top of page

UPCOMING EVENTS

Made in Dagenham

​

28 Jan 2025

More...
Sister Act

​

31 Mar 2025

More...
Jesus Christ Superstar

​

1 Apr 2025

More...
Joseph & The Amazing Technicolour Dreamcoat

​

8 Apr 2025

More...
EVITA

​

9 Apr 2025

More...

LATEST NEWS

Made in Dagenham as presented by Kill Musical & Dramatic Society

Society Name:  Kill Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  28/01/2025 Brief Overview of...

Society Name:  Kill Musical & Dramatic Society Show Name:  Made in Dagenham Adjudicator Date of Attendance:  28/01/2025 Brief Overview of the Show and Evaluation of Front of House Made in Dagenham  was staged in a charming church that artfully blended tradition with a modern twist. The venue’s natural character—evident in the quaint pew seating enhanced with provided cushions—transformed an otherwise austere space into a warm and inviting environment. Although initial concerns about comfort were valid, the energy and commitment of the performance quickly elevated the atmosphere. The front of house staff performed efficiently, ensuring a welcoming entrance and setting a positive tone for the evening. The innovative choice of a church, a space normally associated with solemnity, provided a striking contrast to the vibrant and occasionally irreverent content of the show. This juxtaposition created an engaging backdrop that both surprised and delighted the audience. Nonetheless, minor adjustments in seating logistics and flow could further enhance the overall comfort for future performances. Director – Direction and Production Tom McCarthy’s direction was central to the production’s overall impact. Drawing on his extensive theatrical experience, Tom brought a confident yet nuanced approach to the narrative. His direction was punctuated by several “meaty” moments where the intensity and passion of the story were clearly communicated, balancing the dramatic weight with lighter, humorous touches, maintaining the show’s pacing. The blocking was generally well executed, although there were moments when less experienced cast members upstaged one another. Simple refinements—such as maintaining proper eyelines, employing subtle facial expressions during mistakes, and being mindful of spatial boundaries—could enhance stage fluidity. Notably, the tender exchanges between Rita and Eddie were executed with genuine emotion, contrasting with the less successful comedic attempts around Clare’s character, where timing fell short. Overall, McCarthy’s ambitious and inspiring vision shone through, even as certain elements of stage craft remain areas for further development. Musical Director – Direction and Orchestra Emer Hartnett led the musical elements with palpable energy and enthusiasm. The band’s performance was impressively tight, and the musical numbers were delivered with a blend of precision and passion that significantly enriched the production’s emotional impact. Hartnett’s leadership helped underscore the narrative, providing a solid sonic foundation throughout the performance. However, there was an overreliance on cueing from the cast, suggesting a need for the performers to develop greater confidence in their own timing. While cueing is a useful tool, it should not overshadow the natural flow of live performance. Additionally, there were moments when non-singing actors were inadvertently mic’ed, causing their voices to slip into the mix and detract from the clarity of the musical numbers. Instances of soloists being overpowered by the band also indicated that a more collaborative dialogue between Hartnett and the sound engineer would be beneficial. In future shows, a clearer division of roles—where the Musical Director enhances the performance without becoming a visible distraction—could help elevate the overall musical balance. Choreographer – Choreography Imelda Winters’ approach to choreography leaned toward musical staging rather than intricate dance routines—a deliberate choice that largely suited the production’s narrative pace. Winters demonstrated an innovative understanding of how movement can support vocal performances. However, the choreography sometimes stretched the comfort zone of the male cast members, leading to occasional awkward transitions and a slight loss of momentum. Simplifying the movements to emphasize clarity and rhythm over complexity would allow the performers to express themselves more naturally and with greater confidence. Dedicating additional rehearsal time to breaking down each sequence and internalizing the moves could transform the routines into more polished, expressive components of the show. Overall, Winters’ vision was strong, and with further refinement to accommodate varying skill levels, the choreography can evolve to more fully support the narrative. Leading Principles – Singing and Acting Rita O’Grady – Rossagh Cusack Rossagh delivered a performance as Rita O’Grady that was both vocally robust and emotionally complex. She captured Rita’s internal conflict—a battle between personal desire and external pressures—with authenticity. Her clear, resonant vocal delivery carried the emotional weight of Rita’s journey, while her stage presence drew the audience into every moment of vulnerability and strength. A deeper exploration of the quieter internal moments could further enhance the impact of her portrayal. Eddie O’Grady – Aaron Stone Aaron’s interpretation of Eddie O’Grady was marked by warmth and vulnerability. His smooth vocal delivery and approachable stage presence made Eddie immediately endearing. He effectively communicated the character’s internal struggles and stubbornness, inviting both empathy and a touch of exasperation from the audience. His performance was sincere, though refining the balance between the dramatic and the lighter aspects of the role could bring even greater nuance to the character. Connie O’Riley – Denise Gardiner Denise shone in the emotionally charged hospital scene, conveying deep sorrow and resilience. Her portrayal of Connie O’Riley was understated yet impactful, reflecting both the personal loss and the drive for change that defined the character. While her performance was moving, establishing Connie as a more dynamic force early on in the production would have provided a stronger narrative foundation for her character’s evolution throughout the show. Monty – Portrayed by Damien Donegan Damien Donegan’s portrayal of Monty effectively conveyed a character caught between frustration and a sense of entrapment. His vocal performance communicated the underlying tension and emotional release following key dramatic moments. A deeper exploration of Monty’s internal conflict would further connect the audience to his struggles, enhancing the overall dramatic impact. Harold Wilson – Portrayed by Tom Noone Tom Noone’s depiction of Harold Wilson presented a challenging balance. At times, his performance felt overly manic and unsettled, lacking the calm, authoritative presence necessary for the role of a Prime Minister. More controlled movements and a consistent tone could ground the character more effectively, transforming the portrayal into one that is both commanding and authentic. Barbara Castle – Portrayed by Aisling Burke Aisling Burke’s performance as Barbara Castle was a highlight of the evening. With strong vocals and a commanding stage presence, Burke brought dynamic energy to the role. Her layered portrayal captured the tension between a deep commitment to the working class and the pressures of the political landscape. Her convincing accent further reinforced the authenticity of her character’s internal struggle. Jeremy Hopkins – Portrayed by Stephen Fagan Stephen Fagan’s portrayal of Jeremy Hopkins was a study in self-importance and unlikability. His vocal delivery and haughty demeanor effectively encapsulated the character’s disconnect between public image and private reality. A slight infusion of vulnerability could add complexity, offering the audience a glimpse into the darker undertones beneath Hopkins’s confident façade. Lisa Hopkins – Portrayed by Grace McCarthy Grace McCarthy brought quiet dignity and palpable frustration to the role of Lisa Hopkins. Her gentle yet impactful vocal performance captured the internal conflict of a woman caught between societal expectations and personal ambition. McCarthy’s subtle gestures and controlled emotional expression made her character deeply sympathetic, though a touch more intensity in pivotal moments might further accentuate her inner turmoil. Mr. Tooley – Portrayed