynamic and tone moving from energetic to emotional, from being so vulnerable to being so strong. “So Much Better” was an absolute highlight, showing off your vocal range beautifully with so much emotion. You were so charming. I warmed to you immediately. You moved beautifully and with great energy in so many dance numbers, and it was lovely to witness you in this role you created as Elle Woods. Well done, Ms Dennehy. Margot, Serena, Pilar, and Kate were played by Nicole Scott, Emma Daly, Ewa Cieslak, and Sophia Byrne, respectively. What a fabulous troupe you all were in this show full of life and joy you were when you each walked on stage. You were a tour de force to be reckoned with, with breath-taking energy and a friendship and loyalty to Elle that was admirable and a joy to watch every single time you, arrived on stage. Your physical fitness levels and energy were something to be envied (a part I will never audition for !!), as were your bubbly personality and great costumes. It was magnificently played and so wonderfully cast. Bravo. Paul O’Brien played Emmet Forrest, a lovely, heart-warming character loving the simple things in life with no drama. Humble, earnest, and lovely humility endeared me to Mr O’Brien’s character in this role. I loved your transformation from a rather shy, reserved, and quiet man into the lawyer you became and the confidence you gained through the show. With a vocal that seemed a little nervous initially and underconfident, you did get more confident as the show progressed, and you were a lovely Emmett. This was a charming, simple, humble part, and you wore your heart on your sleeve. I liked your portrayal of Emmett Forrest Mr O’Brien from beginning to end. Olwyn Behan played Paulette Bonafonte's part. What a glorious role. What a gorgeous character you were, Ms Behan. And a beautiful vocal. “Ireland” was a highlight of the show for me. There was such lovely rapport between you, Elle, and the rest of the cast; you were lonely, unbelieving in yourself, and blind to your beautiful personality, believing you would never find love and being unhappy. And you blossomed in this part. You moved around the stage effortlessly with lovely, funny facial expressions and drama. Your song Ireland showed your utter vulnerability and longing for a man who will love you as much as you loved the idea of Ireland. You played this part very well, Ms Behan. I loved you in it. Well done. Again – fab costumes!. Matthew Largent played the part of Professor Callaghan. What a strong character Mr Largent made in this role. He had a bit of an attitude of great self-importance and very egotistical in this role. Mr. Largent had an air of authority about him from the first moment he arrived on stage. The song “Blood in the Water” was well played, while a bit of light on the higher notes however, it was still a good vocal. Strong character. Well-acted Mr Largent. Enda Mulchrone played Warner Huntington III. Mr Mulchrone played and acted well in this part. I did feel that Mr. Mulchrone's vocal performance was somewhat inconsistent, where, at times, some notes broke or were lighter than others or under the note in singing. I felt Mr. Mulchrone could have been a little more passionate, and more emotion could have been given firstly to breaking up with Elle, and then to his romance with Vivienne, and then to his desolation at Vivienne breaking up with him. Visually, Mr. Mulchrone, you looked great, fabulous costumes. and with Vivienne and Elle aesthetically, you were a fantastic group and well-cast. It was just a little on the vocal and the emotions that I felt you could have given more on the evening I attended. Katie Padden played the part of Vivienne Kensington. Straightlaced, proper, strict, and very serious, this part was played very well by Ms Padden. I lost some words in the earlier scenes when she was initially introduced to the audience. I felt that some of the dialogue was spoken into the wings rather than to the audience for some of Ms Padden's dialogue. I think more emotion and love was needed and her feelings for Warner could have been a bit stronger in the overall performance. Ms Padden has a beautiful speaking voice. Sarah Granahan played the part of Brooke Wyndham. Again, a great part played with great energy, fiery passion, and the urgency of a woman who has been accused of the wrong and is fighting her case to be cleared and freed of the murder of her husband. “Whipped into Shape” was a visual treat with enviable energy from beginning to end. Superb acting and comedic timing. Ms Granahan, you played your part very well, and again, I envied your energy! Well done. Aoife Halligan played Ms. Hoops, a supportive role for Brooke Wyndham as a fellow inmate in jail with Ms. Wyndham. Ms Halligan played a lovely part here. And there is no such thing as a small part. Well done, Ms Halligan. I also wish to mention the part of Kyle. I loved your entrance through the audience with the house lights on you, and your swagger was brilliant and hilarious. Your charm and the love you had for yourself (!) were so funny. However, your interactions with Paulette really won me over in this part for you. You lit up the stage, the audience lapped up your fun sense of humour, and your joie de vivre, and the dialogue between yourself and Paulette and her reactions was one of the best pieces of comedy I have seen on a stage on my journey this year. Chorus- Every number in this show was sung well and to a very high standard, with lovely balanced harmonies and excellent sound and tone. With so many numbers, this chorus played a massive role in this show's success. Harmonies were beautiful, moving from soft singing in the more emotional scenes to tremendous singing in the more significant numbers, including choreography mentioning “Bend and Snap” and “Oh My God you Guys” in particular. This Chorus was a vocal delight from start to finish. Well done to every one of you. You are a lovely, talented, and very young Society who did a marvellous job with this year's show. And as a Society as a whole, I applaud you all. It was a pleasure to be in your company this evening, and I applaud every one of you for your performances on stage, backstage, in front of the house, in the committee, orchestra, or production team. It was my pleasure to be in your company, and I wish you ongoing success and many more years to come. Thank you. Caroline Daly Jones Sullivan Adjudicator 2023/2024 Some photos shared by the society - Photographer - Alison Laredo

Singin' In The Rain as presented by Sligo Musical Society

SINGIN' IN THE RAIN as presented by SLIGO MUSICAL SOCIETY, HAWKS WELL THEATRE, SLIGO. TUESDAY 13TH FEBRUARY – SATURDAY 17TH FEBRUARY,...

