top of page

UPCOMING EVENTS

Young Frankenstein

​

20 Mar 2025

More...
Jesus Christ Superstar

​

1 Apr 2025

More...

LATEST NEWS

Shrek as presented by Nenagh Choral Society Youth Academy

Nenagh Choral Society Youth Academy  Shrek the Musical   Friday 4th October 2024  It is hard to put into words how impressed I was by the...

Nenagh Choral Society Youth Academy  Shrek the Musical   Friday 4th October 2024  It is hard to put into words how impressed I was by the cast of ‘Shrek the Musical’ which played at the Scouts’ Hall in Nenagh. This group is everything that AIMS should be proud of. What a joy it was to witness over fifty young people, performing to a phenomenally high standard, being expertly guided by a homegrown director/choreographer and doing so against a backdrop of excellent production values.  Front of house was a classy affair, with exceptionally friendly ushers, formally dressed, ensuring that everyone was looked after in a most efficient and welcoming manner. The bustling foyer, bedecked in green and buzzing with excitement, set the tone for the fabulous production to come.  Director, Stephanie Browne, did an excellent job on this most endearing production, which was brim full of heart, warmth and comedy throughout. Ms. Browne’s attention to the narrative detail was wonderful and she ensured that every cast member knew exactly what was going on at every turn. Attention to detail was everywhere to be seen, from the excellent props to the exquisite set, to the stunning costume plot. Nothing was left to chance in a production that was fast-paced and exceptionally slick from beginning to end.  Ms. Browne’s choreography was equally impressive. Not only were the quirky numbers brilliantly executed by a very skilled ensemble, they were also infused with comic business aplenty and every cast member was in on the joke. This was never clearer than in the brilliantly performed ‘Freak Flag’, which showcased this company’s dancing skills at their very best. The ‘Morning Person’ rat tap dance, with a nod to 42nd Street’s iconic opening, was clever and hilarious to boot.  Mary-Rose McNally was Musical Director for the show and her orchestra was clearly comprised of excellent musicians. The sound was big and the band was rockin’! However, they were far too loud in the brassier numbers, often drowning out soloists, harmonies and underscored dialogue. Over amplification of the brass section appeared to be an issue and I felt that more work needed to be done with the sound department to ensure that performers could be heard. Principal singing was of a very high standard throughout. Ensemble vocals were also top-notch particularly in the big production numbers like ‘Freak Flag’ and the brilliant finale number.  Stephen Keegan gave a very nuanced performance as the titular character, showing us that ogres do, indeed, have layers. Mr. Keegan treated us to layers of anger, determination, hope, despair and love in what must have been a dream role for him to play. Every single fibre of his being was invested in the role. He had a wonderfully studied physicality, inhabiting the lumbering, gentle giant with apparent ease. Mr. Keegan was completely invested in every movement, every facial expression and every puff of wind broken. But above all, Mr. Keegan was funny. Hilariously so. He nailed the slapstick antics just as well as the subtle humour in what was an excellent comic performance. What a great voice Mr. Keegan had too. ‘Who I’d Be’ showcased his beautiful tone and was a standout moment of the show.  Gráinne Scullane gave us a most endearing interpretation of Princess Fiona. It was the first time seeing the show that I truly felt the inherent sadness of the character’s imprisonment in a tower for two decades. This was very much down to Ms. Scullane’s beautifully subtle handling of the emotional elements of her character. Her singing was equally good. ‘Morning Person’ was a vocal and comic treat, and she really showed her vocal chops in ‘I Think I Got You Beat’.  The wise-cracking Donkey was played with a deft comic touch by the very talented Jayden Guilfoyle. Mr. Guilfoyle made this role his own with a brilliant fusion of sarcastic charm and comic timing that, at only seventeen years of age, belied his youth. His physicality was superb and his energy levels were off the charts. He also boasted a powerful, melodic voice, especially in his very funny rendition of ‘Don’t Let Me Go’.  Adam Carroll was another extremely talented seventeen-year-old, in the role of the pint-sized Lord Farquaad. His comic timing was exceptionally good, and he drew on a never-ending arsenal of facial expressions that would have left Jim Carrey in the ha’penny place. He was more than able to belt out a tune too and his ‘What’s Up Duloc?’, with a brilliant ensemble supporting, was one of the show’s many highlights.  Just when we thought that Nenagh’s talent pool must surely be running dry, we were treated to a simply brilliant performance from Cleo Griffin as she breathed vocal life into an impressively imposing and superbly operated Dragon. ‘Forever’ was powerful, controlled and seemed almost effortless. The standout vocal performance of the show, for me.  A very talented Eamon Coffey gave everything to the role of Pinocchio, fully committing himself to the challenging physicality and stratospheric vocal register of his delivery. The shrillness of that delivery occasionally affected clarity of diction. Mr. Coffey was superb in the brilliantly performed ‘Freak Flag’.  Erin Burke gave an unforgettable singing performance as Gingy and ‘trebled up’ by adding Sugar Plum Fairy and an hilarious vocal turn as Bluebird to an already extremely impressive CV. Her stunning riffs in ‘Freak Flag’ excellently delivered.  