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Sunday in the Park with George as presented by Odd Theatre Company

Society Name:  ODD Theatre Company, Newbridge Show Name:   Sunday in the Park with George Adjudicator Date of Attendance:  29.11.2024...

Society Name:  ODD Theatre Company, Newbridge Show Name:   Sunday in the Park with George Adjudicator Date of Attendance:  29.11.2024 Brief Overview of the Show and Evaluation of Front of House The moment you step into ODD Theatre Company’s production of Sunday in the Park with George , the warmth of the welcome immediately sets the tone for an engaging, intimate theatre experience. The front-of-house was notably welcoming and had a sense of ease to it, allowing patrons to feel immediately comfortable as they arrived. The theatre's layout itself was a curiosity—a space that required guests to descend downstairs to the auditorium. Yet, this unexpected element added to the charm of the venue, contributing to the overall unique atmosphere of the production. As for the space itself, the intimate studio setting was absolutely ideal for the production. The design of the venue, though compact, transported the audience effectively into the world of the show. From the very first musical notes, the atmosphere was set, and the production continued to captivate through to the final bow. The Front of House staff seemed genuinely focused on creating an enjoyable experience for everyone, and it’s clear that ODD Theatre Company values the entire audience experience, beyond just what happens on stage. Director – Direction and Production The direction of Sunday in the Park with George  by Cian O’Dowd was a remarkable display of artistry and attentiveness to detail. The director’s approach was simple, yet profoundly effective, balancing the complexity of Stephen Sondheim’s musical with the intimacy of the studio theatre space. One of the most striking features was how the director maintained clarity in the storytelling, ensuring that each character’s journey was distinct and important. The emotional depth of both George/George and Dot/Marie was explored with great nuance, drawing the audience into their internal conflicts and desires. In particular, the portrayal of George as both the artist in 19th-century Paris and the modern-day artist in the United States was skillfully handled, allowing for a seamless transition between the two characters. The emotional journeys of the two Georges and Dot/Marie were interwoven with such subtlety that it became difficult to believe they were played by the same actors. This was an achievement, considering the emotional range required by both characters, yet the director’s sensitive handling made it clear that these transitions were intentional and thought-provoking. The director also succeeded in guiding the cast to create a show where no character felt secondary. Every performer contributed meaningfully to the production, which is particularly impressive given the large ensemble of characters present in Sunday in the Park with George . The directing choices ensured that each member of the cast stood out in their own right while contributing to the overall impact of the performance. The emotional journey of the show, despite its inherently melancholic undercurrent, was not overly sentimental. The production left me emotionally moved, yet not in the manner of a tragic ending—rather, there was a quiet resonance that stayed with me long after the final bow. This balance between the rawness of emotion and the subtlety of the storytelling speaks to the director’s skill and understanding of the material. Musical Director – Direction and Orchestra The musical direction of this production by Keelin Kilduff was nothing short of extraordinary. Despite the relatively small size of the cast and instruments, the sound was rich and full, giving the impression of a much larger ensemble. The harmonies were blended perfectly, with each voice maintaining its distinctiveness while never overpowering another. The result was a captivating and cohesive sound that was integral to the emotional impact of the show. One notable strength of the musical direction was the ability to balance the limited accompaniment—a keyboard and a midi laptop—without compromising the depth of the musical experience. The music felt full and complete, and the choice of instrumentation seemed to enhance the intimacy of the setting rather than detract from it. This was further aided by the musical director’s on-stage presence, which did not interfere with the flow of the performance. On the contrary, it felt natural and added a layer of connection between the performer and the audience, ensuring that the music was always in harmony with the emotional beats of the show. Choreographer – Choreography While Sunday in the Park with George  is not a show characterized by extensive choreography, the movement throughout the musical was striking in its precision and thoughtfulness. The choreography, also by Cian O’Dowd, was less about elaborate dance sequences and more about subtle, intentional movements that served the emotional storytelling. Each movement was carefully designed to enhance the performance, and it was clear that the vision was to create a seamless integration of physicality with the overall piece. Thoughtfully staged there was a clever use of movement within the songs that not only helped to convey the emotional depth of the characters but also contributed to the flow and rhythm of the production. The ensemble was especially strong in this aspect, as their coordinated movements enhanced the dynamics between the main characters and contributed to the visual richness of the production. Leading Principles – Singing and Acting The performances of the lead roles—George/George (Peter Manning) and Dot/Marie (Orla Williams)—were extraordinary, each bringing a unique emotional depth to their respective characters. George/George (Peter Manning) - Peter's portrayal of George was a masterclass in versatility. His seamless transition between the two Georges—one a 19th-century artist, the other a modern-day artist struggling with his creative identity—was captivating. Manning’s vocal performance was effortless, moving through ranges and tonal qualities with a natural ease. His portrayal of George in both settings was nuanced and deeply felt, and his ability to switch between the two was nothing short of impressive. The physicality of both Georges was striking, with Manning adjusting his energy, movement, and mannerisms to reflect the difference in time and place. Dot/Marie (Orla Williams)  - Orla was equally mesmerizing as Dot and Marie. She delivered a portrayal of Dot that was at once stoic and emotionally raw, capturing the internal conflicts and emotional complexity of the character with incredible depth. Her transformation into Marie in Act 2 was remarkable—she almost seemed like a completely different person, from her physicality to her vocal tone and energy. Her vocal performance was stunning, effortlessly navigating the challenging score, and she handled the emotional journey of both characters with impressive skill and sensitivity. Supporting Roles – Singing and Acting Jules/Bob Greenberg (Paul McCarrick)  - Paul delivered a versatile and confident performance as both Jules and Bob Greenberg. His portrayal of the self-important contemporary of Surat was distinctly different from his performance as Bob, yet each character was fully realized, and the relationships