Oklahoma as presented by Tullyvin Musical Society

Society Name: Tullyvin Musical Society

Show Name: Oklahoma!

Adjudicator Date of Attendance: 19/10/2024

Brief Overview of Show and Evaluation of Front of House

Nestled within a hillside, Tullyvin Community Centre provided an intimate, welcoming setting for Tullyvin Musical Society’s performance of Oklahoma! The Front of House décor was thoughtfully crafted, enhancing the atmosphere with a light-up “OKLAHOMA” sign along the front railing and cozy autumnal decorations in the foyer.

Director - Direction and Production

The director’s approach to Oklahoma! was clear in blocking, making good use of both stage space and set elements. There were several well-executed scenes, including a high-energy fight sequence during the box social scene and another intense moment between Curly and Jud in the final act. However, despite strong staging choices, the show felt lacking in depth. The actors performed their lines well, but there seemed to be minimal development of character relationships or backstories, which led to some missed emotional connections. This absence was particularly noticeable in the romantic tension between Curly and Laurey, and the darker rivalry between Curly and Jud. Though all characters fit their roles, a more layered exploration of their motivations and dynamics could have elevated the storytelling.

Musical Director - Direction and Orchestra

The music, under a skilled Musical Director, was the standout element of the production. Harmonies were strong and well-rehearsed, lending depth to each number. The orchestra, even in the small space, was beautifully balanced, allowing the melodies and counterpoints to shine without overpowering the singers. The MD’s enthusiastic conducting was evident but could have benefitted from a lower placement, as he occasionally obstructed the LED wall and was visually distracting.

Choreographer - Choreography

The choreography, while high-energy in numbers like “Kansas City”, was mixed overall. The male ensemble brought commendable enthusiasm and performed capably, but pieces like “Many a New Day” fell short, even with some skilled female dancers in the cast. The dream sequence, although passable, did not fully capture the intended tension between Laurey, Curly, and Jud, and missed opportunities to emphasize the underlying emotions of love and fear. Rather than elevating some of the stronger dancers in key moments, the choreography often seemed adapted to accommodate the less experienced cast members. More strategic choices could have helped balance the skills of the ensemble and highlighted stronger dancers effectively.

Leading Principals - Singing and Acting

Laurey – Scarlett McCormack

Scarlett delivered a vocally strong performance, handling Laurey’s challenging vocal lines with apparent ease. A pleasure to listen to, filled with warmth and colour, her voice blended richly with Curly’. However, her portrayal was subdued, with limited facial expression, which created a somewhat flat characterization. Her performance might have benefitted from more direction to encompass Laurey’s spunky, independent personality. Laurey’s spirit as a sassy, independent young woman was missing, which impacted the believability of her romantic arc with Curly.

Curly – Colm Shalvey

Colm demonstrated exceptional vocal talent, particularly in “Oh, What a Beautiful Mornin’,” with his smooth tenor voice. However, his physical portrayal lacked the ease and swagger of a confident cowboy, and he occasionally appeared stiff in movement. Some dance training to increase physical expressiveness would likely enhance his portrayal and help him embody Curly’s self-assured charm more fully.

Aunt Eller – Andrea Fitzpatrick

Andrea delivered a warm, natural performance as Aunt Eller. She balanced a playful spirit with maternal wisdom, giving the role charm and presence. Her strong voice added to her convincing portrayal, marking her as one of the most comfortable and engaging on stage.

Jud – Ian Rountree

While Ian has the vocal chops for Jud, his character portrayal missed the mark. He was not menacing enough to convey Jud’s darker, unsettling qualities, nor vulnerable enough to evoke sympathy. This led to Jud feeling more like a conventional character with romantic leading man tendencies, than the layered, ominous figure that drives much of the story’s tension.

Supporting Roles - Singing and Acting

Ado Annie – Emily Smith

Emily’s Ado Annie was playful but could have gone further with the comedic, flirtatious aspects of her character. Vocally, her soprano tone didn’t fully capture Ado Annie’s brassy style, yet her warm stage presence and lively expressions kept the role enjoyable.

