The Witches of Eastwick as presented by St. Michael's Theatre Musical Society

Society Name: St. Michael’s Theatre Musical Society

Show Name: The Witches of Eastwick

Adjudicator Date of Attendance: 23/11/2024

Brief overview of show and evaluation of Front of House

On a dreary and grey November evening, the warm welcome extended by St. Michael’s Theatre Musical Society’s front-of-house team was much appreciated. The venue itself offered a good view from any seat, which is a testament to its thoughtful design. However, a persistent smell of fuel and a noticeable chill in the air detracted somewhat from the overall ambiance. These environmental issues could be addressed to ensure a more comfortable experience for future audiences.

Director- Direction and Production

Kevin Kennedy’s direction and overall production of The Witches of Eastwick left room for improvement. While the blocking was competently executed and functionally effective, it lacked creativity and innovation. There were no glaring issues, but nothing truly memorable or standout either.

The three seduction songs felt overly exaggerated and veered into tasteless territory. The explicit and unnecessary physical actions detracted from the storytelling and could have been reimagined in a way that was suggestive yet tasteful.

Visually, the show lacked cohesion. The various design elements—from sets to costumes to lighting—did not come together as a unified whole. This lack of a guiding vision was evident, and it appeared that each department was working independently without strong direction from the director. The choice to allow Jane to adopt a Moira Rose-like accent from Schitt’s Creek was another puzzling decision, as it overshadowed the character’s performance and distracted from the story.

Key storytelling moments, such as the spellcasting that summons Van Horne, were unclear. Stronger direction could have clarified these pivotal plot points. The flying scene, a potential highlight, was underwhelming and could have been executed with greater creativity and impact. Overall, the production felt chaotic visually and aurally, emphasizing the need for a cohesive and clear vision.

Musical Director- Direction and Orchestra

Philip Kennedy’s musical direction was a strong point of the production. The orchestra was well-coordinated, delivering a polished and balanced sound from the pit. The chorus—a highlight of the evening—sang with energy and precision.

The trio numbers performed by the witches stood out musically and were well-received by the audience. However, there remains room for pushing the vocal performances even further to achieve a fuller and more dynamic sound.

Choreographer- Choreography

Claire Kickham’s choreography was another area that could benefit from more innovation and attention to detail. There was an over-reliance on repetitive steps, which made the routines feel monotonous. Furthermore, there was a lack of synergy between the choreography and the overall direction, leading to a disjointed feel.

Key numbers, such as “Dance with the Devil” and “Dirty Laundry,” were underwhelming. The former lacked the intensity and drama it required, especially when compared to the overly explicit seduction scenes. The latter missed an opportunity for creative staging, as the use of pristine dishcloths in a number titled “Dirty Laundry” felt incongruous. Greater variety in formations, movements, and stage directions could have added depth and visual interest.

Leading Principles- Singing and Acting

Alexandra Spofford (Joanne McCabe): 

Joanne delivered a grounded and confident performance, embodying Alexandra’s strong and self-assured nature. Her powerful, earthy voice added depth to her portrayal, and her performance was among the highlights of the evening.

Sukie Rougemount (Roisin Currid): 

Roisin’s playful and innocent characterization of Sukie was endearing. Her lovely vocal quality added charm to her portrayal of the hopeless romantic, effectively capturing the essence of the character.

Jane Smart (Michaela White): 

Unfortunately, Michaela’s performance was overshadowed by the exaggerated accent, which detracted from both her dialogue and overall presence. While her singing voice was a saving grace, unaffected by the accent, the disparity between her portrayal and the other witches made her character feel out of sync. A subtler approach would have allowed her considerable talents to shine.

Darryl Van Horne (Michael Cruz): 

Michael brought a suave and confident energy to the role of Darryl. However, his portrayal could have leaned further into the character’s darker, more sinister qualities. The lack of differentiation in his interactions with each of the witches was a missed opportunity, likely stemming from directorial oversight. While his comfort and charisma on stage were evident, his performance bordered on being too camp at times.

Felicia Gabriel (Teresa Buckley): 

Teresa portrayed Felicia with great conviction, fully embodying the irritating, self-important busybody. However, technical issues—missed microphone cues and lighting choices that detracted from key moments—undermined her performance. Despite these challenges, she delivered a strong and memorable interpretation of the role.

