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Snow White and Babes in the Wood

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8 Jan 2025

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10 Jan 2025

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20 Mar 2025

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Beauty & The Beast as presented by Dundalk Musical Society

Society Name:  Dundalk Musical Society Show Name:   Beauty & the Beast Adjudicator Date of Attendance:  October 20th, 2024 Brief overview...

Society Name:  Dundalk Musical Society Show Name:   Beauty & the Beast Adjudicator Date of Attendance:  October 20th, 2024 Brief overview  of show and evaluation of Front of House Dundalk Musical Society’s Beauty and the Beast  offered a fresh take on a beloved classic. While the production featured committed performances and a spirited cast, it often fell short of delivering the magic expected of such a timeless tale. The Front of House team provided a warm welcome, ensuring a positive start to the evening. Director -  Direction and Production Laura Kerr’s production lacked cohesion in pacing and staging, with static scenes and inconsistent blocking detracting from the story's flow. For instance, the Beast’s ascension of the staircase without the rest of the characters, yet they were present in the new scene, was an inconsistency in journey. Character interactions and comedic timing were underdeveloped. The Beast’s portrayal, characterized by crouching and swaying, distracted from his imposing presence and emotional arc. Musical Director -  Direction and Orchestra Musical Director Elizabeth Freeburn led a standout orchestra that beautifully rendered the Disney score, maintaining a perfect balance with the performers. The chorus impressed with polished harmonies and a well-rehearsed sound, demonstrating vocal strength and control. Choreographer - Choreography Choreographic choices from Clare Donnelly were mixed. The opening number lacked the energy expected of a bustling village scene, while “Gaston” brought more lively engagement through clever prop use. However, “Be Our Guest” failed to achieve the grandeur required, with repetitive movements and empty moments. Similarly, “The Mob Song” lacked the tension needed to heighten its dramatic climax. Leading Principals Beast (Max Valentine):  Max brought a youthful sincerity to the role, showing potential to connect emotionally with the audience. His vocal tone while lacking the maturity needed to fully embody the power of the Beast was pleasant and showed promise. Direction to keep him crouched and swaying detracted from his ability to command the stage effectively. With further refinement Max could grow into the strength and complexity of a character like the Beast.  Belle (Anna-Maria Boyle):  Anna-Maria’s vocal performance was a highlight, showcasing beautiful control and a lyrical quality that suited Belle perfectly. Her comfort with movement added a graceful layer to the role. However, her portrayal occasionally felt overly exaggerated, creating a disconnect from the rest of the cast’s more subdued performances. A slightly more grounded interpretation could have allowed Belle’s sincerity and strength to shine. Gaston (James McGinn):  James approached Gaston with enthusiasm, embracing the character’s brash confidence. James has the tools to develop a more polished interpretation of the role in future performances. Gaston’s larger-than-life persona demands charisma and charm, which were somewhat overshadowed by James’s vocal choices and mannerisms. His voice placement felt somewhat strained.  Lumiere (David McArdle):  Lumiere is a character that thrives on charm and sparkle, and while David brought moments of flair, there was room for a bit more energy and stage presence. His portrayal could shine even brighter with a touch more animation and finesse in his interactions, particularly in numbers like "Be Our Guest.". His interactions with Babette were energetic but lacked finesse. Cogsworth (Aaron Mathews):  Aaron delivered a steady performance as Cogsworth, navigating the character’s comedic potential with consistency. Some attention to maintaining a crisp accent and embracing Cogsworth’s fussy charm could elevate the role to its full comedic potential. Mrs Potts (Orlaith Crosby): Orlaith Crosbie delivered a heartfelt performance as Mrs. Potts, her lovely voice shining in "Tale as Old as Time." While the costume captured the character's charm, it seemed restrictive, limiting her physical expression. With a more flexible design, her performance could have been even more captivating. Supporting Roles LeFou (Cian Kennedy):  Cian’s physical comedy and enthusiasm were evident, adding energy to the production. Adjusting the character dynamic to reflect LeFou’s idolization of Gaston, rather than what felt like romantic interest, would have the intended dynamic of blind admiration and sycophancy. Maurice (Jim McGuigan): Jim’s warmth as Maurice was endearing, particularly in the opening scenes, where his fatherly love shone through. The later scenes needed a further layer of urgency and eccentricity to heighten the stakes and amplify the character’s emotional journey. Babette (Fiona Millen):  Fiona brought a playful energy to Babette, and while her dialogue delivery was measured, a quicker pace could add to the character’s coy charm. Exploring a broader range of flirtatious and dramatic expressions could also enrich the portrayal. Chip (Eamonn Mackin):  Eamonn stood out as a delightful highlight of the show, combining strong facial expressions with a sweet and clear voice. His natural stage presence made Chip a memorable character and a highlight. Madame de la Grande Bouche (Karyn McCooey):  Karyn embraced the dramatic flair of Madame de la Grande Bouche with enthusiasm, delivering a convincingly operatic and larger-than-life performance. Her strong vocal presence added depth to the character, making her a standout in her scenes. Les Filles De La Ville 1 (Ashley Copas McCormack):  Ashley portrayed the adoring, somewhat naïve character with charm and enthusiasm. She was a strong addition to the trio, capturing the fawning nature of her role effectively. Les Filles De La Ville 2 (Rachel Noonan):  Rachel similarly embodied the role of the infatuated admirer, contributing to the trio’s dynamic with equal devotion and charm. Les Filles De La Ville 3 (Caitlyn Carroll):  Caitlyn stood out as the strongest of the three. She demonstrated excellent comedic instincts, bringing a sharp wit and energy that enhanced her performance. Monsieur D’Arque (Deaglan McGovern): Deaglan's portrayal of Monsieur D’Arque could have benefitted from a deeper dive into the character’s sinister and creepy traits.  Chorus/Ensemble- Singing, Acting and Choreography The chorus provided robust vocal support and energy but was underutilized in staging and movement. Greater integration of the ensemble in dynamic choreography and interactions could enrich key scenes. Stage Management & Set Design The period-appropriate set captured the essence of the story, but slow transitions hindered momentum. The rose’s placement up stage centre, rather than “in the West Wing” was confusing and disrupted storytelling. While theatrical cloths added charm, some set changes, such as removing the fireplace for “Be Our Guest,” felt unnecessary. Technical Aspects: Lighting and Sound Lighting was effective overall but could have enhanced dramatic moments like “Be Our Guest” and “The Mob Song” with bolder choices. Sound design was well-balanced, though occasional missed cues detracted slightly. Costumes, Hair, and Makeup Costumes were visually appealing and well-suited to the characters. Minor mismatches, like Lumiere’s candles, were noticeable but did not detract significantly. Hair and makeup were executed neatly, though the Beast’s full-face mask limited the character’s emotional expressiveness. Adjudicators suggestions / comments Dundalk Musical Society showcased great potential with this production. To maximize future performances, consider; enhancing character interactions and physicality to bring scenes to life with greater energy and flow; refine showstopping moments to ensure they deliver the grandeur and excitement they deserve; focusing on consistent characterization across the cast to maintain tonal cohesion; streamline scene transitions and heighten key dramatic moments with technical and staging enhancements. Dundalk Musical Society has the talent and capability to deliver truly magical productions.  Therese Maher Sullivan Adjudicator 24/25 Some photos of the production by the society (Photographer: James Huish)