between him and other characters were convincingly drawn. His vocal performance was also strong, adding to the production's overall vocal balance. Old Lady/Blair Daniels (Helena Begley)  - Helena’s portrayal of the Old Lady was both hilarious and charming. Her comedic timing was impeccable, and she brought a lively presence to the stage. As Blair Daniels, she was effervescent, creating a contrasting character full of energy and wit. She was vocally strong with a really rich tone. Franz/Dennis (Daniel Ryan)  - Daniel delivered two enjoyable performances as Franz and Dennis. His portrayal of the bumbling technician was particularly memorable, capturing both the character’s nervousness and awkwardness with ease. His interactions with the nurse as Franz were both funny and endearing. Celeste #1/Waitress (Liz Stears) - Liz was a strong performer, particularly in her portrayal of the Waitress. Her physicality stood out in both roles, and she was an essential member of the ensemble, maintaining clear vocals and a consistent character throughout. Celeste #2/Elaine (Emmagene Cooke) - Emmagene complemented Liz Stears well as Celeste #2, creating a balanced dynamic. Her portrayal of Elaine was understated yet strong, and her vocals provided a lovely contrast to George’s dominant character as Elaine. Nurse/Mrs./Harriet Pawling (Emma O’Dowd) - Emma commanded attention on stage, delivering an engaging comedic performance as the Nurse. She shifted effortlessly between her roles as Mrs. and Harriet, showcasing strong vocals and presence without overshadowing the rest of the cast. Boatman/Charles Redmond (Conor Kilduff) - Conor’s performance was confident and grounded. He portrayed both the Boatman and Charles Redmond with ease, bringing experience and clarity to both roles. Frieda/Betty (Cherise O’Moore) Cherise brought energy to her portrayal of Frieda, creating great chemistry with Franz, and a coy clever energy during her amorous interactions with Jules. As Betty, she played a subtler role but conveyed depth with a strong, expressive voice. Mr./Lee Randolph (Adam Trundle) - Adam skillfully portrayed both the loud tourist and artist Lee. His comedic portrayal of the tourist was particularly effective, while his depiction of Lee showed a quieter, introspective side. Louis/Billy Webster (Rory Dignam) - Rory’s portrayal of Louis and Billy was subtle yet impactful. He blended well into the ensemble, providing a quiet presence without drawing unnecessary attention to himself. Soldier/Alex (Cian O’Dowd) - Cian’s comedic take on the Soldier was memorable, with great physical comedy and interactions with the Celeste’s and his life-sized puppet friend. As Alex, he brought flair and contrast to the role. Yvonne/Naomi Eisen (Keelin Kilduff) - Keelin Kilduff portrayed Yvonne with quiet strength and emotional depth, until her emotional outburst. As Naomi, she contributed to the ensemble with a grounded presence, enhancing the emotional layers of the production. Louise (Elsa Moynihan) - Elsa held her own among the adult performers with a confident portrayal of Louise. She handled the complex score effortlessly and delivered a self-assured performance with strong vocals. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble in this production was simply superb. The cast worked seamlessly together, blending both vocally and physically in a way that created a cohesive and dynamic whole. The ensemble’s ability to maintain their individuality while contributing to the collective energy of the production was a standout feature of the performance. The transition from Act 1 to Act 2 was handled brilliantly. The ensemble took on completely new characters and time periods, and the shift was both believable and impressive. The ensemble’s ability to embody these characters and shift between different contexts further demonstrated the depth of the cast’s talent. Stage Management & Set Design The set design for Sunday in the Park with George  was simple, yet effective, making full use of the small stage. The clever use of portions of the painting, with stands and easels, helped create a visual representation of the artwork central to the show. The use of the space was highly efficient, with the characters themselves building the set during the opening number—a clever touch that added a layer of theatricality and also made the audience feel like they were part of the creative process. I would have loved to see this trope carried through all the scene changes, to add a further layer of storytelling. In Act 2, the lightbox was a nostalgic nod to the 1980s, effectively marking the shift in time. The set design was simple but communicated the necessary changes in setting and tone. Technical  – Lighting and Sound The technical aspects of the production were expertly executed.  The lighting was subtle yet effective, with a good balance of color that helped define the different settings in the show. The focus was well done with no hot spots or dark patches. The cyc was used to great effect, changing colors to mark the transition between the differing locations. I particularly enjoyed the colour changing during Colour & Light. However, if I had one criticism it would be that it didn’t change on every colour and some of the lighting cues could have been slightly more precise. Sound was beautifully balanced, ensuring that the powerful vocals were heard clearly without overpowering the intimacy of the space. The choice to keep the sound at a manageable level was particularly effective in maintaining the intimacy of the performance while still allowing the voices to resonate. Visual  – Costumes, Hair, and Make-up The costumes in Sunday in the Park with George  were mostly on point, with a clear understanding of the period and visual elements that reflected the painting. The colors were well chosen, complementing the aesthetic of the artwork while allowing the characters to stand out. However, there were a few small details, such as the shape of the bustles and uneven hems, that could have been addressed to provide even more period accuracy.  The shift in costumes between Act 1 and Act 2 was particularly effective, with the 1980s costumes standing out as a well-considered visual shift. The hairstyles were generally period-specific, though there were a few moments where they did not fully align with the intended time periods. Adjudicator's Suggestions/Comments Overall, Sunday in the Park with George  was an outstanding production by ODD Theatre Company, showcasing a talented cast and creative team. The direction, music, acting, and technical elements all worked harmoniously to create an immersive and moving experience. A few small adjustments in lighting cues and costume details could elevate the production even further, but these did not detract from the overall quality. This production of Sunday in the Park with George  left me emotionally impacted and thoroughly impressed by the depth of talent and passion on display. It is clear that ODD Theatre Company has a dedicated and skilled team, and this performance will undoubtedly be remembered for its emotional resonance, captivating performances, and artistic excellence. It is difficult to find suggestions to work on moving forward other than finessing the finer details. I would be interested to see how the team would handle a bigger cast, but their strength seems to be in smaller cast shows, and “if it ain’t broke, don’t fix it”. Photos kindly provided by the society; Photographer: Liam Mullen