Isobel McLeish did a great job playing Fairy Godmother. She also joined the wonderful Ellen O’Sullivan as Young Fiona and Ms. Scullane for a beautiful rendition of the heartfelt ‘I Know it’s Today’.  Killian Forde had a busy night playing Papa Ogre, Papa Bear and Bishop. It was great to see his versatility as he skilfully jumped from one character to the next.  Katelyn Carson doubled up as Mamma Ogre and Mama Bear. As the latter, she knocked her solo out of the park in ‘Freak Flag’, with a powerful, soaring delivery and exquisitely tasty riffs.  Kaedan Hogan Long was a fine Young Shrek and gave us a lovely comic turn as Farquaad’s father, Grumpy.  This was a wonderful ensemble performance. Nobody’s face dropped at any point. Again, full credit to Ms. Browne for instilling such wonderful performance levels and a strong sense of stagecraft in her very talented company.  Set design was exceptionally good. The stunning preset, beautifully lit in a green wash through atmospheric haze, presented us with the most realistic looking swamp imaginable. It was almost cinematic in appearance. Perfectly textured trees, rocks, flora and fauna gave a very authentic look to what would continue to be a visual feast for the rest of the show. The printed side flats were incredibly effective. All of the set pieces were so well finished, especially Fiona’s tower. Perfectly chosen projections added amazing depth.  Stage Managers Rachel Browne, Máire Long and Philip Talbot marshalled an extremely efficient crew whose transitions were slick and seamless at all times. They were aided throughout by the director’s clever use of lighting to isolate action downstage whilst scene changes happened upstage. This ensured that the show rattled along at a frenetic pace, with scene changes ‘magically’ appearing as one scene dissolved to reveal another.  Kudos must be given to the props department for their amazing attention to detail. Not a thing was out of place, nor anything left to chance. Fiona’s book for ‘I Know it’s Today’ was just perfect. The fact that someone decided to place a green blanket in the tower rather than any other colour, was deliciously appealing to my inner nerd. And the onion, which could be a throwaway prop (pun intended!), was so well made. As for the bluebird puppet…just wow! Attention to detail is often the difference between a good show and a great show. Well done team.  A visually stunning and dynamic lighting design was key to enhancing the make-believe world inhabited by the story’s displaced fairytale characters. With the exception of one minor glitch, excellent timing of operation meant that the show’s many visual highlights were brilliantly captured. One of the most magical moments was the dragon’s reveal which had everything thrown at it from a lighting point of view. I would have liked more face light for ‘Travel Song’ but I appreciate that there were likely unavoidable issues with upstage positioning which affected this. A small point in what was a really top-class design and operation.  Sound design needed attention, in my opinion. Mr. Keegan’s mic did not appear to be EQ’d correctly on the night that I attended. His dialogue sounded tinny and lacked fullness and warmth. The many sound effects were excellent and were superbly timed. Timing for Shrek and Fiona’s fart-off/burp-off added greatly to the hilarious onstage business. I felt that overamplification of the orchestra led to a significant imbalance between stage and pit. There was great balance between vocal parts in the bigger ensemble numbers however, where the tight harmonies were clearly heard.  There aren’t enough superlatives to describe how good the costume plot was for this show. The programme didn’t credit the source of the myriad costumes but the visual impact was an absolute delight. With over fifty performers, and multiple changes for many, the coordination of costumes for this show was a mammoth undertaking. Shrek’s iconic tartan trousers, Farquaad’s amazing little costume complete with tiny legs, the stunning silver sequins for the tap dancing rats and the multiple fairytale characters’ detailed looks were just stunning. But it was the Duloc dancers and the precise uniformity of their red, blue and yellow outfits (a clever swipe at a certain Disney princess, no doubt) which impressed the most. Bravo!  Make-up and hair provided yet another visual feast. Shrek’s iconic look was perfectly recreated with the aid of facial prosthetics and the most incredible pair of ogre hands. I’d say Mr. Keegan is still scrubbing his green make-up off. Again, attention to detail was everywhere, from the witch’s prosthetic proboscus to Pinocchio’s elongating nose and his make-up tying in with his costume design. There was great uniformity in the Duloc dancers’ wigs and Farquaad’s wig was just perfect. Similarly, there was excellent work done to create every single fairytale character; far too many to mention individually here. A stunning job. There is something really special happening in Nenagh and I can only assume that director/choreographer Stephanie Browne has an awful lot to do with that. This was a visually stunning, excellently directed and choreographed show which showcased exceptional talent across the board. The fact that most of the performers were still in their teens didn’t matter to me in the slightest. This cast transcended their youth. They were that good. Don’t take my word for it. If you have never attended a Nenagh Choral Society Youth Academy show before, make it your business to do so. You will thank me.  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos kindly provided by the society; Photos by Elizabeth Floyd.

