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UPCOMING EVENTS

Jekyll and Hyde The Musical

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7 Apr 2025

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Everybody's Talking About Jamie

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16 Apr 2025

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EVERYBODY'S TALKING ABOUT JAMIE

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16 Apr 2025

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Crazy for You as presented by Jack Cunningham Productions

Jack Cunningham Productions  Crazy For You  Saturday 7th September  There is something really special about the ambience of the Theatre...

Jack Cunningham Productions  Crazy For You  Saturday 7th September  There is something really special about the ambience of the Theatre Royal in Waterford. This classical Victorian theatre has such a unique atmosphere, and it is always a pleasure to attend a show at this historic venue. And so, I was very excited to see Jack Cunningham Productions stage one of musical theatre’s greatest crowd-pleasers, ‘Crazy for You.’ With its brilliant Gershwin score, side-splitting comedy routines and huge production numbers, it was a given that the audience would leave with smiles on their faces, singing and tap dancing down Waterford’s Mall.  The foyer was extremely busy just before curtain-up as bumper-to-bumper traffic and limited parking caused mayhem for people trying to get to the theatre on time. The front of house team did a great job putting everyone at ease as they rushed in and we were soon seated, in anticipation of a great night’s entertainment.  Jack Cunningham directed, co-produced, choreographed, danced, co-ordinated costumes and probably even made the cast tea at the interval! I have utmost admiration for anyone taking on even one of these elements for such a huge show. To co-ordinate all of the above is nothing short of superhuman and is to be applauded on every level!  Mr. Cunningham’s direction was generally sound. He was blessed with a talented front line who bought into his vision, and he got some really good comic performances out of his cast. Sightlines were an issue throughout the show with dialogue and action often being obscured by the downstage tables in the saloon scenes. Positioning of performers, when delivering dialogue in crowd scenes, also needed attention at times. The iconic Zangler/Bobby mirror scene, although well performed, could have been more original in its conception. There was very funny business with the guys trying to pick up the dance moves going into ‘Slap that Bass’ and great marshalling of cast for the slick scene changes.  Choreography was exhilarating in its execution. The show requires a highly energetic ensemble of terrific dancers and that is exactly what Mr. Cunningham had at his disposal. The big tap sequences were superb in their percussive precision. All of the bigger numbers were exceptionally well rehearsed, and it was refreshing to see these routines performed with such gusto and expression from all. ‘I Got Rhythm’ was an absolute triumph. The acapella tap sequence was quite superb and audience members were given more than a nudge to rise to their feet before the number built to the climactic end of Act 1. The Follies were excellent as the eight showgirls of Bobby’s subconscious and Mr. Cunningham had done great work to ensure that they always moved with great synchronicity.  Musical Director, Emma Walsh, didn’t have an orchestra to manage, as accompaniment was tracked. These recordings were of a very high quality. Unfortunately, the track did run away from the ladies’ ensemble in the very wordy, up-tempo section of ‘Entrance to Nevada.’ But, in general, cast did well working with the tracks. There was a great wall of sound from the large cast in the bigger numbers but some of the more intricate harmony lines were missing, on occasion, as the safer option of singing in unison was chosen. Principal singing was of a high standard throughout.  Casting the stagestruck Bobby Child, a New York banker with dreams of becoming a dancer, is always a difficult task. How lucky the production team was to have a triple threat like Conor Lyons in the role. Mr. Lyons brought a wealth of experience and talent to the part and was clearly enjoying every minute. His dancing was excellent, and he sang with a lyrical quality straight out of the golden age of musical theatre. Mr. Lyons had great comic timing and, even if he occasionally over-egged things as an almost Borat-esque ‘Zangler,’ he relished the rapturous audience reaction to his comic antics.  Jennifer White was equally strong as the feisty Polly Baker, apparently the only woman left in Deadrock, Nevada. Blessed with a delightfully clear voice, Ms. White had such a lovely, natural presence as she delivered her songs with real heart and a genuine understanding of Ira Gershwin’s gorgeous lyrics that drew us in as she told the story. ‘Someone to Watch Over Me’ was a highlight as was the touchingly poignant ‘But Not For Me.’Ms. White was quite the dancer too and the chemistry between herself and Mr. Lyons was so clear.  The eccentric, Hungarian theatre impresario, Bela Zangler, was played with great energy by Jonathan Kelly. Mr. Kelly had the audience in stitches with the corniest of one-liners, the most memorable being in his very well-played, drunken mirror scene with Mr. Lyons – “I am beside myself!” Singing in ‘What causes That?’ was full of character and drunken hilarity.  Kieran Walsh squeezed everything out of the role of saloon owner Lank Hawkins, who had his eye on Polly but hadn’t a snowball’s chance of success. Mr. Walsh had great presence and delivered lines with conviction and strong comic timing. His reactions in ‘Naughty Baby,’ as he slowly caved in to being seduced by Irene, were very funny.  