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UPCOMING EVENTS

Made in Dagenham

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28 Jan 2025

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Sister Act

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31 Mar 2025

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Jesus Christ Superstar

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1 Apr 2025

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Joseph & The Amazing Technicolour Dreamcoat

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8 Apr 2025

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EVITA

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9 Apr 2025

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LATEST NEWS

Guys and Dolls as presented by GUMS

Public Adjudication  Society name: Galway University Musical Society (GUMS)  Show name: Guys and Dolls  Date of attendance: 8th February...

Public Adjudication  Society name: Galway University Musical Society (GUMS)  Show name: Guys and Dolls  Date of attendance: 8th February 2025  The Black Box Theatre was the venue for Galway University Musical Society’s production of ‘Guys and Dolls.’ It may be three quarters of a century old but there is still an enduring appeal about this musical fable of Broadway, based on the stories and characters of Damon Runyon and his distinctive, post-prohibition vernacular. 1930s New York may be a far cry from a modern day university campus in the west of Ireland but this talented group of students still approached the iconic show with considerable energy and enthusiasm. With limited resources, they produced a rather lengthy show with memorable characters and plenty of laughs.  Cast members were busy in the lead up to the show, introducing themselves to patrons, in character, and selling raffle tickets. Nathan and Sky conducted the raffle, in character of course, at the interval. The front of house announcements, referencing the show’s characters, were witty but I felt that they were a little overcooked.  Kate O’Dowd will have learned a lot from directing such a mammoth production. This was a long show, taking just over three hours. Pace was an issue at times and things could have been tightened up in places. With such a large cast on stage, it was sometimes difficult to know where the point of focus was meant to be. The opening Runyonland sequence was quite chaotic from an audience perspective. It wasn’t always clear who the characters were or what was meant to be happening. There was generally a good eye for comedy and the audience enjoyed the many funny scenarios that unfolded. Much will have been learned from the experience. I look forward to seeing Ms. O’Dowd build on this experience, as she brings her enthusiasm and passion to future productions.  Sarah O’Dowd and Eoin Nicklin shared the role of musical director, with Ms. O’Dowd conducting an orchestra made up primarily of student musicians with a few pros thrown in for support. Tempi were not always secure. To be fair to Ms. O’Dowd, some musicians needed to be more aware and to keep a closer eye on her to ensure a tighter orchestral sound. There was strong work chorally, with a fine sound from the cast and, in particular, the gentlemen, who were most impressive in their bigger numbers. There was good work too from the ladies in ‘A Bushel and a Peck’ and ‘Take Back Your Mink.’Underscoring was sensitively handled throughout the show. Overall, a very good job on cast vocals but there was room for development in terms of orchestral work.  Lorna Collins’s choreography was generally very good throughout the show. However, some routines were hampered by overcrowding on stage, which took away from both movement and overall shape. The Havana sequence was so crowded that it was difficult to see formations, as dancers competed with one other for space. When fewer people were on stage, the choreography flowed in a more exciting and precise way. The two Hot Box numbers were the highlights of the night. ‘Take Back Your Mink’ was particularly sharp, with good precision and great use of the full stage. Hats off to the very talented bunch of dancers in this number. ‘Sit Down You’re Rocking the Boat’ was very well conceived and performed with much glee by the cast, who were clearly enjoying every second.  Mike O’Sullivan was a very suave Sky Masterson. Mr. O’Sullivan had a very relaxed and natural presence on stage, which really suited the role. An intelligent actor, he balanced sincerity with duplicity when he first arrived in the Mission, in a most convincing, nuanced, and comical way. Mr. O’Sullivan sang very well too and was particularly strong at delivering the narrative through song.  Eimear Wolohan did very well as Sarah Brown, the “Mission doll” who ultimately manages to rehabilitate the highest roller of them all, Sky Masterson. Ms. Wolohan was in tune with both text and subtext, with good delivery of dialogue and a clear understanding of the narrative. Her beautiful soprano voice was at its best in ‘I’ll Know’ and her ‘Marry the Man Today,’ with Adelaide, was wonderful.  Jonathan Newman is one of the most exciting, up and coming comedians on the AIMS circuit and we will be hearing a lot about him in the future. He did a Nathan as Nathan Detroit, bringing to mind Mr. Lane’s accent and inflections in what was a very funny, well-studied characterisation. Dialogue was generally well delivered although there were some pacing issues with very long pauses being a hallmark of his characterisation. Mr. Newman had a great physicality and an hilarious range of facial expressions. ‘Sue Me’ was a highlight of physicality and musicality, with Mr. Newman showing off a fine, expressive baritone.  Laura McGinley was an impressive Miss Adelaide, balancing the comic possibilities of the role with a lovely layer of poignancy. Accent and delivery were super. Her scenes with Mr. Newman were very well paced and comic timing was excellent. There was a great rapport between the two. One doesn’t usually come away from a production of ‘Guys and Dolls’ thinking about what a great singer Adelaide was. However, Ms. McGinley turned that on its head with her superb vocal performance. Her effortless, powerhouse delivery was very impressive, especially in ‘Take Back Your Mink.’ Her lament was funny, poignant and very well sung.  Killian Cogan had great energy, expression and comic timing as Nicely Nicely Johnson. Mr. Cogan had excellent stage presence and was always in tune with the narrative, whether directly involved in a scene or not. His “rare tropical aunt” scene with Sky was very funny indeed. He also displayed a fabulous tenor voice in his excellently performed ‘Sit Down You’re Rocking the Boat’.  