Big Fish as presented by HXT Musical Society

Harolds Cross Tallaght Musical Society  Big Fish  Friday 8th November 2024  ‘Big Fish’ is a relatively new show on the AIMS circuit,...

Harolds Cross Tallaght Musical Society  Big Fish  Friday 8th November 2024  ‘Big Fish’ is a relatively new show on the AIMS circuit, having had its Irish premiere in Thurles last season. I suspect that it will become a popular choice for societies into the future. With a highly creative production team who weren’t afraid to think outside the box and a front line and ensemble who were clearly in tune with the heart and soul of the piece, this show was in very safe hands. It was a beautiful, thought-provoking, fast-paced production, which seamlessly traversed the lines between fantasy and reality, magically transporting us from one far-fetched location to another in what was a rollercoaster of emotions from start to finish.  The foyer of the Civic Theatre was jam packed for this sold-out performance as the audience waited to be admitted to the auditorium. Front of house personnel were most welcoming.  One of the greatest challenges in presenting ‘Big Fish’, is the smooth negotiation of transitions between its parallel timelines and storylines which are delivered as a series of flashbacks through the eyes of its self-mythologising hero, Edward Bloom. In the wrong hands, this jumping back and forth could be a messy business. However, HXT’s director, Niamh McGowan, had a very clear vision, ensuring that the flow between past and present, fantasy and reality, was beautifully realised through exceptional collaborative work with her cast and, particularly, with the lighting department. Pace, fluidity, smooth transitions and continuity were the hallmarks of this show, which zipped along from start to finish. Seeing crew, without cover of blackout, snapped me out of the show from time to time, breaking the magic. Cast did wonderfully when choreographed to change scenes/strike furniture and props, so it might have worked well to maintain consistency.  Musical Director, Dermot O’Callaghan, did a superb job with this catchy, melodic, Andrew Lippa score. There was an incredibly rich sound from the orchestra, perched high above the action on the stage down below. Mr. O’Callaghan’s sensitive conducting added evocative atmosphere and dramatic impact to the show’s many moods, varying from the whimsical to the poignant and plenty in between. Principal singing was excellent across the board and there was a wonderfully warm choral sound which was very well mixed by the sound designer. Choral highlights included the dynamic ‘Showdown’ and the stunning harmonies of ‘The Procession’. The Alabama Lambs impressed too with their well-balanced harmonies. Underscored dialogue was very sensitively handled. ‘I Know What You Want’ was the only point in the show where I felt that the orchestra occasionally overpowered the vocals to the detriment of the lyrics.  Erica Delaney embraced the whimsical nature of the show through her choreography, devising a series of imaginative routines which were fully in keeping with its themes. The thigh-slapping Alabama stomp, was so full of energy and fun and, most importantly, achieved its aim of having a myriad fish leap right out of the water. This set the tone for what was to come. ‘Showdown’ was a full-on country and western delight, danced with vigour and great performance levels from a fully committed ensemble. The tap dancing in ‘Red White and True’ was very well rehearsed, with sharp, precise steps and just the right amount of cheese.   Jenny McCabe (Sandra) & Damien Hurley (Edward Bloom) Damien Hurley gave quite the astonishing performance as retired travelling salesman and spinner of tall tales, Edward Bloom, a Walter Mitty type character with a flair for ‘embellishment’ of the truth. This was a most charismatic portrayal, a charming performance full of fun, love, warmth and utmost sincerity. Mr. Hurley’s intelligence as an actor was all over this production. His ability to jump between timelines, whilst seamlessly changing his voice, intonation, physicality or costume, was quite remarkable. Mr. Hurley sang with a rich tone and really impressed with his super upper register, particularly in ‘Fight the Dragons’.  Jenny McCabe’s performance as Edward’s wife, Sandra, was also very special. Her unfailing loyalty for her husband shone brightly through the show, in a beautifully pitched characterisation blending genuine love with utter devotion. Ms. McCabe brought heart wrenching emotion and a deep sincerity to the role, especially in the latter half of the show, as the terminally ill Edward began to fade. ‘Two Men in My Life’ was beautifully sung and performed. But it was the gloriously heartfelt ‘I Don’t Need a Roof’ that provided a standout moment of the show, for me.  You’d be forgiven for thinking that the role of Will Bloom was perhaps written for Dan Whelan. Dan found nuances in the text that gave incredible depth to Edward’s realist son. His deep rooted resentment was beautifully balanced with his intense yearning for connection. He was angry, frustrated, emotional and vulnerable. All of these emotions were pitched intelligently and truthfully. ‘Stranger’ was a powerfully delivered, beautifully sung musical highlight. A truly memorable performance.  Dan Whelan as Will Bloom Eleven-year-old Seán O’Callaghan was a joy to watch as the younger Will. Seán delivered a wide-eyed, excellent performance which showed an understanding of text beyond his years. The chemistry between Seán and Mr. Hurley was so natural and believable. Comic timing was superb. Seán was always in tune with the story; actively listening and reacting appropriately. This was particularly evident in ‘Be the Hero’ as he took in every single word.  The part of Josephine could easily be forgotten in the hands of someone less skilled than Aoife Small. It is, perhaps, an underwritten role. However, Ms. Small cleverly managed to find great warmth, tenderness and understanding in the text. She was logical, intelligent and sympathetic, always supportive of Will. A really well-judged performance.  Mark Keegan was very strong comedically in the role of Amos Calloway, the circus impresario who is, secretly, a werewolf. This was a very energetic performance full of character and excellent physicality. I loved the very well delivered ‘Closer to Her’ in which Mr. Keegan drip fed an expectant Edward details about his wife to be.  Leonna Condron delivered a powerful vocal as the first of Edward’s fantastical acquaintances, the witch, who showed him how he was going to die. She was sinister, magical and theatrical with a very strong stage presence and gave a commanding performance of ‘I Know What You Want’.  