Cry-Baby as presented by Malahide Musical Society

Cry-Baby as presented by Malahide Musical and Dramatic Society:

Date of Adjudicated Performance: Friday, 16th February 2024.

Cry Baby, if you’ve never heard of it, may never rank, from a literary point of view, alongside Shakespeare, Dickens or Victor Hugo, and it may never rank musically beside the genius of Sondheim, but it’s safe to say that it might just be one of the funniest, most original and highly entertaining pieces of musical theatre I’ve ever had the pleasure to enjoy.

The titular character, Wade “Cry-Baby” Walker, is determined to clear the good name of his parents who were wrongfully executed for arson. He turns up at the scene of the crime, during an Anti-Polio picnic and falls in love with local square, Allison, much to the chagrin of her wannabe boyfriend, local nerd and barbershop-quartet singer, Baldwin. As the story unfolds and love blossoms, the respectable nerds try to frame Wade for another arson attack, but the truth is eventually revealed and goodness triumphs. Yes, it sounds ridiculous, and featuring such incredibly funny songs as Watch Your Ass, Squeaky Clean, Screw Loose and Can I Kiss You With Tongue, it’s far removed from anything you might have seen before, but it is quite simply dynamite.

Director, Emma Jane Reilly, pulled out all the stops to make it as slick and sensational as she could possibly manage. Her attention to character was awesome, with every individual strong and secure in their role. Her eye for good comedy was evident throughout, being unafraid to go for the jugular with the craziness of the story and the irreverence of many of the lyrics. The whole production was very much “in your face” precisely because that’s the way it’s written, and to water it down might have spoiled the overall product. Added to all of that, Emma Jane also ensured that the production standards were spread right across the field, from good sets and staging to fabulous costumes and make-up.

The main feature of the set was the projection screen, centre stage, which provided not only a variety of good locational images, but also some good graphics and effects, and allowed the band to be shown to the audience. The remainder of the set was fairly neutral, with a raised platform up-stage and good raised areas Downstage R and L. Dressing for the various scenes was achieved mostly with self-standing pieces and a wide variety of good props and furniture. Under the guidance of Stage Manager, Therese Farrell, this was a very fluid production with almost unnoticeable scene changes. Lighting was of a very good standard, with faces well-lit throughout and with plenty of disco effects and mood lighting, using colours that reflected the tone of each setting. Given that the band were located in some small backroom of the theatre, a very good balance was maintained between band and on-stage vocals. Cueing and sound effects were also precise. Props and furniture were all very good and appropriate throughout the show, including, would you believe it, an iron lung.

But it was the sheer sense of euphoria that emanated from the stage that carried the audience along with every step, every song and every gag in this show. The performers were having the time of their lives, and I’m sure that enthusiasm was inspired and instilled by an effusive Director.

In the leading role of Wade “Cry-Baby” Walker, Cormac Malone was as slick as Elvis, as cool as James Dean, delightfully rebellious, and sometimes as nerdy as an awkward teenager taking his first steps towards romance, all of which perfectly suited his complex character. This was a great acting and comedy performance with an equally impressive vocal quality, which stretched from well-realised Rock-a-Billy to tender tones in the more romantic numbers.

Rebecca Gamble, as Allison, really enjoy the juxtaposition of being an innocent ‘square’ in her local community and being a wannabe bad girl in the company of Wade. Played with strong comedy and a lovely voice, she had the perfect mix of innocent vulnerability and mischievous minx.

Gavin Moloney got maximum hilarity from his portrayal of Baldwin Blandish, the dorky, barbershop-quartet leader, intent on winning the heart of Allison, at all costs. This was character acting of the finest quality, using voice, facial expression and body language to superb comedic effect, making him so likeable in his loathsomeness. The singing of the barbershop quartet was exceptional and quite hilarious, with Gavin taking the lead and ably supported by Luke Watson as Bob, Ben Cole as John and Sean Lonergan as Jonathan, each of whom had wonderful individual personalities, but as a team, had the audience rolling in the aisles. Their synchronized actions, movements and comments were comedy gold.