SINGIN' IN THE RAIN as presented by SLIGO MUSICAL SOCIETY, HAWKS WELL THEATRE, SLIGO. TUESDAY 13TH FEBRUARY – SATURDAY 17TH FEBRUARY, MATINEE 17TH FEBRUARY. Adjudication Performance, Wednesday 14th February. “Happiness can shine through, even in the darkest of times”. “Singing in the Rain” is set in the 1920’s and takes place in Hollywood. The story coincides with the changes involved in transitioning from “silent movies” to “talkies”. This enchanting musical is filled with many very memorable song and dance numbers and is Sligo Musical Society’s 23rd Production in the beautiful Hawks Well Theatre. What a buzz on the evening I attended which was the 2nd performance of the run, jam packed to the rafters with an electrifying chatter and laughter in the foyer from the patrons. This show was sold out completely. What a wonderful boost for the hardworking production team and indeed the full company. Chairperson Mr David McEvoy also Director single handily looked after me before, during and after the show with his time, his kindness and his effusive and lovely warm welcome, when he absolutely could have been elsewhere with his cast and full company, and it was so very much appreciated. I could have talked to you for hours more! I am so very grateful. Thank you. Mr McEvoy’s Direction was slick, professional, and authentic. Mr McEvoy produced a show that had a sprinkle of everything to ensure success. The dancers, the props, the actual shower of rain on stage (which was a vision of brilliance), the sets, the magnificent cast, the orchestra, the costumes, sound, beautiful lighting and the chorus sounding splendiferous in every single number was something to behold. From the Overture which was the 1st notes of “Singing in the Rain”, the stage was alight with movement on the curtains of light, and spots and a marvellous sound from the orchestra from note one and throughout. When the curtains DID open the opening scene really did feel like I was watching the Oscars such was the glamour and bling, the silver and colour that lit up the stage. The smallest of attention to detail can be so important, and can sometimes make the biggest impact, and I was immediately drawn to the wonderful microphone used in this opening scene. We were immediately taken back to the 1920’s. Simple yet so effective in drawing the audience into the era of this amazing show. There was a scene at the end of Act 1 before the Interval where the famous number “Singing in the Rain” is performed. During this number, water flowed from the ‘ sky’ in a beautiful rain shower, lots of it cascading down on to the stage floor. The water as it fell covered the width of the full stage, the lights caught it and it appeared to be dancing. It was MAGNIFICENT. The cast were very well drilled and really suited all their parts. Super and well done. Choreography was the responsibility of Thomas Spratt and Melody Urquart. Ms Urquart was also Production Assistant. “Broadway Melody” with Cosmo, dancers brought the house down. What a number. “Make Em Laugh” with Cosmo and the ladies was moved and choreographed so very well - it was a picture. “Good Morning, Good Morning” with Cathy, Don, & Cosmo was brilliant. So very elegantly moved the trio musical number flowed magnificently and these three were perfectly in sync with one another in this fun, lively showstopper of a number. Super choreography here. Well done! The Finale of Act 2 after the bows was so good. I loved it. Not a foot wrong and so much energy and perfection!. However, it was the magnificent, and beautiful “Singing in the Rain” with the ensemble and Don that for me was the highlight (one of many) for the evening for its choreography, performance and slickness. A stunning number. Mr Spratt and Ms Urquhart are a talented duo and I applaud you both and wish you all the best for your brightest of futures with your magnificent talent. Bravo. The Musical Director and Vocal Director was Charles O’Connor. The Orchestra numbered 7 in total with Mr O’Connor on Piano, Austin McManus on Violin, Don Swain, Clarinet / Flute, Brendan Kennedy, Trombone, Paul Kiernan Trumpet, Eddie Lee Bass, and Alan “Mack” McEvoy on Percussion. This Orchestra produced a lovely warm tone throughout and enhanced the show wonderfully including Overture, Entr’acte Act 2 and continued to play as the audience left the Theatre. This was a lovely touch. This Orchestra were a good team. Specific mention to “Fit as a Fiddle”, “You are my Lucky Star” “Moses Supposes” the fabulous “Good Morning” the empathy in Lena’s ( Emily Tansey) solo “What’s Wrong With Me” “Broadway Melody” and the oh so memorable and beautifully played number the world over renowned and beautiful “Singing In the Rain” to mention but a few. Well done. Stage Manager was Ms Lorna Davey. This show ran very smoothly. Given the amount of scene changes, projection scenes, movement of sets on stage and backstage this was always going to be tight with the backstage being very small, on both wing areas, and at back wall of theatre. Super set for “ Broadway Melody” along with “Make Em Laugh” with Cosmo, with the set being the Stage at the Monumental Pictures Studio. The film crew cameras were superbly made with great attention to detail even from where I was sitting. Mr Sid Phillips (Darren Kerr) was Sound Engineer (in Singing in the Rain as a character) and the sound room on stage was very authentic painted in a subtle but effective warm red was a great success as were the simple benches down stage for the “Audience” (cast members) to sit on to watch the “Duelling Cavalier”. Ms Davey as Stage Manager, throughout the performance and through many scene changes, your work was effective, clever, organised and simply done. I like simple. And it worked. Superb Stage Management here Ms Davey. Part of a great team. Congratulations. Stage Set (Design and Construction) and Stage Set (Projections) were the responsibility of Mr Wayne Handy and Projections by Broadway Media / James McManus. The sets were solid, moveable, colourful and appropriate to the era. The projections were consistently a highlight of the show throughout. They were all stunning, fitted beautifully and enhanced the production so much. Lighting Design was by Barry McKinney. I have already mentioned Mr McKinney’s artistry throughout this show and indeed you must have been a very busy man for the duration with lighting being a huge key to this shows success. Scenes such as “In My Imagination” with Kathy’s solo and Cosmo playing the piano was beautifully lit. Specific mention indeed to the Lighting in Broadway Melody. The stage was lit in a myriad of colour, reds, greens, whites, blues, spots, it was an absolute vision of light. I particularly loved your work in this number Mr McKinney and indeed throughout the show. It was beautiful. And I commend you greatly on your talent and how your lighting enhanced this performance so much and in so many areas. Beautiful. Sound and Sound Engineer was Mr Stephen Clancy, assisted by Ruairi Hanley. The sound was very good overall. I loved the “huge applause” effect throughout the show, I adored the thumping of Lena’s heartbeat when they put the