The talented Eoin Salley was another performer with an imposing presence, in the role of the fierce but sensitive giant, Karl. Mr. Salley had a suitably booming vocal quality, great comic timing and was well in tune with the more emotional requirements too. A fine singer too, he got to have some fun in ‘Out there on the Road’. His ill-fitting beard was, unfortunately, of poor quality and distracted me throughout. His wig also needed some attention. In spite of this, Mr. Salley delivered a very fine and memorable performance. Serena Salmon was an excellent Jenny Hill. As the younger Jenny, she displayed a nicely judged sense of idealism and devotion to Edward. A skilled actress, Ms. Salmon’s transformation to adult Jenny was beautifully handled with her subtle changes in posture and vocal tone.  Éanna O’Donnell was a typically aggressive, jock frat boy as Don Price, Sandra’s first love. He played the role with considerable anger at times but managed to mature and ditch his jerklike qualities later in life, rising to prominence as a pretty decent mayor.  Garrett Rodgers was a very funny Zachy Price, who made the most of every comic opportunity and nailed his chance every time. Superb comic timing and facial expressions made Mr. Rodgers a standout ensemble member, always leading from the front.  Paul Laycock brought great experience to the pivotal cameo role of Dr. Bennett. He played Edward’s family friend with warmth and sensitivity, identifying the need for medical intervention and setting the key narrative in motion.  How great it was to see such talented children performing in this show. Joe Coady had great presence as Will and Josephine’s son and Ellen O’Callaghan and Hannah Donnelly both shone in their girl scout roles. Bravo! I look forward to seeing these wonderful performers in future shows.  A big shout out too to the Alabama Lambs, Julie Donnelly and Charlene Masterson, who sang and performed so well alongside Ms. McCabe. They had a great sound, and their movement was appropriate to the style and nicely synchronised.  The show was blessed with a strong ensemble of cheerleaders, wedding guests, circus performers and a myriad other characters who displayed unstinting commitment to the production team’s vision. They moved with confidence and purpose, always in tune with the pace of the show. I loved the use of the ensemble for scene changes and prop movement, which worked very well indeed.  Stage manager, Marie Cusack, did great work with her very disciplined and efficient crew. Everything moved very fluidly, contributing greatly to the pace of the show which moved along at breakneck speed. I did feel at times that more care needed to be taken not to have crew seen when the stage was lit or partially lit. However, that is more of an artistic observation than a crew-related one. A really great job from all involved.  Set design allowed for a large open playing space, which was well utilised by the director and choreographer. The orchestra was perched on a very high upstage platform and the show played out against a wooden, barn-like wall, with this opening out to create the giant’s cave and the witch’s house. The bunting for the circus worked well and the well-designed Auburn University sign looked great. I felt that this simple, well-finished and effective set was very functional but, for me, it was missing some imaginative flair and colour that might be more in keeping with the fantastical nature of the show.  The props team ensured there was good attention to detail throughout. It’s a quirky show and, as such, requires some unusual props. The witch’s crystal ball, Redfang’s blowpipe, the key to the city and (my favourite!) the ‘brick’ phone all looked great. The shadow box and puppets for ‘Fight the Dragon’ was fabulous. And there were daffodils. Lots of daffodils! And daffodil cloaks. And daffodil umbrellas. And lots and lots of daffodil petals too. Great work by all.  Lighting is such a key component in a show like ‘Big Fish’, which necessitates shifts in time and dimension in an instant. Lighting creates the magic, allowing performers to step out of one timeline and into another, seamlessly, without the need for elaborate scenery changes. The lighting design and operation in this show were excellent. Imaginative use of moving lights and colours was instrumental in creating believable separation between worlds of fantasy and reality. There were some lovely effects created, such as the tornado and the lovely rippling water effect. There was great use of haze too, to accentuate dramatic beams and to create a more ethereal state, when required.  Sound was excellent throughout. The orchestra was beautifully mixed and, generally, there was great balance between musicians and cast. Underscored dialogue was superbly handled and, for the most part, all vocals sat nicely on top of the accompaniment. The only place where I felt cast were overpowered a little was in ‘I Know What You Want’. There was excellent use of and choice of sound effects; all at appropriate levels. A super job.  A lot of work clearly went into the costuming of this show, which helped to define a wide array of characters. A large ensemble with multiple changes meant there must have been some very busy periods backstage. The costume department avoided the usual military uniformity of ‘Red, White and True’, opting for a more ‘Go U.S.A!’ feel. The witch’s trees looked great, as did the witch herself. Cheerleaders, circus performers and college students were all very well turned out. I felt that the giant’s costume was crying out for more detail. The ‘pelts’ looked very well but there could have been even more to take the bare look off the base. I loved the quirky polka dot for the Alabama Lambs and there was a perfect western authenticity to ‘Showdown’.  Hair and make-up were generally well looked after. However, Mr. Salley’s wig and beard needed attention. I also thought more could be done for Mr. Keegan’s ‘werewolf’ as I felt the sideburns were of poor quality and poorly attached. I do understand that time may have been too tight to allow for a more dramatic change, but I did feel that the overall look needed attention. The auburn wigs added to the quirky fun of the show. Ms. Condron’s make-up was very effective, but it might have been worth going for something bigger and more dramatic with her hair.  It is always a brave move taking on a new, relatively unknown show. HXT not only did this, but they also set the bar incredibly high for what I’m sure will be many future productions to come. This production team, at top of their game, guided a stellar cast, allowing them to wring every last drop of warmth, humour and heart from a beautiful book and score. My sincere thanks to all for such a charming night’s entertainment.  Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Niamh McGowan/Darragh Carroll

Rock of Ages as presented by Kilmainham Inchicore Musical Society

Kilmainham Inchicore Musical Society  Rock of Ages  Saturday 2nd November 2024    PUBLIC REVIEW    Almost ten years ago, I was delighted...

