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The Sound Of Music

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24 Jun 2025

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Les Miserables

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4 Mar 2025

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Young Frankenstein

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28 Apr 2025

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HXT 2025 Production

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11 Nov 2025

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Joseph and the Amazing Technicolor Dreamcoat

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22 Apr 2025

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LATEST NEWS

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)

Big Fish as presented by HXT Musical Society

Harolds Cross Tallaght Musical Society  Big Fish  Friday 8th November 2024  ‘Big Fish’ is a relatively new show on the AIMS circuit,...

Harolds Cross Tallaght Musical Society  Big Fish  Friday 8th November 2024  ‘Big Fish’ is a relatively new show on the AIMS circuit, having had its Irish premiere in Thurles last season. I suspect that it will become a popular choice for societies into the future. With a highly creative production team who weren’t afraid to think outside the box and a front line and ensemble who were clearly in tune with the heart and soul of the piece, this show was in very safe hands. It was a beautiful, thought-provoking, fast-paced production, which seamlessly traversed the lines between fantasy and reality, magically transporting us from one far-fetched location to another in what was a rollercoaster of emotions from start to finish.  The foyer of the Civic Theatre was jam packed for this sold-out performance as the audience waited to be admitted to the auditorium. Front of house personnel were most welcoming.  One of the greatest challenges in presenting ‘Big Fish’, is the smooth negotiation of transitions between its parallel timelines and storylines which are delivered as a series of flashbacks through the eyes of its self-mythologising hero, Edward Bloom. In the wrong hands, this jumping back and forth could be a messy business. However, HXT’s director, Niamh McGowan, had a very clear vision, ensuring that the flow between past and present, fantasy and reality, was beautifully realised through exceptional collaborative work with her cast and, particularly, with the lighting department. Pace, fluidity, smooth transitions and continuity were the hallmarks of this show, which zipped along from start to finish. Seeing crew, without cover of blackout, snapped me out of the show from time to time, breaking the magic. Cast did wonderfully when choreographed to change scenes/strike furniture and props, so it might have worked well to maintain consistency.  Musical Director, Dermot O’Callaghan, did a superb job with this catchy, melodic, Andrew Lippa score. There was an incredibly rich sound from the orchestra, perched high above the action on the stage down below. Mr. O’Callaghan’s sensitive conducting added evocative atmosphere and dramatic impact to the show’s many moods, varying from the whimsical to the poignant and plenty in between. Principal singing was excellent across the board and there was a wonderfully warm choral sound which was very well mixed by the sound designer. Choral highlights included the dynamic ‘Showdown’ and the stunning harmonies of ‘The Procession’. The Alabama Lambs impressed too with their well-balanced harmonies. Underscored dialogue was very sensitively handled. ‘I Know What You Want’ was the only point in the show where I felt that the orchestra occasionally overpowered the vocals to the detriment of the lyrics.  Erica Delaney embraced the whimsical nature of the show through her choreography, devising a series of imaginative routines which were fully in keeping with its themes. The thigh-slapping Alabama stomp, was so full of energy and fun and, most importantly, achieved its aim of having a myriad fish leap right out of the water. This set the tone for what was to come. ‘Showdown’ was a full-on country and western delight, danced with vigour and great performance levels from a fully committed ensemble. The tap dancing in ‘Red White and True’ was very well rehearsed, with sharp, precise steps and just the right amount of cheese.   Jenny McCabe (Sandra) & Damien Hurley (Edward Bloom) Damien Hurley gave quite the astonishing performance as retired travelling salesman and spinner of tall tales, Edward Bloom, a Walter Mitty type character with a flair for ‘embellishment’ of the truth. This was a most charismatic portrayal, a charming performance full of fun, love, warmth and utmost sincerity. Mr. Hurley’s intelligence as an actor was all over this production. His ability to jump between timelines, whilst seamlessly changing his voice, intonation, physicality or costume, was quite remarkable. Mr. Hurley sang with a rich tone and really impressed with his super upper register, particularly in ‘Fight the Dragons’.  