Guys and Dolls as Presented by Portlaoise Musical Society

Portlaoise Musical Society - Guys and Dolls Adjudication Date: Monday 18th November 2024  ‘Guys and Dolls’ is making a bit of a...

Portlaoise Musical Society - Guys and Dolls Adjudication Date: Monday 18th November 2024  ‘Guys and Dolls’ is making a bit of a resurgence this year. And why wouldn’t it? With its timeless, hilarious script and a sumptuous Frank Loesser score, it is always an enjoyable evening’s entertainment. Portlaoise Musical Society ensured that its audience didn’t leave disappointed, as they produced a very entertaining show against a very cleverly designed set which gave an incredibly professional polish to the entire production.  I was delighted with the warm welcome received front of house. The Salvation Army was even in attendance, clearly identifying the sinners in the foyer and providing me with the necessary literature. It was all part of the fun and set a lovely, relaxed tone for the evening.  Art McGauran’s direction was pacy for the most part. At times, the comedy didn’t get a chance to land and breathe though. Care needed to be taken not to lose lines under laughter. When the comedy was good, it was really good and the cast relished the audience reaction when the gags landed. Positioning of performers in larger ensemble scenes and subsequent sightline issues needed attention at times. Sarah’s opening monologue, as she addressed the multitude of sinners, had her upstaging herself as most of the cast was positioned behind her. There was really great work in sewer scene, which can be a real challenge to keep flowing and pacy. It flew along and the guys did very well indeed during this sequence.  Musical director, Mary Rose McNally, brought Loesser’s exquisite score to life with her excellent eleven-piece orchestra. Based backstage, the orchestra sounded a bit muffled to begin with and it was hard to distinguish those glorious melody lines in the beautiful overture. The bass, in particular, was a bit too high in the mix and sounded quite muddy. However, once things settled, the orchestral sound improved greatly. Chorally, things were very strong. The Hot Box girls’ numbers sounded great and were performed tongue in cheek. ‘Luck Be a Lady’ sounded superb with the male ensemble singing up a storm. ‘Sit Down You’re Rockin’ the Boat’ was fun, vibrant, and huge from a very committed ensemble, with excellent harmonies noted. Principal singing was generally strong and the big orchestral sequences, such as the Crapshooters’ Ballet, were a joy.  Stephanie Browne’s choreography was dynamic, fresh, and full of energy. Routines were well rehearsed and very slick. The Crapshooters’ Ballet was excellent in its creativity and high performance levels, with the gentlemen doing their level best to steal the show. It was energetic, athletic, and quite exhilarating in its execution. ‘Take Back Your Mink’ was very impressive from the Hotbox ladies, a fun, excellently performed number, full of knowing flirtatiousness. ‘Sit Down You’re Rockin’ the Boat’ was another superb routine, marrying the technical brilliance of the set and projections with the choreography to create one of the standout moments of the show.  Cormac Malone was very charismatic and likeable as Sky Masterson. Stage presence was very strong and Mr. Malone’s delivery of dialogue was thoughtful and considered at all times. He was a very clever actor and we could see the thought process behind every word. Comedic timing was very good too. His crocodile tears, as he knowingly poured his heart out to Sarah about his wayward past, were very funny. Mr. Malone’s full, melodic, baritone voice was a joy to listen to. ‘My Time of Day’ was one of many musical highlights in the show.  The very talented Andrew Docherty played the iconic role of long-term bachelor Nathan Detroit. Mr. Docherty had excellent stage presence, drove the pace very well and had a keen eye for the comic possibilities of the role, right through the show. His very comical facial expressions were a howl as he employed one avoidance tactic after another to get off the marital hook with Adelaide. Mr. Docherty sang very well too. ‘Sue Me’ was a masterclass in delivering a comic number, full of character and energy in what was a real highlight of the show. A superb characterisation from Mr. Docherty.  As the strait-laced ‘mission doll,’ Sarah Brown, this was Ciara Finlay’s first leading role with the society. And what a role to start with! Ms. Finlay will, no doubt, have learned a lot from the experience. She delivered a strong acting performance. Ms. Finlay was suitably conservative in her opening scenes, before letting loose in Havana. She was at her very best post-Havana when her drunkenness was very funny indeed. ‘If I Were a Bell’ was loose and wonderfully inebriated, full of character. A fine performance and, I have no doubt, the first of many leading roles with the society.  Aishling Rohan was a very funny Miss Adelaide, the eternal fiancée, frustrated with Nathan’s commitment issues. Miss Rohan had excellent comic timing and was delightfully ditzy in the role. But it wasn’t all about the silliness. The poignancy and vulnerability of Adelaide’s situation were allowed to shine through too, thus avoiding the trap of becoming a one-dimensional figure of fun. Ms. Rohan worked very well with Mr. Docherty and their scenes were clearly well rehearsed as they rattled along with great pace and confidence. She was a superb singer too. I loved her lament, which demonstrated a wonderfully rich voice to complement her great comic timing.  Paul Browne really impressed as a very likeable Nicely Nicely Johnson. Mr. Browne lit up the stage in every scene with his wonderful presence and animated performance. ‘Sit Down Your Rockin’ the Boat’ was brilliantly performed and Mr. Browne wrung every last, little bit out of the song with his fine tenor voice and his sharp comic timing.  Claire Kelly was an imposing General Cartwright, commanding everyone’s attention when she arrived at the mission to announce its impending closure. Ms. Kelly did well in the role, with good diction and thoughtful expression. She was weakened somewhat by poor positioning in the Prayer Meeting scene but this was not her fault. She threw herself into the high energy ‘Sit Down You’re Rockin’ the Boat’ with great enthusiasm, clearly enjoying the mayhem.  Gearóid Herraghty had a fine presence as Harry the Horse, making the most of his every moment on stage. His delivery was strong and his comic timing sharp.  