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UPCOMING EVENTS

THE LITTLE MERMAID

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12 Mar 2025

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Snow White and Babes in the Wood

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8 Jan 2025

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West Side Story

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26 Feb 2025

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'Charlie and the Chocolate Factory'

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18 Feb 2025

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Urinetown The Musical

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18 Feb 2025

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LATEST NEWS

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:

Made in Dagenham as presented by St. Mary's MS Navan

Made in Dagenham as presented by St. Mary’s Musical Society, Navan: Thursday 25th April 2024. Striking a blow for feminism, “Made in...

Made in Dagenham as presented by St. Mary’s Musical Society, Navan:   Thursday 25 th April 2024.   Striking a blow for feminism, “Made in Dagenham” demonstrates the power of women when they take it upon themselves to insist upon equal treatment in the workplace, and eventually parity of payment. It does so through the ladies of the Ford Dagenham factory of the 1970’s and ’80, and in particular, through the central character, Rita O’Grady, who becomes the voice of the working women, and reluctantly assumes the mantle of heroine, even at the risk of losing her family in the process. While it may sound like a grim scenario, the show succeeds because it is written with wit and wisdom, an array of amusing characters and a smattering of very good musical numbers, and in the hands of a very experienced director, in this case, Pat McElwain, it has so much good humour and entertainment value to balance with the more dramatic elements of the story.  Not surprisingly, the story requires a woman of stature to carry the central role of Rita, and in Jenny McCabe, such a woman was found. Hers was a performance of strong dramatic quality, very good comedic ability and timing, and a wonderfully confident voice that gave power and punch to her lyrics and emotional tenderness when it was required. This was a very lovely performance from a most capable actress.  As her husband, Eddie, Ronan Walsh gave a strong and very likeable performance, with great delivery of his lines. He fitted in nicely with the brash, boys’ club attitudes of his workmates, but never lost sight of his caring family responsibilities. His “Letter” was very emotionally delivered, but I did think his return to Rita at the end needed to be slightly more humbling and apologetic.  Their children, Graham and Sharon O’Grady, were played with great sincerity by the talented Nick Donnelly and Rebecca Murphy, both of whom made a strong and natural impact in the family scenes.  In the factory setting, Rita was surrounded by a varied assortment of workmates, from the industrious and striving activist, Connie Reilly, played with passion and sentiment by Suzan McDonagh, (particularly affecting in her ‘illness’ scenes), to the outrageously verbose Beryl, with a mouth like a fishwife and an intimidating demeanour. This was a strongly created comedic character, very well played by Deirdre Murphy.  Nicole Smyth was a feisty Sandra, self-absorbed, but ultimately true to her sisters, and performed with good energy and character.  Katie Crosby gave a good confused and befuddled character to Clare, performing her “Wossname” number with good comedy.  Sheena Duffy gave confidence, attitude and character to the role of Cass.  Eddie was equally well-supported in his workplace by cocky and confident performances from Adam Pentony as Sid, Shane Fox as Bill, Patrick Mullaney as Barry and Brandon Grey as Stan. As a group, these guys were strong and stubborn and very capable both physically and vocally.  The management of the Ford Factory was well represented by Sean Flanagan, who had a good smug superiority as Mr. Hopkins, until he withered under the superior smugness of his American Boss, Mr. Tooley, very well played with patronizing arrogance by Barry Murray. His “This is America” was crass and patriotic to the point of being delightfully obnoxious. David Grey was a convincing Gregory Hubble and Alex Hill a very able Mr. Buckton. Bridging the gap between the management and the workers was the delightful yet confused rep, Monty, beautifully played by Andrew Docherty, who showed his exasperation most believably and was most affecting in the sincerity of his emotions for Connie. This was a wonderful performance.  In the Governmental roles, Mary Murphy, though small in stature, was larger than life as the strident and revolutionary political figure, Barbara Castle. This was very well-played and “Ideal World” made us sit up and pay attention. Alongside her, Tony Byrne had a lot of fun sending up the character and personality of former Prime Minister, Harold Wilson, and made the most of “Always a Problem”.  Rí Fox gave a nice, posh but passionate portrayal of Lisa Hopkins, putting her husband in his place and adding her support to the women’s struggle.  There were strong cameo performances too, from Shane Fox (again) as the very funny but tasteless comedian, Chubby Chuff, and Ciarán Dunne as the pseudo-smooth Cortina Man, who also doubled, alongside Seán Fitzsimons, as the Parliamentary Aides.  I’m quite sure Director, Pat McElwain, was more than pleased with the contribution of the Chorus to the overall success of the show, for they were strong in their physical presence and very controlled and capable in their vocal presentation. Indeed, musically, the show was strong and secure, with Musical Director, Roisin Heenan, taking the baton to lead an enthusiastic and talented orchestra, who never faltered in their rhythms and tempi. Along with Chorus Mistress, Helen McHugh, they also presented a fine display of vocal quality from a well-drilled chorus, who were precise with their diction and true with their harmonies. Great work also went into the vocal work of that impressive principal line.  Likewise, Choreographer, Laura Douglas, must have been pleased with the standard of dancing from her enthusiastic charges. The “This is America” routine was the best example of good military precision, strong patterns and loads of energy from both the soldiers and the cheerleaders, but there were effective routines too for “Cortina”, “Viva Eastbourne” and lots of good work on the three opening numbers, where the men and women of Dagenham establish themselves.  The show was played against a very good set. It was well-painted, with a good industrial feel to it, with two excellent revolving pieces that provided so many different settings, with all the changes done out of sight of the audience. There was also an impressive central rolling truck that moved in and out with two or three settings on it. Stage managers, Tracy Fitzsimons and  Chris Murphy, did a great job of guaranteeing a smooth-running show, with very few interruptions.  The show was delightfully lit, making use of good colours to create atmosphere, good, isolated areas and efficient cueing. The same could be said for the quality of sound, which was consistently balanced and spot-on with the cueing. Props, throughout were appropriate and well-sourced, and with the exception of a “new” Ford Cortina which looked as if it had seen better days, the show was most satisfactory from a visual point of view. Costumes were always appropriate, and I particularly liked the fusion of the military outfits and the cheer- leader outfits for the “America” number. Make-up was most satisfactory, and there was very good attention to wigs and hairstyles.  Overall, this was a very well-presented show, with bundles of energy and bundles of talent, which made the story poignant in places, emotionally charged, and above all, highly entertaining. In thanking the Front of House team for a warm welcome to Navan, I congratulations to all involved, from front of house to on-stage and backstage, and a very fine production team, for a most enjoyable night in Dagenham. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Nathan Maher

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