microphone on her dress lapel, the sound when they draped it around the plant, and she kept turning her head in dismay and bang – the sound would be gone again. Sound for the ensemble numbers was particularly good, and indeed all the main characters in the front line. Costume Hire was from Nomac Costumes Waterford. With Wardrobe Co-Ordination the responsibility of Melanie Urquhart, Mavis Stanley, Pam Lindey, and the cast. Costumes were stunning with mention to the gorgeous red and sparkly ballgown of Lena Lamont in Act 2. A vision! But also, specific mention to the costumes for Sid Phillips who played the part of the Sound Engineer. Everything under the whole umbrella (pardon the pun!) of Costumes was a success and a visual treat and totally and utterly enhanced this show. Just so lovely. Well done. I must also mention that photography and filming was by Rory Maitland of Temperhound Productions. A fantastic job so very well done. The part of Don Lockwood was played by Matthew Whitehead. This young gentleman is a truly magnificent dancer with talent oozing from him in every single dance routine he performed on stage such as his showstopper “Singing in the Rain”. A lovely stage appearance and great interaction and stage chemistry at all times between himself, Cosmo and Kathy. Mr Whitehead was a very good leading man with a light lyrical voice that suited the part, and his portrayal of this character was very good. A solid performance with wonderful dance talent and technique and a lovely leading man. Well done. You did a super job. Cosmo Brown was played by Callum Blakeley. What an actor. Fantastic stage presence lovely fluidity to his moves, lovely chemistry between himself and Don Lockwood and boy this gentleman could move around the stage with aplomb and grace. Excellent acting by Mr Blakely, throughout. Particularly liked the scene with Mr Blakeley playing piano, and most entertaining in the fabulous “Broadway Melody”. Mr Blakeley created a truly lovely character in Cosmo. Great costumes, beautiful dance moves, vocals and acting and overall a really very good performance with excellent acting skills and all round multitasker with enormous talent. Well Done Mr Blakeley. You were a joy in this role. Congratulations. Lena Lamont was played by the gorgeous and oh so funny Emily Tansey. I adored this young lady in this role. Fabulous costumes ( loved that red dress and indeed the magnificent green one also!) and the wig but most especially I loved your character Ms Tansey. You were simply an awesome Lena Lamont. That high pitched squealing voice of yours I can still hear ringing in my ears in Wexford!!! Your comedic timing was simply brilliant and I loved watching you in this role and indeed looked forward to every time you came on stage. Your acting in the projections was utterly fabulous. You were indeed born to play the role of Lena Lamont – truly and I loved your performance Ms Tansey, from beginning to end. Made for you. Well done, it was a joy to watch you throughout the show. I hope you enjoyed playing this role as we your audience enjoyed your performance. Thank you and Bravo! Young Don was played by Brendan O’Connor, and Young Cosmo was played by Ronan O’Connor. What a duo. Boys you were absolutely brilliant and your presence on stage at the beginning of the show set a huge precedence of what was to come for the rest of it. You were both so very good. I hope you do many more shows together as you get older you most certainly have the talent in bucketloads. So very well done boys. Congratulations. Kathy Selden was played by Jaidyn Geini ( beautiful name). What a strong solid melodic performance by Ms Geini, magnificent vocal, gorgeous dancing (especially in “Good Morning”) you were the link that brought everyone together in this show and you played the part so beautifully. You have such a strong singing voice, lyrical, beautiful tone, tender, and emotional and you sang from your heart. A truly lovely performance. Bravo. Sid Phillips/ Sound Engineer was played by Darren Kerr. Firstly – BRAVO on that magnificent solo dance routine centre stage where you pirouetted beautifully on tippy toes like a professional. I loved the pedal pushers, socks, v necked sleeveless jumper, and then your appearance in the black and white movie was class! This was a very solid performance in every area Mr Kerr and you really did this role credit. Well done. RF Simpson was played by Gerry Ryan. You oozed talent, stage presence, excellent movement around the stage, a lovely fun element in your manner with great facial expression and some very funny moments throughout. You had a lovely stage presence, and your rapport and connection in all your scenes with the rest of the cast was so professional. This was a great role played wonderfully Mr Ryan showing your vast experience in theatre land over many performances I have no doubt. You said in your bio that you were loving being a part of Singing in the Rain. Well I loved you in it!. Bravo. Roscoe Dexter was played by Danny Leonard. Lovely part well played by Mr Leonard. A bit stressed and dramatic extremely good speaking voice and moved very well around the stage especially in interactions with R.F Simpson. Mr Leonard was very strong in this role suitably cast , quite highly strung and had some great comedy moments. Mr Dexter worked very well in conjunction with the rest of the cast especially with R.F.Simpson. Zelda Zanders was played by Aoife Walsh. Introduced at the very beginning of the show brought the first laugh of the evening when it was announced as she walked along the catwalk it was her ninth marriage!!! Very glamorous good friend to Ms Lena Lamonte very striking stage appearance and gorgeous costumes (and head piece ) and moved beautifully and gracefully around the stage. The friendship she had with Lena was so lovely and I liked when these two were on stage together. Lovely stage presence and dramatic appearance beautifully played. Dora Bailey was played by Valerie Hamilton. Ms Bailey was a vision as a radio host with her crisp clear voice, concise and slick with her introductions, with great hair makeup knows everything about the stars and the gossip. Rod the male vocal coach was played by Aidan Coutts. Enthusiastic in this role, he helps the performers reach their potential with good humour and this role was played very well by Mr Coutts. 