Kilmainham Inchicore Musical Society  Rock of Ages  Saturday 2nd November 2024    PUBLIC REVIEW    Almost ten years ago, I was delighted to attend Kilmainham Inchicore Musical Society’s inaugural production of ‘Calamity Jane.’ How far they have come in almost a decade; replacing Deadwood’s Golden Garter with the seedy surroundings of the Sunset Strip’s Bourbon Room. What a journey…and what a terrible pun. Essentially a jukebox musical made up of 80s power ballads and rock anthems, ‘Rock of Ages’ was a great choice for this group as they embraced the madness of its less than subtle script and delivered an exuberant, highly energetic production to an enthusiastic matinée audience. From the beginning with the very suggestive front of house announcements, encouraging patrons to set phones to maximum vibration, we knew exactly what direction this show was heading in. And that was only the start of what would be a rollercoaster ride of delicious innuendo and raunchiness, set against a backdrop of 80s campness and accompanied by some of the decade’s most recognisable, infectious guitar licks.  The front of house team was most efficient, ushering patrons to their seats in a most friendly and pleasant manner. It was heartwarming to see a group with special needs in attendance and how well looked after they were before, during and after the show. There was a real sense of community and inclusion which was so lovely to see.  Stephen Fagan’s production was fast paced, with a strong focus on the comic elements of the show. I am still laughing at the hilarious motorcycle sequence! The toilet cubicle scene left absolutely nothing to the imagination and the well-staged riot sequence was impressively realised. I enjoyed the use of our friend at the bar (not credited in the programme) and his many comic turns facilitated by Mr. Fagan. Sightlines were an issue on quite a few occasions and, whilst this did not take away from the enjoyment of the show, it did jar a little when other aspects of direction were so strong. Mr. Fagan also had a very strong eye for casting, and this really was a front line to be very proud of.  Looking every inch the rock goddess herself, a brilliantly energised Amy Penston-Hendley was clearly in her comfort zone taking on the role of musical director and guiding her five-piece band through a myriad rock classics. We were treated to power chords and screaming guitar solos galore, all solidly driven by heart-pounding drumbeats from one of the best musicians to sit behind a kit. The band was loud; that’s the gig. The audience is invited to “feel the noize!” However, at times, it was a strain to hear ensemble harmonies. They were there and they were great, but they just needed to be pushed out a bit more at times. Ms. Penston-Hendley was so sensitive to underscored dialogue, conscious of always pulling the band level back when needed, so that every word was heard.  Siobhán Ryan did a great job on choreography, capturing the style and energy of the genre so well with her tongue-in-cheek dance routines suiting the talents of her large cast. Ms. Ryan devised some rather raunchy routines for Sherrie and her fellow strippers, which went down very well indeed. The excellent ‘Hit Me With Your Best Shot’ was delightfully camp and full of fun. Very well done by Ms. Ryan.  This was my first time to see Lauren Dooley on stage and I hope it is not my last. Ms. Dooley was excellent as the ‘small town girl’ who embarks on a journey (here I go again with the puns!) from naïve ingenue to stripper on the Sunset Strip. She captured the essence of the wannabe actress so well, living every moment on stage in a superbly convincing, tour-de-force portrayal.  Equally impressive was Gavin Molony’s portrayal of Drew, the “city boy, born and raised in South Detroit’’ (of course!) who hopes to make it as a big rock star. Mr. Molony channelled his inner David Lee Roth, stripping paint off the walls of the Inchicore College of Further Education with his powerful, soaring vocals. This was a most convincing characterisation from Mr. Molony who was every inch the rock star with his superb stage presence and relaxed delivery.  Jamie Place blew the fourth wall asunder as the irreverent emcee, Lonny. His cheeky, often lewd observations, as he provided tongue-in-cheek ‘clarity’ to a less than taxing narrative, were dripping in hilarious 80s campness. He delivered an impressive singing performance too, rounding off a super overall portrayal.  David Hynes pulled off the rare feat of balancing the despicable with the likeable in the role of egomaniacal rock star and all-round douchebag Stacee Jaxx. This was a performance full of confidence and flair. Mr. Hynes owned the stage, strutting and flaunting with arrogant abandon as he unashamedly laid down misogynistic marker after marker. His vocals were superb in ‘Wanted Dead or Alive’ and his no holds barred, ‘lavatorial shenanigans’ with Ms. Dooley raised eyebrows, temperatures and whatever you’re havin’ yourself.  Nikki Johnston had excellent stage presence as the madame of the Venus ‘gentleman’s club,’ Justice Charlier. Ms. Johnston’s performance was full of poise, presence, and wonderful posture, commanding the stage with her every appearance. Her dialogue delivery was natural and thoughtful and her full, soulful voice in ‘Every Rose Has Its Thorn’ was a treat. This was a top-notch performance from Ms. Johnston. However, I did wonder if her unlit cigarette in almost every scene was necessary.  Gavin O’Reilly was a very funny Dennis Dupree, the stoner owner of the iconic Bourbon Room, whose premises being set on a downward spiral sets the story’s conflict in motion. Mr. O’Reilly’s dry, laid-back delivery was very well pitched, squeezing every last morsel out of the role. His look was just perfect. Mr O’Reilly sang well too and ‘Can’t Fight This Feeling,’ with Mr. Place, was a comic highlight of the show.  David Supple showed what a fine character actor he is as the sinister property mogul, Hertz. He had strong stage presence and impeccable comic timing throughout, in what was a very well judged performance.  