West Side Story as presented by Bravo Theatre Group

Bravo Theatre Group  West Side Story  Saturday 28th September 2024  There is a line in ‘West Side Story’ that hits me every time. After...

Bravo Theatre Group  West Side Story  Saturday 28th September 2024  There is a line in ‘West Side Story’ that hits me every time. After breaking up their disturbing assault of Anita, a visibly emotional Doc castigates the Jets telling them “You make this world lousy!” Action’s response, “That’s the way we found it Doc”, is profoundly indicative of the show’s teenage delinquents being a direct product of their deprived social, cultural and economic environment. Sixty-seven years after its premiere, Bravo Theatre Group produced a gritty, exhilarating production of this ground-breaking musical, which tackled those very themes head-on, shining a light on the racism, violence and pent-up anger which moulded the world of its rival gangs.  Returning to the Temperance Hall in Loughrea this year, Bravo ran from Wednesday to Saturday, with a night off on the Friday for a spot of bingo. By the time Saturday night came round, the show was like a tightly coiled spring, ready to be unleashed upon an expectant audience. Front of house could not have been more welcoming to all. Friendly efficiency ensured that everyone was seated quickly, soaking up the atmosphere as the sixteen-piece orchestra went through their final preparations.  Director, Aoife McClafferty, did a superb job with this timeless tale of star-crossed lovers. She balanced romance and rage, whilst ensuring that a bleak tension ran right through the show. From the testosterone-charged Prologue, to Maria’s heart-breaking exit, leaving the four adults to reflect upon their tragic surroundings, Ms. McClafferty’s direction was strong and detailed throughout. ‘West Side Story’ requires very strong collaboration between director and choreographer, who need to work ‘as one’ for many of the show’s iconic scenes. This was clearly the case for this production, most notably in the rumble. It was as good as I’ve seen, with cast cleverly utilising trucked fencing to help create a violent cage-fight. There was a wonderful pace to the whole production, helped in no small way by exceptionally good stage management.  Shane Farrell earned his stripes as MD on this one. And what a job he did! His sixteen-piece orchestra brought the complex combination of Latin rhythms, jazz and classical music styles to life in a beautifully balanced and exhilarating way. We knew from the overture that this was going to be a wonderful musical interpretation of one of the most iconic musical scores. And it was. Underscored dialogue was crystal clear, an almost impossible achievement for this show. Vocally, the show was very strong. The final choral version of ‘Somewhere’ was simply stunning.  ‘West Side Story’ is, of course, famed for the myriad styles of its choreography. Jay Molyneux did a really fine job choreographing a very large and committed cast. The Prologue morphed some inspiration from Jerome Robbins’ iconic style with some excellent, original touches from Mr. Molyneux. His choreography was energetic, explosive and even aggressive when required; carefully propelling the narrative. ‘America’, with its syncopated, Latin rhythms, was superbly performed and the ‘Dance at the Gym’ was a crowded, sweaty mess of exhilarating movement and hormonal turbulence; exactly as it should be. ‘Cool’ was a wonderfully choreographed and executed number. However, I did feel that cast needed a bit more direction when it came to keeping a lid on the pressure cooker of frustration, hostility and rage. The poignant ‘Scherzo’/dream ballet sequence, featuring the magnificent Teagan Farrell and Aran McMenamin as younger versions of Maria and Tony, was so beautifully realised. The rumble was brilliantly choreographed. It was so violent and real, yet so controlled.  Emily Lohan played Maria with remarkable honesty and sensitivity. This really was a wonderful portrayal. She had a beautifully lyrical soprano voice, which was at its very best in ‘Tonight’. Her emotional range was so impressive in ‘A Boy Like That’ and in the final, gut-wrenching scene as she guarded Tony’s lifeless body.  Eoghan Mann looked every inch the former gang leader as Tony. He had a fine, tenor voice and a lovely pure falsetto at the end of ‘Something’s Coming’. ‘Tonight’ was a beautiful number with Ms. Lohan. He covered the end of ‘Maria’ cleverly and showed good emotional range throughout the show. There were times when I felt that he was a little over the top and needed to pull back, trusting the book and his director but overall, this was an impressive portrayal.  Keith Hanley was an excellent Riff, and we knew from the outset exactly why he had taken over from Tony as the leader of the Jets. Mr. Hanley had a commanding stage presence and led from the front in every scene. He sang very well in ‘Jet Song’, which was full of macho bravado. His stonewalling of Schrank in the drugstore was very nicely played and he showed great physicality and athleticism in the Rumble.  Hannah Wright delivered a powerhouse performance as Anita. Ms. Wright got every last nuance out of her characterisation, demonstrating an exceptional understanding of the text. Her ‘America’ was passionate, capturing the immigrant experience with a bleak, sardonic humour. ‘A Boy Like That’ was the musical and dramatic highlight that it should be. Ms. Wright’s barely audible but disturbingly real sobbing, in the silent aftermath of the taunting scene, cut a knife through the audience. A superb performance on every level.  Cian Forde had good presence as Puerto Rican gang leader Bernardo. He was very strong in the war council, his intimidating demeanour adding greatly to the tension as the teenage rivals set the tragic sequence of events in motion. Mr. Forde’s rumble with Mr. Hanley was excellent in its execution.  Jamie Callanan’s Action was a gritty, raw bundle of pent-up rage. Mr. Callanan was fully committed to the role, always focused and always in character. He was appropriately explosive when needed and we knew that he was capable of taking Lieutenant Schrank out had he not been restrained.  