1st Assistant Director, played by Lenhard Zaprasis, 2nd Assistant Director played by Trevor Gorman who also played the Policeman and 3rd Assistant Director played by Benjamin Mead looked acted and played their parts very well. Small roles yet important roles to play in the overall story of moving silent movies to talking movies. Also Mr Trevor Gorman played the part of the policeman with great lightness and fun as he carted to Young Cosmo and Young Dan off stage at the beginning of the show after their dance number, which brought us the first laugh of the evening from the audience. All very well played. Ms Dinsmore was played by Emer Henderson. What a lovely cameo role. Just the right amount of encouragement for Lena and then exasperation which was beautifully played. This was a really lovely part that was suited Ms Henderson beautifully offering direction and guidance to the players in the production company, played so very well by Ms Henderson who had indeed a lovely way and stage presence. Lovely part beautifully played Ms Henderson. Well done. Ian Howard played the part of the Production Tenor. What a gorgeous deep sounding voice light yet lyrical and sang this number beautifully and with lovely tone in what was one of the highlights of the show for me. A gorgeous visually aesthetic scene, enhanced by your lovely tone and melodic voice. The costumes here of the Beautiful Girls were magnificent. A vision. Well done all. Other parts I must mention were Nora McLoughlin Hairdresser and Burlesque Dancer, Kevin Sheridan the Butler, and Candy Girls Dancers. So very well done to each of you. Every single person on or off stage is a vital cog in the wheel of success for any production and all in your in your way with your own parts and responsibilities made this show work and work very well. A credit to each of you and bravo. The Chorus were simply gorgeous. Such a beautiful sound emanated throughout the Theatre for the duration of the show for each number with the sound resonating off the walls with its strength, melody and beauty. A well-rehearsed Chorus and indeed I would imagine many months of preparation going into what you created on stage on the evening. “Broadway Melody” I must mention (again!) because it simply was a highlight, “Singing in the Rain”, “You stepped out of a Dream” was magic to name but a few of your many numbers. Each one as good as the next. Very well done Chorus. And finally, congratulations and thank you for a wonderful evening in the company of a wonderful ensemble . I did not want to leave such was the awesomeness of your welcome and your production and thank you all for the time given to me after the show to meet each and every one of you. It was a pleasure. Follow your dreams. I wish you well always. Caroline Daly Jones Adjudicator Sullivan 2023 / 2024 Please enjoy some photos below kindly shared by the society. Photographer was Donal Hackett

Young Frankenstein as presented by Claremorris Musical Society

YOUNG FRANKENSTEIN, CLAREMORRIS MUSICAL SOCIETY, CO MAYO. 31st January – 4th February 2023 ADJUDICATION PERFORMANCE Saturday 3rd February...

YOUNG FRANKENSTEIN, CLAREMORRIS MUSICAL SOCIETY, CO MAYO.  31st January – 4th February 2023 ADJUDICATION PERFORMANCE Saturday 3rd February 2024 “Deep Love at last , they’ve found deep love and now they will keep love forever inside”.  My first show of 2024 and what a lovely start to my year on the road. Once inside the Theatre I was greeted by the Society’s Chairperson June Allison-Keane and her team. Front of House was under the flag of CMS Committee, Peter McCallig and Claremorris Drama and Fringe Festival Committee, Christina Jordan, Alanah McDonagh, Joan McNicholas and Breda Delaney. An extremely professional team here with great coordination and teamwork, very well dressed with the gentlemen in their black-tie suits and the ladies dressed very elegantly indeed. This team had a sense of bubbliness and fun and yet were extremely professional and that in turn ensured the audience were seated quickly and efficiently. Director for this Production was Donna Ruane. Each character in this show was developed by Ms Ruane in such a way that the characters beautifully evolved and the story continuously flowed. The show moved swiftly, with great musicality and graceful movement throughout. There was great attention to detail in the individual accents. There were many lovely and indeed funny moments such as “Rolling in The Hay” without being overly done and this particular scene was comedy gold. I will mention that I have seen the charades skit used a few times before so it wasn’t new to me and maybe this has run its course. This was the only time I felt that comedy wasn’t natural. Casting was excellent and the sets were of a high standard and absolutely conveyed every scene that we were transported to as an audience. The direction in “Please Don’t Touch Me” with Elizabeth was a highlight and the development of “The Monster” was magnificent, from what he was to what he became. Overall, this was a very well directed show and well-done Ms Ruane. An asset to this Society and I hope your love of Theatre continues for a long time to come. Choreographer for this Production was Claudia O’Sullivan and was again overall very good indeed. Choreography in “Listen to your Heart” with Frankenstein and Inga with Inga performing her mouthwatering splits was a surprise and a wow factor with dance moves in this number simple, yet seductive and very appropriate. And of course, the wonderful splits from Inga drew a palpable intake of breath from the audience. I must add that in one or two of the Chorus numbers a few of the cast did not seem to be 100% confident in their dance routines however this was not a major criticism but merely an observation. “Putting On the Ritz” with wonderful choreography here with Frankenstein, The Monster and the canes, with the Chorus arriving onstage to join them, was a magnificent number in dance, and a vision of colour and bling. With the black gold and white glowing like a vision from the stage from the first note to the last and given the sheer magnitude of energy and great choreography here with Frankenstein and the Monster and their canes, this number was most definitely the highlight of the 2nd half of the show. The Choreography here was superb, tap was perfect, everybody gave it their all, and it was simply awesome. Musical Director for this Production was Ms Deirdre Lee. Ms Lee was also Conductor for this performance. The Opening of the show began with just the keyboard playing a solo joined shortly after by violin. This quiet opening with both these instruments was truly lovely, and immediately the audience were quiet and attentive. A beautiful sound emanated from the pit and continued throughout, without obvious fault or error. It was indeed a marvellous opening to your show and set the scene for what was to follow for the rest of the evening. ” He Vas my Boyfriend”, “Please send Me Someone”, “Roll in the Hay” and the glorious “Transylvania Mania” were a joy. “Puttin’ On the Ritz” was a showstopper with the full orchestra in full flight for this superb number, and rightly so, brought the house down with applause. There was a beautiful warm very well-balanced tone from Ms Lees Orchestral team here. I looked forward immensely to each musical number and I was never disappointed. Well done. Beautiful Musical Direction Ms Lee. Stage Manager for this Production was Mr David Keane. With Assistant Stage Manager Mr Dylan Keane. This is a good team ably assisted by their Stage Crew Josephine Gallagher and Lauren Dempsey. The Dry Ice effect on stage was the first of many jobs for this team. Sets moved very easily, and Set Changes were slick quick and successful. Dry ice in the opening worked very well creating the scene of “Transylvania”, and its dark foreboding atmosphere and location. The Laboratory was a lovely set and actually got better in Act II. I particularly