by Joey Smith Joey Smith’s portrayal of Mr. Tooley was purposefully crafted to evoke disdain. With a sleazy and morally dubious edge, his performance effectively conveyed the essence of the detested American businessman. Although his accent was mostly effective, occasional slips suggested that further vocal refinement would be beneficial to fully realize the character’s intended impact. Supporting Roles – Singing and Acting Beryl – Mary O’Byrne. Mary’s portrayal of Beryl was a burst of energy. Bubbly and well-cast, she commanded the stage with a strong presence, perfectly embodying the trouble stirrer rather than the maker. Her delight in the role—especially through the use of deliberately foul language—brought a mischievous charm to the production. Clare – Aisling Kelly. Aisling’s performance as Clare, though promising, did not fully hit the mark. The comedic timing needed further refinement, and while the role is notoriously difficult to perfect, her nice voice and contribution to the group of women were noted as strengths. Continued focus on timing and delivery in comedic scenes will benefit future portrayals. Sandra – Alanna Keane. Alanna brought a cheeky and watchable quality to Sandra. With strong characterisation and confident movement, Sandra emerged as a memorable part of the group of women, adding a spirited counterbalance to the ensemble’s overall dynamic. Cass – Lauren Kavanagh. Lauren’s portrayal of Cass provided a delightful touch of whimsy. Her character, delightfully delusional about her ambitions to be an airline pilot, added levity to the production while contributing to the ensemble’s varied texture. Cortina Man – Rory Dignam. Rory delivered a performance as Cortina Man that was well sung and assured. His solid vocal delivery and stage presence contributed effectively to the ensemble’s narrative, reinforcing his role with confidence. Mr. Buckton – Brian McCabe. Brian’s portrayal of Mr. Buckton was memorable for his great accent and strong scene work. Embodying the role of a dictatorial schoolmaster, his performance exuded a commanding presence that left a lasting impression on the audience. Ron Macer & Gregory Hubble – Paul Curran and Pat Lalor The duo of Ron Macer and Gregory Hubble, formed a robust pairing against Monty. Their performances, marked by strong character work and a genuine “boys club” vibe, added depth and dynamic contrast to the overall ensemble. Sid, Bill, Barry, and Stan – Kevin O’Leary, Paul Kiernan, Andrew White, and Paul Fogarty. This group of supporting roles brought an essential laddish energy to the production. Their camaraderie and robust stage presence provided a solid underpinning to the show’s more intense scenes, ensuring that even the lighter moments were delivered with verve. Adams – Joey Conlon. Joey’s portrayal of Adams, the suitably sniveling aide to Mr. Tooley, rounded out the supporting cast. His performance, marked by a convincingly servile demeanor, effectively underscored the unsavory characteristics of his superior. Chorus/Ensemble – Singing, Acting and Choreography The chorus and ensemble provided the backbone of the production, delivering a performance that was vocally tight and energetically supportive of the lead roles. Their well-rehearsed harmonies created a solid musical foundation that resonated throughout the show. However, the physical aspect of the performance revealed mixed levels of confidence among ensemble members. While some performers moved with fluidity and assurance, others appeared hesitant when navigating the choreography. Implementing regular movement workshops focused on spatial awareness, body control, and synchronized timing would help address these disparities. With increased rehearsal time dedicated to stage craft and physical coordination, the ensemble has the potential to become a more dynamic and cohesive component of future productions. Stage Management & Set Design The set design was thoughtfully executed, making clever use of the available space within the church. A 1960s-inspired colour palette added a nostalgic touch, and although the flat walls served as a simple backdrop, they effectively highlighted the performers. Enhanced scenic artistry—such as textured backdrops or more dynamic set pieces—could add further depth and visual interest in future productions. Stage management was handled diligently, though scene changes occasionally felt sluggish. In particular, transitions—such as the move into the pub setting—were hampered by cumbersome furniture and limited cast involvement. Closer collaboration between the stage manager, lighting crew, and director, as well as involving the cast in scene transitions, would streamline the process and maintain the production’s momentum. Technical – Light and Sound The technical aspects of the production were generally solid. The lighting design provided balanced illumination and effectively highlighted key moments on stage. There remains room for improvement in programming out live moves and enhancing the front-of-house focus with additional lanterns to better isolate smaller scenes. Sound-wise, the mix was mostly clear, and the chorus was well supported. However, challenges arose when soloists were occasionally overpowered by the band, and non-singing actors were inadvertently mic’ed. A tighter collaboration between the sound engineer and the Musical Director is essential to ensure that the soloists are clearly heard and that extraneous noises do not disrupt the flow of the performance. Visual – Costumes, Hair and Make Up The visual presentation aimed to capture the essence of 1960s England through an eclectic mix of costumes, makeup, and hairstyles. While the costumes were full of character, a unified design concept was sometimes lacking, leading to noticeable disparities in quality and colour palettes. Some attire leaned toward nostalgic interpretations of the era rather than authentic representations of Dagenham’s period. Makeup was serviceable, though there was potential for greater expressiveness—particularly for the female cast during key segments where emphasis on the eyes could heighten emotional impact. Hair styling was a mixed success; while the varied styles attempted to reflect the era, some of the more ambitious “poof” styles did not fully achieve the desired effect. Greater consistency and consultation with period styling experts could further enhance the visual cohesion of future productions. Adjudicators’ Suggestions/Comments – Overall Comments on the Production and Recommendations for Future Performances Overall, Made in Dagenham  was an engaging and heartfelt production that successfully brought a beloved story to life in a unique setting. The performance was marked by moments of brilliance—particularly in the vocal and emotional portrayals of key characters—and by the enthusiastic energy of the ensemble. The production team has shown a commendable willingness to experiment and push boundaries, which is essential for ongoing artistic growth. The strengths of the production far outweigh its weaknesses. The cast delivered sincere, passionate performances, and the technical team provided a solid foundation that supported the overall narrative. However, there remain areas for improvement. Enhancing stage craft for less experienced performers, refining the balance between musical elements, and unifying the visual presentation will help elevate future productions. Investing in targeted workshops—focusing on vocal training, movement, and stage management—will not only improve individual skills but also promote a more cohesive ensemble performance. A more thoughtful approach to scene transitions and clearer communication among technical departments can further streamline the production process, ensuring that each performance flows seamlessly. In summary, while there are areas that warrant further development, Made in Dagenham  stands as a strong and promising effort by the Kill Musical Society. The production laid a solid foundation upon which future shows can build, consistently elevating the standard of theatre for both the society and its dedicated audience. With continued dedication to excellence and a commitment to refining their craft, the society is well poised to deliver even more dynamic and memorable performances in the seasons to come. Photos kindly provided by the society:

Footloose As Presented by Trinity Musical Theatre

Public Adjudication   Trinity Musical Theatre  Footloose  Thursday 28th November 2024  This season appears to be turning into a...