Jenny McCabe’s performance as Edward’s wife, Sandra, was also very special. Her unfailing loyalty for her husband shone brightly through the show, in a beautifully pitched characterisation blending genuine love with utter devotion. Ms. McCabe brought heart wrenching emotion and a deep sincerity to the role, especially in the latter half of the show, as the terminally ill Edward began to fade. ‘Two Men in My Life’ was beautifully sung and performed. But it was the gloriously heartfelt ‘I Don’t Need a Roof’ that provided a standout moment of the show, for me.  You’d be forgiven for thinking that the role of Will Bloom was perhaps written for Dan Whelan. Dan found nuances in the text that gave incredible depth to Edward’s realist son. His deep rooted resentment was beautifully balanced with his intense yearning for connection. He was angry, frustrated, emotional and vulnerable. All of these emotions were pitched intelligently and truthfully. ‘Stranger’ was a powerfully delivered, beautifully sung musical highlight. A truly memorable performance.  Dan Whelan as Will Bloom Eleven-year-old Seán O’Callaghan was a joy to watch as the younger Will. Seán delivered a wide-eyed, excellent performance which showed an understanding of text beyond his years. The chemistry between Seán and Mr. Hurley was so natural and believable. Comic timing was superb. Seán was always in tune with the story; actively listening and reacting appropriately. This was particularly evident in ‘Be the Hero’ as he took in every single word.  The part of Josephine could easily be forgotten in the hands of someone less skilled than Aoife Small. It is, perhaps, an underwritten role. However, Ms. Small cleverly managed to find great warmth, tenderness and understanding in the text. She was logical, intelligent and sympathetic, always supportive of Will. A really well-judged performance.  Mark Keegan was very strong comedically in the role of Amos Calloway, the circus impresario who is, secretly, a werewolf. This was a very energetic performance full of character and excellent physicality. I loved the very well delivered ‘Closer to Her’ in which Mr. Keegan drip fed an expectant Edward details about his wife to be.  Leonna Condron delivered a powerful vocal as the first of Edward’s fantastical acquaintances, the witch, who showed him how he was going to die. She was sinister, magical and theatrical with a very strong stage presence and gave a commanding performance of ‘I Know What You Want’.  The talented Eoin Salley was another performer with an imposing presence, in the role of the fierce but sensitive giant, Karl. Mr. Salley had a suitably booming vocal quality, great comic timing and was well in tune with the more emotional requirements too. A fine singer too, he got to have some fun in ‘Out there on the Road’. His ill-fitting beard was, unfortunately, of poor quality and distracted me throughout. His wig also needed some attention. In spite of this, Mr. Salley delivered a very fine and memorable performance. Serena Salmon was an excellent Jenny Hill. As the younger Jenny, she displayed a nicely judged sense of idealism and devotion to Edward. A skilled actress, Ms. Salmon’s transformation to adult Jenny was beautifully handled with her subtle changes in posture and vocal tone.  Éanna O’Donnell was a typically aggressive, jock frat boy as Don Price, Sandra’s first love. He played the role with considerable anger at times but managed to mature and ditch his jerklike qualities later in life, rising to prominence as a pretty decent mayor.  Garrett Rodgers was a very funny Zachy Price, who made the most of every comic opportunity and nailed his chance every time. Superb comic timing and facial expressions made Mr. Rodgers a standout ensemble member, always leading from the front.  Paul Laycock brought great experience to the pivotal cameo role of Dr. Bennett. He played Edward’s family friend with warmth and sensitivity, identifying the need for medical intervention and setting the key narrative in motion.  How great it was to see such talented children performing in this show. Joe Coady had great presence as Will and Josephine’s son and Ellen O’Callaghan and Hannah Donnelly both shone in their girl scout roles. Bravo! I look forward to seeing these wonderful performers in future shows.  A big shout out too to the Alabama Lambs, Julie Donnelly and Charlene Masterson, who sang and performed so well alongside Ms. McCabe. They had a great sound, and their movement was appropriate to the style and nicely synchronised.  