There was a lovely warmth about Paul Spencer’s portrayal of Arvide Abernathy. Mr. Spencer brought great character to the role that was both charming and funny in equal measure. His accent left a range of possibilities open in terms of where Arvide had spent his formative years but, such was the endearing portrayal, this did not take away from his performance. ‘More I Cannot Wish You’ is a most heartfelt, sentimental song, as Arvide urges Sarah to follow her heart. I felt that the heart of this song was lost, through no fault of Mr. Spencer’s. The tempo appeared faster than usual and the phrasing was more rigid, which hampered a more thoughtful, nuanced performance of the song. The staging was also an obstacle, with little scope for genuine connection. Colm Hogan was a very menacing and aggressive Big Jule, which gave great clarity as to why the other gentlemen were less than willing to question his dubious interpretation of the rules of shooting craps. Mr. Hogan had a towering presence befitting of his moniker, although someone should have taken his tailor back in East Cicero aside to have words about his ill-fitting suit. He also, quite obviously, did not have a gun inside his jacket when Nathan patted him down, making the business around Nathan’s ‘realisation’ of him carrying a gun quite jarring.  Alex Cathcart was an impressive Benny Southstreet, the perfect sidekick for Nicely Nicely. He had excellent comic timing and a strong sense of stagecraft. Vocally, he had a strong sense of harmony and this was well showcased in ‘Fugue for Tinhorns’.  Rory Chadwick brought a wealth of experience to his portrayal of Lieutenant Brannigan, perpetually exasperated at being just that little bit late to make a bust. Mr. Chadwick was suitably authoritative but had a keen comic edge too, making him a very likeable adversary for Nathan and company.  I really enjoyed Derek McGinn’s performance as MC. There was great life and expression to his delivery and he had lovely interactions with the Hotbox girls as he moved upstage to bring Adelaide into the routine. It was really nice to meet Mr. McGinn briefly, backstage and I hope he continues to explore his love of musical theatre with Portlaoise MS.  Cian McKeon impressed as that little known Guys and Dolls character, Nicos. Mr. McKeon was a standout performer in the Crapshooters’ Ballet and ‘Luck Be a Lady.’ Bravo sir!  Laoise O’Connell proved the old cliché about small parts, making her few lines as Mimi most memorable. She was feisty and ditzy as Mimi and also shone as Sky’s dance partner in Havana.  Jamie O’Callaghan did very well as Liver Lips Louis, demonstrating exceptional presence and movement in the Crapshooters’ Ballet and ‘Luck Be a Lady.’ He also shone during his unexpected appearance in Biltmore’s Garage.  Having been cast as Joey Biltmore, former member Paul Kenna sadly passed away earlier this year. The society paid him a beautifully subtle and thoughtful tribute during the show which I’m sure meant a lot to his friends and family. I have no doubt that Paul watched on with pride.  Zion Powell as Angie the Ox, Liam McNulty Nolan as Society Max and Olive Maher as Agatha, were all very strong in their respective roles.  The ensemble was very involved, always acting and reacting appropriately. Group singing was very strong, as was the larger group dance routines. ‘Sit Down You’re Rockin’ the Boat’ was a fantastic number, with everyone on stage working so hard to perform the lively routine with exhilarating passion and, above all, fun. The gentlemen’s ensemble was exceptionally good, impressing greatly in the sewer scene. The Hotbox ladies also worked superbly well as a group, with great vocals and precise movement.  Stage management was in the very safe hands of Anthony Kirby. Mr. Kirby ran the show with military precision, seamlessly segueing from scene to scene in the blink of an eye. His crew operated the very clever set with a deft precision that was actually a joy to watch. Top notch work from all involved.  Set design for this show was exceptionally good. I would go as far as to say that it was the best Guys and Dolls set that I have ever seen on the amateur stage. The neon signs, the advertising billboards, the interior and exterior mission trucks, the stunning upstage archway all had such detail and attention to detail. The rear projection incorporated into the set design was so cleverly integrated and the images/animations so well created.  I attended the show on its third night and one would assume that most technical issues would have been addressed by then. I really hate saying this but the lighting on the night that I attended was poor in its design and in its execution. Cues were consistently too late or too early. Key lighting was non-existent in some areas, with patchy coverage in spots. Moving lights, intended to track soloists, were unable to keep up with the performer. This requires a significant amount of tech rehearsal. Throughout the show there were multiple cues that jarred, changing very suddenly and abruptly when slower fades would have been more appropriate. The bizarre positioning of low sidelights downstage left and right, meant that, at times, lights were shining directly into performer’s faces, only a foot or two away, casting colour onto their faces. Havana was devoid of atmosphere in what should have been a lighting designer’s dream – a huge scene with stops and starts in music, crying out for multiple lighting states, colour, and warmth. Haze was badly needed, in my opinion, to create some sort of atmosphere. Without it, most scenes were extremely flat. Thankfully, the use of smoke and some cooler washes in the sewer scene, helped to create atmosphere and mood, and meant that there was some redemption in the lighting plot.  Sound was generally very solid with tight cueing of radio mics, nice warm dialogue settings and a handful of well-chosen sound effects, including some atmospheric dripping in the sewer scene. After some initial concerns about the orchestra sound, things settled greatly. There was a very good balance between orchestra and vocals right through the show. Adelaide’s mic pack was on show for ‘A Bushel and a Peck’ and I thought that this could have been tidied up. A very small point in what was a great job overall.  For the most part, props looked really well and were authentic to the era. The Salvation Army drum, with its ‘Save-A-Soul’ skin, looked very impressive. The mission was appropriately dressed and hand props, in general were well chosen. The most glaring prop issue was the choice of furniture for the Prayer Meeting scene. I’m guessing that a certain Scandinavian furniture outlet did not have a futuristic line in stools available in a downtown Manhattan location during the 1950s. Wherever they were sourced, the stools were far too contemporary.  Costumes were generally very good. The gangster suits and hats looked very authentic. Big Jule’s suit needed attention as it was too short in the arm and leg department. The Salvation Army uniforms were just perfect. The Hotbox ladies looked very well and their ‘Take Back Your Mink’ costumes were particularly good, allowing for ease of disrobement and reveal of their very elegant black numbers.  Make-up was appropriate across the board and principals’ hair was generally well looked after. The Hotbox ladies’ hair was excellent. Some of the ensemble ladies could have had more of a 1950s look for authenticity.  This production of Guys and Dolls was most enjoyable, thanks largely to a wonderful cast, super choreography, and a visually stunning set. Many thanks for a great evening’s entertainment.  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Terry Conroy