Public Adjudication   Trinity Musical Theatre  Footloose  Thursday 28th November 2024  This season appears to be turning into a celebration of the 80s, with shows such as ‘The Wedding Singer’ and ‘Rock of Ages’ getting plenty of outings. Trinity Musical Theatre continued the trend with their production of ‘Footloose’ at Griffith College. As a show, the script may lack substance and its premise may be a little far-fetched. However, the tale of one teenager’s crusade to overturn a smalltown ban on dancing is stuffed full of enough iconic 80s tunes, great dance numbers and comic opportunities, that it more than makes up for its lightness of plot. Trinity Musical Theatre capitalised on all these positive elements to produce a lively, exuberant production which was very entertaining but, unfortunately, let down quite a bit by its technical elements.  This was Trinity Musical Theatre’s first time to produce a show in Griffith College and they will have learned a lot from the experience. The venue is not a dedicated theatre space but more of a lecture hall facility. Access to the auditorium was through a door at the back of the stage and patrons had to walk across the stage area to get to their seats. Front of house personnel were welcoming and all seemed in order as the audience arrived for this opening night performance.  Conor Lawler made his directorial debut and he will have learned a huge amount to carry forward to his next theatrical venture. The simple set, with its open playing space and raised platform area, allowed for lots of options with the staging. This simplicity was used well by Mr. Lawler, allowing the show to flow without the intrusion of cumbersome set changes. Blocking was effective for the most part and there was good pace generally. Themes of grief and teenage rebellion were well played and the more sensitive, emotional scenes were beautifully realised.  Philip Walshe did a fine job as musical director, getting a good sound from his band which captured the driving energy of the show’s classic 80s numbers and their clever arrangements. There was great work done with harmonies. The church choir at the top of the show sounded superb. Unfortunately, the band was too loud in places and vocals were drowned out, particularly in the more upbeat numbers where bass and keys were too high in the mix. Principal vocals were of a very high standard.  Muireann Carey did well as choreographer, devising well-rehearsed and lively routines in a variety of different styles. From the exhilarating opening number to the energetic finale, every number was performed with gusto by a young, committed cast who were enjoying every moment on stage. ‘Holding Out For A Hero’ was an emotionally charged routine with great life and precision. ‘Let’s Hear It For The Boy’ was another standout sequence with great synchronisation from all involved. The energy that bounced off the stage in the ‘Footloose’ finale was simply infectious.  Senan McCloskey played the lead role of Chicago teen, Ren, who moves to bible-belt Bomont after his parents’ divorce and takes on the Town Council in an effort to have the local ban on dancing overturned. Mr. McCloskey was charming but with a defiant edge and attitude that balanced perfectly with his likeability. He was at his very best when acting and had a really strong understanding and delivery of text. Mr. McCloskey had a good voice but struggled with his upper register on the night that I attended. Ren’s big solo, ‘I’m Free’ had the required passion and angst but lacked the higher vocal range necessary. His confrontation with Reverend Shaw in Act 2 was brilliantly played, with emotion that was most believable.  Rachel Reid played Ariel, the rebellious preacher’s daughter who longs to escape Bomont and its overbearing restrictions. Ms. Reid was a fine actress with superb diction and a really good delivery of dialogue. She had a lovely emotional range, drawing us into her complex story of grief, rebellion and, ultimately, hope. She had an excellent voice, at her best in ‘Holding Out For A Hero.’ Her trio, ‘Learning To Be Silent,’ with Vi and Ethel, was one of the vocal highlights of the night.  Eoin Daly was one of the standout performers of the show, playing Reverend Shaw Moore. He was very believable as the overprotective, smalltown minister, his strict exterior hiding the deep hurt caused by the loss of his son. He displayed a fine baritone voice in ‘Heaven Help Me.’ His final sermon, full of humility, was moving and from the heart.  Juliet Hill delivered a beautifully sincere performance as Vi, the stifled preacher’s wife. We knew that she was broken-hearted at the loss of her son and struggling to support her remaining child without going against her husband. A skilled actress, Ms. Hill also had a most beautiful singing voice. Her ‘Can You Find It In Your Heart?’ was very moving, sung with a heartfelt vocal as she pleaded with Reverend Moore to reconsider.  Carla Moran was an exuberant Rusty, bringing levity and fun to proceedings. Her acting was solid and diction was strong. Where Ms. Moran really shone though was with her incredibly powerful singing voice which left many jaws on the floor. She had a super range and wonderful confidence. Her performance levels were off the charts as she sang. ‘Let’s Hear It For The Boy’ was a musical highlight of the show.  Isaac Casey was very funny as the slow-witted, socially awkward yokel with two left feet. His journey through ‘Let’s Hear It For The Boy’ was perfectly judged, as he transformed into quite the mover by the end of the number. I loved Mr. Casey’s fabulous country voice which was perfectly suited to the excellently performed ‘Mama Says.’ He had great comic timing but balanced this levity with the darker side of Willard’s character.  There was an incredible strength in depth amongst the female vocalists in this show. Connie Angela McGowan as Wendy Jo and Laura Cole as Urleen were two phenomenal singers in their own right. My only regret was that they didn’t have larger roles to showcase their undoubted talents. They were both excellent in their roles, providing great support for Ms. Moran as part of their trio.  Colm Lombard was a perfect choice for the role of Chuck Cranston, Bomont’s bad boy and overbearing boyfriend to Ariel. Mr. Lombard had great presence as the town bully. You just knew he wasn’t to be messed with. He sang so well too and was excellent in ‘The Girl Gets Around.’  Tomás Hartnett and Sean Treacy were suitably jockish sidekicks for Chuck in the roles of Travis and Lyle.  Willard’s entourage was completed very well by Luke Reid, Senan McGuinness, and Daniel O’Brien as Garvin, Bickle and Jeter, respectively.  Emma-Jane Nannetti played Ren’s mother, Ethel, with great sincerity and sensitivity. She was a devoted mother, trying to put her best foot forward. But the pain of being abandoned by Ren’s father was still there and Ms. Nannetti played this in a very subtle way. She shone in ‘Learning To Be Silent,’ a standout musical moment in the show.  Anthony Daly saw his own opportunity to shine in the role of Cowboy Bob and grabbed it with both hands. His ‘Still Rockin’ at the top of Act 2 was a great number, very well performed.  Channing Kehoe was a very stern Principal Clarke. They had great presence and they brought a great sense of authority to the role. There was strong support too from Megan Bolger and Niall Grogan as Lulu and Wes Warnicker, Emma Murray and Paddy Treacy as Eleanor and Roger Dunbar and Patrick Nyhan as the cop.  A youthful, energetic ensemble showed great commitment to the show. Their well-rehearsed and performed dancing was uplifting, especially in the opening sequence and the standout ‘Let’s Hear It For The Boy.’ Vocally, this was a very secure show, with excellently performed harmonies which, unfortunately, competed against the band too often.  Emer Munnelly’s stage management was organised and efficient but felt quite panicky at times as crew almost sprinted on to complete changes. The biggest issue from a stage management perspective was the lack of adequate masking which meant that we could see performers passing back and forth as they tried to get from one side of the stage to another during scenes.  A very simple but visually appealing set allowed for quick transitions and multiple staging opportunities, with interior and exterior scenes played in what was an open playing space. The stage right church house and stage left barn structures were beautifully finished and framed this playing space very well. The wooden frame, upstage of the rostrum, broke up the black backdrop nicely.  Lighting left a lot to be desired. It lacked creativity, precision, and any sort of theatricality. The bright, lino-type floor did not help matters, as there was a very strong ‘bounce’ which meant that everything was extremely stark. Cues and transitions were abrupt and jarring with very sudden snaps. On occasion, moving lights intermittently swept across the playing space for no apparent reason.  Sound was a mixed bag. There were some great sound effects which added a layer of authenticity to scenes. The school bell, car, train, and crickets were all very appropriate and well timed. There were multiple late cues for microphones, suggesting that the operator was not familiar enough with the show or that enough tech time wasn’t available. Mic levels for dialogue, were set far too high. The level and balance of the band needed attention. Individual instruments were far too high in the mix at times, with bass, keys and guitar being the main offenders.  Props were generally appropriate to the era. We had a nice podium for the Reverend and I liked the well-made protest signs. There were a few missed opportunities, perhaps. It felt strange for the trio at the Town Council meeting not to have any notes, pens, documents, or a glass of water.  Costumes looked well and were generally suitable for the 80s Hicksville vibe of the show. The ensemble’s red tops and black leather for ‘Holding Out For A Hero’ were a great choice and there was good fun had with the very authentic looking cowboy hats and checked shirts. I felt that there could have been more of a dramatic distinction between Ariel’s more conservative, preacher’s daughter look and her more rebellious side reflected in her costuming. Hair and make-up were simple but effective, with nothing looking out of place apart from black eyes for Ren and Ariel which did not look natural.  Trinity Musical Theatre are blessed with some exceptionally talented people and this shone through their show, in spite of some poor technical elements. The energy and commitment from every single person on stage was palpable and I look forward to seeing this very talented company on stage again in the future.  Pat McElwain  Gilbert Adjudicator 2024/2025