Charlie Barry will have gained great experience from playing the role of Chino, whose act of vengeance in the aftermath of the rumble, brought about the catastrophic climax. Mr. Barry did well in his emotional scene with Anita.  Adam O’Kane as A-Rab was impressive in his post-rumble scene with Baby John, played by Éanna Moloney. I thought that Mr. Moloney underplayed the immaturity at times and needed to project more. However, he was at his very best in ‘Gee, Officer Krupke’ as the very funny social worker, appropriately brash and over the top.  Dylan O’Keefe, Oisín Dowling and John Morley were all very strong Jets as Diesel, Snowboy and Big Deal respectively. Paul Massé, Nathan Canning, Daniel Lynch and Daniel Foran all gave great support as Shark boys Pepe, Indio, Toro and Moose. I felt that Niamh McSweeney, as Anybody’s, was a very talented actress but needed more edge to be a bit more credible as a wannabe teenage hoodlum. Her menacing demeanour in the taunting scene, as she got caught up in the awful violation of Anita, was quite disturbing and showed that Ms. McSweeney was definitely able to portray a more aggressive side. Sarah Corcoran shone brightly as Rosalia in ‘America’ and ‘I Feel Pretty’. Her vocal in ‘Somewhere’ was simply stunning, a standout moment of the show. Emilia Fallon and Izzy Tuohy were also in great voice as Consuelo and Francisca.  Raphael McKenna Short and Ruth O’Neill as gang ‘WAGs’ did well as Graziella and Velma, quick to show their disdain for the boys’ war council games.  Gladhand was played by the very talented Yvonne Earls, who made a big impact trying to contain the rival gangs at the dance in the gym in her own inimitable way. Her hilarious facial expressions were a joy, contrasting greatly with her genuine melancholy in the final scene.  Norman Quinn was a very funny Officer Krupke, filling the role of an authority figure who was so easy to imitate and ridicule.  Patrick Byrne brought quite the despicable quality to the unapologetically racist cop, Schrank. We were very conscious that this stressed-out Lieutenant was always only one step away from a coronary. Mr. Byrne excellently balanced his less than endearing persona with what felt like a genuine moment of remorse in the heartbreaking final moments.  Doc was played with great sensitivity and heart by Declan Finn. His performance was underpinned by a genuine concern for and frustration with the teenagers who frequented his drugstore. He knew where it would all lead to, yet he was powerless to change the pre determined course of events. His anger and upset in saving Anita from the Jets was so authentic and well-judged.  The ensemble was so strong and committed throughout the show. And what a large cast it was too! The energy levels were off the scale in ‘Dance at the Gym’ and their choral singing was just stunning. I could genuinely have listened to the finale ‘Somewhere’ number all night long. It was that good!  Set design was perfect for the relatively tight space that is the Temperance Hall. Evoking the backstreets of New York City, we had wire fencing, corrugated hoarding, distressed signage, gang graffiti and grimy building flats. The iconic balcony was a fine feature on stage left. Two high, trucked platforms were utilised by Ms. McClafferty to great effect, especially in the ‘Tonight Quintet’ and at the end of the dream ballet sequence. Attention to detail was everywhere with this brilliantly textured set which took light so well.  Stage Manager, Niall Heaney, did a wonderful job. His crew ensured that we had exceptionally slick and fast transitions between scenes. With so much coming on and off for each change and so little room side stage to manoeuvre, this was such an impressive display from all involved.  For the most part, props were all very era appropriate. Prop dressing for the drugstore was super, although the miniature Wurlitzer looked a little out of place. Everything in the bridal shop looked perfect, including the brilliantly dressed tailors’ dummies. Herbal cigarettes brought a great air of authenticity to the war council.  There were moments of brilliance in the very busy lighting plot. The dramatic gobos on the front tabs as the overture kicked off were perfectly chosen. There was excellent work in the prologue reflecting the intensity of the brawl. There was great use of haze throughout to create atmospheric shafts of light when needed and the windows in the bridal shop were nicely backlit. There were some timing issues with cues though, especially in the ‘Tonight Quintet’. Additional tech time may have been needed for this number. A very good job complementing the director’s vision.  If you can hear the finger clicks in the prologue of ‘West Side Story’, you can bet your life that the sound is going to be pretty good for the rest of the show. Sound in this show was superb throughout. There was an excellent balance between pit and stage, with vocals always sitting above the music, even in the loudest numbers. This is as it should always be. Lose that and we lose the narrative. Not being able to hear underscored dialogue is a real bugbear of mine. However, we heard every single word. Full credit to Mr. Farrell, Ms. McClafferty and the sound team for ensuring that this was prioritised.  Costumes were extremely well coordinated. The subtle colour palettes for Jets and Sharks were well chosen and I really liked how each gang member had their own individual look. The pastel colours in the dream ballet sequence were a lovely touch and Maria’s red dress for the final scene was strikingly foreshadowing.  Hair and make-up were all in order. There was great attention to detail, with lots of suitable hair accessories complementing the overall look in ‘America’.  A wonderful production overall from Bravo Theatre Group, so well directed, musically directed and choreographed. It was an absolute pleasure to sit and watch one of my favourite shows getting the talent and high production values it deserves. congratulations to everyone involved on a visually stunning show with some standout performances. A worthy ten-year celebration. Bravo!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Paul Kelly - Indigo Lighting