The show was blessed with a strong ensemble of cheerleaders, wedding guests, circus performers and a myriad other characters who displayed unstinting commitment to the production team’s vision. They moved with confidence and purpose, always in tune with the pace of the show. I loved the use of the ensemble for scene changes and prop movement, which worked very well indeed.  Stage manager, Marie Cusack, did great work with her very disciplined and efficient crew. Everything moved very fluidly, contributing greatly to the pace of the show which moved along at breakneck speed. I did feel at times that more care needed to be taken not to have crew seen when the stage was lit or partially lit. However, that is more of an artistic observation than a crew-related one. A really great job from all involved.  Set design allowed for a large open playing space, which was well utilised by the director and choreographer. The orchestra was perched on a very high upstage platform and the show played out against a wooden, barn-like wall, with this opening out to create the giant’s cave and the witch’s house. The bunting for the circus worked well and the well-designed Auburn University sign looked great. I felt that this simple, well-finished and effective set was very functional but, for me, it was missing some imaginative flair and colour that might be more in keeping with the fantastical nature of the show.  The props team ensured there was good attention to detail throughout. It’s a quirky show and, as such, requires some unusual props. The witch’s crystal ball, Redfang’s blowpipe, the key to the city and (my favourite!) the ‘brick’ phone all looked great. The shadow box and puppets for ‘Fight the Dragon’ was fabulous. And there were daffodils. Lots of daffodils! And daffodil cloaks. And daffodil umbrellas. And lots and lots of daffodil petals too. Great work by all.  Lighting is such a key component in a show like ‘Big Fish’, which necessitates shifts in time and dimension in an instant. Lighting creates the magic, allowing performers to step out of one timeline and into another, seamlessly, without the need for elaborate scenery changes. The lighting design and operation in this show were excellent. Imaginative use of moving lights and colours was instrumental in creating believable separation between worlds of fantasy and reality. There were some lovely effects created, such as the tornado and the lovely rippling water effect. There was great use of haze too, to accentuate dramatic beams and to create a more ethereal state, when required.  Sound was excellent throughout. The orchestra was beautifully mixed and, generally, there was great balance between musicians and cast. Underscored dialogue was superbly handled and, for the most part, all vocals sat nicely on top of the accompaniment. The only place where I felt cast were overpowered a little was in ‘I Know What You Want’. There was excellent use of and choice of sound effects; all at appropriate levels. A super job.  A lot of work clearly went into the costuming of this show, which helped to define a wide array of characters. A large ensemble with multiple changes meant there must have been some very busy periods backstage. The costume department avoided the usual military uniformity of ‘Red, White and True’, opting for a more ‘Go U.S.A!’ feel. The witch’s trees looked great, as did the witch herself. Cheerleaders, circus performers and college students were all very well turned out. I felt that the giant’s costume was crying out for more detail. The ‘pelts’ looked very well but there could have been even more to take the bare look off the base. I loved the quirky polka dot for the Alabama Lambs and there was a perfect western authenticity to ‘Showdown’.  Hair and make-up were generally well looked after. However, Mr. Salley’s wig and beard needed attention. I also thought more could be done for Mr. Keegan’s ‘werewolf’ as I felt the sideburns were of poor quality and poorly attached. I do understand that time may have been too tight to allow for a more dramatic change, but I did feel that the overall look needed attention. The auburn wigs added to the quirky fun of the show. Ms. Condron’s make-up was very effective, but it might have been worth going for something bigger and more dramatic with her hair.  It is always a brave move taking on a new, relatively unknown show. HXT not only did this, but they also set the bar incredibly high for what I’m sure will be many future productions to come. This production team, at top of their game, guided a stellar cast, allowing them to wring every last drop of warmth, humour and heart from a beautiful book and score. My sincere thanks to all for such a charming night’s entertainment.  Pat McElwain Gilbert Adjudicator 2024/2025 Photos by Niamh McGowan/Darragh Carroll