Olivia Berry’s gender swapping Arvide Abernathy was interesting. I felt that Ms. Berry had wonderful potential in the role which was very over the top at times. Less is often more and toning things down slightly would have helped to make her character more sincere, in my opinion. Ms. Cogan had a beautiful voice and I loved the heartfelt delivery of ‘More I Cannot Wish You’ which was so sensitively delivered.  I found it very hard to see past Thomas Cannon’s strong Donegal accent in his portrayal of Lieutenant Brannigan. He was clearly a good performer but the choice did jar with me, especially when the occasional “aye” was dropped in for effect. It felt like his accent became the comic vehicle rather than the text.  Robert Cosgrove was a diminutive Big Jule, the Chicago ‘scoutmaster’ who wants in on the NYC gambling action. Mr. Cosgrove was a good character actor. He did, however, need to take more care with diction and projection at times. He was very funny in the Mission scene as he recounted his lack of convictions.  Cormac Kerins, as Harry the Horse, had the most glorious, booming, deep voice which would give Morgan Freeman a run for his money. He was a great addition to the male chorus numbers. He needed to be conscious of pace at times and more awareness of positioning would have helped his characterisation greatly.  Ben Donohoe was a lively, energetic Benny Southstreet with good comic timing and a great voice in ‘Fugue for Tinhorns’ and ‘Guys and Dolls.’ He was a standout performer in all of the bigger production numbers too.  The role of Rusty Charlie is terribly underwritten. However, Jacob Flanagan did a good job with it, shining in all of the bigger scenes. He sang very well in ‘Fugue for Tinhorns’ right up to that final, solo “Epitaph!” when things went awry.  General Cartwright was played by Taryn Clarke and she had good, strong presence befitting of the Salvation Army boss. There were some curious delivery choices though, with Ms. Clarke unnecessarily breaking the fourth wall, on occasion.  Eloise De Sousa and Aoife O’Sullivan did very well as featured dancers in Havana and there was good support too from Eoin Conroy as Angie the Ox, Anna Maloney as Mimi and Brian Kearney as Joey Biltmore.  There was no doubting the energy and enthusiasm of the very large ensemble. Sometimes this exuberance needed to be controlled, as background business became overly distracting and drew focus from the principal cast during dialogue and key moments. Singing was very strong indeed and it was clear that a great deal of work had been put into the gorgeous vocal harmonies. There was great work from the Hot Box girls and good focus from all involved in the sewer scene too.  Clodagh O’Sullivan did well as stage manager, marshalling a committed and organised crew who ensured that all changes were slick and conducted with minimum fuss.  The set was basic but functional. Upstage, we had a fine NYC skyline, a permanent fixture for the duration of the show. Two ‘building’ trucks, covered in signs reversed to give us the interior of the Mission. The interior of the Mission needed a lot of attention as it was far too bare to look ‘real.’ The Hot Box slash curtain piece looked so well but it wasn’t used. Could Adelaide have made at least one of her entrances through this? Havana and the sewer were disappointing. There was no sense of place in either and, because of the way in which things were set up, we were still in the streets of NYC for both. With so many varying locations in ‘Guys and Dolls,’ projection might have been a good, cost-effective route to take at the design stage.  Unfortunately, a lot more attention to detail was required in the props and furniture department.  Lighting was a mixed bag for the most part. The plot was basic but worked quite well. There was nice silhouetting of cast at the end of numbers like ‘Oldest Established.’ On either side of the stage, six visible par cans, mounted on upright poles and pointing in various directions, pulsed blue and amber light throughout transitions and in some songs. I felt that this was an unusual choice. We lost front light during ‘Guys and Dolls’ leaving cast faces in darkness. With no change of set, a lot more was required in terms of design and timing of cues as we snapped from the dance sequences to the downstage left action during the Havana scene.  Sound was generally very good indeed, with very clear vocals and dialogue. No entries were missed in what is a very busy show. The show could have benefited from some sound effects, like the phone or some traffic. The sound balance in choral numbers was very good indeed. Costumes were generally good. The Salvation Army uniforms looked well, although more attention was needed to the skirt styles and lengths to ensure uniformity. The guys’ suits were suitably slick. Their hats were all the same though and might have benefited from coloured bands tying in with their tie colours. The Hot Box girls’ classy black dresses for ‘Take Back Your Mink’ were nicely sophisticated and their reveal worked very well. I didn’t feel that the yellow and white ensembles for ‘Bushel and a Peck’ were of the era though. Havana was a missed opportunity. With no change of set, the costuming should have been the medium through which a sense of place was achieved. The crapshooters’ ballet was a bit of a mishmash with some modern blouses, not tucked in and uncertainty as to who the additional people were supposed to be. If the girls were to be established as gangsters, more attention needed to be given to their look. Waistcoats, hats, and a tidier look overall were necessary.  More attention was needed to hair and makeup design. There was no real attempt to replicate hairstyles of the era. Some of the Salvation Army ladies, including General Cartwright herself, had quite the rebellious streak, with their bright red lipsticks and strong eyeshadow. The Hot Box girls were suitably ‘showy’ and Adelaide looked every inch the star of the Hot Box.  This was an entertaining production of the timeless classic. The talent is undoubtedly there, in bucketfuls, and I know that many of the performers will be rising to prominence through the musical society circuit for years to come. Well done on taking on such a big show and very best wishes with your future endeavours. Pat McElwain Gilbert Adjudicator 24/25 Photos taken by Paul O’Mahony - Former member of GUMS