Rock of Ages as presented by Newry Youth Performing Arts

Society Name: Newry Youth Performing Arts Show Name: Rock of Ages Date of Attendance: September 14, 2024 Brief overview of the show and...

Society Name: Newry Youth Performing Arts Show Name: Rock of Ages Date of Attendance: September 14, 2024 Brief overview of the show and evaluation of Front of House Upon arriving at the Market Place Theatre and Arts Centre, one is immediately struck by the modern, imposing structure. The towering glass-covered foyer greets patrons with its bright, clean lines, albeit with a slightly sterile aesthetic. However, the heart of the venue lies beyond: a cosy, multi-level theatre with comfortable seating and intimate sightlines, ideal for a show like Rock of Ages , which thrives on audience connection. The atmosphere was warm and inviting from the moment I stepped inside. The production team and front-of-house staff exuded friendliness, offering a level of hospitality that made me feel as though I were among friends. This approach certainly set the tone for a lively and engaging evening. The audience's anticipation was palpable as they settled in for a night of entertainment—an irreverent, high-energy rock-and-roll romp full of innuendo, humour, and nostalgia. The production kept pace, delivering scene after scene without pause, moving seamlessly from one high-energy moment to the next. The show balanced comedy and romance, exploring the trials and tribulations of its eclectic characters with humour, heart, and a hefty dose of nostalgia for the 1980s rock era. Director - Direction and Production Director Jordan Walsh-Rhodes, who also played the lead role of Drew, demonstrated capable leadership in guiding this production. His direction helped the show flow smoothly, and his use of the theatre’s spacious stage was effective in creating varied and interesting stage pictures. Walsh-Rhodes showed a clear understanding of pacing, keeping the energy high throughout and ensuring that there were no noticeable lulls in the action. The show maintained a rhythmic ebb and flow, with moments of high intensity giving way to softer, more intimate interactions between characters. The quieter, more intimate moments between the lead characters were particularly well-directed, helping to convey the emotional depth of their relationship. The chemistry between Drew and Sherri, played by Naomi Smyth, was palpable, and the audience was fully invested in their journey. While the production maintained a good pace, there were a few awkward blocking moments, particularly in scenes around the bar, where the positioning made it difficult for certain sections of the audience to fully engage with the action. Despite these minor issues, the overall direction succeeded in keeping the energy high and the audience entertained. Musical Director - Musical Direction and Band Performance The five-piece band, positioned on a riser at the back of the stage, played well together, though their placement presented some challenges in terms of synchronisation with the cast, particularly during larger ensemble numbers. While the band was tight, their sound lacked the punch and power that a rock musical like Rock of Ages  demands. The opening number would have benefited from a bigger, more dynamic sound to set the tone for the rest of the show. That said, the band handled the score well, and there were standout moments, especially during quieter numbers where they blended seamlessly with the cast's vocals. But ultimately, Rock of Ages  demands a certain level of audacity and power from its music, and this production could have benefited from a more aggressive, full-throttle sound. Choreographer - Choreography The choreography, led by Paul Burns, was a bit of a mixed bag. Some numbers were well-executed, particularly by the stronger dancers in the cast, but a portion of the ensemble struggled with the complexity of the choreography. Choreographing for a youth group often requires adapting routines to match the abilities of the performers, and in this case, there were moments where the choreography outstripped the dancers' capabilities. This was most evident in the larger ensemble numbers, where synchronisation and precision were inconsistent. That said, there were standout moments, such as the stripper number, which struck the right balance between being playful and sexy without crossing into inappropriate territory. However, the opening number lacked the impact needed to truly grab the audience's attention from the start. Focusing on the more skilled dancers at the beginning might have strengthened the overall effect. Leading Principals Sherri (Naomi Smyth) : Naomi Smyth delivered an impressive performance, showcasing excellent vocals and a strong stage presence. Her portrayal of Sherri felt genuine, and she connected well with both the audience and her fellow cast members. Smyth's character arc was well-communicated, and she successfully took the audience along with her on Sherri’s emotional journey. Drew (Jordan Walsh-Rhodes) : Walsh-Rhodes played Drew with charm and sincerity. His vocals were strong throughout, particularly in the softer moments, where his performance felt effortless and natural. He captured Drew’s nervous, goofy nature well, and his chemistry with Smyth was one of the production’s strengths. Lonny (Ruairi McAlinden) : McAlinden brought fantastic comic timing to the role of Lonny. His performance was energetic and humorous, and he appeared very comfortable with the show's playful, innuendo-filled dialogue. His delivery was consistently engaging, although his eyeline was slightly low at times, which may have made higher-seated audience members feel excluded from his performance. Dennis (James McGinn) : McGinn’s portrayal of Dennis was serviceable, though somewhat inconsistent. While he had some nice moments, his character’s defiance in the face of the club’s closure needed to be stronger to make the eventual loss more impactful. Franz (Sean Mudzyk) : Mudzyk was deliciously camp as Franz, delivering excellent comedic moments and bringing high energy to every scene he appeared in. His presence consistently elevated the atmosphere, and his vocals were solid. Hertz (Andy Hill) : Hill’s performance as Hertz was somewhat lacking in power. While his imposing physical stature gave him a natural presence, his diction was poor, and he struggled to project authority in the way the character demanded. As a result, Hertz's antagonistic role felt underdeveloped, and his moments of supposed ruthlessness were not entirely convincing. Supporting Performers