Bonnie & Clyde as presented by UCD Musical Society

Public Adjudication   UCD Musical Society  Bonnie and Clyde  Thursday 21st November 2024  The Astra Hall on the University College Dublin...

Public Adjudication   UCD Musical Society  Bonnie and Clyde  Thursday 21st November 2024  The Astra Hall on the University College Dublin main campus is not the ideal setting for a full scale musical production. More suited to conference-style events, the venue has little to offer other than its ample tiered seating. But that is exactly why I love this role so much. So many times, my expectations have been turned on their heads and it is a truly wonderful thing when that happens. Amateur musical theatre relies hugely on community resourcefulness and can do mentality. The superb production of ‘Bonnie and Clyde’ that we witnessed in the Astra Hall was testament to both. It mattered not that this wasn’t a professional theatre or, indeed, even a proper theatre space. What mattered was that an extremely talented group of talented, creative souls came together with a very clear vision, transforming the space and creating a piece of theatrical magic.  This was my second time to visit UCD this season and their front of house team provided the warmest of welcomes once again. There was a great sense of anticipation as we waited outside the auditorium, before being led to our seats to the strains of 1930s popular tunes which created a lovely atmosphere as we waited for the show to commence.  Spoiler alert: they die at the beginning. And they die at the end. The hallmark of Seán Sheehy’s direction was the outstanding level of acting which brought us on an exhilaratingly gritty journey, set against the backdrop of the Great Depression. Mr. Sheehy’s ability to seamlessly transport us from episodes of high tension to more light-hearted moments, without ever losing the focus on the story, was very skilfully achieved. The director also used a very clever theatrical device of two wonderful dancers, Brianna Kelly and Francesco Bach, to enhance and enrich the story of the notorious Bonnie and Clyde. This was a hugely original take and a bold directorial choice. Ms. Kelly’s and Mr. Bach’s performances were exquisitely moved and beautifully portrayed. I tip my hat to Mr. Sheehy for having the bravery to try something different that, for me, really worked.  The last time I saw Dario Regazzi he was on stage playing Vittorio Vidal in UCD’s Sweet Charity. A talented young man, Mr. Regazzi took up the Musical Director’s baton for Bonnie and Clyde. And what a super job he did too. He conducted a fine nine-piece band, cleverly housed stage left of the playing area, and he elicited a great sound from its talented musicians. There was a really good balance between music and vocals and lyrics were clear at all times in both ensemble and smaller numbers. Principal and ensemble vocals were top notch with stunning harmonies realised by vocal director Caoilfhinn Young. There were so many musical highlights to choose from in this score which draws on elements of blues, folk, gospel, and more traditional musical theatre. ‘This World Will Remember Me’ and ‘Bonnie’ were two such highlights. But it was the absolutely stunning duet, ‘You Love Who You Love,’that stole the show for me with its passion, performance, and incredible musicality.  Choreographer, Emma Rogerson, did a superb job. She managed to reflect the themes of violence and romance in her choreography, always adding to the tension, with a close eye on the narrative detail throughout. Her choreography was inventive and full of character, performed with great energy and precision by a very committed cast. ‘God’s Arms Are Always Open’ was a standout number with its high-energy gospel feel. But the most impressive choreography of the production was encapsulated in the beautifully realised sequences performed by Brianna Kelly and Francesco Bach. It was a joy to watch their combined grace, focus, fluidity, and precision come together in what was a stunningly theatrical combination of dance and storytelling.  Aimee O’Neill was captivating in the complex, emotional role of Bonnie Parker. Her journey from innocence to criminal accomplice was played with such sensitivity and nuance. A very skilled actress, Ms. O’Neill’s emotional range was quite stunning as she moved from romantic idealist to conflicted criminal. Her vocals were simply sublime. Ms. O’Neill’s tone, power and superb range were so impressive. ‘Too Late to Turn Back Now’ was a tour-de-force performance as we saw conflict, vulnerability and resolve combine with wonderful musicality in what was one of many standout moments in the show. ‘Dyin’ Ain’t So Bad’ was equally spine-tingling. It was a brilliant piece of acting through song. But the musical cherry on top was Ms. O’Neill’s incredible duet with Blanche, ‘You Love Who You Love.’ A truly memorable performance overall.  Robert Hogan was quite sensational as Clyde Barrow, the other half of the notorious duo who embarked upon a robbing and killing spree through the Great Depression. This was an acting masterclass from Mr. Hogan. He was incredibly charismatic, yet sinister and dangerous at the same time. And yet, we rooted for him in spite of his despicable crimes, as he descended into a tortured abyss of desperation, spiralling towards the grisly end which we already knew would unfold. Mr. Hogan’s vocals were equally impressive. The very challenging ‘Raise a Little Hell’ showcased quite an extraordinary vocal, as Mr. Hogan delivered an electrifyingly unhinged performance. And then there was the beautifully melodic ‘Bonnie,’ underlining Mr. Hogan’s versatility and range. An excellent all-round performance.  Sorcha McGlynn’s bible bashing Blanche was yet another tour-de-force performance. Providing much of the show’s comic relief, Ms. McGlynn had exquisite timing and superb presence. Her cutting put downs were hilariously funny. But it wasn’t all about the humour and Ms. McGlynn was equally strong with the more dramatic elements. There was a heartfelt honesty about her own love story’s tragic trajectory. What a beautifully full and expressive voice Ms. McGlynn had too. ‘That’s What You Call a Dream’ was a stunning solo, sung from the heart.  Joseph Gibney was just as impressive in the role of Buck Barrow, cleverly balancing the comedic elements of his character with the more serious. Mr. Gibney skilfully navigated the inner conflict of Buck’s loyalty to his brother, Clyde, with his loving devotion to his wife, the very religious Blanche. His chemistry with both Mr. Hogan and Ms. McGlynn was palpable. Mr. Gibney sang very well too. ‘When I Drive’ with Mr. Hogan was a fun number and I loved ‘Goin’ Back to Jail’ with Blanche. A superb performance from Mr. Gibney.  