Beauty & The Beast as presented by Dundalk Musical Society

Society Name: Dundalk Musical Society

Show Name: Beauty & the Beast

Adjudicator Date of Attendance: October 20th, 2024

Brief overview of show and evaluation of Front of House

Dundalk Musical Society’s Beauty and the Beast offered a fresh take on a beloved classic. While the production featured committed performances and a spirited cast, it often fell short of delivering the magic expected of such a timeless tale. The Front of House team provided a warm welcome, ensuring a positive start to the evening.

Director - Direction and Production

Laura Kerr’s production lacked cohesion in pacing and staging, with static scenes and inconsistent blocking detracting from the story's flow. For instance, the Beast’s ascension of the staircase without the rest of the characters, yet they were present in the new scene, was an inconsistency in journey. Character interactions and comedic timing were underdeveloped. The Beast’s portrayal, characterized by crouching and swaying, distracted from his imposing presence and emotional arc.

Musical Director - Direction and Orchestra

Musical Director Elizabeth Freeburn led a standout orchestra that beautifully rendered the Disney score, maintaining a perfect balance with the performers. The chorus impressed with polished harmonies and a well-rehearsed sound, demonstrating vocal strength and control.

Choreographer - Choreography

Choreographic choices from Clare Donnelly were mixed. The opening number lacked the energy expected of a bustling village scene, while “Gaston” brought more lively engagement through clever prop use. However, “Be Our Guest” failed to achieve the grandeur required, with repetitive movements and empty moments. Similarly, “The Mob Song” lacked the tension needed to heighten its dramatic climax.

Leading Principals

Beast (Max Valentine): Max brought a youthful sincerity to the role, showing potential to connect emotionally with the audience. His vocal tone while lacking the maturity needed to fully embody the power of the Beast was pleasant and showed promise. Direction to keep him crouched and swaying detracted from his ability to command the stage effectively. With further refinement Max could grow into the strength and complexity of a character like the Beast. 

Belle (Anna-Maria Boyle): Anna-Maria’s vocal performance was a highlight, showcasing beautiful control and a lyrical quality that suited Belle perfectly. Her comfort with movement added a graceful layer to the role. However, her portrayal occasionally felt overly exaggerated, creating a disconnect from the rest of the cast’s more subdued performances. A slightly more grounded interpretation could have allowed Belle’s sincerity and strength to shine.

Gaston (James McGinn): James approached Gaston with enthusiasm, embracing the character’s brash confidence. James has the tools to develop a more polished interpretation of the role in future performances. Gaston’s larger-than-life persona demands charisma and charm, which were somewhat overshadowed by James’s vocal choices and mannerisms. His voice placement felt somewhat strained. 

Lumiere (David McArdle): Lumiere is a character that thrives on charm and sparkle, and while David brought moments of flair, there was room for a bit more energy and stage presence. His portrayal could shine even brighter with a touch more animation and finesse in his interactions, particularly in numbers like "Be Our Guest.". His interactions with Babette were energetic but lacked finesse.

Cogsworth (Aaron Mathews): Aaron delivered a steady performance as Cogsworth, navigating the character’s comedic potential with consistency. Some attention to maintaining a crisp accent and embracing Cogsworth’s fussy charm could elevate the role to its full comedic potential.

Mrs Potts (Orlaith Crosby): Orlaith Crosbie delivered a heartfelt performance as Mrs. Potts, her lovely voice shining in "Tale as Old as Time." While the costume captured the character's charm, it seemed restrictive, limiting her physical expression. With a more flexible design, her performance could have been even more captivating.

Supporting Roles

LeFou (Cian Kennedy): Cian’s physical comedy and enthusiasm were evident, adding energy to the production. Adjusting the character dynamic to reflect LeFou’s idolization of Gaston, rather than what felt like romantic interest, would have the intended dynamic of blind admiration and sycophancy.

Maurice (Jim McGuigan): Jim’s warmth as Maurice was endearing, particularly in the opening scenes, where his fatherly love shone through. The later scenes needed a further layer of urgency and eccentricity to heighten the stakes and amplify the character’s emotional journey.

Babette (Fiona Millen): Fiona brought a playful energy to Babette, and while her dialogue delivery was measured, a quicker pace could add to the character’s coy charm. Exploring a broader range of flirtatious and dramatic expressions could also enrich the portrayal.

Chip (Eamonn Mackin): Eamonn stood out as a delightful highlight of the show, combining strong facial expressions with a sweet and clear voice. His natural stage presence made Chip a memorable character and a highlight.

Madame de la Grande Bouche (Karyn McCooey): Karyn embraced the dramatic flair of Madame de la Grande Bouche with enthusiasm, delivering a convincingly operatic and larger-than-life performance. Her strong vocal presence added depth to the character, making her a standout in her scenes.

Les Filles De La Ville 1 (Ashley Copas McCormack): Ashley portrayed the adoring, somewhat naïve character with charm and enthusiasm. She was a strong addition to the trio, capturing the fawning nature of her role effectively.

Les Filles De La Ville 2 (Rachel Noonan): Rachel similarly embodied the role of the infatuated admirer, contributing to the trio’s dynamic with equal devotion and charm.

Les Filles De La Ville 3 (Caitlyn Carroll): Caitlyn stood out as the strongest of the three. She demonstrated excellent comedic instincts, bringing a sharp wit and energy that enhanced her performance.

Monsieur D’Arque (Deaglan McGovern): Deaglan's portrayal of Monsieur D’Arque could have benefitted from a deeper dive into the character’s sinister and creepy traits. 

Chorus/Ensemble- Singing, Acting and Choreography

The chorus provided robust vocal support and energy but was underutilized in staging and movement. Greater integration of the ensemble in dynamic choreography and interactions could enrich key scenes.

Stage Management & Set Design

The period-appropriate set captured the essence of the story, but slow transitions hindered momentum. The rose’s placement up stage centre, rather than “in the West Wing” was confusing and disrupted storytelling. While theatrical cloths added charm, some set changes, such as removing the fireplace for “Be Our Guest,” felt unnecessary.

Technical Aspects: Lighting and Sound

Lighting was effective overall but could have enhanced dramatic moments like “Be Our Guest” and “The Mob Song” with bolder choices. Sound design was well-balanced, though occasional missed cues detracted slightly.

Costumes, Hair, and Makeup

Costumes were visually appealing and well-suited to the characters. Minor mismatches, like Lumiere’s candles, were noticeable but did not detract significantly. Hair and makeup were executed neatly, though the Beast’s full-face mask limited the character’s emotional expressiveness.

Adjudicators suggestions / comments

Dundalk Musical Society showcased great potential with this production. To maximize future performances, consider; enhancing character interactions and physicality to bring scenes to life with greater energy and flow; refine showstopping moments to ensure they deliver the grandeur and excitement they deserve; focusing on consistent characterization across the cast to maintain tonal cohesion; streamline scene transitions and heighten key dramatic moments with technical and staging enhancements. Dundalk Musical Society has the talent and capability to deliver truly magical productions. 

Therese Maher

Sullivan Adjudicator 24/25

Some photos of the production by the society (Photographer: James Huish)