Cian McKeon played Wade’s best friend, Dupree, the emcee of the Jukebox Jamboree at Turkey Point. Cian’s role was a fusion of cool Rock star and high camp, fronting some of the coolest rock numbers with great charisma, but also providing hilarious comedy, particularly in Can I Kiss You With Tongue. With a strong voice and great stage presence, this was a well-realized role.

Comedic performance of the night, however, came from Yasmine Missaoui, as psychopathic stalker, Lenora. Her unrequited love for Wade has sent her cuckoo, as best demonstrated in her hilarious lament, Screw Loose. This was a master-class in comedy, using every move, gesture, glance and word to maximum effect and having the audience in fits. Her imaginary friend wasn’t credited in the program, but Yasmine did convince me that she really did exist. Allison’s Grandmother, Mrs Vernon-Williams, was very well portrayed by Jennifer McGuire Noriant, bringing a wealth of experience in character/comedy to the role of an apparently squeaky clean, upstanding citizen who lives with a dark secret. Added to her strong comedy was an equally strong voice, best demonstrated in the very amusing I Did Something Wrong, Once.

A feisty, fiery trio of volatile vixens appeared in the shape of Chloe Murphy Foley as Mona “Hatchet Face” Malnorowski, Nicole Kennedy as Wanda Woodward, and Wade’s 16-year old pregnant little sister Pepper, played by Aine Murray. These three followed Wade from the wrong side of the tracks and made their presence felt among the rich folk with sass, sex and seriously side-splitting comedy. That they could all belt out a good tune was a big bonus for these three very talented performers.

Completing the principal line-up, Desmond Daly made a very credible Judge Stone, and suitor to Allison’s Grandmother.

The two distinct choruses in the show were the Nerds (or squares) and the Drapes (or Rockers), and both captured the essence of their identity quite brilliantly, the former being smug in their superiority and aghast at the disgusting behaviour of the latter, and the latter exuding the angst, rebellion and in-your-face attitude of the kids from the wrong side of the

tracks. Both groups performed with raw energy and a very splendid level of dance ability, and none were found wanting when it came to vocal strength and clarity. Indeed, I’m quite sure Musical Director, Dave McGauran, was most impressed with their work rate. He, in return, led a brilliant band with untold energy and exuberance, appearing on the projection screen, during the overture, not just playing and conducting, but also shouting out the house rules, (no photography, no mobile phones, etc;) in rhythm to the music. The band perfectly captured the energy and feel of the Rock-a-Billy score, but also found the right level of mellowness for the more-gentle numbers. Harmonies and diction were always crisp and clear, but topping the musical charts were the hilarious barbershop contributions from the Whiffles. Pure magic.

Choreographer, Julianne McNamara, had a field-day, playing with the wide variety of styles and rhythms that this show presents. Her interpretation of the score, from the ‘twee’ nerdiness of the ‘squares’ routines, to the robust energy-driven gyrations of the rockers, was of the highest standard and thoroughly engaging to behold. From high camp to high class, the dances were a riot of ecstasy and energy, and performed with zeal by a company that just didn’t want to be restrained.

Completing the look and atmosphere of the show was a wardrobe that varied from the prim, pastels of the posh people to garish and outrageous attire for the rockers. Pepper’s pregnancy bump was brilliant, but it was “Hatchet-face” Mona’s appearance that high-lighted the joint achievement of costumes and the make-up team. Her scars were truly brutal, and latterly, her bandaged face was hilarious. The Whiffles always looked immaculately dapper.

I have no doubt that, based on the strength and the fun of this production, many adventurous companies might like to have a crack at this show in the future, and that is as much as I need to say about the excellent standard of production and performance that Malahide presented. It was a great thrill to be there for this Irish Premiere, and my sincere thanks to all concerned for a wonderful and hilarious night of musical theatre.

Peter Kennedy

Gilbert Adjudicator 2023 / 2024

Some Photos kindly shared by the society - Photographer - Pauline Maguire