loved the change of set in Act 1 to “Rolling in the Hay” and the effects of the black horses with Igor, Frankenstein and Inga was simply super. The rapid change to the library was excellent. Set Design and Construction was by John Wright, Stage Wright, and KIMS. Sets were clever, many of them dual purpose and used efficiently and effectively and again fitted very well into and onto this vast wide stage beautifully. The Laboratory sets were brilliant. Lighting was Mr Paul Kelly. Personally, I loved the lighting in this show. Dark, impressive, eery, creepy, but also bright, busy and colourful. Specific mentions to Mr Kelly's expertise were the lovely lighting in the Hermits solo “Please Send Me Someone”, and the blue led lighting in the number “Listen to your Heart” with Inga and Frankenstein. The spots used for “Deep Love” in purples were extremely effective and the spots during the show really added depth and texture to the characters and there were many spots throughout, in varying colours such as the blues for the Dungeon. Well done. Sound Engineer was Mr Alan Dunne. Sound was very good. I did have one very small issue regarding Frau Bluchers microphone in Act 1. I really did feel it could have been louder in her solo number as I found that her voice was not as loud as it should or could be. HOWEVER, sound overall was very good, very effective and professional. Main characters sounded great, particularly Igor, Inga, The Monster and Frankenstein, who had an enormous amount of both dialogue and song. The Chorus may I add sounded beautifully and this was such a success. Thank you, Mr Dunne, and well done. Back stage Mics were supplied by Mr Kevin McCarthy, and really worked very well. Costumes were by Leo’s Theatrical Costumes UK. Costumes from the opening scene were a delight. Inspector Kemps medals lighting up the stage and gleaming from his lapel, along with his prosthetic arm – with fantastic sound effects! were a vision. Mr Kemps costume was very good. The Monsters (played by Enda Mulchrone) costume and indeed makeup was a massive success, along with Igor’s (played by Mervyn Fahy) black costume with cloak and his constantly moving hump (another fun element) was brilliant. Ingas (played by Nicole Scott) costumes were gorgeous, with mention to her white ballroom dress with the feathers in the second half of the show was beautiful and suited this young lady perfectly. Makeup was by Amanda Conlon, MUA and Joanne Delaney, with WIG Hire by Ali Murphy Wig Hire. Fabulous. Ingas gorgeous blonde Marilyn Monroe curls, Frau Bluchers severe slicked back not a hair out of place bun, Young Frankenstein’s mad almost burnt like hair, (the mad scientist look), the Hermits long tresses and beard, and the hairstyles for the ensemble I simply cannot fault. Makeup by Amanda Conlon, and Joanne Delaney were also superb. Well done. As there is nobody specifically allocated the role of Props I really must commend this area and the team at all times. I loved the lit lanterns in “He is Loose”, Elizabeth's diamanté encrusted jewellery that shone like a beacon from the stage, to name but a few of the very effective small additions to this show for the characters that were very impressive indeed so well done to the Props crew. Young Frankenstein was played by Mr David Alexander. Mr Alexander looked great in this role; the mad scientist look was effective, a highly intelligent gentleman whose life evolved around his work and his genius in science. A lovely somewhat distracted relationship with Elizabeth his fiancée in the beginning - there was an air of I’m not sure if he really knew she was there sometimes such was his fixation on science. Mr Alexander was a great character, acting this role very well, lovely comedy and chemistry between himself, Inga, Igor and The Monster – Mr Alexander was also a key player throughout this show and gentlemanly in his ways, and worked the stage very well. Particular mention to his superb acting in “Rolling in The Hay” I split my sides laughing, some very funny double entendre meaning with Inga here that were so funny and beautifully acted with great timing. Lovely singing voice, and a strong stage presence throughout Mr Alexander played this massive and key role very well and was indeed very effective as Young Frankenstein and hugely enhanced the enjoyment of the show for the audience throughout. No mean feat and very well-done Mr Alexander. Igor was played by Mervyn Fahy. What a magnificent job Mr Fahy did with this character. Funny, eloquent, fantastic facial expression and comedic timing who was a vital link throughout this show between all the main characters - visually brilliant and a wonderful actor. I loved the comedy in playing the accordion when Frankenstein and Inga were “busy” when Elizabeth arrived as a surprise! In the scene when Frankenstein is stuck in the laboratory with The Monster, and they were not to open the door if Frankenstein told them to, Igors reaction here was so funny, looking at Inga and Frau Blucher and saying nah, there was a boldness here like a little 7 year old child!! Brilliant. Singing, dancing, movement, stage presence, visually, wonderful rapport with fellow characters and nimbleness around the stage along with magnificent makeup, and costume and the ever-moving hump (!) made Igor’s character for me personally one of the highlights of the show. I loved you in this role. Every single moment. You were a superb Igor, and congratulations! Inga was played by Nicole Scott. What a gorgeous fun loving, cheeky flirtatious young lady Ms Scott was in this role. With a gorgeous singing voice, fabulous wig and costumes, and a smile that lit up the room, Ms Scott was indeed a truly lovely Inga. Great chemistry between Ms Scott and Mr Alexander and indeed these were a lovely “couple” together. Ms Scott as Inga had lovely facial expression, a lovely fluidity to her moves and great rapport throughout with all characters. Looked great, sang beautifully, and overall was a huge part of the success of this show and a magnificent leading lady. Ms Scott you were a gorgeous Inga and I liked you in this role very much. A key player and important link in the overall story congratulations on a lovely fine strong performance. Well done. Frau Blucher was played by Vivienne Lee. A very talented actress, Ms Lee was a strong Frau Blucher in looks, expression, visually, dress, humour and voice. A dark, stern, eery and mysterious character in the beginning, in love with her beloved now deceased Victor Frankenstein, this role was beautifully played by Ms Lee. Facial expressions and particularly your eyes, really brought this character to life and after a while you softened and you wore your heart on your sleeve for “He Vas My Boyfriend”. Sung beautifully, with such pain and sorrow and yet performed magnificently. Your interactions again and your comedic timing, were excellent and always appropriate. A truly great role and very well performed. You are a magnificent actress Ms Lee, and you played the part of Frau Blucher beautifully and with such passion and heart and soul. A very strong performance. Congratulations. Elizabeth was played by Mary Dempsey. A