The part of Franz is a comedian’s dream and Aaron Macken Tierney grabbed the opportunity to wring every last drop of camp humour out of his role in a highly flamboyant, colourful performance that delighted the audience. There was a hint of Sacha Baron Cohen in his superb physicality and his comic timing was really on point. His comic talents segued nicely into his singing also. His long falsetto note at the end of ‘The Final Countdown’ was a comic treat, as was his hilarious turn in ‘Hit Me With Your Best Shot.’  Rachel Hanna showed her strong comedic chops as the quirky Regina, who somehow becomes half of a very mismatched duo with the aforementioned Franz. Ms. Hanna had great pace to her dialogue, never allowing things to dip. Facial expressions were super, and she was always engaged and in tune with the narrative action. She had a very strong singing voice too and was the perfect match, vocally and comically, for Mr. Macken Tierney in ‘Hit Me With Your Best Shot’.  Lisa Younge had great presence and expression as Waitress #1 and shone brightly in the ensemble numbers too.  Didi Moore proved that there is no such thing as a small part with her confident and highly humorous turn as Constance, the reporter who interviews Stacee Jaxx.  Mikey McCormack was an equally strong performer as the mayor. Whether the passing Trump resemblance was intended or not, it did give me a giggle.  You know you have a strong show on your hands when you have someone like Cormac Dredge playing cameo roles. He was excellent as both Drew’s agent, Ja’keith and Sherrie’s unsympathetic father.  Nyree J Blackhall was far more nurturing as Sherrie’s mother and Alan Lau clearly enjoyed himself with a nicely played, over the top, Joey Primo.  There was very good work from a busy ensemble who completely embraced how bonkers the show was and went all in on its madness. Energy levels were high, and it was clear that all were enjoying the hedonistic fun as everyone channelled their inner rocker. I was particularly impressed with the ‘Venus dancers’ who not only danced very well but projected great individuality of character in doing so.  With no scene changes as such, things did not appear to be too busy for stage manager, Colum McDaid. But, as we all know, what is visible is only half the work of an effective stage manager. The fact that this show moved along so slickly showed that there had been great collaboration between Mr. McDaid, Mr. Fagan, and cast – the latter moving furniture, props, and quirky rolledup scenery pieces to ensure seamless transitions throughout the show.  A very effective set, designed by Mr. Fagan and Mr. McDaid, was visually pleasing and allowed for good flexibility in staging. It was fabulously dressed with guitars, discs and neon signage giving a very authentic feel. The upper level provided Mr. Fagan with some good options and the bandstand was nicely utilised by cast when necessary. The upstage windows allowed for some wonderful lighting effects throughout.  Props were generally very good with attention to detail in most areas. The briefcase full of cash, the protest placards, LAPD riot shields and the very well-made building model display were examples of good effort being made to get things right. However, having money printed on only one side and using the same chairs in the Bourbon Room as we were sitting on in the audience was unfortunate, when they were relatively easy fixes.  Lighting for this show was stunning, not just in its design but, crucially, in the timing of operation. There was great contrast between the exhilarating rock concert stadium feel and more subtle, sensitive moments. The design was colourful, bold and in your face…literally! The moving lights chasing through the audience at the top of the show was in keeping with the overall style of presentation, smashing that fourth wall wide open before the show even commenced. LED battens incorporated into the set looked superb and offered great options throughout. Lighting even got in on the comedic possibilities of the show. I loved how the backlighting at the end of ‘Can’t Fight This Feeling’ accentuated the hilarious performances.  Sound was generally very good throughout. The microphone gremlins were at play for Mr. Molony’s opening appearances – unfortunate, but these things happen. Rectified quickly, there were no issues for the remainder of the show. Cueing was exceptionally good with no missed entrances. Lead vocals were full and warm, always set above and never competing with the level of the band. I would love to have heard more of the ensemble’s vocals, especially the offstage singing which I felt needed a little more support. Overall, a really great job in a show with such a challenging dynamic.  This was a near perfectly costumed show and all credit is due to those who coordinated. Each character, from principal players to ensemble members, had their own distinct look and style. There was wall-to-wall figure-hugging leopard print, leather, and torn denim…and that was just the men! Hippy-esque attire, gospel robes and the Venus ladies’ pink ‘uniforms’ were very well chosen. The brightly coloured leotards for ‘Hit Me With Your Best Shot’ were a perfect assault on the senses. Well done to all!  What fun was had too with hair and make-up, reflecting the outrageous tone and themes of the show. Hair was big and the ladies’ make-up was very 1980s. The strippers had an interesting/unusual look which set them apart as ‘performers.’ Wigs were very well chosen, especially for Stacee and Lonny, who looked like Spinal Tap wannabes.  This was a thoroughly entertaining production of ‘Rock of Ages.’ As a show, it may be light on narrative complexity and deeper insights into the human condition. But so what?!! Kilmainham Inchicore Musical Society and their talented production team embraced the pure, unadulterated, ‘leave-your-brain-at-the-door’ FUN that is ‘Rock of Ages’ and gave us a show that never took itself seriously, delivered with a knowing, tongue-in-cheek, self-deprecating glee. A credit to all involved. Thank you and best wishes for your tenth anniversary next year!      Pat McElwain Gilbert Adjudicator 24/25   Photos by Darragh Carroll