Rock of Ages as presented by Kilmainham Inchicore Musical Society

Kilmainham Inchicore Musical Society  Rock of Ages  Saturday 2nd November 2024    PUBLIC REVIEW    Almost ten years ago, I was delighted...

Kilmainham Inchicore Musical Society  Rock of Ages  Saturday 2nd November 2024    PUBLIC REVIEW    Almost ten years ago, I was delighted to attend Kilmainham Inchicore Musical Society’s inaugural production of ‘Calamity Jane.’ How far they have come in almost a decade; replacing Deadwood’s Golden Garter with the seedy surroundings of the Sunset Strip’s Bourbon Room. What a journey…and what a terrible pun. Essentially a jukebox musical made up of 80s power ballads and rock anthems, ‘Rock of Ages’ was a great choice for this group as they embraced the madness of its less than subtle script and delivered an exuberant, highly energetic production to an enthusiastic matinée audience. From the beginning with the very suggestive front of house announcements, encouraging patrons to set phones to maximum vibration, we knew exactly what direction this show was heading in. And that was only the start of what would be a rollercoaster ride of delicious innuendo and raunchiness, set against a backdrop of 80s campness and accompanied by some of the decade’s most recognisable, infectious guitar licks.  The front of house team was most efficient, ushering patrons to their seats in a most friendly and pleasant manner. It was heartwarming to see a group with special needs in attendance and how well looked after they were before, during and after the show. There was a real sense of community and inclusion which was so lovely to see.  Stephen Fagan’s production was fast paced, with a strong focus on the comic elements of the show. I am still laughing at the hilarious motorcycle sequence! The toilet cubicle scene left absolutely nothing to the imagination and the well-staged riot sequence was impressively realised. I enjoyed the use of our friend at the bar (not credited in the programme) and his many comic turns facilitated by Mr. Fagan. Sightlines were an issue on quite a few occasions and, whilst this did not take away from the enjoyment of the show, it did jar a little when other aspects of direction were so strong. Mr. Fagan also had a very strong eye for casting, and this really was a front line to be very proud of.  Looking every inch the rock goddess herself, a brilliantly energised Amy Penston-Hendley was clearly in her comfort zone taking on the role of musical director and guiding her five-piece band through a myriad rock classics. We were treated to power chords and screaming guitar solos galore, all solidly driven by heart-pounding drumbeats from one of the best musicians to sit behind a kit. The band was loud; that’s the gig. The audience is invited to “feel the noize!” However, at times, it was a strain to hear ensemble harmonies. They were there and they were great, but they just needed to be pushed out a bit more at times. Ms. Penston-Hendley was so sensitive to underscored dialogue, conscious of always pulling the band level back when needed, so that every word was heard.  Siobhán Ryan did a great job on choreography, capturing the style and energy of the genre so well with her tongue-in-cheek dance routines suiting the talents of her large cast. Ms. Ryan devised some rather raunchy routines for Sherrie and her fellow strippers, which went down very well indeed. The excellent ‘Hit Me With Your Best Shot’ was delightfully camp and full of fun. Very well done by Ms. Ryan.  This was my first time to see Lauren Dooley on stage and I hope it is not my last. Ms. Dooley was excellent as the ‘small town girl’ who embarks on a journey (here I go again with the puns!) from naïve ingenue to stripper on the Sunset Strip. She captured the essence of the wannabe actress so well, living every moment on stage in a superbly convincing, tour-de-force portrayal.  Equally impressive was Gavin Molony’s portrayal of Drew, the “city boy, born and raised in South Detroit’’ (of course!) who hopes to make it as a big rock star. Mr. Molony channelled his inner David Lee Roth, stripping paint off the walls of the Inchicore College of Further Education with his powerful, soaring vocals. This was a most convincing characterisation from Mr. Molony who was every inch the rock star with his superb stage presence and relaxed delivery.  Jamie Place blew the fourth wall asunder as the irreverent emcee, Lonny. His cheeky, often lewd observations, as he provided tongue-in-cheek ‘clarity’ to a less than taxing narrative, were dripping in hilarious 80s campness. He delivered an impressive singing performance too, rounding off a super overall portrayal.  David Hynes pulled off the rare feat of balancing the despicable with the likeable in the role of egomaniacal rock star and all-round douchebag Stacee Jaxx. This was a performance full of confidence and flair. Mr. Hynes owned the stage, strutting and flaunting with arrogant abandon as he unashamedly laid down misogynistic marker after marker. His vocals were superb in ‘Wanted Dead or Alive’ and his no holds barred, ‘lavatorial shenanigans’ with Ms. Dooley raised eyebrows, temperatures and whatever you’re havin’ yourself.  Nikki Johnston had excellent stage presence as the madame of the Venus ‘gentleman’s club,’ Justice Charlier. Ms. Johnston’s performance was full of poise, presence, and wonderful posture, commanding the stage with her every appearance. Her dialogue delivery was natural and thoughtful and her full, soulful voice in ‘Every Rose Has Its Thorn’ was a treat. This was a top-notch performance from Ms. Johnston. However, I did wonder if her unlit cigarette in almost every scene was necessary.  Gavin O’Reilly was a very funny Dennis Dupree, the stoner owner of the iconic Bourbon Room, whose premises being set on a downward spiral sets the story’s conflict in motion. Mr. O’Reilly’s dry, laid-back delivery was very well pitched, squeezing every last morsel out of the role. His look was just perfect. Mr O’Reilly sang well too and ‘Can’t Fight This Feeling,’ with Mr. Place, was a comic highlight of the show.  David Supple showed what a fine character actor he is as the sinister property mogul, Hertz. He had strong stage presence and impeccable comic timing throughout, in what was a very well judged performance.  