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