Trish Orpen was a delight as the overbearing fiancée of the hen-pecked Bobby. Ms. Orpen was perfectly bossy and brash, leaving no doubt as to why Bobby felt the need to switch off and lose himself in the blissful world of his imagination, where he could dance his troubles away with eight visions of loveliness. Ms. Orpen threw herself into ‘Naughty Baby’ with vampish glee and Mr. Walsh really had no choice but to succumb to her advances. Apart from being an excellent comic turn, the number was superbly sung by Ms. Orpen.  Anne Marie Collins showed just why there is no such thing as a small part in theatre. She was always in character as Tess, always reacting to everything and was so strong acting through her dance numbers. Her knowing manipulation of Zangler in Act 2 was skilfully played.  Dermott Sullivan did well in the role of Everett, always reminiscing about his late wife’s prowess on the Gaiety Theatre stage. Cueing was a bit of an issue in the opening Deadrock scene on the night that I attended but, once he settled, Mr. Sullivan gave a well-rounded, confident performance. His falling for Lottie was a nice, cute comic moment.  Clare Smith was a domineering presence as Lottie Child, Bobby’s business driven, overbearing mother and Holly Grant gave a suitably ditzy performance as Patsy, whilst also shining as one of the Follies.  Joe Shanahan, Mark Rellis and Liam Steenson were a strong trio as Moose, Mingo, and Sam, three layabout citizens of Deadrock. Collectively, they sang well in unison, but I would love to have heard them tackle the harmonies of the ‘French Reprise.’ Phil Erskine and Ciara Giles were perfectly matched as the eccentric British double act, Eugene, and Patricia Fodor. Their arrival in Deadrock is met with disappointment as it becomes apparent that nobody is coming to see the show which can potentially save their theatre. Mr. Erskine and Ms. Giles were hilarious as they tried to convince the townsfolk to grin and bear it in the brilliant ‘Stiff Upper Lip.’  The ensemble in this show was young, enthusiastic, and incredibly talented. Their dancing was a triumph from start to finish. Mr. Cunningham’s cast lived every moment in their faces and that was what we, as an audience, felt the most. The energy, the commitment and the unbridled joy from this large cast was simply exhilarating. They committed themselves fully to the singing also and were particularly impressive in ‘I Got Rhythm’ and ‘Stiff Upper Lip.’  Set design was simple but effective for the most part, with the exception of the opening backstage scene which lacked impact set against blacks. The Deadrock trucks were very well designed, turning slickly to create the interior of Lank’s saloon, which was really well dressed. Using the back wall of the Theatre Royal stage as the dilapidated Gaiety stage, was an inspired choice. However, the visibility of a modern red fire alarm upstage left was unfortunate.  Stage manager, Shane Taheny, kept things moving along at a brisk pace with the help of cast moving trucks and set pieces very efficiently. There was a lot of movement of the front tabs during the interval as the saloon tables were being set for ‘The Real American Folk Song.’ It might have worked better to set these as part of the action once the curtain was out.  Props needed more attention to detail, in general. Some were excellent. The disused Gaiety Theatre stage looked amazing with the old-style organ, ropes, costume rails etc. However, not everything was this good. Lank’s toy gun with its red plastic tip, paper plates in the saloon mirror scene, the Fodor’s empty laundry bag and Zangler’s extremely small cheques were a few of the items that jarred.  Lighting was generally good, playing things safe for the most part. With the exception of a timing glitch going into Bobby and Polly’s finale dance, cueing appeared solid. There was good use of follow spot in ‘Shall We Dance?’ up to the point where Bobby and Polly separated and were too far apart to follow both. Unfortunately, there was a significant issue with the overzealous use of haze machines.  Sound was very good for the most part. Dialogue was clear and vocal balance was generally good. Dialogue in ‘Tonight’s the Night’ was barely audible as it was overpowered by the backing track, and we missed some very funny lines as a result.  Costumes were excellent throughout, from the gorgeous uniformity of the Follies, to the stunning showgirl costumes of the finale. Daywear for ‘Entrance to Nevada’ was perfectly impactful and there was good attention to detail in coordinating the identical costumes of the real Zangler and Bobby’s ‘Zangler.’  Hair and make-up needed some attention. Whilst the styling of ladies’ own hair was very authentic for that 1930s look, there was an issue with some wigs as hair was visible underneath. I was disappointed in the look for the two ‘Zanglers.’ Having these two characters looking as identical as possible is a crucial plot point. Unfortunately, with both devoid of facial hair, it was very difficult to buy into the idea that Bobby had duped a whole town into believing that he was Zangler. A beard and moustache for both would have made the world of difference and Irene’s line to Bobby, “You look like Karl Marx,” would have made sense. This was a very entertaining production of one of the all-time great musical comedies that literally has everything. The dancing was just electric and there were many fine comic moments from an extremely talented cast who delighted a visibly enthusiastic and responsive audience. With a little more attention to detail in the technical aspects and a more focused approach to positioning for dialogue, this very talented company will continue to build on what has been a meteoric rise to date. Who could ask for anything more?!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photographer : Colin Shanahan (DigiCol)