The part of Franz is a comedian’s dream and Aaron Macken Tierney grabbed the opportunity to wring every last drop of camp humour out of his role in a highly flamboyant, colourful performance that delighted the audience. There was a hint of Sacha Baron Cohen in his superb physicality and his comic timing was really on point. His comic talents segued nicely into his singing also. His long falsetto note at the end of ‘The Final Countdown’ was a comic treat, as was his hilarious turn in ‘Hit Me With Your Best Shot.’  Rachel Hanna showed her strong comedic chops as the quirky Regina, who somehow becomes half of a very mismatched duo with the aforementioned Franz. Ms. Hanna had great pace to her dialogue, never allowing things to dip. Facial expressions were super, and she was always engaged and in tune with the narrative action. She had a very strong singing voice too and was the perfect match, vocally and comically, for Mr. Macken Tierney in ‘Hit Me With Your Best Shot’.  Lisa Younge had great presence and expression as Waitress #1 and shone brightly in the ensemble numbers too.  Didi Moore proved that there is no such thing as a small part with her confident and highly humorous turn as Constance, the reporter who interviews Stacee Jaxx.  Mikey McCormack was an equally strong performer as the mayor. Whether the passing Trump resemblance was intended or not, it did give me a giggle.  You know you have a strong show on your hands when you have someone like Cormac Dredge playing cameo roles. He was excellent as both Drew’s agent, Ja’keith and Sherrie’s unsympathetic father.  Nyree J Blackhall was far more nurturing as Sherrie’s mother and Alan Lau clearly enjoyed himself with a nicely played, over the top, Joey Primo.  There was very good work from a busy ensemble who completely embraced how bonkers the show was and went all in on its madness. Energy levels were high, and it was clear that all were enjoying the hedonistic fun as everyone channelled their inner rocker. I was particularly impressed with the ‘Venus dancers’ who not only danced very well but projected great individuality of character in doing so.  With no scene changes as such, things did not appear to be too busy for stage manager, Colum McDaid. But, as we all know, what is visible is only half the work of an effective stage manager. The fact that this show moved along so slickly showed that there had been great collaboration between Mr. McDaid, Mr. Fagan, and cast – the latter moving furniture, props, and quirky rolledup scenery pieces to ensure seamless transitions throughout the show.  A very effective set, designed by Mr. Fagan and Mr. McDaid, was visually pleasing and allowed for good flexibility in staging. It was fabulously dressed with guitars, discs and neon signage giving a very authentic feel. The upper level provided Mr. Fagan with some good options and the bandstand was nicely utilised by cast when necessary. The upstage windows allowed for some wonderful lighting effects throughout.  Props were generally very good with attention to detail in most areas. The briefcase full of cash, the protest placards, LAPD riot shields and the very well-made building model display were examples of good effort being made to get things right. However, having money printed on only one side and using the same chairs in the Bourbon Room as we were sitting on in the audience was unfortunate, when they were relatively easy fixes.  Lighting for this show was stunning, not just in its design but, crucially, in the timing of operation. There was great contrast between the exhilarating rock concert stadium feel and more subtle, sensitive moments. The design was colourful, bold and in your face…literally! The moving lights chasing through the audience at the top of the show was in keeping with the overall style of presentation, smashing that fourth wall wide open before the show even commenced. LED battens incorporated into the set looked superb and offered great options throughout. Lighting even got in on the comedic possibilities of the show. I loved how the backlighting at the end of ‘Can’t Fight This Feeling’ accentuated the hilarious performances.  Sound was generally very good throughout. The microphone gremlins were at play for Mr. Molony’s opening appearances – unfortunate, but these things happen. Rectified quickly, there were no issues for the remainder of the show. Cueing was exceptionally good with no missed entrances. Lead vocals were full and warm, always set above and never competing with the level of the band. I would love to have heard more of the ensemble’s vocals, especially the offstage singing which I felt needed a little more support. Overall, a really great job in a show with such a challenging dynamic.  This was a near perfectly costumed show and all credit is due to those who coordinated. Each character, from principal players to ensemble members, had their own distinct look and style. There was wall-to-wall figure-hugging leopard print, leather, and torn denim…and that was just the men! Hippy-esque attire, gospel robes and the Venus ladies’ pink ‘uniforms’ were very well chosen. The brightly coloured leotards for ‘Hit Me With Your Best Shot’ were a perfect assault on the senses. Well done to all!  What fun was had too with hair and make-up, reflecting the outrageous tone and themes of the show. Hair was big and the ladies’ make-up was very 1980s. The strippers had an interesting/unusual look which set them apart as ‘performers.’ Wigs were very well chosen, especially for Stacee and Lonny, who looked like Spinal Tap wannabes.  This was a thoroughly entertaining production of ‘Rock of Ages.’ As a show, it may be light on narrative complexity and deeper insights into the human condition. But so what?!! Kilmainham Inchicore Musical Society and their talented production team embraced the pure, unadulterated, ‘leave-your-brain-at-the-door’ FUN that is ‘Rock of Ages’ and gave us a show that never took itself seriously, delivered with a knowing, tongue-in-cheek, self-deprecating glee. A credit to all involved. Thank you and best wishes for your tenth anniversary next year!      Pat McElwain Gilbert Adjudicator 24/25   Photos by Darragh Carroll

