Me and My Girl as presented by Aghada Musical Society

Aghada Musical Society

Production: Me and My Girl

Date of Adjudication: 17.02.2025

Overview of the Show and Front of House Evaluation

The production of Me and My Girl by Aghada Musical Society was a delightfully entertaining evening filled with charm, humor, and engaging performances. The atmosphere created by the Front of House team was welcoming and well-organized, setting the tone for a wonderful experience from the moment the audience entered the venue. The warmth and professionalism of the team ensured a smooth-running event and an enjoyable night for all in attendance. The audience were greeted with a beautiful period car outside the venue, and wonderful decorations inside the foyer kept the theme of the event going. 

Director- Direction and Production

Sinead Dunlea’s direction of this production was truly commendable. Every nuance, comic moment, and character development was carefully considered, demonstrating a thoughtful and meticulous approach. The production was well-paced, allowing the humor and storytelling to shine through effortlessly. The attention to detail in character portrayal was evident, making the narrative both compelling and engaging. However, one area for refinement would be maintaining consistency in accents, as there were noticeable lapses throughout the performance. A bit more focus on this aspect could have further elevated the authenticity of the characters.

Musical Director- Direction and Orchestra

The musical direction by Robbie Pender was strong, with a well-balanced and tight orchestra that complemented the performers beautifully, particularly given the challenges of a small venue. The diction of the cast was excellent, ensuring that lyrics and dialogue were clearly understood by the audience. One area that could be enhanced is the presence of harmonies, which at times felt underwhelming. Strengthening this aspect would add another layer of richness to the musical numbers and elevate the overall vocal performance.

Choreographer- Choreography

Choreography by Aileen McMurtry was polished, well-rehearsed, and in keeping with the style and period of the production. The formations were well-executed, and movement routines effectively supported the overall aesthetic. While the precision was admirable, it would have been exciting to see the cast pushed just a little further to add an extra dynamic energy to the performance. This could have created an even more vibrant and engaging visual experience.

Leading Principals – Singing and Acting

Bill Snibson - Kenneth Speight. Kenneth brought an infectious energy to the role of Bill Snibson, lighting up the stage with his physical presence and charisma. His facial expressions and comedic timing were excellent, making for a highly engaging performance. While his vocal ability was strong, his Cockney accent was inconsistent at times, which slightly disrupted the authenticity of the character. With a bit more refinement in this area, his portrayal would be even stronger.

Sally Smith - Julie Buckley. Julie delivered a solid performance with a lovely singing voice and graceful movement. However, her energy level occasionally felt a bit subdued, and a touch more vibrancy would have added depth to her character’s journey. The emotional struggles Sally faced were evident, but a bit more enthusiasm could have strengthened the connection between her character and the audience.

Maria, Duchess of Dene - Jan O’Sullivan. Jan gave a standout performance, fully embodying the regal and commanding presence of the Duchess. Her powerful voice and strong character portrayal made her a compelling figure on stage. She had impeccable comic timing and a great sense of physicality, maintaining a poised and authoritative demeanor throughout.

Lady Jacqueline Carston - Gemma Galvin. Gemma was an absolute delight in this role. Her vivacious presence brought an infectious energy to every scene she was in. Her comedic timing was superb, and she portrayed Lady Jacqueline’s mischievous and flirtatious nature effortlessly. Vocally, she was strong, delivering well-supported and beautifully rounded tones.

The Hon. Gerard Bolingbroke - Brian O’Riordan. Brian’s portrayal was thoroughly enjoyable, capturing the essence of the character with great humor. His light and controlled vocal delivery suited the role perfectly, and his interpretation remained consistent with the style of the production. His comedic moments were well-executed, and he maintained an engaging stage presence throughout.

Supporting Roles – Singing and Acting

Sir John Tremaine - Charlie Terry. Charlie’s performance had some wonderful moments, particularly during the drunk scene, which was a highlight of the show. However, there were times when he appeared to be reaching for his lines, which affected his confidence on stage. With a bit more rehearsal, his performance could be even stronger. His accent also wavered at times, so maintaining consistency would be an area for improvement.

Herbert Parchester - Patrick Kirwan. It was evident that Patrick Kirwan’s performance resonated with the audience, who responded warmly. His cheeky and animated presence brought charm to the role, and he maintained a consistent energy throughout.

Charles, The Butler - Tim McCarthy. Tim delivered a solid and convincing performance, maintaining the required stiff and formal demeanor of the role with admirable precision. His clear and well-projected dialogue ensured that every line was delivered effectively.

Sir Jasper Tring, Lord Battersby, Lady Battersby, Mrs. Brown - Paul Fitzpatrick, John Wall, Mary Henchion, Roisin O’SullivanThe supporting roles contributed greatly to the overall dynamic of the show, creating a well-rounded ensemble. Their performances were engaging, though at times energy levels wavered. Ensuring consistent enthusiasm throughout would enhance the overall production.

Chorus/Ensemble – Singing, Acting, and Choreography

The ensemble was exceptional—fully engaged and full of energy. Every cast member contributed to creating a vibrant and polished performance. The variety of movement abilities was well accommodated by the choreography, and the mix of ages worked beautifully for the show. The limited space was cleverly utilized, though there were moments, such as The Sun Has Got His Hat On, where pushing the energy even further could have made the number even more dynamic. A particularly charming detail was the on-stage piano player mimicking the actual score, which added an extra touch of authenticity. Vocally the chorus were strong, with a well-rounded sound. Some more work on pushing harmonies would really elevate the group’s performance.

Stage Management & Set Design

The set design was well-conceived, making effective use of the small space. The static set was visually appealing, though additional texturing on the walls could have enhanced the depth of the setting. The turning pieces downstage were a clever touch, allowing seamless scene transitions. The color scheme was thoughtfully chosen, complementing both the period and the costumes.

The stage management was smooth and well-executed, with seamless scene changes that did not disrupt the flow of the performance. The involvement of the cast in scene transitions was a nice touch, and incorporating this more frequently, particularly with the chorus in servant roles, could further enhance the production’s cohesiveness.

Technical – Lighting and Sound

While the lighting design had some beautiful moments, such as the dream sequence, there were areas that could be refined. Several live moves could have been pre-programmed to create a smoother visual experienceThe sound quality was adequate, with no major missed cues. The balance between the band and the cast was well managed overall, though there were a few moments where principal performers struggled to be heard clearly in the mix. Slight refinements in this area would improve the overall audio clarity.

Visual – Costumes, Hair, and Makeup

The costumes were well-chosen and historically appropriate. The coordinated color palette, particularly the black, red, and white hues for the ball scene to match the Pearly costumes, was visually striking. Each piece fit well and contributed to a cohesive and polished aesthetic. Hairstyles similarly well-executed, adhering to the time period and adding to the authenticity of the production. Make-up was suitably understated.

Final Comments and Recommendations

Overall, Aghada Musical Society’s production of Me and My Girl was a thoroughly enjoyable experience, filled with humor, charm, and strong performances. The commitment of the cast and crew was evident, and the production was of a high standard. Moving forward, focusing on accent consistency, pushing choreography and energy levels slightly further, and refining lighting transitions would elevate the show even more. A deliciously hilarious evening’s entertainment.