Review: Spring Awakening // North Wexford Musical Theatre

North Wexford Musical Theatre - Spring Awakening Date of Adjudication: Friday 6th September My first show of the season and expectations...

North Wexford Musical Theatre - Spring Awakening Date of Adjudication: Friday 6th September My first show of the season and expectations were high as I hit the road for Gorey to see North Wexford Musical Theatre’s ‘Spring Awakening’. This award-winning group, still in its relative infancy, has quickly established itself as quite the theatrical force in the vibrant South East region. The air of anticipation in Gorey Little Theatre was quite electric. Front of house was a hive of bustling efficiency and I was given a very warm welcome before being shown to my seat. Based on Frank Wedekind’s controversial play, penned in 1891, ‘Spring Awakening’ is a powerful, hard-hitting, often darkly humorous commentary on repressive culture and the tragic repercussions of sexual ignorance. Over a century on from Wedekind’s play being banned for its assault on the moral senses of Victorian-era Germany, ‘Spring Awakening’ continues to shock and to resonate strongly today. Burning themes of sexual abuse, self-harm, abortion, masturbation and suicide are all presented through the eyes of disconnected teens as they navigate their lives through a minefield of authoritarian suppression and its catastrophic consequences. Stephen Acton’s provocative production was beautifully directed throughout. He designed a minimalist set, against a blackboard backdrop which screamed “Blah, Blah, Blah” in angry, scrawled chalk – a hint of the anarchy to come. The simplicity of his design allowed for great fluidity between scenes as Mr. Acton’s exceptionally well-drilled cast arranged simple, black boxes to create various locations. I loved the originality of the branch motif - a nod to Wendla’s being “like a tree-nymph fallen from the branches”. The use of branches embedded in the set, becoming handheld microphones, Melchior’s blade and Moritz’s grave was a bold, original choice and a refreshingly clever theatrical device. A huge part of success of this production was the way in which Roisin Currid’s excellent choreography enhanced the storytelling. Clearly there was close collaboration between Ms. Currid and Mr. Acton, as the stylised routines and fluid movement of a hugely committed cast drove the narrative in an organic and theatrically stylish manner. The ensemble was mesmerising, moving almost as one in such numbers as the beautifully staged ‘I Believe’. And then there was the joyous anarchy of the frenetic ‘Totally F*cked’ – the fully invested young cast hitting us between the eyes in an energetic, precise and angst-ridden hormonal rage. Musical direction by Conor McCarthy was equally top-notch. His seven-piece band was incorporated into the set, inhabiting the very world they helped to conjure through their wonderful playing, in a very still and focused way. Mr. McCarthy’s meticulous attention to detail in the choral aspects of the show was evident throughout. There was a wonderfully balanced, accurate and powerful choral sound from the ensemble. Principal singing was excellent throughout and, for the most part, there was a good balance between orchestra and cast vocals. The rebellious Melchior, unafraid to question his authoritarian elders, was played by the very talented Jordan Bass. Mr. Bass’s singing was a joy throughout. From the haunting ‘Left Behind’ to the full-on ‘Totally F*cked’, this was an excellent vocal performance. Mr. Bass really showed his acting chops too as the show progressed. His struggles to come to terms with having beaten Wendla, his grief at Moritz’s death and his distraught reaction to discovering Wendla’s grave, were poignant and powerful. Mr. Bass’s distinctly Irish accent did feel like a rather incongruous choice. It may well have been a directorial decision but, for me, it jarred at times as it lacked consistency with Mr. Bass’s singing accent and with the more neutral accents around him. Initially, I felt that April Kelly needed to focus more on the innocence and naivety of fourteen-year-old Wendla. However, as the show progressed, this very talented lady delivered a very polished, nuanced and emotional performance as the confused adolescent whose tragic demise stems from suppression of youthful curiosity. The beautifully sung and melodic ‘Whispering’ was a standout moment, underlining Ms. Kelly’s wonderful talent for telling a story through song. Her superb diction was crystal clear throughout and her emotional range was most impressive. Andrew O’Grady’s sensitive portrayal of the misfit Moritz, haunted by the increasingly sexual nature of his dreams, was a highlight of the show. His distinctive hairstyle set him apart as an outsider from the start and we were totally invested in his story and the cruelty of his tragic fate. His isolated, angst-ridden ‘Don’t do Sadness’ was just heartbreaking. But my abiding memory of Mr. O’Grady’s performance wasn’t scripted at all. His reactions to each of the mourners placing flowers in his grave during his funeral scene, were just mesmerising. This scene was a theatrical triumph of direction, lighting, movement, music, ensemble acting and Mr. O’Grady’s perfectly-pitched emotional commitment. Alex Kavanagh attached some semblance of hope to her dishevelled Ilse. Yes, she had suffered at the hands of an abusive father