Beauty and the Beast as presented by Carnew Musical Society

Public Adjudication 

Carnew Musical Society 

Beauty and the Beast – The Broadway Musical 

30th November 2024 

How does a town with a population of just over a thousand people sustain a musical society that is on its 56th production since 1967? I have no idea. You’ll have to ask the good folk of Carnew Musical Society what sort of musical magic has been at play over the last six decades. One thing for sure is that there was musical magic aplenty to be seen in St. Brigid’s Hall as the group presented a fabulously entertaining version of Disney’s ‘Beauty and the Beast.’ With its fabulous Alan Menken score and a book full of drama, emotion and humour, the show is always a firm favourite. It was great to see so many children in attendance. Many were, no doubt, getting a taste of theatre for the first time. Others were likely dreaming of performing on that very stage in years to come. Either way, they left with smiles on their faces and songs in their hearts as they headed into the Wicklow night. 

Carnew Musical Society is renowned for its front of house and it wasn’t difficult to see why. Every effort had been made to transform the relatively small foyer into a ‘Beauty and the Beast’ themed space. And what a great job they did too with their displays, costumes, colouring competition entries and a myriad details right down to the lovely red roses on the ushers. The auditorium was decorated with large ‘Once Upon a Time’ storybooks; a lovely detail which transformed the space. 

There are few who know the stage of St. Brigid’s Hall as well as Michael Dunbar and this familiarity was a large part of the success of the production as he cleverly utilised the playing space to its fullest potential. There was always good attention to the narrative detail and every moment was visually engaging. The simple set design allowed Mr. Dunbar to create multiple locations with just a suggestion of place and this added greatly to the fluidity of the show which he was very aware of throughout. There was good use of onstage freezes, which created some lovely pictures. Relationships between characters were a real strong point of Mr. Dunbar’s direction. From the very funny banter between Lumiere and Cogsworth to the touching father/daughter bond between Maurice and Belle, there was great care and attention to detail in the dynamics between the key players. But it was the relationship between Belle and Beast, with its multiple layers of complexity, that really drew us in. Their journey was engaging and very believable as they moved from adversarial beginnings to a place of mutual respect and love. 

Conor McCarthy did a wonderful job as musical director. Conducting from his keyboard, Mr. McCarthy got a rich, vibrant sound from his ten-piece orchestra, always complementing the storytelling. This was a very impressive group of musicians. From the familiar opening bars of the show, we were swept along on a wave of Disney magic as they played with great precision, sensitivity and awareness of the drama and emotional depth of the show. Choral singing was of a very high standard, with tight, well-balanced harmonies throughout. ‘Be Our Guest’ and ‘Human Again’ were standout numbers chorally. There also was beautifully sensitive underscoring right through the show. 

Graham Finnerty’s choreography was original, well-rehearsed and suited all levels within the cast. Mr. Finnerty was very in tune with the narrative, ensuring that his routines always complemented the storytelling. Gaston’s ‘Me’ was very cleverly moved and there was great awareness of the comic timing required. ‘Gaston’ was performed with gusto by the energetic ensemble and included a fun ‘dance-off.’‘Be Our Guest’ is every choreographer’s dream (or nightmare!). Mr. Finnerty devised a visually impressive and precise routine which suited all abilities. I loved ‘Human Again’ with the longing and hope of the ‘inanimate’ objects reflected in the routine. Equally entertaining was the high-energy ‘Mob Song’ and its flag-flying nod to some other ‘French’ musical. 

Anna Kenny’s performance as Belle was breathtaking at times. She completely inhabited the role, playing the iconic character with a perfect blend of innocence, strength, and vulnerability. Ms. Kenny’s intelligence as an actress was so impressive. Her singing was a highlight of this production. Her vocal and emotional range made each song special. ‘Home’ was sung with fabulous expression, beautiful tone, and exceptionally good control. ‘A Change in Me’ was quite stunning, showcasing a pure, musical theatre voice that was a joy to listen to. Her upset was palpable as Beast lay injured at the hand of Gaston. The quiver in her voice added layers of believability and poignancy to the scene. 