Calendar Girls as presented by Fun House Theatre Company

Fun House Theatre Company Tullamore Calendar Girls, The Musical 1st – 5th May 2024 Esker Arts Centre, Tullamore. Adjudication Performance...

Fun House Theatre Company Tullamore  Calendar Girls, The Musical 1st – 5th May 2024 Esker Arts Centre, Tullamore. Adjudication Performance 2nd May 2024 Calendar Girls The Musical, a unique and heart-warming production by the Fun House Theatre Company, was a delightful experience with performances from the 1st to the 5th of May 2024 in Tullamore. The newly refurbished Esker Arts Centre's modern setting and top-notch facilities provided a perfect backdrop for the performance. The warm welcome was extended by the front of House Manager Shane Origan and Press Officer Deborah Stenson, acknowledging the audience's crucial role in the show. I was made to feel like part of the theatrical family, adding a personal touch to the experience.  The Director of this production, Mr Pat McElwain, brought his extensive experience to bear, resulting in an expertly directed show. Mr McElwain's solid understanding of the characters and keen eye for casting was evident from when the cast stepped on stage until the final word. Mr McElwain's ability to balance the comedic and emotional elements of the show was a testament to his skill, beautifully bringing the story to life on stage. Mr McElwain's clever direction seamlessly showcased this production's incredible talent and expertise. The ensemble cast delivered memorable performances, and the characters were magically created and developed with Mr McElwain's experience. It was no surprise that Mr McElwain's direction would be simply incredible and that it most definitely would make an authentic and engaging experience for the audience. And I was right. This production was a resounding success, offering a perfect blend of exceptional performances in a beautifully refurbished venue. Mr McElwain's passion for storytelling and dedication to bringing this heart-warming tale to life are commendable. Along with strong leadership, this show was so unique and full of emotion. Three words come to my mind to describe Mr McElwain's direction in this production. Humour, Heart, and Emotion.  Shane Farrell, the Musical Director, brought a palpable passion to this role. During the performance, I felt the Orchestra were a little behind the ensemble or could have been moved at a better pace. These instances were rare and mostly noticeable in the chaotic calendar shoot scene which is easily the most frenetic and funniest scene of the evening. So it is understandable. The cohesive and powerful sound produced by the ensemble singing was a testament to a commitment to excellence. His leadership and attention ensured this audience witnessed a memorable performance by the whole company. The ensemble's harmonious and powerful sound showed Mr Farrell's expertise and dedication, leaving a strong and very emotional impression on me and the audience.  The Choreographer was Chris Corroon. The choreography was captivating in many scenes, adding a considerable, charming, and essential element that significantly enriched the overall production. Mr Corroon's choreography demonstrated a masterful understanding of the musical's themes and characters, seamlessly weaving storytelling into each dance sequence. The choreography complemented the music and lyrics and was a powerful storytelling tool.  Furthermore, Chris Corroon's choreography and sheer professionalism added energy to the heart wrenching output in parts and fun in others, showcasing the many diverse dance styles that resonated with the audience throughout the show. As a Choreographer, Mr Corroon’s' talent was absolutely instrumental and indeed vital in creating a memorable and engaging theatrical experience for everyone. Mr Corroon, your choreography brought the show to life. As a member of the audience, Mr Corroon’s choreography and gift captivated us and left a lasting impression. And it was also simply a pleasure to meet you, Mr Corroon. Bravo.  The Stage Manager was Wayne Handy. The sets were simply stunning. So pretty, colourful, and danced in the light; the houses were beautifully painted, the flower cart with a blaze of colour that would light up the darkest of rooms, the set with the little stone wall where John Clarke walked as he left this earth when he passed and his spirit soared off into the sky was so life I was lost for words. The gorgeous sunflowers emblazoning the stage were a visual feast. The projections were simply stunning and ideally strategically placed. They were so immersed in the actual story on the stage that one could easily forget you were not looking out on a gorgeous green, vibrant meadow or that it was John Clarke's spirit soaring off into the light with the cast standing back to the audience watching him, which moved me to tears and was simply an incredible scene. Incredible. These sets, transitions, and attention to detail magnificently brought this story to life. I cannot but only praise the Stage Manager, Wayne Handy, and the superb crew and team involved in creating these sets, which were simply a stunning vision every second of the show.  The lighting design also played a crucial role in enhancing the overall atmosphere and the story. The lighting design very effectively sets the mood for each scene with gorgeous warm hues, fading lights and relevant spots and contrasts to reflect the emotional journey of many characters. The spotlights, in particular, and washes highlighted beautifully key moments on stage, such as when John Clarke is now in a wheelchair and he rises and starts walking towards the sun; the lighting here was sublime and so moving. The seamless coordination of lighting cues and the strategic use of light and shadow, particularly in Act 1, brought tremendous emotion directly to the show, and then again in Act 2 for the Calendar shoot, which was so clever and brilliantly lit subtly and effectively.  The sound design was simply superb. Music and dialogue were so clear, and the balance of the sound amplified the performers' voices and musical arrangements, ensuring that every note and lyric resonated throughout the Theatre. A practical and well-balanced sound from each actor and ensemble was superbly made, and the sound was simply breath-taking throughout, especially in the significant Musical numbers and highlights such as “Yorkshire”, “Who Wants A Silent Night”, to and “Dare” the sound which bounced off the walls of the Theatre.  The costumes, hair, and makeup were again perfect. The Christmas costumes were superb and colourful, a testament to the dedication and artistry of the production team. The attention to detail in the costumes brought each character to life, capturing the essence of their personalities and the period with remarkable accuracy. From the vibrant and quirky attire of the calendar photo shoot to the everyday wardrobe of the characters, the costumes were both appropriate and lovely.  Colourful and sad, seasonal (Christmas), Spring, the individual characters and personalities of the ladies, all dressed to reflect their varying personalities, were superb and magnificently thought out.  The hair and makeup design further contributed to the authenticity of the production. The careful consideration of each character's hairstyle and makeup application added depth to their portrayal, allowing the audience to connect with them more personally. The makeup design was awe-inspiring in transforming the actors to fit the age and personality of their characters, adding to the overall believability of the performance. Additionally, the props used in the musical were meticulously chosen and crafted, enhancing the production's visual appeal and contributing to the seamless immersion of the audience into the story's world. The props were visually striking and served as functional elements that enriched the storytelling, creating a sense of time and place, along with meticulous attention to detail.  Jay Origan played the part of Chris. Jay's character in this production, which she made of it and brought to it, was nothing short of exceptional. Ms Origan brought a remarkable wit, infectious fun, and fantastic comedic timing to the role, captivating the audience with her vibrant and passionate portrayal of a character deeply devoted to her village and friends time and time again. Her performance was a true standout, as she skilfully balanced the character's humour with genuine emotion.  Her performance radiated with wit, charm, and magnetic energy that captivated the audience when she stepped onto the stage. Ms Origan brought an unparalleled sense of fun and light-heartedness to the character, infusing each scene with her fantastic comedic timing and a genuine passion for her village and friends. Her portrayal of Chris was a masterclass in comedic delivery, effortlessly drawing out laughter from the audience with her quick wit and infectious humour. Ms. Origan's command of the stage, with her presence and comedic prowess, was genuinely remarkable, making Chris a standout character in every scene she graced.  