but Ms. Kavanagh clung to a glimmer of hope, having escaped institutionalism. Her ‘Don’t do Sadness/Blue Wind’ was a superbly sung duet with Mr. O’Grady and she led the powerful ‘The Song of Purple Summer’ with a much-needed optimism at the end of the show. Another standout performance for me, was Grace Shesgreen’s portrayal of the abused and damaged Martha. Her carefully delivered account of her father’s abuse was intensely disturbing. Theatre resonates differently, depending on the social context of the time. Ms. Shesgreen’s powerful performance came on the heels of shocking revelations of historic abuse of children in Irish schools and I’m sure that I wasn’t the only one who viewed her performance through that horrific lens. ‘The Dark I Know Well’ showed Ms. Shesgreen’s excellent vocals and her ability to tell her disturbing story through song. Eimear Wolohan as Anna and Áine Kinch as Thea were both very strong in their respective roles. Their movement and blend of vocals in ‘Mama Who Bore Me (Reprise)’ were wonderful. Their playful, innocent banter with Wendla as they discussed their crushes was nicely played, creating a stark contrast to what lay ahead for their friend. Richard O’Toole and Colin Doran, who played Georg and Otto respectively, managed to join the band as well as play their roles with aplomb. Mr. O’Toole’s keyboard playing was most impressive, as was Mr. Doran on guitar. It was a lovely touch to feature both talented men in this way. Mr. O’Toole’s scene with Fraulein Grossebustenhalter was a nice bit of comic relief. Yet another highlight of the show, was the exceptionally well-staged and played scene between Luke Burke as Hanschen and Robert Hogan as Ernst. We knew where this was going from the very self-aware Hanschen’s ‘Achilles and Patroclus’ analogy onwards. Their chemistry was palpable – sensually and sensitively directed. Superb vocals from both rounded off two very strong portrayals. Nicola Roche and Rónán P. Byrne as Adult Woman and Adult Man, played the myriad, often despicable, authoritarian figures. Ms. Roche’s abridged version of the facts of life for Wendla (“…she must love her husband with her whole heart”) was humorous yet tragic as the consequences of Wendla knowing no different played out. Ms. Roche was at her best as Frau Bergman, dealing with the doctor’s crushing ‘diagnosis’. I found Mr. Byrne difficult to understand in his opening schoolhouse scene. However, this was short-lived and he proceeded to skilfully jump from character to character with superb changes of physicality, voice, accent and superb diction to convincingly play a multitude of roles. His mouthed “She’s pregnant” provided a much-needed release for us all before the trauma that would befall Wendla. The ensemble in this show was exceptional. From their very first lean forward to listen to Frau Bergman talk birds and bees to Wendla, we knew that this was an extremely committed and focused group, working together, often as one, in a stylish, theatrical manner. They rarely left the stage and the subtlety from every single performer as they observed, reacted and interacted, never taking focus from where it was meant to be, was simply breathtaking at times. Of course, these things don’t happen by accident. What appears simple in performance often requires the most work in rehearsal. Stage manager, Nigel May, had a relatively quiet night. Cast orchestrated the smooth transitions from scene to scene, ensuring fluidity and pace throughout. A low fog machine, concealed under the upstage rostrum, was used very effectively in the graveyard scene. The superb lighting design and, in particular, the meticulous timing of its operation, was a joy to behold. Indeed, the lighting in this show was as much a part of the dramatic action as any cast member. LED batons, built into the set, were used most effectively, as was the strobe in ‘Totally F*cked’. There was beautiful isolation of Melchior and Wendla in ‘The Word of Your Body’ with the ensemble almost silhouetted in the background. Haze was used to create suitably ethereal mood, when required. What must have taken days of collaboration between director and designer were so evident and paid off greatly. Sound was generally very good, with clear dialogue and good cueing throughout. The choral sound was warm and full, with superb balance across all vocal parts. Some minor issues with Mr. Byrne’s mic were quickly rectified. The few sound effects were suitable and well-timed. Occasionally, in higher octane numbers, the band had a tendency to overwhelm soloists but, generally, the balance between music and vocals was well handled in what can be a challenging show dynamically. Costumes were simple and true to the Victorian era with good attention to the boys’ school uniforms, the girls’ dresses and various changes for the adults. Braces and ties might have been a nice addition for the band to blend into the space even more. Make up and hair were well presented with Moritz’s distinctive hairstyle setting him apart from the outset. This was a theatrical feast of a show from North Wexford Musical Theatre. They are to be applauded for their talent, originality and the bravery of their choices in bringing this wonderful production to the Gorey stage. It was a privilege and a pleasure to attend. Bravo all! Pat McElwain Gilbert Adjudicator 2024/2025 Some photos kindly provided by the society - Photography by Darragh Carroll