The very talented Elijah Lopez took on the role of lawman Ted Hinton. Hinton is charged with bringing the wayward Clyde Barrow to justice but his unhealthy infatuation with Bonnie Parker adds an additional layer of motivation to his quest. Mr. Lopez played the part with a significant edge and we were always aware of the ulterior motives behind his mission to eliminate his adversary. Mr. Lopez’s super vocals were at their best in his soulful duet with Mr. Hogan ‘You Can Do Better Than Him’ and this song also underlined his wonderful ability to tell a story through song as we were left in no doubt as to his intentions.  Taking on the mantle of moral compass, Connor Kirwan’s Preacher had commanding stage presence every time he appeared on stage, underlining the great strength in depth within this very talented cast. ‘God’s Arms Are Always Open’ was a veritable showstopper full of evangelical power and passionate performance from Mr. Kirwan.  Molly Coogan was very strong as Bonnie’s widowed mother, Emma Parker. Her inner turmoil as she grappled with her daughter’s criminal descent was heartbreaking; her maternal, protective instincts in direct contrast to Bonnie’s hellraising.  Lia Mullan, as Clyde’s mother Cumie Barrow, had an equally emotional journey. Ms. Mullan did very well portraying the strain of Clyde’s criminality on the family unit.  Liam O’Sullivan played the conflicted Henry Barrow very well as he tried to reconcile loyalty to his wayward family with his own, more principled beliefs. His country yokel characterisation was well judged.  Colm Nicholl was a formidable Sheriff Schmid in relentless pursuit of Bonnie and Clyde. An excellent performance in a smaller role.  Ella Ruddle was a strong Deputy Bud and Irina Agotha played a solid Governor Ferguson, intent on maintaining law and order in her district.  Charlotte Geaghan was an interesting piece of casting as Texas Ranger, Frank Hamer but it really worked as Ms. Geaghan was a skilled actress who brought great strength to the role.  Kareem Al-Asad offered great support as law enforcer Deputy Johnson and Ari Kenny played a great Bob Alcorn, the journalist charged with reporting on the infamous duo’s criminal exploits.  I couldn’t possibly let this go without mention of the wonderful salon ladies, Ciara McKenna as Stella, Julie Bowell as Trish and Dani Halpin as Eleanore. These ladies were excellent actresses and really nailed the sassy fun of their characters. Their performance of ‘You’re Goin’ Back to Jail’ with Blanche and Buck was one of the real highlights of this super production. Say it loud and clear for the people at the back…there is no such thing as a small part!! Bravo ladies.  There was great support from a superbly committed ensemble who were clearly immersed in the story and who added so much to the narrative with their excellent performance levels whether playing bank customers, law enforcement, store clerks or the myriad other characters within Bonnie and Clyde’s universe. Singing and movement were excellent throughout. Focus was outstanding at all times. ‘God’s Arms Are Always Open’ was superbly sung with excellent harmonies from all and wonderful performance levels.  Eva Furlong did a fine job as stage manager, ensuring that Mr. Sheehy’s vision for a fluid, pacy production was well complemented by the slick, organised scene changes. A disciplined and efficient crew was well marshalled by Ms. Furlong and kept everything moving in the fast transitions.  Set design was simple and minimalist with no major pieces coming in or out during the show. However, this simplicity suited the challenging space really well and allowed us to focus more on the beautiful performances and compelling narrative. The cutout car on a raised platform was simple in its design but achieved its purpose well. There was a slight gap in the stage right doorframe through which performers could be seen as they prepared to enter. This was distracting at times.  The lighting design was a significant step up from my last visit to the Astra Hall and, whilst there were many improvements and more creative choices made, there was still quite a bit of work to be done to match the extremely high standards set in other areas of this production. Some elements were really impressive. There was great use of gobos and haze to create some lovely atmospheric pictures. There were some superbly dramatic states achieved to complement some equally dramatic stage action. Timing of cues needed some attention, however, as did the need for more key light to catch faces in certain scenes.  In general, sound was very good apart from some intermittent gremlins at the top of the show. The balance in the band was quite good and the fact that they were ‘housed’ within the set meant that vocalists weren’t overpowered. Cast vocals were full and warm and there was good attention to detail with some well-chosen sound effects. These were mostly well-timed. My favourite was the gunshot with the shell casing hitting the ground. Great to hear that kind of detail. Cueing of mics was pretty solid throughout. A job well done on what can be a challenging show.  For the most part, props were well chosen, reflecting the 1920s/1930s era of the show. There was great dressing on the set, including framed photos, ukulele, radio etc. The ‘True Detective’ magazine was an authentic touch. Era appropriate guns are always difficult to source or replicate for a show like this and I understand the challenges posed therein.  Costumes were generally very good and in keeping with the era. A bit more consideration to the passage of time might have been needed for some of the principal characters to vary what they were wearing as time progressed. Hats and coats would always have been worn outdoors in the 1920s/1930s. A small, very picky point on what was a good costume plot overall.  There was good attention to detail with hair and makeup. Ms. O’Neill’s hair, in particular, was very authentic to the era. Good care was taken to recreate the makeup styles of the day. Well done to all involved.  This was a superb production from beginning to end. The standard of acting and singing was quite breathtaking at times. It was great to see the darkly humorous elements of the show being so well played. Being honest, some of the technical elements fell short of the mark. However, the fabulous performances of this extremely talented cast more than made up for any technical shortcomings. The future of Irish musical theatre is in safe hands.  Pat McElwain  Gilbert Adjudicator 2024/2025