Regina (Blanaid Hughes) : Hughes delivered a high-energy performance with strong vocals. Her enthusiasm and commitment to the character were clear, and she brought the necessary vibrancy to Regina's activist personality. Justice (Carol McCourt) : McCourt’s performance lacked the vocal power needed for the role of Justice. Additionally, the character’s dual nature—a motherly figure with a shrewd business side—wasn’t as clearly defined as it could have been, resulting in a portrayal that felt understated. Stacee Jaxx (Anthony Fitzpatrick) : Fitzpatrick needed more swagger and confidence to convincingly portray Stacee Jaxx, the rock star that Sherri falls for. His vocals were solid, but they didn’t convey the star power necessary to sell his character’s status as a larger-than-life rock icon. Chorus / Ensemble The chorus was filled with enthusiastic performers who gave their all, but their execution was uneven. There were moments where the ensemble dancing lacked precision, and synchronisation issues were noticeable in the larger group numbers. Despite these technical shortcomings, the energy and commitment from the cast were undeniable. Every performer remained in character throughout the show, and it was clear that the ensemble was fully invested in the story. Vocally, the chorus was strong in parts but suffered from occasional sound imbalance. Whether this was due to a mixing issue or a lack of volume from the performers themselves was difficult to determine, but certain numbers that should have been powerhouses felt a little thin. Still, the ensemble brought a palpable energy to the production, and their dedication to the material was evident in every scene. Stage Management & Set Design The set design was one of the highlights of this production. The team behind it clearly put a lot of thought into creating a space that felt authentic to the rock-and-roll world of Rock of Ages , with excellent attention to detail. The exposed trusses and decking created an authentic rock-and-roll atmosphere that fit the story perfectly. The decision to place the band onstage as part of the set added a bold visual element, though it didn’t entirely succeed in enhancing the show, as the musicians didn’t fully embrace the rock star persona. The stage management was slick, with seamless scene changes that never disrupted the pace of the production. There were a few minor sightline issues, particularly during scenes set at the bar, where the angle made it difficult for certain sections of the audience to fully engage with the action. This could be resolved in future productions by rethinking the positioning of key pieces of set furniture. Technical - Lighting and Sound The lighting design effectively captured the rock-and-roll aesthetic, with bold colours and exposed rigging that added to the concert-like feel of the show. However, there were some inconsistencies with front-of-house lighting, as key characters were occasionally left in shadow due to missed cues and patchy coverage. Despite these minor flaws, the lighting design overall was well considered, and successfully captured the raw energy of rock music.  Sound was one of the weaker technical aspects of the production. The balance between the band and the vocalists was uneven, with some vocal lines getting lost in the mix, particularly during ensemble numbers. Missed sound cues, especially at the start of dialogue, also disrupted the flow of several scenes. A more powerful and immersive sound design would have significantly improved the audience’s experience, especially in a show that aims to replicate the energy of a rock concert. The chorus, too, seemed underpowered in places, though it was unclear whether this was due to microphone issues or simply a lack of projection. In a show that should be sonically immersive and even overwhelming at times, the sound design needed more attention to give the audience that true "rock concert" feel. Costumes, Hair, and Makeup The costume design was appropriate for the genre, with several standout pieces like Sherri’s blue stripper dress and Lonny’s humorous T-shirt changes. However, Justice’s costumes could have been more glamorous to reflect her role as a former stripper turned nightclub owner, and the ensemble dancers’ costumes could have been more cohesive to match Sherri’s glitz. Hair and make-up were fitting for the production’s period and genre, leaning into the big hairstyles and dramatic makeup associated with the 1980s. The ensemble’s looks were consistent with the rock-and-roll theme, and the design elements complemented the costumes well.  Adjudicator’s Suggestions Overall, Rock of Ages  was a lively and enjoyable production with clear strengths in its direction, set design, and the commitment of the cast. Jordan Walsh-Rhodes’ dual role as director and lead actor was handled admirably, and his performance, along with Naomi Smyth’s Sherri, anchored the show beautifully.  However, there are areas that could be refined for future performances. The choreography, while ambitious, needed to be tailored more effectively to the abilities of the cast, ensuring that the movements highlight their strengths, rather than exposing weaknesses. Additionally, the technical aspects—particularly sound and lighting—require more attention to ensure that they enhance rather than detract from the performance.  For future endeavours, I would recommend considering the addition of an assistant director if one of the creative team members takes on a leading role. This would allow for greater attention to be paid to the finer details of the production, which might be overlooked due to the demands of performing. The decision to include the band on stage was a bold one, but if this is to be repeated, more emphasis should be placed on integrating the musicians into the world of the show. Encouraging them to fully embrace their roles as part of the "rock concert" experience, could make for a more immersive and impactful production. Finally, pushing the boundaries a little further with costumes would add a level of flair that this kind of show thrives on. The aim should be to fully embrace the wild, over-the-top world of rock music, where bigger is often better. In conclusion, Newry Youth Performing Arts’ Rock of Ages  was an entertaining and spirited production that captured the heart and energy of the musical while offering room for refinement. The cast's enthusiasm and dedication, combined with strong direction, ensure that this production will be remembered fondly by those who attended. Therese Maher Sullivan Adjudicator 2024/2025