Phantom of the Opera as presented by Wexford Light Opera Society

The Phantom of the Opera as presented by Wexford Light Opera Society: Saturday 4th May 2024. I’m nothing if not consistent. I still think...

The Phantom of the Opera as presented by Wexford Light Opera Society: Saturday 4 th May 2024.   I’m nothing if not consistent. I still think that Phantom of the Opera is thin on story, has fairly one-dimensional characters, and a very vague ending. It is a show that relies on a stunning musical score and the requirement of technical spectacle. However, having witnessed the Wexford Light Opera Society production, I can now admit that, when all the ingredients come together in the most crafted and precise combination, I can at last understand why it has been a phenomenal success on London, Broadway and who knows where else. I am equally confident that if this particular production was on any professional stage, it would stand up beside the best of the best. This production was quite magnificent. Perhaps the battle was half won even before the show started, given the grandeur and the capabilities of the National Opera House. But it’s one thing to have a beautiful stage, and something else altogether to turn it into a phenomenon.  Charged with the responsibility of bringing all the various strands of the production together was Director, Christine Scarry, and her first of many major achievements was to surround herself with the perfect team for the job. With a belief in your set designer, your lighting crew, your wardrobe mistress, your choreographer and your Musical Director, the battle is almost won before it has begun. When you have the confidence and foresight to select the perfect players for each role, you make life that little bit easier, and when you have a strong handle on what works dramatically, a perfect eye for what is aesthetically pleasing, and the wonderful imagination to give a production that extra personal stamp, then your job is complete and the end result is something very wonderful. That was the case with this production. The detail and work that went into every aspect of the show was immense, and drawing it all together with style and panache confirms Christine as a master of her art. I’m sure she may have done one or two dodgy productions in her day, but not THIS day. This day, she was supreme in her achievements, and I’m grateful to have been a spectator of that greatness.  During a night of wonderful music, one of the highlights for me was sitting back and enjoying the Entracte, which was something akin to attending a philharmonic concert, such was the standard and quality of a superb orchestra, under the excellent guidance of Musical Director, David Hayes. Throughout the show, the tones and tempi were excellent, giving life and energy to the score, hitting the crescendos with nerve-tingling ferocity, and melting into sublime, swathes of mellow legato. There was never a question of orchestra and vocalists being in competition, as the level and balance of the accompaniment was always perfect. Thanks to Chorus Mistress, Eithne Corrigan, good attention had been given to the choral work, with strong harmonies and clean, crisp diction. “Masquerade” was the showpiece of the vocal work, although the difficult “Don Juan” opera pieces were also very well-handled. It goes without saying that the principal singers were meticulously prepared.  Tony Carty, playing the role of The Phantom, having already performed a matinee that afternoon, was suffering from a sore throat when I attended on the final night of the show. I could tell in his early musical pieces that he was under some strain, and I mention this only to indicate the level of professionalism that he displayed in this performance. With true dedication, and superb restraint, he held back vocally on the easier and more gentle pieces of music and sensibly saved his powerful voice for those scenes where he needed to make a massive impact. In so doing, he avoided what could have been a disaster for the standard of the whole production. His acting throughout the show was excellent, and in managing his vocals so effectively, he persevered to ensure that the show’s climax was just that. This was theatrical craftsmanship, and I richly applaud his dedication.  The sensation of the show, however, was the performance by Karla Tracey as Christine Daaé. Her stage presence was strong and resolute, her acting was remarkable, her grace and elegance in movement was entirely what was required for her role, and I would quite simply run out of superlatives trying to express my admiration for her sublimely beautiful and powerful voice. In a role that demands much, she gave much more than I could have imagined. Her tone, her diction, her emotion, her range were all taken from the very top drawer of musical accomplishment. She may have been born to play this role. I remain in awe.  There’s a star in the making in the shape of Daniel Furlong, who most effectively took on the role of Raoul, Vicomte De Chagny. Doubtless, he will find himself cast in romantic leads in the future, possessing, as he does, a very fine tenor voice, good acting ability, and great stage presence. This was a confident and very capable performance.  Tony Brennan and Pat Lawlor, as Richard Firman and Gilles Andres, respectively, provided a light comedy duo, as the new owners of the Opera Populaire, confounded by the misfortune of dealing with a theatrical ghost and living Prima Donnas. Witty in the execution of their pieces, they were most impressive in the vocal challenges of the tricky ‘Notes’ numbers.  Ami Stahlut was a most impressive Carlotta Giudicelli, with a fabulous soprano range and a wonderful presence on the stage. She was dramatic and stubborn and delightfully self obsessed, making her character worthy of ridicule and many a good laugh. Very well played and beautifully sung.  Her counterpart was a pompous and buffoonish Piangi, played with great character and comedy by the very capable and likeable George Lawlor. With fine facial reactions and a stuffy awkwardness, he squeezed as much comedy as possible from his characterization. There was a dry, controlled, severity about Nicola Roche in the role of Ballet Mistress, Madam Giry, very strong and secure in her vocals, and mysterious in her station as go between from the Phantom to the rest of the Opera. Very confidently and dramatically played.  As stated in a previous review of Phantom, I’m never quite sure of the relevance of Meg Giry to the story, but regardless of that, Niamh Cullen gave good voice and personality to her role, with a confident presence and a warm character.  Eric Hayes made an impact as Buquet, the stage technician of dubious character, who meets an untimely end. Other notable performances came from James McDermott as a relieved Monsieur Lefevre, Dylan Walsh as the dramatic theatrical Monsieur Reyer, Stephen Byrne as the auctioneer and Catherine Walsh as the Confidante.  What made the chorus stand out in this production was their commitment and precision in everything that they performed. Routines were meticulously rehearsed, pictures on stage were sharp and artistically beautiful, and when they had an opportunity to shine vocally, they grasped it with both hands and sang their hearts out. I sensed their total belief that they were an integral part of something special, and they responded accordingly. Excellent work. Choreographer, Thérése O’Sullivan, took every possible opportunity to enhance the production with beautiful movement, whether it was the ballet dancers rehearsing or performing in the Operas. The full chorus have limited opportunities to shine, but in all they were asked to do, they were meticulous and energetic, with “Masquerade” being awesome in presentation and execution. But the terpsichorean highlights of the show were undoubtedly those moments when the Corps De Ballet took centre stage. Excellent work.  With a superbly designed and brilliantly built and painted set, perfectly selected projections, an amazing and industrious stage crew, under the direction of Stage Manager, Colin Murphy, perfectly built and sourced props and one of the finest stages in Ireland, this was a recipe for success. When you combine all the above with a superbly detailed lighting and effects plot and virtually flawless sound quality, then you get as close to technical excellence as it’s possible to get. What might have edged it even closer to perfection would have been a bigger organ, with bigger organ pipes that dominated that scene, a heavier fake body for the hanging of Buquet that stopped more abruptly, with a neck snap for horrific impact, and a much speedier falling of the chandelier, perhaps blacking-out with a light explosion, before it hit the stage. But I’m nit-picking really. Scene after scene, I was mesmerized by the visual strength of the sets, the use of candlelight, the controlled use of fog/mist, the flash effects, and just how smoothly and seamlessly everything moved and fit together. Technically, the show was quite simply beautiful.  Congratulations to the wardrobe team for selecting such a top-notch costumier to supply this show with a wonderful and varied wardrobe. The day wear for the principals and chorus were apt and respectable, and the theatrical wear for the Operas was luscious and beautiful. Particularly lovely were the several sets of beautiful ballet outfits for the Corps De Ballet. When the full cast took to the stage for the splendid “Masquerade,” it truly was an awesome spectacle, from wigs, to masks, to outfits, to footwear. Make-up was generally very good, although perhaps Carlotta and Piangi’s could have been more exaggerated and also the Phantom. From where I was sitting, I didn’t really catch the horrific effect when his mask was removed.  Finally, it behooves me to acknowledge that in the course of carrying out one’s duties as an adjudicator, one also has the privilege of gaining much knowledge from the experience of others. During this season, I have had many teachers in many disciplines, but tonight I was fortunate enough to gain wisdom and experience from two professors. Professors Christine Scarry and David Hayes. I shared that privilege with Wexford Light Opera Society, who blossomed and bloomed under such accomplished leadership. Thank you all for a sublime theatrical experience. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Paula Malone Carty