complete high end maintenance Diva if there ever was one! I loved Ms Dempsey in her portrayal of this role. Dramatic, ice queen like, very posh, rich Daddy, engaged to Young Frankenstein – but always a step apart from him where “Please Don’t Touch Me” was fantastic, brought the house down and a fabulous number in this show. Gorgeous part, with excellent facial expression, eye rolling, disdain, poshness, and constant enormous drama along with your entourage of 5 in Act 2 who looked after your needs and travelled everywhere with you. Ms Dempsey brought the character to life. I had a soft spot for you in this role. From the very first moment you made your grand entrance on stage, and again every time you came on stage and indeed in every scene, and I found the energy and lightness lifted a little and you were indeed a truly lovely Elizabeth. And a total and utter DIVA and I loved you for it. A pleasure to be in the audience with your performance. Beautifully played Ms Dempsey. Inspector Kemp was played by Gerard Scott. Lovely introduction to Mr Kemp in the beginning of the show, great costume and good comedy with the prosthetic unlubricated arm with the sound effects and added that extra bit of fun to this character. A key role in the village I liked the way you came into the audience and took a seat in the auditorium at one stage which was clever direction, good acting and stage presence and clear diction. Well done. The Monster was played by Enda Mulchrone. Well, where do I start with this young man. What a role. What a magnificent visual you created Mr Mulchrone as The Monster. Great stage presence, very assured in your walking – on what seemed like you were on stilts you were so tall, and in the beginning a sense of foreboding, with your huge stature and grunts, with magnificent acting, movement, and a genuine talent here for the stage. Fabulous makeup and costume and excellent sound effects made you absolutely one of the main highlights of this show and I looked forward to you arriving on stage each time. This part became the key to the success of the show, and you made it work. “Putting On the Ritz” was a highlight but also every scene you were a part of lifted in its energy and comedy and strength. I loved what you made of playing “The Monster” Mr Mulchrone. A simply glorious performance for all the above reasons and more. Congratulations and I am sure your presence will grace many more stages in your life and long may it continue. Bravo. Harold The Hermit was played by Ronan Egan. What a gorgeous character Mr Egan created in this role as Harold the Hermit. Such a beautiful singing voice, rich and with depth and a lovely lyrical quality in your solo “Please Send Me Someone” Aww!! What a gorgeous number sung from the heart, telling the audience and the world of your loneliness in your life, with your sparse living conditions and existence. Well done Mr Egan. I thoroughly enjoyed your performance here and I commend you on the lovely character that you created in Harold the Hermit. Well done. The Chorus produced a wonderful sound throughout this show and production with lovely numbers and beautiful harmonies such as the gorgeous “Happiest Town” to “He’s Loose”, “Puttin on The Ritz”, and the number I can’t stop singing in my own head “Together Again” (I just loved this number with yourselves). A showstopper indeed. Sound was so lovely in the Chorus numbers with all the above I commend you all greatly. There’s a part of me that saw even from my seat what a wonderful camaraderie there is within this group and amongst each one of you. Your singing was an absolute pleasure to listen to and in this Society, I wish I could have heard you sing more, and I hope I get an opportunity to someday. Bravo and well done to you all. I thoroughly enjoyed my evening in Claremorris. I was bowled over by the Theatre itself and its beauty, and I loved what you brought to your audience. You transported me beautifully from Claremorris Co. Mayo to Transylvania with great aplomb, enormous talent and pride and I admire you all greatly and indeed congratulate you all on what you produced on stage here tonight for your 17th Production. May there be many more to come and I wish you all, most sincerely, all the best always for the continuation for many years into the future for your lovely Society. Thank you and Well done. Caroline Daly Jones Sullivan Adjudicator 2023 / 2024 Some photos kindly shared by the society - Photographer credit Paul Kelly - Indigo Lighting

Phantom of the Opera as Presented by Ballinrobe Musical Society

Phantom of The Opera as performed by Ballinrobe Musical Society Date of Adjudicated Performance: Saturday, 17th February 2024. Having...

Phantom of The Opera as performed by Ballinrobe Musical Society Date of Adjudicated Performance: Saturday, 17 th February 2024.  Having never seen Phantom of the Opera on the professional stage, it was with much anticipation that I headed to Ballinrobe, humming Music of the Night and All I Ask of You, and expecting something fabulously moving and technically dynamic. I didn’t leave disappointed. Much praise must be heaped upon Director, Alan Greaney, for taking this complicated piece and presenting it with such a high level of achievement in a venue that requires vision and imagination to facilitate anything approaching the level of technical wizardry required for this show. The thought that went into the set and the lighting, the chandelier, the boat, the dry ice, the magic mirror, and the dressing of the hall as an Opera House was remarkably good. A gilt framed proscenium arch, golden columns, and wonderful golden, lushly decorated, private boxes either side, was the sight that greeted the audience upon entering the auditorium, instantly making a strong impact on the senses. Clam-shell footlights along the front of the stage added period and character to the setting. A wonderful chandelier at ground level for the opening auction scene, and then rose majestically into the flies. The stage R, box rotated inwards to present a wonderful balconied house interior, and hidden behind the stage L box, an expertly constructed pipe organ, dominating the entire corner of the stage. In the background were well-painted representations of the Paris Opera House, both interior and exterior, and an effective grave yard. There was so much to commend this set and its visual impact, including well-used flash/smoke pods, and the haunting first appearance of the Phantom to Christine in the mirror of her dressing room. Likewise, the apparition of Christine’s reflection, in wedding dress, in the sewer scene, was most effective. There were so many moving pieces to the set that I can only highly praise the stage crew, under stage manager, Ken McCarthy, for keeping it running so smoothly. It really was quite sumptuous as sets go, and with good lighting, most of the scenes had great atmosphere. The sewers, in particular, combined dry-ice, haunting green back-light, and rows of candles lighting the path of the boat/gondola that carried the Phantom and Christine. I’m reluctant to mention the scene where poor Christine was in partial shadow for a