Beauty & The Beast as presented by Marian Choral Society

Marian Choral Society  Beauty and the Beast  Saturday 2nd November 2024  PUBLIC REVIEW  As I drove through the gates of St. Jarlath’s...

Marian Choral Society  Beauty and the Beast  Saturday 2nd November 2024  PUBLIC REVIEW  As I drove through the gates of St. Jarlath’s College, Tuam, eagerly anticipating Marian Choral Society’s production of ‘Beauty and the Beast’, I was momentarily transported back ‘a few years’ to when twelve-year-old Pat stepped out of his dad’s Fiat Mirafiori and surveyed his new school and ‘home’ for the very first time. It was here that I encountered the late greats, Joe Donoghue and Noel Kirrane and it was here that I first discovered my passion for all things theatre. How special it was to return to where it all began and, even more special, to see a show produced by a group with such close ties to these two great inspirations of mine.  MCS brought a most entertaining version of the much-loved Disney classic to the St. Jarlath’s hall. This relatively small stage is not without its limitations but that didn’t deter the production team from creating many, often unexpected, magical moments which wowed a very appreciative, final night audience.  Front of house couldn’t have been more welcoming. A bit of a seating mix-up was dealt with very professionally and cheerfully and all was well as Cogsworth and Lumiere guided us through the necessary front of house announcements.  Aoife McClafferty directed with a good eye for characterisation and the technical flourishes required to create that Disney magic. She found much comic business in the script, balancing these very well with the more tender moments. Ms. McClafferty created some lovely magic with the gauze and the transformation scene was a most unexpected, technical triumph as the Beast was elevated above the stage before magically regaining his princely form. There were some really effective ensemble freezes which, complemented by atmospheric lighting, were beautifully staged. Gaston’s demise was well-realised, again using the technical elements of set and lighting to good effect.  Musical Director, Shane Farrell, did sterling work with Alan Menken’s delightful score. His eleven-piece orchestra was a joy. From the opening bars of the magical overture, we knew that this was going to be a very special show musically. Principal singing was generally very good but it was the incredible choral sound in the bigger ensemble numbers that impressed most. ‘Be Our Guest’ and ‘Human Again’ were just stunning from both orchestra and cast with exceptionally good levels from both and equally wonderful balance between vocal parts.  Jay Molyneux’s choreography was nicely devised to suit the capabilities of his large cast. Bigger production numbers were well-drilled and rehearsed with clever formations and good use of available space. It was difficult to know where to focus in the opening ‘Belle’ number, as there was so much going on. However, ‘Be Our Guest’ did not disappoint. This was a wonderfully creative number, a kaleidoscopic treat, full of energy and precision. The can-can section worked very well, and I loved the final picture which was perfectly accentuated by the superb lighting. Likewise, ‘Human Again’ was executed well by the large ensemble cast, even if some facial expressions needed attention to reflect the joy of the characters no longer being cursed. The tankard clinking sequence was fun and precisely executed in one of the real highlights of the show. Kate MacDonnell was a self-assured, likeable and endearing Belle whose loyalty and love for her father, Maurice, shone throughout. Diction was excellent and she had strong stage presence befitting this iconic Disney character. Ms. MacDonnell had a beautiful soprano voice and demonstrated excellent control. She really impressed with her two big numbers, ‘Home’ and ‘A Change in Me’, both of which were sung with great thought and sincerity. I did feel that the emotion could have been stronger in reaction to the Beaast’s demise before the transformation sequence but that is a very small point in what was a really fine, all-round performance from Ms. MacDonnell.  Beast is one of the more difficult roles in musical theatre. If the traditional type of mask is used, all facial expressions and nuances become null and void once you hit the stage. Everything becomes focused on the voice and the physicality, making it a very different and challenging role to rehearse and to perform. Paul Singleton looked great in his imposing portrayal. He was angry and intimidating when required but there was a vulnerability there too which was nicely underplayed. Mr. Singleton had a fine singing voice and cleverly used his characterisation to mask some vocal tiredness in ‘If I Can’t Love You’.  Jonathan Newman was a youthful Gaston who put everything into playing the role of the muscle-flexing, misogynistic lothario, full of his own importance. Mr. Newman had wonderful presence, delivering lines with just the right amount of knowing self-obsession and arrogance to make him both utterly despicable and likeable at the same time. After a shaky entrance in ‘Belle’, he recovered well and sang with a strong baritone voice.  Ruadhán Gormally was another very talented young man in the role of village idiot and Gaston’s inept sidekick, LeFou. Mr. Gormally’s portrayal was brim full of character and chaotic exuberance. He was an excellent physical comedian, with hilarious facial expressions and rubber-limbed antics in what was a suitably cartoonish performance.  The flamboyant Lumiere was played with great energy and expression by Stuart Barrows who delighted in the comic opportunities his role presented. Mr. Barrows gave us a performance full of wit and charm. His French accent was consistently strong throughout. He had great cheeky banter with Babette, revelling in the flirtatious fun with a comic campness that endeared him to the audience from the start. He performed his big showcase number ‘Be Our Guest’ with great aplomb, displaying a fine voice to boot.  Making up the other half of this impressive double act, Norman Quinn gave a standout performance as a cantankerous, pompous Cogsworth. This was a superbly judged and very funny characterisation which Mr. Quinn clearly enjoyed every minute of. Mr. Quinn sang very well, particularly in ‘Human Again’, always maintaining his wonderfully stuffy accent and demeanour. A top notch, funny performance.  