Sweet Charity as presented by UCD Musical Society

UCD Musical Society  Sweet Charity  Friday 27th September  UCD Musical Society performed, ‘Sweet Charity,’the first of their three (!)...

UCD Musical Society  Sweet Charity  Friday 27th September  UCD Musical Society performed, ‘Sweet Charity,’the first of their three (!) 2024/2025 productions, in the UCD Astra Hall. I attended what was supposed to be the second of three performances. However, disaster had struck the day before and they had been forced to cancel their opening show due to a campus-wide power cut. Thankfully, the show gods were on their side once more as they played to a packed house, bringing Neil Simon’s book and Cy Colemen’s score to life. Front of house was extremely busy and there was a wonderful buzz of expectation amongst the predominantly student audience as they queued to cheer the cast and crew on. We were met by the most wonderful trio, who couldn’t have been more welcoming, and they ensured that we were very well looked after for the evening.  Mafalda Zúquete made her directorial debut and will have learned a huge amount from the experience. Ms. Zúquete created some very funny moments throughout the show and did particularly good work on the iconic elevator scene, where she captured Oscar’s claustrophobic hell so well. More work needed to be done to marry the technical requirements of the show to the dramatic action but that is something that takes time to fine tune, and this was a solid starting point for Ms. Zúquete.  Cara McCrystal, who doubled up as production manager, was choreographer and she did very well in tailoring her routines to the abilities of the cast. ‘Rich Man’s Frug’ gave a good sense of the higher echelons of the New York social set, with its stylised moves and its well-pitched performance levels. I felt that ‘The Rhythm of Life’ could have been more rousing and maybe needed the suggestion of being (dare I say?!) ‘substance fuelled.’ An injection of unbridled hedonism may have given it a well-needed lift. ‘I Love to Cry at Weddings’ was a very strong full cast number.  Luke Shiels was musical director for what can be a challenging show, musically, at the best of times. It is a big ask to try to master the big, brassy Cy Coleman score with anything less than a professional orchestra. Whilst the student orchestra was clearly made up of talented musicians, there were times when things were not very secure in the pit, and this affected some performances on stage. Mr. Shiels is to be commended for the huge amount of work that he put into the show. Had he had professional musicians at his disposal, I have no doubt that his obvious talent would have shone through even more.  Niamh Ní Fhoghlú did strong work as vocal director. Principal singing was of a very good standard and all of the ensemble harmonies appeared accurate. Whilst there were some balance issues in ‘The Rhythm of Life,’ it appeared to be more of a sound mix problem than a vocal one.  Eva Furlong was an all-singing, all-dancing Charity Hope Valentine and she put her heart and soul into what is a hugely challenging and demanding role. Ms. Furlong sang very well, especially in her signature number ‘If My Friends Could See Me Now,’ which she thoroughly  enjoyed. She wasn’t always supported very well by the orchestra, having to pluck some of her starting notes out of the air, on occasion. But she recovered each time and, fittingly, gave a very impressive performance full of the optimism and determination expected of Ms. Valentine.  Elijah Lopez was a class act and entirely believable as the nervy, yet endearing, Oscar Lindquist. Mr. Lopez had a natural command of dialogue and had a great sense of comic timing. His elevator scene with Ms. Furlong was a comic highlight of the show, with both performers playing so well off one another. He sang so well too, with ‘Sweet Charity’ showcasing his smooth vocals at their best.  Jennifer Yorke, as Nickie, was a delight as Charity’s wise-cracking, fellow dance hall hostess. Ms. Yorke brought her scenes to life with excellent vocals, movement, and overall stage presence. Her experience shone through in what was one of the strongest performances of the night, for me.  Also very impressive, was Sophie Fitzsimons as Helene. Ms. Fitzsimons was very polished vocally and was a strong dancer too. ‘Baby Dream Your Dream’ was a musical highlight, with both Ms. Fitzsimons and Ms. Yorke relishing the moment and setting the performance bar high.  