Amanda Cunningham played the part of Annie. This exceptional and captivating performance truly brought this gorgeous character of Annie to life on stage. Ms Cunningham’s' portrayal of Annie's persona was beautiful. Ms Cunningham seamlessly moved between moments of vulnerability and strength and optimism (holding out hope for John through the different times of the year of his illness. Her friendship with Chris and Ms Cunningham is a remarkable strength of emotion and sadness of her turmoil of losing her beautiful and adored husband, John. And yet there were some comedic moments filled with wit and charm, where I just burst out laughing as did the rest of the audience with this lady's genuine humour. It was infectious. I cannot but finish and not say that Ms Cunningham’s' portrayal of her more poignant moments was profoundly moving, evoking a sense of empathy for which I had tears. Super.  Sinead Handy played Ruth. Ms Handy was a confident and determined character, and her unwavering dedication to the cause of creating the calendar shone through every single line of her performance. Ms Handy effectively conveyed her leadership qualities and emotions, and we all watched in awe and empathised with her journey. She had a wonderful stage presence.  Emma Stowe played the part of Cora. Wow. This young lady brought a brilliant, vibrant, and lively energy to the production. I loved her comedic timing and infectious enthusiasm. Ms Stowe exuded a vibrant and dynamic presence as Cora, capturing the audience's attention with her charisma and wit from the moment she arrived on stage. Fabulous role, Ms Stowe.  Jenny McCabe played the part of Celia. What a sweet, warm, and nurturing nature Ms McCabe possessed, providing a sense of empathy and compassion within the group of friends.  Joan White played the part of Jessie. Ms. White brought a real sense of rebellion and free-spiritedness to her performance. Her bold and adventurous personality added a lovely element of unpredictability and excitement to the group dynamic. Ms. White had such a lovely and adventurous spirit and yet such inner turmoil; this role was played superbly by Ms. White, with excellent timing.  Grace Kinirons played the part of Marie. It was a remarkable performance, filled with emotion, authenticity, and simply a captivating presence on stage. Ms. Kinirons strong stage presence and powerful delivery meant this character shone, leaving a lasting impression on me.  Carla Carey played the part of Mrs Tea, and Anne O’Sullivan played the part of Mrs Coffee. They are such a comical duo. You reminded me of a double version of Mrs Brown in Father Ted, which is a compliment! Superb facial expression and humour, great costume, your tea trolley was loaded with so much paraphernalia that it was simply fantastic with particular reference to the teapot!  Joe Steiner played the part of John. Mr Steiner. You broke my heart with your magnificent performance in this beautiful show. Such a gorgeous, charming, friendly young man with a wife you adored and a life you adored, and everyone loved you. The portrayal of the worsening of your illness and nothing working was blindingly emotional and so sad. Yet, Mr Steiner, you still brought comedy to the role, even up to the last few moments in your Santa dressing gown. Your acting was just splendid, and I could reach out and touch your love for Annie. What you made of this character of yours as John Clarke was an honour to watch you. Superb role. When John Clarke died in this production it really felt like someone somewhere turned a light off it had such an impact.  Cherise O’Moore played Jenny's part. Gorgeous role and beautifully acted. Ms O’Moore delivered an excellent performance. She skilfully portrayed Jenny's emotional complexity, her strength of character, her get up and get on with it personality with a hint of boldness and bravery all in one. With a powerful stage presence, Ms O’Moore delivered a powerful musical performance, and her determination and portrayal of this role were simply a joy to watch with her no-nonsense attitude and great rapport and fun with many of the characters. However, Ms O’Moore came into her own when she arrived for the calendar shoot, and her leadership, easy-going yet authoritative attitude, and organisation brought out the more mature side of Ms O’Moore’s character. And a charming actress.  Daniel Whelan played Danny's part. Watching Mr Whelan in this role was like watching a comedic maestro at work. His impeccable timing and knack for delivering punchlines with finesse had the audience in stitches. Whether bumbling through a scene or charming his way into the audience's hearts, Danny's performance was a delightful rollercoaster of laughter and amusement. Simply a fantastic performance. What a laugh you gave your audience, Mr Whelan. Brilliant role for you. It was your facial expressions and your side-eye looks that won me over. You were just consistently funny. Super.  Eoin Kenny played the part of Tommo. Mr Kenny’s interpretation was another comedic tour de force. His ability to infuse the character with an endearing mix of quirkiness and absurdity left the audience roaring with laughter. Mr Kenny’s hilarious and magnificent stage presence and facial expressions made me laugh at the drama. Your drama added a delightful spark to the show, turning even the most mundane moments into uproarious scenes. Superbly played. Bravo. Declan Finn played the part of Rod. He is Chris’s husband and a true gentleman who loves Chris. He played this role in such a beautiful way as a kind and supportive man. Mr Finn was a source of strength and stability to Chris during the challenges they faced. His relationship with Chris was so well played and yet heart-warming at the same time. He played a gorgeous role.  Ray O’Hare played the part of Laurence. A nervous disposition and very quiet he worked the stage naturally and in the calendar shoot scene was excellent in his quirkiness and slight eccentricity and yet a truly lovely gentleman. Lovely role played very well.  John Bourke played the part of Dennis Jessies husband, and Paul Spencer played the part of Colin who is Celia’s husband. These were two cracking roles indeed for these gentlemen, lovely bit of camaraderie and banter and a bit of shock what the wives were planning for the Calendar this roles although small were yet very significant and well played throughout. Good stage moments and great ease of movement around the stage. Two strong roles. Well done Gentlemen. The chorus in "Calendar Girls The Musical" brought extraordinary talent and skill to their performance, enriching the production with seamless harmonies, impeccable choreography, and dynamic stage presence. Their ability to transition effortlessly between diverse musical styles and emotional tones captivated the audience, drawing them deeper into the story's heart. The chorus's impressive vocal prowess and nuanced physical expressions conveyed the essence of each scene with remarkable depth and authenticity, creating a truly immersive and captivating theatrical experience. Their collective dedication and artistry elevated the overall impact of "Calendar Girls The Musical," leaving a lasting and memorable impression on all fortunate enough to witness their exceptional performance. It was a joy to be with you all on the evening of the 2nd of May. This team is a team that works. Stay together. Build together and continue loving each other as you all visibly do through thick and thin, as well as your dark days and clouds. Remember, there are always sunflowers and rainbows ahead, no matter how far away they seem. I will say goodbye to each of you on what has been a glorious emotionally filled performance with the words of YOUR song “Dare”……… “Find the rules you knew, and break them, Find the roads you know, don’t take them, Whatever is telling you no,  Whatever is changing your mind, There's courage you’ll only ever find.  If you Dare, just for once, don’t stop and stare.  Spread your wings and trust the air.  When you feel you’ve gone too high, keep climbing…  If you dare, take a run and leave the ground.  Take a second and look down; see a thousand arms are there – if you dare. There are coastlines in the heart. If you dare,  You won't be ready if you don’t start if you dare, Set a course for off-the-charts if you dare. You dared. And it was beautiful.  Those who dare sometimes Win. And you certainly DID!  Thank you all for giving me the gift of watching you dare tonight. Congratulations.  Caroline Daly Jones Sullivan Adjudicator 2023 / 2024