News: Commencement raised in Seanad on Funding Musical Societies

Transcript: Senator Mary Seery Kearney: We have had four Commencement matters this morning relating to the portfolios of two Green Party...

Transcript: Senator Mary Seery Kearney: We have had four Commencement matters this morning relating to the portfolios of two Green Party Ministers, neither of whom has appeared. The Minister of State has the difficult task of standing in for them. If ever there was a matter that should be sung into the record, this is it. However, I will not inflict that on the Seanad this morning. I work with a man named Frank Foley. He is a pivotal member of the Kilmainham Inchicore Musical Society. I have the honour of supporting it next week as it runs "Rock of Ages" in the Inchicore College of Further Education. As the annual outing of the musical society, it involves an incredible number of people from the community. The society has more than 70 members and the local community gets to go to an event being performed locally by people they recognise and family members and friends. Frank Foley is also the national secretary of the Association of Irish Musical Societies. There are 130 such societies on the island, each of which has over 70 members and engages its community in the same way. In a musical society there is a role for everyone. From the extroverts who can take centre stage and the behind-the-scenes people, everyone can get involved. Yet, since Covid musical societies across Ireland have not been receiving funding from the Department of the arts or the Arts Council. This year, they are branching into secondary schools to try to engage pupils in a mentoring programme. This is very important, especially now that speech and drama is taught until junior certificate. These societies are providing extracurricular music activities under the Department of Education and the Arts Council but they have not received funding. No value is placed on the important art, cultural and community impact that these organisations have. It is incredibly remiss of the Minister not to ensure the Arts Council funds musical societies. Art and culture are found in a multiplicity of ways. We must engage people where they are and in what they are interested, and a musical society is exactly the way to do it. I live in the Dublin South-Central constituency. Arts facilities have been closed down across the constituency. The Rupert Guinness Theatre, which was available to musical societies, is closed. Diageo has made it available to the community provided Dublin City Council runs it and the Minister funds it but there is no sign of that funding coming through. Yet again, musical societies are being let down. The Tivoli Theatre on Francis Street was knocked down to make way for student and tourist accommodation while the community suffers a deficit as a consequence. There seems to be no intent to support the arts at the community level either in my constituency or across the country. How many rural communities benefit from local musical societies? I hope there is good news in the Minister of State's answer or that we have missed something somewhere in the budget. I have trawled through it and cannot see anything that would be dedicated to this crucial community-based activity that is rich in culture, in community engagement and in bringing people together in their area and in something in which they have ownership, participation and involvement. Response from Deputy Kieran O'Donnell I thank the Senator for raising this very important matter which I am taking on behalf of the Minister, Deputy Catherine Martin. The Programme for Government: Our Shared Future includes the interest to develop innovative support schemes for amateur drama and musicals. In 2021, with the support of the Department, the Arts Council provided funding to the resource organisations that support the amateur drama and musical societies. For example, the Drama League of Ireland received Arts Council funding of €135,000 and the Amateur Drama Council of Ireland was received Arts Council funding of €138,000. I am not sure if the latter is Frank Foley’s group. The Arts Council’s music policy, published in 2023, plans to identify optimum models of provision of a national network of accessible performance, rehearsal and recording venues for new and emerging artists in a range of specialist music genres and practices and for community music-making; engage proactively with other national, amateur music-making organisations to establish supportive partnerships; and avail of the Arts Council and local authorities’ strategic partnership to develop more strategic funding of local voluntary and amateur music-making. In addition, a network of cultural infrastructure exists throughout the country, with the majority in the ownership of local authorities. Annual support, including programming and revenue supports, is provided to these arts centres by local authorities and the Arts Council. These arts centres are where artists and audiences meet and this is a key part of the Arts Council strategy to invest in public engagement. The Department focuses on providing capital grant funding to assist development and to maintain these arts and cultural facilities. For example, the Civic Theatre in Tallaght and Mill Theatre in Dundrum have received capital funding from the Department in recent years through applications for specific grant schemes. The Department has a number of measures in place to support the arts at amateur and professional levels. Annual funding is provided to Comhaltas Ceoltóirí Éireann for its work in the protection and promotion of Irish traditional music and culture. In 2024, €7.6 million, which is the highest level of funding for Culture Ireland since its establishment, will support more Irish artists to launch and develop their careers on an international stage. This Department managed to secure the highest ever allocation of €8 million for Culture Ireland in budget 2025. The basic income for the arts pilot scheme is a three-year, €105 million scheme involving 2,000 artists and creative arts workers nationwide. There is increased funding for the Safe to Create programme, including Minding Creative Minds, which supports all artists and creatives. A new pilot capital support scheme for arts, culture and the night-time economy will support the development of vibrant late-night arts and culture scenes in Irish cities, towns and villages as well as additional capital to assist in the provision of building and equipment needs, artists’ workspaces, and adapting facilities to reduce energy needs and carbon footprints. The music capital scheme managed by Music Network provides funding for the purchase of musical instruments to both non-professional performing groups and ensembles, and professional musicians. Creative Ireland programme funding is supporting the delivery of a number of creative projects nationwide. Funding is provided for cultural events such as St. Patrick’s Festival, Other Voices and Fleadh Cheoil na hÉireann, which in turn helps to sustain the arts at all levels. The relevant Oireachtas joint committee recently published its report on the development of local and community arts. The recommendations from this report broadly align with policies and programmes in place in this Department in areas such as local arts infrastructure, disability, and arts and health. One of these recommendations was that the Arts Council formally recognise musical theatre as a distinct art form. The report is a helpful and positive contribution to policy development and the 16 recommendations set out therein continue to be reviewed by officials in the Department. Following meetings this summer with Senator Malcolm Byrne and members of the Drama League of Ireland, the Amateur Drama Council of Ireland and the Association of Irish Musical Societies, the Department will continue to engage with stakeholders on musical theatre and drama. Senator Mary Seery Kearney: "I thank the Minister of State for his response. I note the last paragraph which refers to meetings this summer with the Drama League of Ireland, the Amateur Drama Council of Ireland and the Association of Irish Musical Societies. The three of them are listed there. However, when it comes to the provision of funding, only two of those three entities are named and the one that is left out is the one for which I am specifically making representations . I am heartened that the Department will continue to engage with it. I will certainly bring that back to Frank Foley and all the people across the country his association represents. I am also heartened at the capital funding because we will need capital funding to reopen the Rupert Guinness Theatre in Dublin 8 and to make sure that is available to the community across the Liberties and Dublin South-Central. It is very disappointing that they met during the summer and a budget was announced but that no specific allowance was made for musical theatre." Response from Deputy Kieran O'Donnell Musical theatre is an amateur pursuit for most of those involved and it has established a sustainable model of operation. It relies on voluntary commitment and enthusiastic audiences. As the Senator mentioned, 130 musical societies throughout Ireland are members of the Association of Irish Musical Societies. This involves approximately 14,000 people directly involved in musical theatre, engaging an audience base of in excess of 1 million. It is a hugely positive activity for those involved and for the wider community. I acknowledge that a number of commercial sponsors contribute through the national associations towards the annual costs of amateur drama. I take the opportunity to acknowledge with thanks the generous support of sponsors of national bodies towards their special presentations. The Minister, Deputy Catherine Martin, remains committed to this area and has allocated funding in budget 2025 for the continuation of the basic income for artists, direct allocation for the arts and the Department's annual schemes to assist practitioners in this area. Departmental officials continue to work with the Arts Council to progress the recommendations of the Oireachtas joint committee report on the basic income for artists report published earlier in the year. On the specific point made in respect of the Association of Irish Musical Societies, I will bring the matter to the attention of the Minister, Deputy Catherine Martin. I suggest that the Senator writes to the Minister on that matter. The funding was made available to the other two organisations. Certainly, the Oireachtas joint committee has highlighted musical theatres in its report and I expect that a constructive discussion will continue with the Department and her officials. Excerpt From: https://www.oireachtas.ie/en/debates/debate/seanad/2024-10-22/3/#spk_16

Sweet Charity as presented by UCD Musical Society

UCD Musical Society  Sweet Charity  Friday 27th September  UCD Musical Society performed, ‘Sweet Charity,’the first of their three (!)...