Dario Regazzi nailed the accent in his humorous interpretation of Italian movie star Vittorio Vidal. His suave panache was nicely balanced with a light comic touch, and he displayed a fine baritone voice in his lovely rendition of ‘Too Many Tomorrows.’  Amy Van Eekeren was double jobbing in the roles of Daddy Brubeck and Herman, the owner of the seedy Fandango ballroom. I felt that, as Daddy B, she needed to drive the scene and the song a little more to give us a larger-than-life character who could plausibly have duped their followers. She was ably assisted by Isabelle Hubert as her trusty sidekick. As Herman, Ms. Van Eekeren was super and ‘I Love to Cry at Weddings’ was a standout number of the show for me.  Teddy Peeva was most believable as Vittorio’s lover, Ursula. She had a fine stage presence and showed lots of comic potential, particularly during the closet scene.  Joellen Donohoe and Mercedes Estarellas provided great support as dance hall hostesses Rosie and Carmen. Leela Brook had good presence as Vittorio’s butler, Manfred and Francesco Bach was a standout ensemble performer who also doubled up as Charity’s opportunistic, unscrupulous boyfriend, Charlie.  The hardworking ensemble were always busy and fully committed to the production team’s vision. Dancing was well-rehearsed, and harmonies were secure. The ladies in ‘Big Spender’ were suitably seductive and there was great energy from all in ‘The Rhythm of Life’ and ‘I Love to Cry at Weddings.’  Sets were minimalist but effective, for the most part. The NYC skyline looked well with its built in lights and the upstage rostrum provided good scope for different levels of staging. Various signs suggested changes of location. I did feel that the closet and the elevator, central to the show’s two most iconic scenes, needed more attention.  Stage manager Ella Ruddle marshalled an efficient crew who entered from the auditorium like a swarm of ants to execute the numerous set changes. More collaboration with the MD was needed to ensure that enough scene change music was in place and lighting needed to hold until changes were complete. Props were generally very good, with suitable attention to detail. However, the cuddly canine did jar a little as did the misspelled ‘Congats’ sign.  I felt that the lighting for this show could have benefited from a good deal more tech time. Key lighting was missing at numerous points throughout the show and faces couldn’t always be seen. Timing of moving lights with cast, particularly when trying to follow Charity, needed much more rehearsal. The upstage LEDs lit the audience more than the performers at times. The various LED colour washes were well chosen but key light from the front bar was often required for faces to be seen.  Sound was generally solid, and vocals sat nicely above the orchestra, for the most part. Late cueing of radio mics was an issue, and we were often half a line or more in before a performer’s mic came up. That can happen, especially early in a run, but when it happens consistently throughout a show, it needs to be looked at. Sound effects were well chosen. The elevator scene would have benefitted from the use of suitable effects.  Costumes were basic but generally suitable for the era. Some very modern looking runners should have been avoided. I would have liked to see Charity in something other than her black dress for the duration of the show. The black and white theme worked really well for the ‘Rich Man’s Frug,’ as did the mix of tie-dye and coloured t-shirts in ‘The Rhythm of Life.’  Hair and make-up looked well with appropriate hairstyles and good use of coloured eyeshadow for the girls, giving an authentic 60s look.  My abiding memory of taking part in student productions a million years ago, is the huge sense of camaraderie and collaboration as we worked tirelessly to be creative and to produce theatre on a shoestring. UCD Musical Society clearly has that same work ethic and drive, and I have no doubt that they will continue to build on what has been a strong start to their season. With two more productions to come, I am excited to see their progress over the coming months. Thank you for your wonderful hospitality and congratulations on an entertaining production of ‘Sweet Charity.’  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos of the production kindly shared by the society:

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