John Mulrooney was a sympathetic Maurice, Belle’s crackpot inventor father. Mr. Mulrooney was a very good performer, with fine stage presence. We felt for him, especially when imprisoned by the Beast and when set upon by Gaston. I did feel that some work needed to be done with his accent, which tended to ‘travel’ a bit, but this did not take away hugely from a fine performance.  Mrs. Potts was played by Suzanne Garvey with a lovely, maternal warmth. Ms. Garvey’s rendition of the title song was just gorgeous. Her accent was consistent, and diction was excellent throughout. Particularly impressive was how in tune Ms. Garvey was with the narrative action, even when she was not the direct focus. Her subtle, intelligent reactions to her fellow performers showed a great deal of thought had been invested in the subtext. Rian Finegan was a delightfully enthusiastic Chip. What an amazing experience for him to get to work with such a great production team and cast. He was always confident and engaged, living every moment on stage. Line delivery was crystal clear, and he had a fine singing voice too.  Hannah Rhatigan enjoyed her portrayal of Mme. de la Grande Bouche very much. She showed great characterisation and comic timing as the enchanted wardrobe and sang strongly throughout.  How lucky MCS was to have the very talented Angela Staunton in the role of the saucy, amorous Babette. She brought great comedic flair to the role and her coquettish carry on with Lumiere provided many of the show’s comic highlights.  I loved the three Silly Girls whose infatuation with the egomaniacal Gaston was delightfully cartoonish and over the top. These three worked so well together, making the very most out of every comic opportunity.  Stephen Leo had an imposing, sinister presence as Monsieur D’Arque. I did feel that his wig needed to be off his face more so that we could see his malevolent features more clearly.  The large ensemble had plenty of involvement and, for the most part, engaged well with the dramatic action. There was an angry energy in ‘The Mob Song’ and some incredibly disciplined freezes throughout the show which looked really effective. Choral singing was wonderful throughout and dances were well rehearsed and executed.  Stage manager Julie McHugh ensured that the show moved along at a good pace, with well organised scene changes executed in an efficient manner. Movement of the trucked items worked well as did the operation of the midstage gauze. The operation of the two revolves was smoothly handled, although it might have worked better to coordinate turning them with cover from the orchestra, to mask the noise created. I did question the crew striking the fireplace and chair, in full view, at the top of ‘Something There’. Seeing crew walk on when there was no blackout, momentarily broke the magic for me. Congrats on the operation of the transformation ‘lift’. This looked wonderful and I’m sure it required a lot of tech time in rehearsal. Great job all!  The set was simple but visually appealing. It worked well in what is a fairly restrictive venue. In general, there was good attention to detail. I loved the beautifully dressed proscenium arch with its ornate ‘Beauty and the Beast’ plaque overhead. The front of the revolves were nicely detailed with roses and ivy. The imposing winding staircase for the castle’s West wing was impressive, as was the beautifully detailed library which was magically revealed by Beast. Both revolves looked great and their design allowed for smooth operation. The bottom of the fireplace needed a little touch of black paint and its casters needed to be hidden.  I felt that more work was required in the props department. ‘Beauty and the Beast’ is a ‘prop heavy’ show and requires a lot of attention to detail. Some props were excellent. LeFou’s blunderbuss looked great, as did Maurice’s wacky invention. I felt that ‘The Mob Song’ was a missed opportunity for props. It could have been brought to life so much more by the inclusion of sticks, weapons, tools, lanterns, torches etc. The few props that were used, seemed to be lost in the crowd and could have been more prominently featured.  The lighting for this show was exceptionally good, showing great understanding of mood and atmosphere. Some wonderful effects were created throughout the show and the lighting was instrumental in creating that Disney magic on so many occasions. There were some beautifully timed reveals behind the gauze and, when the gauze was used as a backdrop, the gobos used to dress it were very well chosen. There was good use of haze, never too much, which accentuated the moving lights in some very dramatic sequences. This was particularly evident in ‘Be Our Guest’ which was a visual feast.  Sound was pretty much flawless, in my view. Dialogue was crystal clear, especially underscored dialogue which can often be problematic. The wonderful sound design complemented the exquisite score, with superb balance within the orchestra and a most welcome stage/pit balance too. Choral singing was exceptionally well mixed and sound effects were well chosen and appropriate.  ‘Beauty and the Beast’ is such a visual show and costuming is a key factor in getting that visual element just right. For an iconic story, with such specific costuming requirements, there are certain expectations regarding how each character should be presented. With few exceptions, the costume department delivered. Principal costumes were, for the most part, in line with expectations. I loved most of the enchanted characters’ costumes which were fun and detailed. Gaston’s padded muscle suit didn’t work as well, I felt. Belle’s iconic yellow ballgown needed a little bit of attention as the centre panel was off kilter. A huge job for the costume team who deserve every credit for their mammoth undertaking.  Hair and make-up were generally very suitable with good attention to detail throughout principal and ensemble players. Gaston and LeFou had some interesting eyebrow energy going on and their wigs were suitably cartoonish. There was good attention to detail with most wigs, particularly for the castle characters. Maurice’s wig looked great and was suitably quirky. However, more care could have been taken to hide the visible hairpins. Monsieur D’Arque’s wig needed to be pinned back as we lost his face whenever he was in side profile.  Well done to all involved on a really entertaining production of this “tale as old as time”. It was an absolute pleasure to be in attendance. I have to commend everyone involved in the acquisition and installation of the tiered seating in St. Jarlath’s hall. What a game changer for the college and for Marian Choral Society! I have no doubt that Joe and Noel are smiling down and nodding approvingly.  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Andy Newman