while, due to some props being too far off-stage, for it was a minor blip in a technical display that really was quite outstanding. There was a problem with the pace of the show, on several occasions, when perhaps the incidental music needed to be accelerated to diminish the long phrases of inactivity between Christine and the Phantom. I did also feel that some solos were taken at too leisurely a pace, particularly Music of the Night and All I Ask of You, stretching the singers to almost run short of breath. Musical Director, Finola Higgins, had a very fine 13-piece orchestra to bring to life the beautiful musical score, and they played with good accuracy and energy, even if on occasions a bit more attack was needed. Vocally, it was evident that much work had been done on preparing the chorus, who performed with good strength and precise harmonies. The choral section of the Don Juan Opera sequence is vocally challenging, and was handled with a measure of success. Finola was blessed to have very secure singers in the principal roles. Niall Conway’s acting, in the role of The Phantom, was at its best in those scenes when he was unmasked and vulnerable, and when he was overtaken by anger and outrage. This is when his strength and stature were most effective, and when he was able to use his powerful voice as a weapon. Niall has amazing vocal versatility, and while everything was well-sung, there were occasions, particularly during the duet scenes with Christine, when a tendency to err physically towards a kind of melodramatic gentility, seemed to weaken his character. I think, perhaps, this was highlighted by the lack of pace during some of these exchanges. His make-up was a work of art, and I truly felt moved by his discomfort at being exposed. There was a delightful delicacy about Eve Garavan in the role of Christine, which suited the vulnerability of her character, but it was a sublime quality of voice and diction that really stood out, making this a superbly exquisite vocal performance, with The Phantom of the Opera and Wishing You Were Somewhere Here Again being exceptionally beautiful. There was so much sincerity in this emotional performance. Edward Scott’s performance as Raoul was honest and true, and wanted only for a bit more confidence and stage-presence, which will undoubtedly come with a few outings on the boards. He gave a good vocal display, with a beautiful duet in All I Ask Of You, and his acting was very credible. Catherine Conway was a revelation in the comedic Diva role of Carlotta Guidicelli, vocally drifting effortlessly through her range, from coloratura to lyrical to dramatic soprano. In a role that could have been written for her, she also amazed with excellent comedy timing and delivery, a fabulous look, and superb facial expression. Providing much of the shows light relief were Richard Crumlish as Gilles André and John Byrne as Richard Firmin, the rather farcical gentlemen who take ownership of the ill-fated Opera Populaire. Both of these performers proved how gifted they are as character/comedy players and also possessed the vocal quality to partake in the tricky harmonies of Notes/Prima Donna and Notes/Twisted Every Way. Angela Staunton had a dark and somber countenance as Madame Giry, the ballet-mistress and go-between from the Phantom to Christine. She kept her character very well throughout the story, like a haunting presence, and delivered strong vocals in her several musical pieces. I’m not sure I understand at all what is the point of the character Meg Giry, Madame Giry’s daughter, but regardless of that, the role was played delightfully and confidently by Kate MacDonnell, making the most of her few lines and contributing to the Opera House scenes with very good vocal quality. Joff Manning had the perfect stature for the somewhat pompous and self-adoring operatic tenor, Ubaldo Piangi, and played the role with a suitable, well-gauged sense of comedy, even if the tenor line was a tad strained for him to sing comfortably, and Michael Cooney completed the principal line, with a convincingly slovenly, couldn’t-care-less attitude towards the Opera elite, as a rather good Buquet. Uncredited in the program were the three ladies of the court who made a very worthy contribution to one of the opera scenes, and despite my familiarity with this company, so effective were their exaggerated make-up and wigs that I am unable to mention them by name. They were, however, very impressive. Similarly, there was a fine contribution from company stalwart, Gerry Hughes, as the chief of the somewhat geriatric unit of the Paris Gendarmerie. Their slightly bumbling approach to security was a nice comedic touch. Tidy cameo performances were also turned in by Pat McGovern as the retiring owner of the Opera Populaire, and by Mick Sweeney as the director of the Opera. The show is light on chorus work, except that they do have those rather tricky choral pieces during the Don Juan Opera. They achieved these with a good level of success, and were vocally strong and accurate in Masquerade and other pieces. With their movement, dance and general involvement, they did everything that was asked of them with energy and enthusiasm. Several chorus members also successfully filled cameo roles, and I loved the troop of Gendarmes. Choreographer, Aoife McClafferty, was caught a little between a rock and a hard place, wanting to employ the chorus as often as possible but having so few opportunities to do so. I think this lead to the Masquerade number suffering a bit from being over-crowded. It did however have a most beautiful section when the entire chorus danced illuminated only by hand held, mock-candle-light. The effect was quite stunning. Aoife also did a good job on the Opera sequences in Act One, including some very nice ballet pointe work and well-patterned routines. From a visual point of view, the make-up used for the Phantom was exceptional. There was an audible gasp when his mask was first removed, and when his wig came off to reveal a severely disfigured skull, complete with wispy hair and grotesque growths, it was quite disturbing. Excellent make-up was also used on Carlotta to establish her pomposity, and similarly with the three ladies of the court. Wigs were well-worn and make-up generally was of a high standard. Costumes, likewise, were consistently good and appropriate to each scene and each character, with good distinction between the everyday costumes and those used in the Operas. With a beautifully dressed foyer and a most attentive front of house staff, the audience were lulled into the mood and ambiance of the show before they even stepped into the auditorium, and I can bear witness to the compliments that were flowing, regarding the production, as they exited the theatre, so congratulations to one and all for such a fine achievement. Peter Kennedy Gilbert Adjudicator 2023 / 2024 Some photos kindly shared by the society - Photos by White Thorn Media

American Idiot as performed by Galway University Musical Society

American Idiot as performed by Galway University Musical Society Thursday 1st February 2014. I have never been a big fan of Green Day nor...

American Idiot as performed by Galway University Musical Society Thursday 1 st February 2014.  I have never been a big fan of Green Day nor punk rock, nor the associated prevalence of drug-induced psychopathy and self-abuse, and even as I entered the theatre, alive with super enthusiastic and supportive students, filled with a sense that they were about to witness something innovative and relevant and “woke”, I momentarily cringed and thought, “I’m too old for this!” But I was wrong! Completely wrong. And for the many people who have asked me, “Can you write a good review for a show you don’t really like?” ; here is my answer. When the cast and the production team believe in what they are doing and do it to the absolute best of their ability…Yes, you can write a glowing review. When you are assaulted by the energy, the enthusiasm, the level of talent on display and the sheer sense of purpose of everyone involved, you can do little else but be carried along on the crest of a wave. Such was the journey that I made from the moment a very capable band blasted into action in the Black Box Theatre.  What Director, Aisling Fox, managed to achieve with this production was to take a piece as vague and often challenging as American Idiot and present it in a coherent and dynamic manner. Apart from my concerns that the opening couple of scenes had so much movement that it took much concentration to pinpoint the focal point of the action, as the show progressed, it became sharp, poignant, and told with a fluid sense of purpose. Characters were well established and maintained throughout, but most importantly, the director understood the show and did all in her power to present it with authenticity. In this, she succeeded quite brilliantly. Her visions were also significantly enhanced by choreographers, Jodie Finn and Emily Smith, whose work was filled with energy, exuberance, and creativity. They treated us to angst and aggression, conflict, and confusion and even moments of sublimely sensual gyrations, all fused into a package that captured the time and the tempi of the era. As the show progressed, the choreography and the dramatic action seemed to fuse together so perfectly that it almost became a modern ballet.  But great choreography can amount to very little if the execution does not do it justice, and in this instance, the company was blessed to have a chorus who provided the engine that drove this show forward. Their very appearance and their dance energy provided a non-stop attack on the senses, with a passion and aggression in their hard rock numbers that was like an homage to the whole punk era, and their drug-infused gyrations in the numbers led by St. Jimmy were graphically symbolic of a lost and confused generation. This was a top-notch display, enhanced by the fact that they were also very vocally capable.  I am quite sure that vocal quality was the result of thorough rehearsal from Musical Director, Robert Cosgrove and his assistant, Rachael Moloney. Robert also kept good control of a very capable band of musicians who seemed to thoroughly enjoy the score, empathetic during the  ballad-style numbers and hot on the tone and tempi of the rock numbers. My only qualms regarding the music were the drums, which, while brilliantly played on occasion overpowered one or two of the female vocalists, and while the vocal quality of the main characters was  consistently good, one or two of the supporting players perhaps needed a bit more attention with their tuning.  Perhaps the problem with the drums might have been overcome with a slight boost to the female radio mics, from a sound system that was, in all other respects, very efficient and well-cued, including the several recordings and effects. The lighting for the show was also very impressive, with effective use of colours and specific areas. While every scene had a strong atmosphere, there were one or two occasions when principals were in a tad too much shadow, but generally, this was a well-lit production. The set was more adequate than outstanding, but it functioned well, with several levels and areas and just about enough props and furniture to create the right ambiance for each scene. There were not too many moving pieces, making life comfortable for Stage Manager, Andrew Richardson, who kept the action rolling with tidy, if occasionally unhurried, scene changes.  Excellent work was done on both the costuming and the make-up for the show. As mentioned earlier, the chorus were visually perfect, dull, and dark, punk and gothic, sometimes even disturbing in their countenance, but all appropriate and authentic to the era. I did not much like the gym outfits of the army recruits, but those aside, there was enough colour and variety to keep the show interesting. Make-up was excellent. This team could have done a good job on Bambi Thug! They certainly made St. Jimmy as dark and despicable as his character deserved.  The outstanding individual performance of the night came from Mike O’Sullivan in the role of Johnny, convincingly seduced, as he was, not only by girlfriend, Whatsername, but also by the embodiment of Heroin addiction, St. Jimmy. Mike’s likeability only served to enhance the tragedy of his addiction, and while his fine acting made a strong impact, it was the sublimely mellow and beautiful quality of his vocals, particularly in When It is Time and Wake Me Up When September Ends, that stole the show for me.  Killian Cogan gave a very good performance as Tunny, who, with patriotic notions, enlists in the military and loses a leg during the Middle East conflict. (A leg which, incidentally, made an unscheduled appearance when he was first rolled on in a wheelchair!) His relationship with Extraordinary Girl was very well-realized, both in their delightfully choreographed dream-ballet and in their real-life affection for each other.  Mark Shivnan also gave a highly commendable performance. As the apathetic, beer swilling, reluctant father, Will, this is probably the least glamorous of the three central characters, but he played it with depth and understanding.  These three together made a very strong team, both dramatically and musically, where their voice blended most effectively.  Aoibh Tully, as Whatsername, was seductive and passionate, and as good a mover as she was an actress, but it was her vocal tenderness in 21 Guns and a powerful rendition of Letterbomb that were her stand out contributions to the show. A very strongly portrayed character. As Will’s girlfriend, Heather, Eimear Wolohan moved seamlessly from loyal, loved up girlfriend to distraught and deserted mother, and back to a loving and forgiving friend with complete believability and a sincere vocal quality. Nicely played.  Éadaoin Collins, Extraordinary Girl, displayed some extraordinary terpsichorean skill in her ballet with Tunny, as well as delighting with a warm performance and secure vocals.  Eoin Cassidy really crawled under the skin of St. Jimmy, and made my skin crawl, by creating a truly loathsome character, repugnant to the eye and to the senses, and I totally mean that as a compliment. Less successful, on a few occasions, was his tuning, which was a tad erratic, but it did not detract too significantly from a character very well played. Another whose tuning needed tweaked a bit was Cian Hughes as Favourite Son, even though he did cut a fine figure of a man in his role with very secure acting.  Abbie Lane played a rather alternative Rock n’ Roll Boyfriend with unrestrained relish, good vocals and, not surprisingly, given her role as Dance Captain, excellent dance ability. There were several soloists who all made a strong contribution to the show, whether as individuals or as members of the ensemble.  The atmosphere of inclusiveness that pervaded this entire production was encapsulated in the seated, picture-postcard company performance of “The Time of Your Life” at the very end of the show. It was beautiful. They certainly all seemed to be having the time of their lives, and so did we, the most appreciative audience. Dare I say that you did enough to almost turn this cynic into a Green Day fan? Yes, I dare. Thank you to all concerned for a quite excellent experience.  Peter Kennedy Gilbert Adjudicator 2023 / 2024
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