UCD Musical Society  Sweet Charity  Friday 27th September  UCD Musical Society performed, ‘Sweet Charity,’the first of their three (!) 2024/2025 productions, in the UCD Astra Hall. I attended what was supposed to be the second of three performances. However, disaster had struck the day before and they had been forced to cancel their opening show due to a campus-wide power cut. Thankfully, the show gods were on their side once more as they played to a packed house, bringing Neil Simon’s book and Cy Colemen’s score to life. Front of house was extremely busy and there was a wonderful buzz of expectation amongst the predominantly student audience as they queued to cheer the cast and crew on. We were met by the most wonderful trio, who couldn’t have been more welcoming, and they ensured that we were very well looked after for the evening.  Mafalda Zúquete made her directorial debut and will have learned a huge amount from the experience. Ms. Zúquete created some very funny moments throughout the show and did particularly good work on the iconic elevator scene, where she captured Oscar’s claustrophobic hell so well. More work needed to be done to marry the technical requirements of the show to the dramatic action but that is something that takes time to fine tune, and this was a solid starting point for Ms. Zúquete.  Cara McCrystal, who doubled up as production manager, was choreographer and she did very well in tailoring her routines to the abilities of the cast. ‘Rich Man’s Frug’ gave a good sense of the higher echelons of the New York social set, with its stylised moves and its well-pitched performance levels. I felt that ‘The Rhythm of Life’ could have been more rousing and maybe needed the suggestion of being (dare I say?!) ‘substance fuelled.’ An injection of unbridled hedonism may have given it a well-needed lift. ‘I Love to Cry at Weddings’ was a very strong full cast number.  Luke Shiels was musical director for what can be a challenging show, musically, at the best of times. It is a big ask to try to master the big, brassy Cy Coleman score with anything less than a professional orchestra. Whilst the student orchestra was clearly made up of talented musicians, there were times when things were not very secure in the pit, and this affected some performances on stage. Mr. Shiels is to be commended for the huge amount of work that he put into the show. Had he had professional musicians at his disposal, I have no doubt that his obvious talent would have shone through even more.  Niamh Ní Fhoghlú did strong work as vocal director. Principal singing was of a very good standard and all of the ensemble harmonies appeared accurate. Whilst there were some balance issues in ‘The Rhythm of Life,’ it appeared to be more of a sound mix problem than a vocal one.  Eva Furlong was an all-singing, all-dancing Charity Hope Valentine and she put her heart and soul into what is a hugely challenging and demanding role. Ms. Furlong sang very well, especially in her signature number ‘If My Friends Could See Me Now,’ which she thoroughly  enjoyed. She wasn’t always supported very well by the orchestra, having to pluck some of her starting notes out of the air, on occasion. But she recovered each time and, fittingly, gave a very impressive performance full of the optimism and determination expected of Ms. Valentine.  Elijah Lopez was a class act and entirely believable as the nervy, yet endearing, Oscar Lindquist. Mr. Lopez had a natural command of dialogue and had a great sense of comic timing. His elevator scene with Ms. Furlong was a comic highlight of the show, with both performers playing so well off one another. He sang so well too, with ‘Sweet Charity’ showcasing his smooth vocals at their best.  Jennifer Yorke, as Nickie, was a delight as Charity’s wise-cracking, fellow dance hall hostess. Ms. Yorke brought her scenes to life with excellent vocals, movement, and overall stage presence. Her experience shone through in what was one of the strongest performances of the night, for me.  Also very impressive, was Sophie Fitzsimons as Helene. Ms. Fitzsimons was very polished vocally and was a strong dancer too. ‘Baby Dream Your Dream’ was a musical highlight, with both Ms. Fitzsimons and Ms. Yorke relishing the moment and setting the performance bar high.  Dario Regazzi nailed the accent in his humorous interpretation of Italian movie star Vittorio Vidal. His suave panache was nicely balanced with a light comic touch, and he displayed a fine baritone voice in his lovely rendition of ‘Too Many Tomorrows.’  Amy Van Eekeren was double jobbing in the roles of Daddy Brubeck and Herman, the owner of the seedy Fandango ballroom. I felt that, as Daddy B, she needed to drive the scene and the song a little more to give us a larger-than-life character who could plausibly have duped their followers. She was ably assisted by Isabelle Hubert as her trusty sidekick. As Herman, Ms. Van Eekeren was super and ‘I Love to Cry at Weddings’ was a standout number of the show for me.  Teddy Peeva was most believable as Vittorio’s lover, Ursula. She had a fine stage presence and showed lots of comic potential, particularly during the closet scene.  Joellen Donohoe and Mercedes Estarellas provided great support as dance hall hostesses Rosie and Carmen. Leela Brook had good presence as Vittorio’s butler, Manfred and Francesco Bach was a standout ensemble performer who also doubled up as Charity’s opportunistic, unscrupulous boyfriend, Charlie.  The hardworking ensemble were always busy and fully committed to the production team’s vision. Dancing was well-rehearsed, and harmonies were secure. The ladies in ‘Big Spender’ were suitably seductive and there was great energy from all in ‘The Rhythm of Life’ and ‘I Love to Cry at Weddings.’  Sets were minimalist but effective, for the most part. The NYC skyline looked well with its built in lights and the upstage rostrum provided good scope for different levels of staging. Various signs suggested changes of location. I did feel that the closet and the elevator, central to the show’s two most iconic scenes, needed more attention.  Stage manager Ella Ruddle marshalled an efficient crew who entered from the auditorium like a swarm of ants to execute the numerous set changes. More collaboration with the MD was needed to ensure that enough scene change music was in place and lighting needed to hold until changes were complete. Props were generally very good, with suitable attention to detail. However, the cuddly canine did jar a little as did the misspelled ‘Congats’ sign.  I felt that the lighting for this show could have benefited from a good deal more tech time. Key lighting was missing at numerous points throughout the show and faces couldn’t always be seen. Timing of moving lights with cast, particularly when trying to follow Charity, needed much more rehearsal. The upstage LEDs lit the audience more than the performers at times. The various LED colour washes were well chosen but key light from the front bar was often required for faces to be seen.  Sound was generally solid, and vocals sat nicely above the orchestra, for the most part. Late cueing of radio mics was an issue, and we were often half a line or more in before a performer’s mic came up. That can happen, especially early in a run, but when it happens consistently throughout a show, it needs to be looked at. Sound effects were well chosen. The elevator scene would have benefitted from the use of suitable effects.  Costumes were basic but generally suitable for the era. Some very modern looking runners should have been avoided. I would have liked to see Charity in something other than her black dress for the duration of the show. The black and white theme worked really well for the ‘Rich Man’s Frug,’ as did the mix of tie-dye and coloured t-shirts in ‘The Rhythm of Life.’  Hair and make-up looked well with appropriate hairstyles and good use of coloured eyeshadow for the girls, giving an authentic 60s look.  My abiding memory of taking part in student productions a million years ago, is the huge sense of camaraderie and collaboration as we worked tirelessly to be creative and to produce theatre on a shoestring. UCD Musical Society clearly has that same work ethic and drive, and I have no doubt that they will continue to build on what has been a strong start to their season. With two more productions to come, I am excited to see their progress over the coming months. Thank you for your wonderful hospitality and congratulations on an entertaining production of ‘Sweet Charity.’  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos of the production kindly 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
bottom of page