The very talented Eoghan Fingleton gave a towering performance as Beast. His journey from scarred recluse to being sympathetic and emotionally in tune, was very skilfully played. There was great nuance to his inner struggle and eventual redemption. Mr. Fingleton’s thoughtful delivery of dialogue was very strong, as was his wonderful ability to tell a story through song. He had a resonant, rich, baritone voice, with just the right level of vulnerability, as he powered through the raw emotion of ‘If I Can’t Love Her’ to bring Act One to a dramatic climax. The chemistry between himself and Ms. Kenny was very believable, with some beautifully tender moments. 

Rory Robinson was a very likable and quirky Maurice. His characterisation was full of charming eccentricity. The father/daughter relationship with Belle was beautifully authentic. There was a lovely sincerity to ‘No Matter What,’ with solid support from Mr. McCarthy, which was sung with great character. Mr. Robinson’s dialogue was most thoughtful. Pauses were a fraction long at times, which affected pace, but strong characterisation compensated for this. His generous observation of Belle during the beautiful ‘A Change In Me’ was so subtle but most heartfelt. A really strong portrayal from a very skilled performer. 

Richard O’Toole was an excellent Gaston who moved with great swagger as the self-obsessed antagonist with more brawn than brains. It takes a very strong actor to portray a character who is both despicable and likable at the same time. Mr. O’Toole got the balance just right. He was insanely arrogant and yet we laughed at his vainglorious antics as he pranced and posed. Mr. O’Toole’s comic timing was razor sharp and his delivery confident and bold. He had great physicality and a very good sense of pace. I loved his hilariously narcissistic ‘Me’ which was, naturally, all about him. ‘Gaston’ was another fun number and Mr. O’Toole wrung every last drop out of the comedy, both physical and lyrical. 

Gaston’s dim-witted sidekick, Lefou, was played with great energy, physicality, and humour by Paul Kehoe. Mr. Kehoe was very animated and had a range of facial expressions that Jim Carrey himself would have been proud of. The literal whipping boy of the show, he must have been nursing bruises for weeks after the run. There aren’t too many opportunities for Lefou to shine from a musical point of view but Mr. Kehoe grabbed the limited opportunity with a powerful singing performance in ‘Gaston.’ A very funny portrayal. 

James Dobbs lit up the stage as Lumiere, the charming candle with a certain je ne sais quoi. Mr. Dobbs had a captivating presence on stage, always in character and always in tune with what was going on around him. His wonderful facial expressions were perfect for this style of performance and he had a natural comedic edge which is very difficult to teach. His excellent accent was consistent right through the show and diction never suffered. There was great chemistry with Cogsworth as they traded quick-witted banter. Mr. Dobbs was equally strong vocally and the standout number, ‘Be Our Guest,’ was a great showcase for this talented triple threat. 

John Young was a perfectly cast Cogsworth, the tightly-wound, excitable and officious clock who tries to maintain order amidst the chaos. His upper crust accent was a delight and his diction was crisp and clear. Mr. Young excelled at the highly-strung, exasperated delivery and he had a superb sense of comedy which added to the wonderful dynamic between himself and Mr. Dobbs. Together, they created many of the show’s funniest moments, providing much-needed levity at times. In addition to all his fussiness, there were also glimpses of emotional depth. His concern for Beast and acceptance of Belle were nicely played, adding balance to an excellent portrayal. 

Niele Byrne was a lovely Mrs. Potts, radiating goodness and maternal warmth. A very strong actress, she showed a clear understanding of text and was always in tune with the narrative. The title number ‘Beauty and the Beast’ was a most gorgeous rendition and the perfect showcase for Ms. Byrne’s beautiful, clear voice. 

Maria Forrest was the perfect Madame de la Grande Bouche, larger than life and suitably over the top. A fine actress, Ms. Forrest’s powerful voice was delightfully shrill as the operatic wardrobe. 

Babette was played with flirtatious glee by Erin Hogan, who got great fun out of her characterisation. Her chemistry with Mr. Dobbs was electric and they really squeezed everything out of their scenes together. 

John Donohoe was a darkly ominous Monsieur D’Arque and his presence in Act 2 added greatly to the build-up of tension. 