Will Parker – Conor Lynch

Conor brought excellent energy and a solid voice to the role, delivering a charming performance as Will. While his enthusiasm was evident, he could have leaned into the physical comedy with Ado Annie, adding dimension to their interactions.

Ali Hakim – Enda Gill

Enda presented a well-voiced, charismatic portrayal of Ali Hakim. However, his accent felt off, and the humour could have been pushed further. As a physically dynamic character, a more flexible portrayal would have given Ali Hakim the eccentric flair he requires.

Andrew Carnes – Brian Feerick

Brian’s portrayal was warm, adding depth as Ado Annie’s protective father. He balanced sternness with humour, although more could have been done to exaggerate his relief at “losing” his daughter.

Gertie Cummings

Alanna captured Gertie’s trademark laugh with energy, commitment and gusto, though her performance sometimes leaned into a more polished style that might have been even more effective with a subtler comedic touch. The stray strands of hair occasionally drew focus away from her facial expressions, which slightly impacted the overall performance.

Ike Skidmore – Jason Nulty

Jason brought a lively energy to the stage, consistently engaged in the ensemble scenes. He was a good mover and stayed involved in the action throughout, contributing to the ensemble's cohesiveness.

Cord Elam – Donal Cooney 

Donal brought a stutter to Cord’s character, which fit well, adding a sense of endearment to his role as a cast member. He stayed true to his character, enriching the scene’s atmosphere with his nuanced performance.

Slim – Ben Lynch

Ben’s enthusiasm as Slim was evident, though his dialogue often got lost, being inaudible at times. With more voice projection and clarity, his excitable character would have made a stronger impact.

Dream Laurey – Aiveen Sexton

Aiveen showed grace and poise in the ballet sequence. Her movements were clean, bringing presence to the role. She showed an ability to communicate the ballet’s emotions, though the choreography didn’t fully support her potential.

Dream Curly – Eugene Hill

Eugene displayed good physicality, though his role was underutilised. More challenging choreography could have highlighted his abilities further.

Chorus/Ensemble - Singing, Acting, and Choreography

The ensemble harmonised well and brought vibrant energy to the show. They worked cohesively as a unit, showing clear engagement and enjoyment on stage. While dance levels varied, they compensated with dedication and enthusiasm. Their singing was a highlight, bringing warmth and depth to group numbers. Overall, the ensemble demonstrated a sense of camaraderie that translated into a lively performance, though further dance training could enhance their synchronisation and fluidity in future productions.

Stage Management & Set Design

The set design was impressive and creatively adapted for the small stage. Well-painted and cleverly crafted, the set transitions were smooth and well-timed. The LED wall added a modern touch, though a more cohesive visual style between the LED graphics and painted flats would have enhanced the setting. The set truck operated seamlessly, contributing to a clean, polished stage flow that supported the story without distracting from it. Some tech equipment was visible downstage, detracting slightly from the immersive experience, yet overall, the stage team handled changes with efficiency and care.

Technical - Light and Sound

The sound was well-executed, with clear balance and no missed cues, showcasing the singers’ harmonies effectively. The lighting, while functional, was somewhat basic. Transitions between cues felt abrupt and could benefit from smoother changes, especially during key scenes like the ballet sequence. The lighting setup’s limited kit was used serviceably, yet the lighting design might have explored more atmospheric elements, particularly with moving lights, to enhance the emotional moments.

Visual - Costumes, Hair, and Makeup

Costuming was bright, colourful, and in keeping with the period for the most part, adding authenticity to the setting. However, some modern details detracted from the overall effect, such as Laurey’s 1950s-style dress in an 1850s story and Gertie’s 1980s finale costume. Hair styles also needed more period-appropriate styling for both men and women. The makeup was suitably subtle and natural, fitting the rural atmosphere.

Adjudicator’s Overall Comments

Tullyvin Musical Society’s production of Oklahoma! displayed strong musical direction and cohesive teamwork, particularly in vocal performance. This society has untapped potential, with an evident passion and dedication that could be further enhanced through a bolder approach to direction and choreography. With continued growth, Tullyvin Musical Society is sure to produce even more captivating performances. 

Therese Maher

Sullivan Adjudicator 2024/2025

Some photos shared by the society: