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Teachers' Musical Society

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9 Mar 2027

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The Prince of Egypt

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22 Nov 2026

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21 Apr 2026

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Calamity Jane

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28 Apr 2026

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The Clockmaker's Daughter

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27 Apr 2026

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LATEST NEWS

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

Review: Come From Away - Bravo Theatre Group

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

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

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