Oklahoma as presented by Tullyvin Musical Society

Society Name:  Tullyvin Musical Society Show Name:  Oklahoma! Adjudicator Date of Attendance:  19/10/2024 Brief Overview of Show and...

Society Name:  Tullyvin Musical Society Show Name:  Oklahoma! Adjudicator Date of Attendance:  19/10/2024 Brief Overview of Show and Evaluation of Front of House Nestled within a hillside, Tullyvin Community Centre provided an intimate, welcoming setting for Tullyvin Musical Society’s performance of Oklahoma!  The Front of House décor was thoughtfully crafted, enhancing the atmosphere with a light-up “OKLAHOMA” sign along the front railing and cozy autumnal decorations in the foyer. Director - Direction and Production The director’s approach to Oklahoma!  was clear in blocking, making good use of both stage space and set elements. There were several well-executed scenes, including a high-energy fight sequence during the box social scene and another intense moment between Curly and Jud in the final act. However, despite strong staging choices, the show felt lacking in depth. The actors performed their lines well, but there seemed to be minimal development of character relationships or backstories, which led to some missed emotional connections. This absence was particularly noticeable in the romantic tension between Curly and Laurey, and the darker rivalry between Curly and Jud. Though all characters fit their roles, a more layered exploration of their motivations and dynamics could have elevated the storytelling. Musical Director - Direction and Orchestra The music, under a skilled Musical Director, was the standout element of the production. Harmonies were strong and well-rehearsed, lending depth to each number. The orchestra, even in the small space, was beautifully balanced, allowing the melodies and counterpoints to shine without overpowering the singers. The MD’s enthusiastic conducting was evident but could have benefitted from a lower placement, as he occasionally obstructed the LED wall and was visually distracting. Choreographer - Choreography The choreography, while high-energy in numbers like “Kansas City”, was mixed overall. The male ensemble brought commendable enthusiasm and performed capably, but pieces like “Many a New Day” fell short, even with some skilled female dancers in the cast. The dream sequence, although passable, did not fully capture the intended tension between Laurey, Curly, and Jud, and missed opportunities to emphasize the underlying emotions of love and fear. Rather than elevating some of the stronger dancers in key moments, the choreography often seemed adapted to accommodate the less experienced cast members. More strategic choices could have helped balance the skills of the ensemble and highlighted stronger dancers effectively. Leading Principals - Singing and Acting Laurey – Scarlett McCormack Scarlett delivered a vocally strong performance, handling Laurey’s challenging vocal lines with apparent ease. A pleasure to listen to, filled with warmth and colour, her voice blended richly with Curly’. However, her portrayal was subdued, with limited facial expression, which created a somewhat flat characterization. Her performance might have benefitted from more direction to encompass Laurey’s spunky, independent personality. Laurey’s spirit as a sassy, independent young woman was missing, which impacted the believability of her romantic arc with Curly. Curly – Colm Shalvey Colm demonstrated exceptional vocal talent, particularly in “Oh, What a Beautiful Mornin’,” with his smooth tenor voice. However, his physical portrayal lacked the ease and swagger of a confident cowboy, and he occasionally appeared stiff in movement. Some dance training to increase physical expressiveness would likely enhance his portrayal and help him embody Curly’s self-assured charm more fully. Aunt Eller – Andrea Fitzpatrick Andrea delivered a warm, natural performance as Aunt Eller. She balanced a playful spirit with maternal wisdom, giving the role charm and presence. Her strong voice added to her convincing portrayal, marking her as one of the most comfortable and engaging on stage. Jud – Ian Rountree While Ian has the vocal chops for Jud, his character portrayal missed the mark. He was not menacing enough to convey Jud’s darker, unsettling qualities, nor vulnerable enough to evoke sympathy. This led to Jud feeling more like a conventional character with romantic leading man tendencies, than the layered, ominous figure that drives much of the story’s tension. Supporting Roles - Singing and Acting Ado Annie – Emily Smith Emily’s Ado Annie was playful but could have gone further with the comedic, flirtatious aspects of her character. Vocally, her soprano tone didn’t fully capture Ado Annie’s brassy style, yet her warm stage presence and lively expressions kept the role enjoyable. Will Parker – Conor Lynch Conor brought excellent energy and a solid voice to the role, delivering a charming performance as Will. While his enthusiasm was evident, he could have leaned into the physical comedy with Ado Annie, adding dimension to their interactions. Ali Hakim – Enda Gill Enda presented a well-voiced, charismatic portrayal of Ali Hakim. However, his accent felt off, and the humour could have been pushed further. As a physically dynamic character, a more flexible portrayal would have given Ali Hakim the eccentric flair he requires. Andrew Carnes – Brian Feerick Brian’s portrayal was warm, adding depth as Ado Annie’s protective father. He balanced sternness with humour, although more could have been done to exaggerate his relief at “losing” his daughter. Gertie Cummings Alanna captured Gertie’s trademark laugh with energy, commitment and gusto, though her performance sometimes leaned into a more polished style that might have been even more effective with a subtler comedic touch. The stray strands of hair occasionally drew focus away from her facial expressions, which slightly impacted the overall performance. Ike Skidmore – Jason Nulty Jason brought a lively energy to the stage, consistently engaged in the ensemble scenes. He was a good mover and stayed involved in the action throughout, contributing to the ensemble's cohesiveness. Cord Elam – Donal Cooney  Donal brought a stutter to Cord’s character, which fit well, adding a sense of endearment to his role as a cast member. He stayed true to his character, enriching the scene’s atmosphere with his nuanced performance. Slim – Ben Lynch Ben’s enthusiasm as Slim was evident, though his dialogue often got lost, being inaudible at times. With more voice projection and clarity, his excitable character would have made a stronger impact. Dream Laurey – Aiveen Sexton Aiveen showed grace and poise in the ballet sequence. Her movements were clean, bringing presence to the role. She showed an ability to communicate the ballet’s emotions, though the choreography didn’t fully support her potential. Dream Curly – Eugene Hill Eugene displayed good physicality, though his role was underutilised. More challenging choreography could have highlighted his abilities further. Chorus/Ensemble - Singing, Acting, and Choreography The ensemble harmonised well and brought vibrant energy to the show. They worked cohesively as a unit, showing clear engagement and enjoyment on stage. While dance levels varied, they compensated with dedication and enthusiasm. Their singing was a highlight, bringing warmth and depth to group numbers. Overall, the ensemble demonstrated a sense of camaraderie that translated into a lively performance, though further dance training could enhance their synchronisation and fluidity in future productions. Stage Management & Set Design The set design was impressive and creatively adapted for the small stage. Well-painted and cleverly crafted, the set transitions were smooth and well-timed. The LED wall added a modern touch, though a more cohesive visual style between the LED graphics and painted flats would have enhanced the setting. The set truck operated seamlessly, contributing to a clean, polished stage flow that supported the story without distracting from it. Some tech equipment was visible downstage, detracting slightly from the immersive experience, yet overall, the stage team handled changes with efficiency and care. Technical - Light and Sound The sound was well-executed, with clear balance and no missed cues, showcasing the singers’ harmonies effectively. The lighting, while functional, was somewhat basic. Transitions between cues felt abrupt and could benefit from smoother changes, especially during key scenes like the ballet sequence. The lighting setup’s limited kit was used serviceably, yet the lighting design might have explored more atmospheric elements, particularly with moving lights, to enhance the emotional moments. Visual - Costumes, Hair, and Makeup Costuming was bright, colourful, and in keeping with the period for the most part, adding authenticity to the setting. However, some modern details detracted from the overall effect, such as Laurey’s 1950s-style dress in an 1850s story and Gertie’s 1980s finale costume. Hair styles also needed more period-appropriate styling for both men and women. The makeup was suitably subtle and natural, fitting the rural atmosphere. Adjudicator’s Overall Comments Tullyvin Musical Society’s production of Oklahoma!  displayed strong musical direction and cohesive teamwork, particularly in vocal performance. This society has untapped potential, with an evident passion and dedication that could be further enhanced through a bolder approach to direction and choreography. With continued growth, Tullyvin Musical Society is sure to produce even more captivating performances.  Therese Maher Sullivan Adjudicator 2024/2025 Some photos shared by the society:

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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