INFO: Dance Info for AIMS 60th Anniversary Concert

Following the submission period for our first round of video auditions for soloists, the production team behind "Ovation" would like to...

Following the submission period for our first round of video auditions for soloists, the production team behind "Ovation" would like to extend a huge thank you to everyone who sent in their performances. We've received a wonderful array of submissions from each corner of the country and the production team are now reviewing the submissions which will take some time! We will be in contact with those individuals in due course for callbacks and next steps! We are now thrilled to announce the next stage: the movers and shakers! We are now seeking talented dancers to join the production! If you're ready to step into the spotlight and showcase your dance skills, this is your chance. Dance Audition Schedule & Locations: Our Choreographer, Jonny Smith , will be holding dance auditions across several locations in May and June. He's eager to meet potential cast members and get everyone moving, this audition will cover both featured dancers and those interested in some ensemble dancing! The venues are as follows... Galway:  Saturday, May 10th - 2:00 PM @ Temperance Hall, Loughrea Tipperary:  Sunday, May 11th - 2:00 PM @ Premier Hall, Thurles Wexford:  Friday, May 16th - 7:00 PM @ CBS Primary School, Wexford Belfast:  Saturday, June 7th - 2:00 PM @ Belfast Operatic, Heron Road Dublin:  Sunday, June 8th - 1:30 PM @ Scoil Oilibhèir How to Register for an Audition: If you are interested in attending one of the dance auditions, please register your interest by emailing: aimsconcert@gmail.com In your email, please include: Your Full Name Your Musical Society / AIMS Affiliation! (if applicable) Your Preferred Audition Venue from the list above Important Information: Age Requirement:  Please note that you must be 18 years of age or older to participate in these auditions. Rehearsal Commitment:  Be aware that all rehearsals for the production will take place at a central venue during the weeks leading up to the concert.

IMPORTANT: Adjudication Feedback Review Workshops

Following on from our members feedback for a review of the adjudication scheme - we are now at the next phase and WE NEED YOU! to join us...

Following on from our members feedback for a review of the adjudication scheme - we are now at the next phase and WE NEED YOU! to join us at these in-person workshops. As a member of AIMS we encourage you to ‘have your say’ at either of the two meetings: March 29th Carrick on Suir - Strand Theatre April 6th Lucan Spa Dublin The first one takes place this Saturday March 29 in the Strand Theatre in Carrick. We'd love representation from each society at either of these workshops. We need your participation and engagement if the scheme is to evolve/adapt. If you'd like to attend please contact your society secretary and ensure they register you before the deadline. Please note: We have extended the registration date for both meetings to this Wednesday 26th March . Thanks, Adjudication Review Committee

Made in Dagenham as presented by Kill Musical & Dramatic Society

Society Name:  Kill Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  28/01/2025 Brief Overview of...