The Little Mermaid as presented by Striking Productions

Striking Productions The Little Mermaid 3rd to 5th May Rathwood Big Top. Adjudication Performance 5th May. As I concluded my journey as...

Striking Productions  The Little Mermaid 3rd to 5th May Rathwood Big Top.  Adjudication Performance 5th May.  As I concluded my journey as Aims Adjudicator, my destination was the Big Top in Rathwood. This was not just any performance, but a truly unique and captivating experience set amidst the enchanting trees of Rathwood. The front-of-house management was quite good, especially considering the challenges of a new and busy venue. Despite the increased demands and unfamiliar surroundings, the front-of-house team handled the situation with remarkable skill and professionalism. And a smile! Their ability to navigate the complexities of a new venue while ensuring a smooth and enjoyable experience for the audience was commendable. Their dedication and adaptability were evident, and their efforts significantly contributed to the production's overall success. Well done to the front-of-house team for their outstanding performance in facing such challenges. The Director was Robert Ó’Néill. Mr Ó’Néill demonstrated a deep understanding of this story's fun element and the out-of-world experience by effectively and beautifully bringing the magical underwater world to life on stage. The production's pacing was well-executed and given that this production was in a Big Top Tent, it made Mr Ó’Néílls job quirky, if not slightly different. Mr Ó’Néílls vision was evident in every scene. The attention to detail and the seamless integration from a Musical performed on a Stage to a Musical performed in a Big Top tent was exemplary, different, and simply superb. These characters had the most beautiful, shining personalities and costumes, and the love story unfolded before my eyes. I was stunned by how successful this production was given the venue. Mr Ó’Néílls direction shone here in what could only have been trying circumstances, and yet it was beautiful and a vision with each character superb in their roles. I applaud Mr Ó’Néill as director here. It must have been challenging, but seeing this venture's success is rewarding. Charming direction here, Mr Ó’Néill.  The Musical Director was Joan Butler. Ms Butler's expertise was apparent in the flawless execution of the iconic songs and the overall musical performance of the Orchestra. Tucked away neatly to the left of the stage and given the acoustics and the venue, the sound produced was gorgeous and nothing short of a miracle. The cast's vocal abilities shone with the orchestral accompaniment here and were expertly showcased, and Ms Butler's guidance undoubtedly contributed to the production's overall success. The brave option of using live music rather than backing tracks was a daring and correct move, adding depth and emotion to the storytelling. The musical director's passion for the score was palpable throughout the performance. A charming Musical Director with buckets of talent, Ms Butler, it was a joy to sit and listen to the gorgeous sound throughout this production with you and your Orchestra at the helm.  The Choreographer, Tracy Rea, demonstrated superb creativity and skill in the dynamic and captivating dance numbers. Her ability to adapt to the unconventional venue, with its various entry and exit points, was admirable. The dance styles added excitement and energy to the show, and her attention to detail was commendable. The children were enraptured by the flawlessly performed colours and movements. The seamless blending of movement and storytelling was a testament to Ms. Rea’s talent, which shone brightly in every dance sequence. The Stage Manager was Sandra Maye. The set design for "The Little Mermaid" in the Big Top tent was extraordinary. Despite the unconventional venue, the set was a visual spectacle that seamlessly transported the audience into the enchanting underwater world. The stunning projections were magnificent and extremely practical, adding depth and detail to the stage that would have been challenging to achieve with traditional set pieces. The creative integration of projections with the physical set was appropriate and innovative, enhancing the overall visual presentation and storytelling. The set design team's ability to adapt to the Big Top tent's unique demands while maintaining the production's magical atmosphere was truly commendable. Their work was a testament to their creativity, resourcefulness, and dedication to creating a memorable and immersive theatrical experience. The sound design in this production was a remarkable feat, especially considering the unconventional venue. The sound team expertly balanced the audio to ensure that every note and spoken word filled the space without overwhelming the audience. Despite the tent's acoustics challenges, the sound was clear, immersive, and perfectly complemented the actors' performances. From the powerful musical numbers to the subtle sound effects, the sound design enhanced the overall experience and transported the audience into the magical world of "The Little Mermaid." The lighting design in the Big Top tent was nothing short of breathtaking. The lighting team skilfully utilised the unique space to create mesmerising visual effects that heightened the emotional impact of each scene. With limited traditional rigging options, they creatively employed innovative lighting techniques to illuminate the stage and set the mood for the underwater adventure. The interplay of light and shadow added depth and dimension to the production, showcasing the talent and resourcefulness of the lighting crew. The costumes in this production were a true spectacle to behold in this unique setting. From the shimmering scales of the merfolk to the intricate detailing of the human characters' attire, every costume was a work of art. The vibrant colours and exquisite fabrics transported the audience to an underwater realm, and the attention to character-specific details was evident in each ensemble. The costumes not only enhanced the visual appeal of the production but also served as a testament to the creativity and craftsmanship of the costume team. The hair and makeup design in "The Little Mermaid" was a testament to the team's artistic talent. The imaginative and skilful makeup application brought the characters to life, with each actor's transformation adding realism and authenticity to their portrayal. The elaborate hairstyles and makeup designs complemented the costumes while enhancing the story, making it far more believable and natural, such as the intricacy and attention to detail.  