Sister Act as presented by Clara Musical Society

Public Adjudication: Sister Act as presented by Clara Musical Society: Saturday 13th April 2024. I’m spending so much time looking at...

Public Adjudication:   Sister Act as presented by Clara Musical Society:   Saturday 13 th April 2024.   I’m spending so much time looking at nuns these days, I’m beginning to feel quite spiritual. Mind you, if the local churches presented their gospel in the manner in which I’m becoming accustomed to hearing it, the churches would probably have much larger congregations. For the joy that emanates from a production of Sister Act is something unique, as the audiences in  Clara have been witnessing this week. If it wasn’t for the murder at the start, the gangsters running around the stage and the cops in hot pursuit, it would be quite the religious experience. In actual fact, it’s a wonderful theatrical experience, and one that Clara Musical Society, under the guidance of Director, Alan Recks, have had great fun presenting.  There was a well-painted, well-constructed, attractive, and practical set for this production, doing enough to suggest the various locations without over-taxing the stage crew, who, under stage manager and designer, Wayne Handy, kept the action flowing with very little interruption. Alan’s focus was on using the stage space well, combining it with good visuals and strongly drawn characters, and putting an emphasis on the comedy and the musical quality of the piece, which, as Musical Director, he managed to achieve most successfully. Leading, from the keyboards, an orchestra who really got under the skin of the great gospel rhythms. He managed to keep a good balance between them and the energetic and enthusiastic chorus, as they pumped out quality vocals and great harmonies. They did all that was required of them and more, with good energy, a great sense of fun and an impressive level of discipline, which was also the case with their dance routines, which were varied and interesting, despite many of the big numbers having very similar rhythms. That variety was a result of good creative work by choreographer, Ruth Maher, who elicited good precision from her performers. There was also delightfully twee and highly amusing work done on the boys’ routines, with “Lady in the Long Black Dress” being the choreographic and comedic showstopper. All in all, Ruth gave us a very well-presented package.  Amanda Cunningham was a very good Deloris Van Cartier, with a great sense of comedy, and bucket loads of passion. In such a demanding role, she never wavered, and she sold her songs with a strong and note-perfect voice. Her interactions with the Mother Superior were particularly entertaining, always heated, but with great mutual respect also. Very well played. Joan White, as Mother Superior, had a lovely snippy delivery of her disdain at having to house Deloris at her church. Beautifully played, with well-delivered comedy, she had that befuddled confusion of trying to accept the changing times, but also a lovely sincerity in her devout religion. She certainly seemed to enjoy becoming ‘hip’ in the finale. “Her” was well sung.  Stephen Rabbette, as Sweaty Eddie, was a very enjoyable dork in the early scenes of the show, made the most of “I Could Be That Guy,” and comically became the hero at the end of the show. A lovely all-round performance. Stephen Keegan was a real louse as tough Guy, Curtis, full of evil and egotism as he sold “When I Find My Baby,” and happily brought down to size by Eddie and the nuns. A nicely played rogue.  Malcolm Whelan was a very jolly and slightly silly Monsignor O’Hara, but he made the most of his journey, delightfully transforming from proper and correct to wannabe rock DJ. Played with a fine sense of comedy.  Laoise Flanagan was suitably gentle as Mary Roberts in her early scenes, and then blossomed into an impassioned soul on her journey of self-discovery. Her rendition of “The Life I Never Led” was very good and displayed a very capable vocal quality.  Aoife Devery’s Sister Mary Patrick needed to lay off the Red Bull, if her hyperactivity was anything to go by! Played with a great sense of fun, she maintained her ditzy character delightfully all night.  Janet Coss was a suitably grumpy Mary Lazarus, but so much fun when she let her guard down and got into the spirit of the rock gospel music, and she could certainly ‘feel the beat.’ Aoife Fitzsimons aged herself beautifully and was a crooked and comical Mary Martin of Tours, and Grainne Donoghue wheezed her way to a very funny performance as Mary Theresa. As a collective, these sisters were great together.  Then there were those three dumb gangsters, Chris Corroon as TJ, Liam Cushen as Joey, and Barry Dunne as Pablo. These three were very funny together, oozing a kind of negative sex appeal, smarmy and inappropriate, and well, looking a bit like the leftovers from a bad 70’s porn movie. With good falsetto, deranged dance moves and much silliness, “Lady in the Long Black Dress” was the song of the show, for me, showing these three at their comedic best.  Ruth Kelly and Aisling Geoghegan performed very well as Tina and Michelle, Sean Keeney was a good Ernie, and there were several cameo roles that were all well-realized.  Lighting for this production was generally atmospheric, with some very nice effects and good definition of special areas. On the few occasions, principals missed their spotlights, but the efficient board operator quickly sorted the problem by adding more lights. Sound quality was good throughout the show, with pretty tight cueing and good balance between the singers and the musicians.  From a costume point of view, the nuns looked good in their normal day wear, funny and cute in their night dresses, and resplendent in their multi-colored, cabaret nuns’ habits. Those cheesy gangsters were (dis)tastefully attired in their gaudy seventies’ styles, with their garish hairstyles, all totally in keeping with the era and with their personalities. Props and the dressing of the stage were all very much in order, so that visually, the whole show had a good feel to it.  While Sister Act may not be the most challenging show ever conceived, it is certainly one of the best feel-good pieces on offer, and when it is presented as well as this one, it will not fail to send the audience home with bright smiles on their faces. My gratitude to all in Clara for a super night of entertainment.  Peter Kennedy Gilbert Adjudicator 23/24 Photos credit Paul Kelly / Indigo Lighting

Legally Blonde as presented by St. Mels Musical Society

Legally Blonde as performed by St. Mel’s, Longford: Date of Adjudication: Wednesday 3rd April 2024. It’s just as well that Legally Blonde...