Sister Act as presented by Coolmine Musical Society

Coolmine Musical Society  Sister Act  Wednesday 13th November 2024  What is it about musicals featuring nuns that always raises a smile?...

Coolmine Musical Society  Sister Act  Wednesday 13th November 2024  What is it about musicals featuring nuns that always raises a smile? From ‘The Sound of Music’ to ‘Nunsense,’ you can be sure that shenanigans are always afoot when a convent follows an overture. ‘Sister Act’ is no different and the absolute highlight of Coolmine Musical Society’s production was its wonderful ensemble of black and white-clad sisters embracing such shenanigans with gleeful abandon, singing and dancing up a storm as they brought their talented production team’s vision to life on the Draíocht stage.  There is always a unique buzz and sense of occasion in the Draíocht foyer before a show. There was no exception on the night I attended and society stalwarts were on hand to make sure that everything flowed well and was organised to perfection.  Director E.J. Reilly brought a lot of experience to bear on this very entertaining show. There was a strong emphasis on the comic possibilities. Such was the enthusiasm of the audience, that there was a number of times when cast needed to hold for laughter so that subsequent lines could be heard. The visual elements of the show could not have been in better hands and there was great work with the superbly committed ensemble, giving so many talented people a chance to shine. There was good pace throughout the show and characterisation was strong. The fast-moving, hilarious chase scene was very cleverly moved, incorporating the six upstage doors into the brilliantly timed, frenetic action. An impressive job on a mammoth show.  Nicole McDonald’s choreography was so cleverly in tune with the tone of the show. From the precision moves of Deloris and her backup girls in the opening scene, to some hilariously creative freestyle moves in the convent, Ms. McDonald not only devised some excellent numbers but she also allowed her to cast the freedom to make them ‘real.’ Nuns balanced precision with arthritic hips and grace with dodgy knees as they infused character into every number.  Caitríona Ní Threasaigh did a wonderful job as MD. Having her orchestra split between two separate locations couldn’t have been too much fun. This was as good a group of musicians as anyone could hope for and they really brought the ‘fabulous’ Alan Menken score to life. Principal singing was strong and the bigger ensemble numbers were just powerful, with perfectly balanced harmonies and excellent dynamics. Offstage vocals were excellent, especially in ‘Here Within These Walls’ and ‘I Could Be That Guy.’  Bronwyn Andrews was a really impressive Deloris Van Cartier. Ms. Andrews gave a standout performance as the conflicted ‘nun on the run,’ with a most polished, nuanced portrayal, commanding the stage. She was feisty, funny, and full of charm as she rejuvenated the Queen of Angels choristers, transforming them into a musical force to be reckoned with. Her wonderfully full and soaring voice was a delight; at its very best in the brilliantly sung ‘Raise Your Voice.’ But it was the gorgeous tone, tenderness and sincerity of ‘Sister Act’ which stole the show for me.  Séamus Sullivan gave us a cartoonish portrayal of ‘sweaty’ Eddie Southern with a strong focus on physical comedy which really worked. Mr. Sullivan’s timing was very good and he balanced this comic business well with the more sensitive elements of Eddie’s character. He had a great rapport with Ms. Andrews throughout. Mr. Sullivan relished every second of the hilarious ‘I Could Be That Guy,’ embracing the silliness and committing fully to the randomness of Eddie’s fantasy only to be jolted back to reality with a bang.  Kathy Kelly was excellent in the role of Deloris’ adversary, Mother Superior. Ms. Kelly’s wimpled visage could portray a myriad, effortless emotions with ease, ranging from the disapproving to the exasperated, to the more sensitive and softer side of the convent’s formidable leader. What a magnificent voice she had too, with ‘Haven’t Got a Prayer’ being one of the highlights of what was a very strong show musically.  Sister Mary Robert, the nervous postulant who finds her voice, was played with great skill by the very talented Nicole Lamb. Ms. Lamb was completely immersed in the role, with great thought behind every action and reaction. She was funny and endearing and the audience loved her coming of age as Deloris helped her find her mojo. ‘The Life I Never Led’ was exceptional, not just for Ms. Lamb’s wonderful vocals, but for her instinctive and heartfelt connection with the lyrics in what was a tour de force performance.  Jenny Seery had a great joie de vivre in what was a very funny, energetic, and perky portrayal of Sister Mary Patrick, a larger-than-life member of the Queen of Angels community. Ms. Seery had a “powerful instrument” and she wasn’t afraid to use it! Facial expressions and comic interactions were quite hilarious, especially in Act 1, and vocals were very strong in all numbers. She had some wonderful comedy moments and worked really well with Ms. Lamb.  There were moments when Sharon McNamara threatened to steal the show as the wise cracking, gloriously grumpy Sister Mary Lazarus. Ms. McNamara’s performance was hilarious, as she went from disgruntled choir leader to fully invested rapper with arthritic ease. It was a superbly judged portrayal with excellent comic timing, stage presence and an aging physicality that was beautifully consistent.  Monsignor O’Hara was played with a very ‘oirish’ charm by Michael Goulding, who clearly enjoyed every minute on stage and made the most of every comic opportunity with what is quite an underwritten role. Mr. Goulding played for laughs and the audience duly responded. He worked very well with Ms. Kelly and his excitement at the prospect of a Papal visit to Queen of Angels was palpable. I loved his quirky enjoyment of ‘Take Me To Heaven’ as he boogied away, lost in the moment. A fun-filled, endearing performance!  Eddie Brady’s Curtis was despicable and threatening, as all good villains should be. Mr. Brady gave us a very laid-back, menacing delivery, leaving us in no doubt but that this gangster was unhinged, violent and a far cry from being the sharpest knife in the drawer. Mr. Brady gave an effortless vocal performance and was particularly impressive during the fun filled ‘When I Find My Baby,’ his beautifully rich singing voice at complete odds with the sentiment of the song and the assorted weaponry on display.  