In the unconventional setting of a Big Top tent, the props team demonstrated remarkable ingenuity and precision. The props seamlessly integrated with the vibrant set design, enriching the storytelling, and bringing the enchanted world of "The Little Mermaid" to life.  Emma Sunderland played the part of Ariel. What a glorious role and a beautiful lyrical voice this young lady has. Ms Sunderland’s' portrayal of Ariel was enchanting. She brought a perfect blend of innocence, curiosity, and determination to the character, capturing the audience's hearts with her beautiful voice and graceful movements. Her portrayal truly embodied the spirit of the adventurous and free-spirited mermaid. I loved you in this role, Ms Sunderland, and it was a stunning performance. I hope your journey on the stage in musical theatre will stay with you for a long time. Bravo.  Joshua Nolan played Prince Eric. Mr Nolan's portrayal of Prince Eric was charismatic and heartfelt. His princely demeanour and genuine emotions resonated clearly with me, creating a solid connection to the character. His chemistry with Ariel was palpable, and his performance brought a sense of romanticism and bravery to the role. His lovely, stunning vocals enhanced this role and your superb overall performance.  Kayla Kehoe played Ursula. Her portrayal was nothing short of magnificent. She exuded power, cunning, and theatrical flair, embodying the essence of a formidable villain. Her commanding presence and wicked charm added depth to the character, making every scene she graced with her presence utterly captivating and thrilling. Your magnificent role and superb vocal performance left me in awe of what you made of this character. And you looked amazing.  Kevin Reade played King Triton. No stranger to the stage, Mr Reade’s portrayal of King Triton was regal and profoundly moving. He brought a commanding presence and paternal warmth to the role, portraying the inner conflict and love for his daughter with great emotional depth. His performance radiated authority and tenderness, and this role was beautifully played—the perfect part for a fantastic actor. I wish you many more years of stage success, Mr Reade. It was a joy.  Brian Roche played Sebastian. What an absolutely delightful and joyful role this young man made of this character. Mr Roche’s exuberance and comedic timing breathed life into the character, infusing every scene with infectious energy and a simply lovely charm. His performance on stage was a true highlight.  Siobhán Kavanagh played Scuttle. This young lady's performance and interpretation of this lovely part were scene-stealing. Ms Kavanagh created eccentricity and comedic timing for the character and delivered a memorable and entertaining portrayal.  Holly Harmon played the part of Flounder. Ms Harmon acted this role in a way that was endearing and heartfelt. She embodied the innocence and loyalty of the character, creating a genuine connection with the audience. Showcasing a wide range of emotions, from youthful exuberance to moments of vulnerability, demonstrating versatility and depth in the performance. The actor's chemistry with other characters, particularly Ariel, makes Flounder a beloved and relatable character that I loved throughout.  Paddy Behan played the part of Grimsby. Mr Behan’s depiction of Grimsby was a refined and polished performance. Excluding authority and sophistication, capturing the essence of the character with poise, Mr Behan’s stage presence commanded attention, and his mannerisms and demeanour were beautiful. The actor's interactions with other characters, particularly Prince Eric, were so lovely and endearing, and I warmed to this gentleman in this role from the word go.  Audrey Cooper played the part of Flotsam. Both captivating and menacing, this lovely actor embraced the criminal nature of the character, exuding a sense of hostility and intrigue. Her physicality and vocal delivery conveyed a sense of foreboding, adding tension and drama to the production. The actor's ability to embody Flotsam's sinister presence contributed to the story's overall atmosphere, creating a compelling antagonist that was superb.  Tricia Millar played the part of Jetsam. A character with sinister elegance exuded a menacing charm that perfectly complemented Ursula’s villainy. The actress’s command of the stage and compelling portrayal of the character’s devious nature made her captivating and formidable. Aquata, played by Shauna Ray Lacey, Adrina played by Emma McNally, Atina played by Rachel Corcoran, Alanna played by Katie O’Shea, Adella played by Katie Phelan, and Arista, played by Grace Guerin; King Triton's daughters, were exceptional. These young ladies had magnificent voices and stunning appearances with fabulous costumes.  Chef Louis was played by Julien Jully. A funny, dramatic, and flamboyant characterisation which made us laugh. Well done  You all played a vital role in the success of this production throughout, and each of you played your parts beautifully. You were all like a pretty picture on stage that one could frame!  The Chorus Mistress was Joan Butler. The chorus was captivating, and their sound and presence on stage were enchanting. Their harmonious voices resonated throughout the venue, creating a truly gorgeous treat for the audience at every turn. This Chorus demonstrated wonderful talent and dedication, with their gorgeous voices seamlessly blending into each scene and contributing to the storytelling beautifully. This Chorus left a lasting impression on me. So, very well done. Stunning sound and vocals and gorgeous harmonies.  This production of “The Little Mermaid” was a triumph for this lovely Society. Massive creativity and resourcefulness delivered an unforgettable experience for your audience, including adults and children, on the day I attended. It’s a beautiful and striking venue and, in my opinion, a true success as this was your first venture in this phenomenal location, and I applaud you all. Bravo, and thank you for making my afternoon an absolute treat for the senses, the eyes, and the heart! Congratulations, and thank you for your outstanding warm welcome.  CAROLINE DALY JONES ADJUDICATOR SULLIVAN 2023 / 2024 Photos by Darragh Carroll