Legally Blonde as performed by St. Mel’s, Longford:   Date of Adjudication: Wednesday 3 rd April 2024.   It’s just as well that Legally Blonde has become one of my favourite musicals, for it has had plenty of outings during my years of adjudicating. The ‘snaps’ and oft repeated ‘Oh my God, you guys’ in the opening scene which initially irritated me, now serve to perk me up and prepare for a night of great comedy and high energy. St. Mel’s of Longford used the show to showcase many tried and tested performers, but also to give several young performers an opportunity to step into the spotlight. While the night threw up some technical issues, on a performance level, it scored highly for energy and talent. The production was very well paced, and the audience certainly appreciated the songs, the dancing and the strong comedy.  Musical Director, Vince Tully, led a very secure band of musicians who produced quality and tone from the pit, along with secure tempi and good rhythms. There was also much evidence of good work on harmonies from the chorus. There were a couple of small incidents when singers and musicians got slightly out of sync, particularly during the introductions of the Harvard students, but these seemed to be quickly remedied. There were also occasions when the overly high pitch of the Delta Nus led to a lack of clarity of diction, both in the singing and the spoken word. Ironically, the same Delta Nus provided the best moments of the show, due to brilliantly choreographed dance routines. Choreographer, Niamh O’Brien, did superb work throughout, with precisely executed synchronized routines, high energy and great variety in her steps. The skipping routine for Whipped Into Shape was excellent, and there was also good balance in her choreography, knowing when to flood the stage with movement, and when to keep the routines tight, precise and reflective of the lyrics being sung. This was top-notch presentation.  Director, Alan Greaney. Gave a good shape to the production, using the available stage space very well, with good, ever-changing pictures, and by and large, the pace of the show was very good. His pitching of the comedy was very good, with some lovely innovative touches. Using Kyle, the delivery man, to deliver the house notices at the start of the show was very clever and funny. Perhaps a bit more time needed to be spent on encouraging Elle and Emmet to play their romantic scenes a little less self-consciously, and the issue of high-pitched voices needed to be addressed, for the sake of rescuing some very funny punch lines. Setting aside some technical problems, this was still a very enjoyable and well-thought-out production.  The visual quality of the show, with a well-selected wardrobe, good hairstyles and make-up, and good soft furnishings for the interior scenes, was very good. In great costumes, Elle always looked radiant, and the Delta Nu had good individuality in their day outfits, and good uniformity in their routine outfits. Emmet went from scruffy casual to well-dressed lawyer very successfully, and there were good and appropriate outfits from the many diverse characters who appear throughout the story.  Unfortunately, the lighting of the show was very far from satisfactory. There were shadows everywhere, dark spots, poor focus and sudden on/off of lights throughout the performance that were distracting. I suspect there must have been a breakdown in communication, with set design, lighting design and director not always working off the same page. It didn’t ruin the show, but it certainly didn’t enhance it. The set for the show was satisfactory, but with a lot of moving pieces, I felt a tad sorry for stage manager, Eddie Kiernan and his team, who worked hard to keep everything moving. There were a few thuds of furniture falling off stage, which I suspect may have been the result of darkness in the wings. Sound quality, with the early exception of a couple of late cues, was pretty good throughout the show. I appreciate that the lack of clarity of some high-pitched voices was not the fault of the sound engineer.  What I enjoyed most about the show was the performances, some of them polished and experienced and others energetic and full of promise.  Aisling Farrell gave a great look, plenty of energy and a good voice to the role of Elle Woods, comfortable in her character and comedy, if perhaps a little tentative in her romantic exchanges. Initially, she spoke too fast and with her exchanges with the Delta Nu, she was a tad high-pitched. She was at her best singing and dancing along with the Delta Nu, and in her sequences with Paulette. This is a young lady full of potential, who will doubtless play many more roles in the future. This was a most impressive debut with St. Mel’s. Iarlaith O’Rourke got the character of Emmet just about right, nerdy and insecure in the early scenes, but maturing as his relationship with Elle developed. The romance between them was a little awkward but played with sincerity. His vocals and sense of pathos and comedy were good.  Kevin Gormley was an arrogant, self-centred Warner, as he should have been, seemingly full of swagger and charm, but underneath it all, a bit obnoxious. Of course, it was all played with good comedic effect, and Kevin also had a pleasing vocal quality.  Natasha Brady was suitably nasty and condescending as Vivienne in the early scenes of the show, and warmed nicely when she realized that Elle was actually a good person. Played with plenty of confidence and showing her vocal ability in the Legally Blonde Remix. Paul Hennessy made a strong impact as the unethical Professor Callahan, with very good delivery of Blood in the Water. He showed good authority and austerity in his early scenes, and a creepy nastiness when he revealed his lust. Nicely played.  Gráinne Fox had a lot of fun with the character of Paulette, particularly playing her scenes with Kyle and being freaked by the Delta Nu. Her comedy was well-delivered, and her rendition of Ireland was most amusing.  Perhaps the most confident performance of the evening came from Niamh O’Brien, putting great energy and flexibility into her routines as Brooke Wyndham. She also had a good comedic grasp of her character, delivering her lines with authority.  The Delta Nu, Aoibhinn Macken as Margot, Dearbhaile Madden as Pilar and Niamh Dempsey as Kate, all seemed to be suffering slightly from Helium-addiction in their early scenes, so high-pitched were their voices that I lost quite a bit of their dialogue. They were, however, highly energetic, delightfully girly, and superb in their dancing and singing. The exception was Leia Victory as Serena, who not only sounded great, but she completely commanded attention throughout the show with strong character and powerful presentation. Jim Maher got the show off to a great start delivering the house announcements, in the character of Kyle. He played the hunk believably, making the most of his comedy with Paulette, and then having great fun with his Irish dancing.  Joanne Sexton impressed greatly as an angry and animated Enid Hoopes. Gerard Rafferty was a convincing slob as Dewey and tidied up nicely as Winthrop. Sarah Hanley made an impression as Erin Schultz and Caoimhe Hennessy played the spoilt brat, Chutney, very capably. There was good camp humour from Jason Kenny as Nicos and Conor White as Carlos, adding much fun to the Gay or European courtroom sequence. Other performance of note came from Paul O’Brien and Sabina Ryan as Elle’s Dad and Mum, Lyndsay Considine as Whitney, Andrew Reynolds as Pforzheimer, Louise Walsh as the flirtatious Judge, Avril Kelly as D.A. Joyce Reilly, Crystal O’Doherty as Kiki the colourist, Maria Dunne as the flippant saleswoman, Leo Docherty and Noah Shannon as Guards, Oonagh O’Ferrall as Gaelan and Ava Hopkins as Leilani.  A well-animated chorus did a very good job of reacting to the business around them and performed all their dance and movement with good energy. For the most part, they were also vocally secure, although diction was a bit of a problem in the early high-pitched numbers. But there was evidence of good work on vocal harmonies. They made a very good contribution to the overall production.  As I headed home after the show, it was the slick choreography of the Delta Nus, and the great promise and energy of the very capable young Elle that stayed in my head as the most impressive aspects of a show that was engaging and thoroughly entertaining. Thank you to all concerned for your talent and commitment.  Peter Kennedy Gilbert Adjudicator 23/24 Photography by Frank McGrath and Shelly Corcoran.

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