Society Name:  Kill Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  28/01/2025 Brief Overview of the Show and Evaluation of Front of House Made in Dagenham  was staged in a charming church that artfully blended tradition with a modern twist. The venue’s natural character—evident in the quaint pew seating enhanced with provided cushions—transformed an otherwise austere space into a warm and inviting environment. Although initial concerns about comfort were valid, the energy and commitment of the performance quickly elevated the atmosphere. The front of house staff performed efficiently, ensuring a welcoming entrance and setting a positive tone for the evening. The innovative choice of a church, a space normally associated with solemnity, provided a striking contrast to the vibrant and occasionally irreverent content of the show. This juxtaposition created an engaging backdrop that both surprised and delighted the audience. Nonetheless, minor adjustments in seating logistics and flow could further enhance the overall comfort for future performances. Director – Direction and Production Tom McCarthy’s direction was central to the production’s overall impact. Drawing on his extensive theatrical experience, Tom brought a confident yet nuanced approach to the narrative. His direction was punctuated by several “meaty” moments where the intensity and passion of the story were clearly communicated, balancing the dramatic weight with lighter, humorous touches, maintaining the show’s pacing. The blocking was generally well executed, although there were moments when less experienced cast members upstaged one another. Simple refinements—such as maintaining proper eyelines, employing subtle facial expressions during mistakes, and being mindful of spatial boundaries—could enhance stage fluidity. Notably, the tender exchanges between Rita and Eddie were executed with genuine emotion, contrasting with the less successful comedic attempts around Clare’s character, where timing fell short. Overall, McCarthy’s ambitious and inspiring vision shone through, even as certain elements of stage craft remain areas for further development. Musical Director – Direction and Orchestra Emer Hartnett led the musical elements with palpable energy and enthusiasm. The band’s performance was impressively tight, and the musical numbers were delivered with a blend of precision and passion that significantly enriched the production’s emotional impact. Hartnett’s leadership helped underscore the narrative, providing a solid sonic foundation throughout the performance. However, there was an overreliance on cueing from the cast, suggesting a need for the performers to develop greater confidence in their own timing. While cueing is a useful tool, it should not overshadow the natural flow of live performance. Additionally, there were moments when non-singing actors were inadvertently mic’ed, causing their voices to slip into the mix and detract from the clarity of the musical numbers. Instances of soloists being overpowered by the band also indicated that a more collaborative dialogue between Hartnett and the sound engineer would be beneficial. In future shows, a clearer division of roles—where the Musical Director enhances the performance without becoming a visible distraction—could help elevate the overall musical balance. Choreographer – Choreography Imelda Winters’ approach to choreography leaned toward musical staging rather than intricate dance routines—a deliberate choice that largely suited the production’s narrative pace. Winters demonstrated an innovative understanding of how movement can support vocal performances. However, the choreography sometimes stretched the comfort zone of the male cast members, leading to occasional awkward transitions and a slight loss of momentum. Simplifying the movements to emphasize clarity and rhythm over complexity would allow the performers to express themselves more naturally and with greater confidence. Dedicating additional rehearsal time to breaking down each sequence and internalizing the moves could transform the routines into more polished, expressive components of the show. Overall, Winters’ vision was strong, and with further refinement to accommodate varying skill levels, the choreography can evolve to more fully support the narrative. Leading Principles – Singing and Acting Rita O’Grady – Rossagh Cusack Rossagh delivered a performance as Rita O’Grady that was both vocally robust and emotionally complex. She captured Rita’s internal conflict—a battle between personal desire and external pressures—with authenticity. Her clear, resonant vocal delivery carried the emotional weight of Rita’s journey, while her stage presence drew the audience into every moment of vulnerability and strength. A deeper exploration of the quieter internal moments could further enhance the impact of her portrayal. Eddie O’Grady – Aaron Stone Aaron’s interpretation of Eddie O’Grady was marked by warmth and vulnerability. His smooth vocal delivery and approachable stage presence made Eddie immediately endearing. He effectively communicated the character’s internal struggles and stubbornness, inviting both empathy and a touch of exasperation from the audience. His performance was sincere, though refining the balance between the dramatic and the lighter aspects of the role could bring even greater nuance to the character. Connie O’Riley – Denise Gardiner Denise shone in the emotionally charged hospital