Mr. Brady’s henchmen, all equally inept (character-wise!), were a perfectly chosen trio of shady gangsters. Rory Dignam was a very funny Joey, strutting the stage with macho bravado and a comedic flair that had the audience in the palm of his hand. He looked great with his very 70s wig and moustache and his singing was very strong in ‘Lady in the Long Black Dress’. Daire Kelly as Pablo was an inspired bit of casting. I mean, it’s not every talented triple threat who rocks up to audition with perfect Spanish too! Mr. Kelly’s performance was full of fun and he took every opportunity he could to wring everything out of the role. His vocal chops were quite evident too, especially in his delicious falsetto during ‘Lady in the Long Black Dress.’ Taylor Hynes gave a quite extraordinary performance as TJ. His flamboyant take on the character was hilarious. We knew from the start that this colourful gangster could only have made it in because of Uncle Curtis. His presence was exceptionally good and his dancing was wonderful. But it was his incredible vocal in ‘Lady in the Long Black Dress’ that really stole the show. An outstanding job!  Mike O’Brien was a strong Ernie but his performance was far too fleeting as his untimely demise set the whirlwind narrative of the show in motion. He provided great posthumous support as an ensemble member for the rest of the evening.  Aoife Parkes and Eva Kelly provided super dramatic and vocal support for Ms. Andrews in the opening scenes, as back-up dancers Tina and Michelle. Harmonies were on point and their movement was so well synchronised. Both also shone in the ensemble scenes.  Kathryn Gibbons was very funny as the aged Sister Mary Theresa, enjoying her every geriatric gyration with glee. And what a funny ‘debut’ we had from Liz Cass, playing Sister Mary Martin of Tours with her hilariously consistent vacant stare. Yes, the lights were on but there definitely wasn’t anyone home.  Gerry McCann’s unexpected appearance as His Holiness brought me right back to Ballybrit Racecourse in 1979. The drummer kissing his ring was a nice touch.  ‘Sister Act’ is nothing without a motley crew, talented ensemble. Coolmine MS had an exceptional bunch of nuns, altar boys, dancing law-enforcement and inebriated barflies who breathed great life into every scene. Of course, the nuns were quite brilliant, committed to every scene, executing every dance routine with precision and hitting us with walls of harmonious sound that were quite euphoric at times. Take a bow all.  Gerry McCann was stage manager and had his work cut out with what can only be described as a monster of a set. His sizeable crew was very efficient and organised, managing the many changes of location very well, considering the size of the trucks and the flying requirements. A few minor ‘second night syndrome’ glitches did not take away from the flow and continuity of what can be a challenging show to keep moving. Overall, a really tight and efficient job with a huge beast of a set.  The hired set was visually stunning and its sheer size was immense. From the enormous Last Supper ‘tapestry’ to the imposing statue of the Queen of Angels herself, everything was on a huge scale. The sliding convent walls provided good cover for the many scene changes necessary for this episodic show. Eddie’s police station was very well dressed, with excellent attention to the tiniest detail, right down to the well-chosen wanted posters of some very dodgy looking fugitives. The confessional was a stunning piece in its own right and the enormous stained-glass windows were superbly authentic as well as providing great opportunities for the lighting department. Unfortunately, the set did provide challenges for the crew in places when movement of trucks behind the sliding walls was far too noisy.  Props were well chosen and authentic to the era. The assorted weaponry used during ‘When I Find My Baby’ added a fun, tongue-in-cheek element to the number. I loved the zimmerframes, festooned with fairy lights and the wooden bowls did not look out of place in the convent. One small thing was that I felt the Mother Superior’s desk was in need of more dressing. Documentation, letters, pens etc. might have added something.  Lighting was very strong throughout the show adding great depth and atmosphere to the wonderful set. There was great use of gobos, casting atmospheric shadow on the set and floor as needed. This was particularly striking in the convent scenes. The disco ball, pouring its glittery magic into the audience, was a nice effect. The backlit stained-glass windows looked stunning. The use of moving lights and plenty of colour added so much to the nuns’ large production numbers. There were some lovely states achieved in the brilliantly performed ‘I Could Be That Guy’ as Eddie dreamed of what might be.  Sound was generally very good. Balance between pit and stage was excellent and there was a glorious choral sound, both onstage and from the offstage singers when needed. Dialogue was crisp and clear, and I was very impressed with how clear all underscored dialogue was. Sound effects were generally well-chosen, although I did think that the two gunshot levels needed attention.  Costumes were very well coordinated. The 1970s have a lot to answer for when it comes to crimes against fashion and many of those misdemeanours made their way onto the Draíocht stage. Deloris’ pre-habit attire was suitably flamboyant and I loved the gangsters’ daywear which was so authentic to the era. The nuns were fabulously turned out at every stage of their fashion journey, especially their colourful finale costumes. The prison uniforms for Curtis and co. were great fun and the dancing police ladies looked great as they supported Eddie. Eddie’s discoloured armpits were a ‘nice’ touch and his multi-layered, quick-change costumes worked very well without being overly bulky and flagging the gag. Deloris’ FM boots were perfectly chosen.  Hair and makeup were in very capable hands. The hirsute gangsters’ looks screamed 1970s and Deloris’ wig was suitably large and flamboyant. Tina and Michelle were superbly turned out and Monsignor O’Hara’s wig looked like a bad toupée but it worked!  Coolmine Musical Society did a super job with this highly entertaining show, high in production values and full of fun and energy. A very strong cast and production team invested everything they had to offer, to the delight of their hugely appreciative audience. And how fabulous it was!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos kindly shared by the Society - taken by Rob Kennedy

Beauty & The Beast as presented by Dundalk Musical Society

Society Name:  Dundalk Musical Society Show Name:   Beauty & the Beast Adjudicator Date of Attendance:  October 20th, 2024 Brief overview...