Louisa McCabe, Carol Byrne and Áine Kinch were a delightful trio as ‘Les Filles de la Ville.’ They were suitably over the top in their fawning over Gaston and their shrill delivery was very funny. Equally strong as each other, they worked very well as a group. 

After missing the show due to a bout of illness, I was delighted to see the talented Gearóid Hogan make it to the stage for the last performance as everyone’s favourite teacup, Chip. Gearóid did a terrific job, well able to hold his own acting and singing alongside this very talented cast. He had lovely expression and sang beautifully in ‘Human Again.’ 

The ensemble members were kept very busy and had a good handle on the narrative which they helped to drive every time they stepped on stage. They were well-rehearsed in their choreography and their choral singing was exceptionally strong. ‘Gaston’ was a great number with everyone entering into the energetic fun. 

Raymond Brennan’s stage management was generally well organised and efficient. There was clever use of cast to set and strike furniture during some transitions, helping to ensure fluidity and pace. At times, crew needed to be careful not to be seen side stage. A very efficient job from the crew overall. 

I was really impressed with the set design which was simple but visually appealing. The three archways against the well-lit cyc were a beautiful focal point, as were the pillars dressed with ivy and roses. The stained-glass windows down stage left and right were beautifully finished. The six clever, multifunctional pieces, either side of the stage, moved to become buildings or trees, as necessary. This was a clever piece of design which allowed the show to flow effortlessly from scene to scene. The raised rostrum added good depth to the playing space, allowing for flexibility with staging. Overall, a super design which was perfect for the stage and contributed greatly to the creation of a versatile playing space. 

Props were generally well chosen and appropriate to the style of show. The baskets, flowers, and books in the opening number, ‘Belle,’ added great authenticity and character depth. The cuddly toy duck seemed out of place. The iconic rose looked suitably enchanted. Maurice’s invention was a fun contraption. I loved the beautifully dressed table in the castle complete with its rich, red tablecloth, candles, and flower centrepiece. The skull on the tavern table was a great find too. 

The lighting design was simple but very effective, enhancing the storytelling and adding a magical quality which complemented the mood in every scene. The stunning silhouette of the prince in the stage right archway at the top of the show was beautifully atmospheric. There was nice lighting throughout, isolating and drawing our attention to the enchanted rose, when required. The lighting states for the cast freezes were shadowy and atmospheric. I loved the red and blue lighting which framed Beast so dramatically in ‘If I Can’t Love Her.’ Both ‘Be Our Guest’ and ‘Human Again’ were a kaleidoscope of movement and colour. The transformation had the kitchen sink thrown at it with low fog, dramatic flashing beams and blinders built into the set. A triumph! 

Sound was of a very high quality all through the show. There was great balance between orchestra and cast. Vocals were always warm and clear and the choral sound was expertly mixed. No cues were missed and everything was slick and professional. There was good use of sound effects, with the wolves and the beast roar being most impressive. 

The costume department did so well in creating and coordinating such a huge number of costumes. The show is iconic in terms of its costuming and all the familiar, key elements were delivered in style. The enchanted characters were all visually stunning. Belle’s gorgeous, pink dinner dress was a spectacle in itself and her iconic yellow ballgown was just perfect. Beast’s beautiful regal attire was the perfect nod to his royal past. Overall, a wonderful costume plot. 

With such a visual show, it was great to see so much attention to detail in the hair and makeup department. Principal characters looked so well. Beast’s headpiece was very realistic yet allowed him to be expressive. I loved Madame de la Grande Bouche’s wig which was great fun. Mr. Robinson was the quirkiest looking Maurice I have seen in a long time. A fabulous job all round! 

This was a wonderful 56th production for Carnew Musical Society. The society is everything that AIMS should be about. Community is at the heart of the group and that is what has enabled them to thrive through the decades. Judging by the fine array of talent at the group’s disposal, there will be many more decades to come. Congratulations on a super show and very best wishes for the future.

Pat McElwain 

Gilbert adjudicator 2024/2025

Photography by Eamonn Doran & Lorna Doran McEvoy