scene, conveying deep sorrow and resilience. Her portrayal of Connie O’Riley was understated yet impactful, reflecting both the personal loss and the drive for change that defined the character. While her performance was moving, establishing Connie as a more dynamic force early on in the production would have provided a stronger narrative foundation for her character’s evolution throughout the show. Monty – Portrayed by Damien Donegan Damien Donegan’s portrayal of Monty effectively conveyed a character caught between frustration and a sense of entrapment. His vocal performance communicated the underlying tension and emotional release following key dramatic moments. A deeper exploration of Monty’s internal conflict would further connect the audience to his struggles, enhancing the overall dramatic impact. Harold Wilson – Portrayed by Tom Noone Tom Noone’s depiction of Harold Wilson presented a challenging balance. At times, his performance felt overly manic and unsettled, lacking the calm, authoritative presence necessary for the role of a Prime Minister. More controlled movements and a consistent tone could ground the character more effectively, transforming the portrayal into one that is both commanding and authentic. Barbara Castle – Portrayed by Aisling Burke Aisling Burke’s performance as Barbara Castle was a highlight of the evening. With strong vocals and a commanding stage presence, Burke brought dynamic energy to the role. Her layered portrayal captured the tension between a deep commitment to the working class and the pressures of the political landscape. Her convincing accent further reinforced the authenticity of her character’s internal struggle. Jeremy Hopkins – Portrayed by Stephen Fagan Stephen Fagan’s portrayal of Jeremy Hopkins was a study in self-importance and unlikability. His vocal delivery and haughty demeanor effectively encapsulated the character’s disconnect between public image and private reality. A slight infusion of vulnerability could add complexity, offering the audience a glimpse into the darker undertones beneath Hopkins’s confident façade. Lisa Hopkins – Portrayed by Grace McCarthy Grace McCarthy brought quiet dignity and palpable frustration to the role of Lisa Hopkins. Her gentle yet impactful vocal performance captured the internal conflict of a woman caught between societal expectations and personal ambition. McCarthy’s subtle gestures and controlled emotional expression made her character deeply sympathetic, though a touch more intensity in pivotal moments might further accentuate her inner turmoil. Mr. Tooley – Portrayed by Joey Smith Joey Smith’s portrayal of Mr. Tooley was purposefully crafted to evoke disdain. With a sleazy and morally dubious edge, his performance effectively conveyed the essence of the detested American businessman. Although his accent was mostly effective, occasional slips suggested that further vocal refinement would be beneficial to fully realize the character’s intended impact. Supporting Roles – Singing and Acting Beryl – Mary O’Byrne. Mary’s portrayal of Beryl was a burst of energy. Bubbly and well-cast, she commanded the stage with a strong presence, perfectly embodying the trouble stirrer rather than the maker. Her delight in the role—especially through the use of deliberately foul language—brought a mischievous charm to the production. Clare – Aisling Kelly. Aisling’s performance as Clare, though promising, did not fully hit the mark. The comedic timing needed further refinement, and while the role is notoriously difficult to perfect, her nice voice and contribution to the group of women were noted as strengths. Continued focus on timing and delivery in comedic scenes will benefit future portrayals. Sandra – Alanna Keane. Alanna brought a cheeky and watchable quality to Sandra. With strong characterisation and confident movement, Sandra emerged as a memorable part of the group of women, adding a spirited counterbalance to the ensemble’s overall dynamic. Cass – Lauren Kavanagh. Lauren’s portrayal of Cass provided a delightful touch of whimsy. Her character, delightfully delusional about her ambitions to be an airline pilot, added levity to the production while contributing to the ensemble’s varied texture. Cortina Man – Rory Dignam. Rory delivered a performance as Cortina Man that was well sung and assured. His solid vocal delivery and stage presence contributed effectively to the ensemble’s narrative, reinforcing his role with confidence. Mr. Buckton – Brian McCabe. Brian’s portrayal of Mr. Buckton was memorable for his great accent and strong scene work. Embodying the role of a dictatorial schoolmaster, his performance exuded a commanding presence that left a lasting impression on the audience. Ron Macer & Gregory Hubble – Paul Curran and Pat Lalor The duo of Ron Macer and Gregory Hubble, formed a robust pairing against Monty. Their performances, marked by strong character work and a genuine “boys club” vibe, added depth and dynamic contrast to the overall ensemble. Sid, Bill, Barry, and Stan – Kevin O’Leary, Paul Kiernan, Andrew White, and Paul Fogarty. This group of supporting roles brought an essential laddish energy to the production. Their camaraderie and robust stage presence provided a solid underpinning to the show’s more intense scenes, ensuring that even the lighter moments were delivered with verve. Adams – Joey Conlon. Joey’s portrayal of Adams, the suitably sniveling aide to Mr. Tooley, rounded out the supporting