Society Name:  Dundalk Musical Society Show Name:   Beauty & the Beast Adjudicator Date of Attendance:  October 20th, 2024 Brief overview  of show and evaluation of Front of House Dundalk Musical Society’s Beauty and the Beast  offered a fresh take on a beloved classic. While the production featured committed performances and a spirited cast, it often fell short of delivering the magic expected of such a timeless tale. The Front of House team provided a warm welcome, ensuring a positive start to the evening. Director -  Direction and Production Laura Kerr’s production lacked cohesion in pacing and staging, with static scenes and inconsistent blocking detracting from the story's flow. For instance, the Beast’s ascension of the staircase without the rest of the characters, yet they were present in the new scene, was an inconsistency in journey. Character interactions and comedic timing were underdeveloped. The Beast’s portrayal, characterized by crouching and swaying, distracted from his imposing presence and emotional arc. Musical Director -  Direction and Orchestra Musical Director Elizabeth Freeburn led a standout orchestra that beautifully rendered the Disney score, maintaining a perfect balance with the performers. The chorus impressed with polished harmonies and a well-rehearsed sound, demonstrating vocal strength and control. Choreographer - Choreography Choreographic choices from Clare Donnelly were mixed. The opening number lacked the energy expected of a bustling village scene, while “Gaston” brought more lively engagement through clever prop use. However, “Be Our Guest” failed to achieve the grandeur required, with repetitive movements and empty moments. Similarly, “The Mob Song” lacked the tension needed to heighten its dramatic climax. Leading Principals Beast (Max Valentine):  Max brought a youthful sincerity to the role, showing potential to connect emotionally with the audience. His vocal tone while lacking the maturity needed to fully embody the power of the Beast was pleasant and showed promise. Direction to keep him crouched and swaying detracted from his ability to command the stage effectively. With further refinement Max could grow into the strength and complexity of a character like the Beast.  Belle (Anna-Maria Boyle):  Anna-Maria’s vocal performance was a highlight, showcasing beautiful control and a lyrical quality that suited Belle perfectly. Her comfort with movement added a graceful layer to the role. However, her portrayal occasionally felt overly exaggerated, creating a disconnect from the rest of the cast’s more subdued performances. A slightly more grounded interpretation could have allowed Belle’s sincerity and strength to shine. Gaston (James McGinn):  James approached Gaston with enthusiasm, embracing the character’s brash confidence. James has the tools to develop a more polished interpretation of the role in future performances. Gaston’s larger-than-life persona demands charisma and charm, which were somewhat overshadowed by James’s vocal choices and mannerisms. His voice placement felt somewhat strained.  Lumiere (David McArdle):  Lumiere is a character that thrives on charm and sparkle, and while David brought moments of flair, there was room for a bit more energy and stage presence. His portrayal could shine even brighter with a touch more animation and finesse in his interactions, particularly in numbers like "Be Our Guest.". His interactions with Babette were energetic but lacked finesse. Cogsworth (Aaron Mathews):  Aaron delivered a steady performance as Cogsworth, navigating the character’s comedic potential with consistency. Some attention to maintaining a crisp accent and embracing Cogsworth’s fussy charm could elevate the role to its full comedic potential. Mrs Potts (Orlaith Crosby): Orlaith Crosbie delivered a heartfelt performance as Mrs. Potts, her lovely voice shining in "Tale as Old as Time." While the costume captured the character's charm, it seemed restrictive, limiting her physical expression. With a more flexible design, her performance could have been even more captivating. Supporting Roles LeFou (Cian Kennedy):  Cian’s physical comedy and enthusiasm were evident, adding energy to the production. Adjusting the character dynamic to reflect LeFou’s idolization of Gaston, rather than what felt like romantic interest, would have the intended dynamic of blind admiration and sycophancy. Maurice (Jim McGuigan): Jim’s warmth as Maurice was endearing, particularly in the opening scenes, where his fatherly love shone through. The later scenes needed a further layer of urgency and eccentricity to heighten the stakes and amplify the character’s emotional journey. Babette (Fiona Millen):  Fiona brought a playful energy to Babette, and while her dialogue delivery was measured, a quicker pace could add to the character’s coy charm. Exploring a broader range of flirtatious and dramatic expressions could also enrich the portrayal. Chip (Eamonn Mackin):  Eamonn stood out as a delightful highlight of the show, combining strong facial expressions with a sweet and clear voice. His natural stage presence made Chip a memorable character and a highlight. Madame de la Grande Bouche (Karyn McCooey):  Karyn embraced the dramatic flair of Madame de la Grande Bouche with enthusiasm, delivering a convincingly operatic and larger-than-life performance. Her strong vocal presence added depth to the character, making her a standout in her scenes. Les Filles De La Ville 1 (Ashley Copas McCormack):  Ashley portrayed the adoring, somewhat naïve character with charm and enthusiasm. She was a strong addition to the trio, capturing the fawning nature of her role effectively. Les Filles De La Ville 2 (Rachel Noonan):  Rachel similarly embodied the role of the infatuated admirer, contributing to the trio’s dynamic with equal devotion and charm. Les Filles De La Ville 3 (Caitlyn Carroll):  Caitlyn stood out as the strongest of the three. She demonstrated excellent comedic instincts, bringing a sharp wit and energy that enhanced her performance. Monsieur D’Arque (Deaglan McGovern): Deaglan's portrayal of Monsieur D’Arque could have benefitted from a deeper dive into the character’s sinister and creepy traits.  Chorus/Ensemble- Singing, Acting and Choreography The chorus provided robust vocal support and energy but was underutilized in staging and movement. Greater integration of the ensemble in dynamic choreography and interactions could enrich key scenes. Stage Management & Set Design The period-appropriate set captured the essence of the story, but slow transitions hindered momentum. The rose’s placement up stage centre, rather than “in the West Wing” was confusing and disrupted storytelling. While theatrical cloths added charm, some set changes, such as removing the fireplace for “Be Our Guest,” felt unnecessary. Technical Aspects: Lighting and Sound Lighting was effective overall but could have enhanced dramatic moments like “Be Our Guest” and “The Mob Song” with bolder choices. Sound design was well-balanced, though occasional missed cues detracted slightly. Costumes, Hair, and Makeup Costumes were visually appealing and well-suited to the characters. Minor mismatches, like Lumiere’s candles, were noticeable but did not detract significantly. Hair and makeup were executed neatly, though the Beast’s full-face mask limited the character’s emotional expressiveness. Adjudicators suggestions / comments Dundalk Musical Society showcased great potential with this production. To maximize future performances, consider; enhancing character interactions and physicality to bring scenes to life with greater energy and flow; refine showstopping moments to ensure they deliver the grandeur and excitement they deserve; focusing on consistent characterization across the cast to maintain tonal cohesion; streamline scene transitions and heighten key dramatic moments with technical and staging enhancements. Dundalk Musical Society has the talent and capability to deliver truly magical productions.  Therese Maher Sullivan Adjudicator 24/25 Some photos of the production by the society (Photographer: James Huish)

EASTERN SOCIETIES

Below is our comprehensive list of EASTERN societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

bottom of page