Clyde Gabriel (Keith Flanagan): 

Keith excelled in his dual portrayal of the downtrodden husband and the smitten lover. His physicality and expressions were well-suited to both aspects of Clyde’s character, particularly in his drunken scenes, which were well-executed and humorous.

Supporting Roles- Singing and Acting

Michael Spofford (Timmy Moloney): Timmy was delightful as Michael, effectively portraying the innocence and charm of the varsity boy. His vocals were sweet and blended beautifully with Eryn’s.

Jennifer Gabriel (Eryn Buckley): Eryn’s portrayal of Jennifer was well-executed, capturing her innocence and frustration with nuance. While her vocal performance was lovely, there is potential to push her character’s emotional extremes further.

Gina Marino (Caoimhe Kennedy Ryan): Unfortunately, Gina’s performance left little impression, indicating a lack of material or direction to allow her to shine.

Joe Marino (Nicky Brennan): Nicky was energetic and enthusiastic in his performance. A confident portrayal of the character. He gave great gusto to the choreography.

Little Girl (Caoimhe Boyle): Quirky and endearing, Caoimhe’s facial expressions and character choices brought charm to her role.

Fidel (Lorcan Dunne): The choice of Fidel’s walk was an odd directorial decision that disrupted the flow of the show. While Lorcan performed well within these constraints, a different approach could have allowed for a more seamless integration of his character.

Brenda Parsley (Claire Kickham): 

Claire was suitably irritating as the Reverend’s wife but was not given enough material to leave a lasting impression.

Ed Parsley (Jamie Lyster): 

Jamie’s performance was confident and entertaining if somewhat understated.

Greta Neff (Julie Kinsella): 

Julie clearly enjoyed her role, bringing a sense of fun and energy to the production. She gave a memorable performance in a small role highlighting the impact of such roles.

Raymond Neff (Steve Carey): 

Steve blended well with the ensemble but lacked standout moments. More material or direction could have helped him make a stronger impression.

Chorus/Ensemble- Singing, Acting and Choreography

The chorus was the heart of this production, bringing energy and enthusiasm to their performances. Despite the limitations of the choreography, they executed their roles with commitment and vitality. Their strong vocal performances and engagement with the material suggest that they are capable of even greater challenges.

Stage Management & Set Design

The overall set design felt disjointed and overwhelming. The painted flats were cartoonish and lacked texture, contrasting sharply with realistic projections and set pieces painted in different palettes. This visual mismatch highlighted the absence of a cohesive design vision.

Scene transitions varied in pace and style, and integrating these into the blocking could have improved the flow of the production. The set changes needed more polish and creativity to enhance the storytelling.

Technical- Light and Sound

The lighting design further contributed to the visual chaos. Different color palettes clashed with the set, and odd directly overhead lighting coverage left performers dipping in and out of hot spots. The use of moving lights for front-of-house coverage was ineffective, leaving dark spots at the extreme SL and SR, and an imbalance with the overhead lighting. 

Sound was the weakest technical aspect. Microphones frequently dropped in and out, leaving significant parts of dialogue and music unheard. The inconsistent use of microphones for soloists and the poor balance during musical numbers detracted significantly from the audience’s experience.

Visual- Costumes, Hair and Make Up

The costumes were well-fitted and suited the characters but clashed with the other visual elements of the production. While lovely as standalone pieces, they failed to blend into the overall aesthetic. Hair and makeup were competently executed and matched the costumes.

Adjudicators suggestions/ comments - overall comments on the production and comments to enhance the standard for future performances.

This production of The Witches of Eastwick showcased a talented group of performers with great potential. However, the lack of a unified vision across all departments significantly hampered the show’s overall impact.

Moving forward, a more collaborative approach is essential. The director should provide clear guidance to ensure that all design elements work together harmoniously. Choreography should be more varied and stylistically aligned with the direction. Technical issues with lighting and sound must be addressed to avoid detracting from the performance. Finally, a stronger focus on storytelling and character development will enhance the audience’s connection to the production.

With these improvements, St. Michael’s Theatre Musical Society has the potential to create truly outstanding productions. The talent and enthusiasm of the cast and chorus are evident, and with stronger direction and cohesion, they are capable of reaching new heights. 

Photos kindly shared by the society // Photographer: Darragh Carroll