cast. His performance, marked by a convincingly servile demeanor, effectively underscored the unsavory characteristics of his superior. Chorus/Ensemble – Singing, Acting and Choreography The chorus and ensemble provided the backbone of the production, delivering a performance that was vocally tight and energetically supportive of the lead roles. Their well-rehearsed harmonies created a solid musical foundation that resonated throughout the show. However, the physical aspect of the performance revealed mixed levels of confidence among ensemble members. While some performers moved with fluidity and assurance, others appeared hesitant when navigating the choreography. Implementing regular movement workshops focused on spatial awareness, body control, and synchronized timing would help address these disparities. With increased rehearsal time dedicated to stage craft and physical coordination, the ensemble has the potential to become a more dynamic and cohesive component of future productions. Stage Management & Set Design The set design was thoughtfully executed, making clever use of the available space within the church. A 1960s-inspired colour palette added a nostalgic touch, and although the flat walls served as a simple backdrop, they effectively highlighted the performers. Enhanced scenic artistry—such as textured backdrops or more dynamic set pieces—could add further depth and visual interest in future productions. Stage management was handled diligently, though scene changes occasionally felt sluggish. In particular, transitions—such as the move into the pub setting—were hampered by cumbersome furniture and limited cast involvement. Closer collaboration between the stage manager, lighting crew, and director, as well as involving the cast in scene transitions, would streamline the process and maintain the production’s momentum. Technical – Light and Sound The technical aspects of the production were generally solid. The lighting design provided balanced illumination and effectively highlighted key moments on stage. There remains room for improvement in programming out live moves and enhancing the front-of-house focus with additional lanterns to better isolate smaller scenes. Sound-wise, the mix was mostly clear, and the chorus was well supported. However, challenges arose when soloists were occasionally overpowered by the band, and non-singing actors were inadvertently mic’ed. A tighter collaboration between the sound engineer and the Musical Director is essential to ensure that the soloists are clearly heard and that extraneous noises do not disrupt the flow of the performance. Visual – Costumes, Hair and Make Up The visual presentation aimed to capture the essence of 1960s England through an eclectic mix of costumes, makeup, and hairstyles. While the costumes were full of character, a unified design concept was sometimes lacking, leading to noticeable disparities in quality and colour palettes. Some attire leaned toward nostalgic interpretations of the era rather than authentic representations of Dagenham’s period. Makeup was serviceable, though there was potential for greater expressiveness—particularly for the female cast during key segments where emphasis on the eyes could heighten emotional impact. Hair styling was a mixed success; while the varied styles attempted to reflect the era, some of the more ambitious “poof” styles did not fully achieve the desired effect. Greater consistency and consultation with period styling experts could further enhance the visual cohesion of future productions. Adjudicators’ Suggestions/Comments – Overall Comments on the Production and Recommendations for Future Performances Overall, Made in Dagenham  was an engaging and heartfelt production that successfully brought a beloved story to life in a unique setting. The performance was marked by moments of brilliance—particularly in the vocal and emotional portrayals of key characters—and by the enthusiastic energy of the ensemble. The production team has shown a commendable willingness to experiment and push boundaries, which is essential for ongoing artistic growth. The strengths of the production far outweigh its weaknesses. The cast delivered sincere, passionate performances, and the technical team provided a solid foundation that supported the overall narrative. However, there remain areas for improvement. Enhancing stage craft for less experienced performers, refining the balance between musical elements, and unifying the visual presentation will help elevate future productions. Investing in targeted workshops—focusing on vocal training, movement, and stage management—will not only improve individual skills but also promote a more cohesive ensemble performance. A more thoughtful approach to scene transitions and clearer communication among technical departments can further streamline the production process, ensuring that each performance flows seamlessly. In summary, while there are areas that warrant further development, Made in Dagenham  stands as a strong and promising effort by the Kill Musical Society. The production laid a solid foundation upon which future shows can build, consistently elevating the standard of theatre for both the society and its dedicated audience. With continued dedication to excellence and a commitment to refining their craft, the society is well poised to deliver even more dynamic and memorable performances in the seasons to come. Photos kindly provided by the society:

Charlie & The Chocolate Factory as presented by Ballywillan Drama Group

Society name: Ballywillan Drama Group Show name:  Charlie and the Chocolate Factory Adjudicator date of attendance: 25/01/2025 Brief...

Society name: Ballywillan Drama Group Show name:  Charlie and the Chocolate Factory Adjudicator date of attendance: 25/01/2025 Brief overview  of show and evaluation of Front of House Ballywillan Drama Group presented a warm and welcoming production of Charlie and the Chocolate Factory . While the script itself presents inherent challenges, the cast and crew worked hard to bring the story to life with enthusiasm and creativity. From the moment we arrived, the front-of-house team provided an inviting and engaging experience. The chocolate bars were a charming touch, adding to the excitement of the production. The foyer displays were beautifully curated, with a selection of high-quality production photographs on screen, setting the tone for a well-organized and visually appealing event. The venue itself is an excellent space for theatre, with clear sightlines ensuring an enjoyable viewing experience from any seat in the house. Director -  Direction and Production Director Brian Logan demonstrated a strong understanding of stagecraft, ensuring a steady and engaging pace throughout the production. The transitions between scenes were smooth, and the use of additional entrances added an extra dynamic element to the staging. There was a clear effort in character development, with some standout performances from the principal cast. However, there were moments where deeper exploration of characters could have been beneficial. Willy Wonka, in particular, needed a more defined balance between charm and eccentricity to fully capture the essence of the character. Additionally, finer details such as Mrs. Bucket’s busy work and the body double for Violet could have been executed more seamlessly to enhance believability. Overall, the direction was cohesive, demonstrating a thoughtful approach to storytelling, and the use of accents and character voicing was well handled. Attention to some finer details would elevate future productions to an even higher standard. Musical Director-  Direction and Orchestra Under the skilled leadership of Musical Director Andrew Robinson, the band delivered a tight and well-balanced performance. Conducting from the subterranean pit was managed effectively, allowing for strong communication with the cast via TV screens. The harmonies from the chorus were well-rehearsed, contributing to a full and vibrant sound. The orchestration complemented the vocal performances without overpowering them, and the overall balance of music and dialogue was well considered. This strong foundation in musical direction provided great support for the vocalists and contributed to the overall cohesion of the production. Choreographer - Choreography Choreographers Sharon Logan and Laura Fisher brought some very clever ideas to the production, with several moments of ingenuity in movement and staging. The opening number had a well-conceived concept, and Queen of Pop  was a standout in terms of energy and precision.That said, while the choreography was creative, there were areas that could have benefited from more refinement and cleaner execution. Some numbers required additional polishing to achieve uniformity, particularly within the ensemble. With sharper movement and greater attention to synchronization, the choreography could truly shine. Leading Principals – Singing and Acting Willy Wonka – Alan McClarty Alan is clearly a confident and comfortable performer on stage, but his portrayal of Wonka felt somewhat understated. While there were moments of charm, the character lacked the unpredictable eccentricity that defines the role. His vocal ability was pleasant, but it felt as though we didn’t hear the full extent of his range. With more direction in terms of character development and exploration of Wonka’s depth, this performance could have been much more dynamic and engaging. Charlie Bucket – Emma Shirlow Emma was a delight to watch. She radiated energy and enthusiasm, effortlessly commanding the stage and drawing the audience into Charlie’s world. Her vocal ability showed great promise, and she demonstrated excellent characterisation. She interacted beautifully with her fellow performers, bringing a natural warmth to her role. A truly standout performance! Grandpa Joe – Paul Sleet Paul delivered an endearing portrayal of Grandpa Joe, embodying the character’s gentle and fatherly nature. His interactions with Charlie were heartfelt and engaging. There was potential to push further into the mischievous side of Grandpa Joe’s personality, which would have added an extra dimension to his performance. Vocally, he was steady, though a little more projection would have enhanced his numbers. Violet Beauregarde – Chloe Freeman-Wallace Chloe brought great energy to the role, fully embracing Violet’s self-absorbed and vain personality. Her solo number was a highlight, showcasing both vocal ability and strong characterisation. A confident and committed performance. Augustus Gloop – Patrick Connor Patrick delivered a thoroughly entertaining performance, capturing the humor and playfulness of Augustus. His facial expressions were excellent, and he remained in character throughout. His comic timing was strong, making his portrayal one of the more memorable ones. Veruca Salt – Sarah McIlhagga Sarah was the epitome of a spoiled, petulant child. She carried herself with the arrogance and entitlement needed for Veruca, and her attempt at ballet was a well-executed comedic touch. Her accent and facial expressions added depth to her character, making for a well-rounded performance. Mike Teevee – Steven Millar Steven delivered a high-energy portrayal of Mike Teevee. However, at times, the performance felt a little too manic, making it difficult to understand his dialogue. A more controlled approach would have allowed the character’s essence to come through more clearly. Supporting Roles – Singing and Acting Mrs. Gloop - Charisse McDowell.  A fantastic sidekick to Augustus, with a super accent that remained consistent throughout. Clearly a doting mother that has gone too far.  Mr. Salt - Steve Setterfield.  Played the doting father well, with a strong, unfaltering accent. Very believable as the scary oligarch that is beholden to the whims of his daughter. Mr. Beauregarde - Adam Goudy.  Perfectly irritating as a flashy social media dad, a performance that was enjoyable in its deliberate unlikability. He captured the wheeler-dealer geezer very well Mrs. Teevee - Laura Fisher  Laura needed more guidance in this role. The comic timing was missed making the role more uncomfortable. Her dialogue was difficult to understand at times. I feel she would do better in a different sort of role. Mrs. Bucket - Clare Campbell.  A motherly performance. Stern but never strict. Occasionally felt unsure of how to use her hands on stage, and the ‘busy work’ needed more fluidity to feel natural. Chorus/Ensemble- Singing, Acting and Choreography The ensemble brought good energy to the production, though there was some inconsistency in movement ability. With more precise execution and refined choreography, they could have presented a more cohesive unit. Vocally, they delivered well, though some moments lacked focus, particularly in the Oompa Loompa numbers. Stage Management & Set Design The production was generally well managed, with scene transitions handled efficiently. Tidying up elements such as the curtains hiding set pieces in the wings would have contributed to a more polished aesthetic. The set design was visually appealing, with well-executed printed flats and an effective use of a video wall, which maintained a cohesive color palette. The Bucket House was convincingly dilapidated. Some factory pieces, while conceptually strong, didn’t have the same polished finish, which made them stand out in contrast to the rest of the set. Technical- Light and Sound Lighting design had some beautifully executed moments, though there were a few issues with cue timing, particularly during the Invisible Corridor scene. Better synchronization between lighting and sound cues would have improved the overall effect. Sound was mostly well-balanced, and the mix from the underground pit was well handled. Some dialogue was difficult to hear at times, but it is unclear if this was a sound issue, or a projection issue. Visual- Costumes, Hair and Make Up Costumes were well chosen, with principals and chorus looking cohesive. The touches of red in The Factory Gates  scene were particularly effective. The Oompa Loompa costumes were an interesting concept but could have been refined further. Makeup was generally well applied, but the Oompa Loompa wigs needed more attention. Several were untidy, with visible performer hair. Tidying these details would greatly enhance the overall visual impact. Adjudicators suggestions/ comments-   overall comments on the production and comments to enhance the standard for future performances. This was an enjoyable and ambitious production with many strong elements that showcased the dedication and enthusiasm of Ballywillan Drama Group. The passion from both cast and crew was evident, and there was a great energy that carried throughout the show. One of the great strengths of this production was its ability to create an engaging theatrical experience that delighted the audience. With continued refinement in choreography, sharper execution in technical aspects, and deeper character development, future performances have the potential to be even more captivating and memorable. I would suggest dance workshops throughout the year. Attention to small technical details, including lighting cue timing and sound balance, would further elevate the professional quality of the performance. Additionally, refining the nuances of character portrayal, particularly with complex roles such as Willy Wonka, would add even greater depth and intrigue to the storytelling. In conclusion, Ballywillan Drama Group should be very proud of this production. Their hard work and commitment to excellence were evident, and with continued focus on detail and performance cohesion, their future productions will no doubt continue to impress and entertain.

GILBERT SOCIETIES

Below is our comprehensive list of GILBERT societies.

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

Society
MTU Musical Society
9 Arch Musical Society
Athlone Musical Society
Avonmore Musical Society
Ballinrobe Musical Society
Banbridge Musical Society
Belfast Operatic Company
Bosco Drama Group
Bravo Theatre Group
Carnew Musical Society
Carrick-on-Suir Musical Society
Cecilian Musical Society, Limerick
Clane Musical & Dramatic Society
Clara Musical Society
Coolmine Musical Society
Dunboyne Musical Society
Ennis Musical Society
Entr'acte Musical Theatre Society
Galway Musical Society
Galway University Musical Society
Gorey Musical Society
Harolds Cross Tallaght Musical Society
Jack Cunningham Productions
Kilcock Musical & Dramatic Society
Kilkenny Musical Society
Killarney Musical Society
Kilmainham Inchicore Musical Society
Leixlip Musical & Variety Group
Malahide Musical & Dramatic Society
Marian Choral Society, Tuam
Maynooth University Musical and Dramatics Society
Mitchelstown Musical Society
Muse Productions
Nenagh Choral Society Youth Academy
New Ross Musical Society
Newbridge Musical Society
Newcastle Glees Musical Society
North East Musical and Dramatic Society
North Wexford Musical Theatre
Oyster Lane Theatre Group
Portlaoise Musical Society
Quayplayers Musical & Dramatic Society
Rush Musical Society
SGPA
Shannon Musical Society
South Eastern Theatre Group
St. Agnes Choral Society
St. Mary's Choral Society, Clonmel
St. Marys Musical Society, Navan
St. Mel's Musical Society, Longford
St. Patrick's Choral Society, Downpatrick
Teachers' Musical Society
Thurles Musical Society
Tipperary Musical Society
Tralee Musical Society
Trim Musical Society
Trinity Musical Theatre Society
Tullamore Musical Society
UCD Musical Society
Waterford Musical Society
Wexford Light Opera Society
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