Evita as presented by Waterford Musical Society

Evita as performed by Waterford Musical Society: Friday 3rd May 2024. This was my fourth visit to Argentina this season, and each of the...

Evita as performed by Waterford Musical Society: Friday 3 rd May 2024.   This was my fourth visit to Argentina this season, and each of the four, while similar in ways, offered something different and something to challenge the critical eye. As with the previous three productions, this Evita was a great pleasure to watch and enjoy.  The Theatre Royal, Waterford, has, for a long time, been one of my favourite venues. It has a great atmosphere, being both expansive and intimate, and when on that stage, one can almost feel the audience. I’m quite sure that the cast of Evita know exactly what I mean, for the audience for their beautiful presentation were enthusiastic and very appreciative of the production, the performances and the wonderful drama that unfolded in the telling of the story of Eva Peron. Director, Liam Butler, presented us, generally, with a tidy and familiar production, but managed to throw in a few surprises along the way. I was somewhat distracted by the set for the show, a series of columns, brick on one side and decorative on the other, but there didn’t always seem to be logic in their positioning on the stage. They moved a lot, but with the exception of the beautiful balcony at the start of Act Two, they always looked rather random. Stage management, under Shane Taheny, seemed to know where everything was meant to be, and worked diligently to keep the show running smoothly, but often I was mystified as to the location being suggested by various settings. In most other respects, this was a very coherent production, with the available stage space used very effectively. Good pictures were achieved, and the main action of the piece was always nicely highlighted. Particularly well-handled were the final scenes of the show, which were excellent in timing and atmosphere. The use of projected images for the montage was quite brilliant, and infinitely more successful than physically recreating the various numbers that the montage features. This was like Eva’s life flashing through her mind as she lay helpless and tormented in her bed. I loved it.  The best tribute I can pay to Musical Director, Wayne Brown, is that I never noticed him, nor questioned his work or ability. I simply sat back and enjoyed the beautifully played music, which accompanied the show unobtrusively, like the soundtrack to a movie. I heard nothing that drew my attention in any negative manner, as tone, rhythm and balance all seemed to just flow together quite effortlessly. His orchestra were finely tuned and precise in their playing, and his vocalists did all that was required to present a delightful sound throughout the show. A very good job, all round.  The chorus contribution to the show was of a high standard, both visually, with tidy and often energetic dance routines, and vocally, with very good and secure harmonies and precise diction. Their actions and reactions to the drama were natural and very believable.  At the outset of the show, I was a little unsure of Paula Weldon in the role of Eva Duarte, feeling that she didn’t quite capture the youthful ambition of her character, but as the evening progressed, so did my admiration of her talent and ability. As she matured and easily seduced Peron, there was a passion in her performance that escalated until her illness slowed her down. From then on, her performance was awesome, culminating in a truly memorable and heart-breaking final scene. This was her best acting of the night. Throughout the show, however, there was a consistently good vocal quality on display, which more than convinced me why she was cast in the role.  Dermot Keyes was the kindest Peron I have seen this season, with a very touching love for Eva, which seemed to break his heart as much as hers when she fell ill. This was a strong and steady performance, delightfully lyrical in his vocals, and with such a striking stage presence. Beautifully acted from start to finish.  Brian Tuohy, similarly, had a very strong presence on the stage, and was quite powerful in his vocals, perhaps on occasions a tad strident. There were moments when I wished his sneer towards Eva would soften to show more compassion, even admiration for her achievement, but he was quite ruthless in his sardonic cynicism towards her. Nevertheless, his performance was extremely self-assured.   Timmy Moloney captured the easily deluded character of Augustin Magaldi delightfully. His singing was of a very fine quality, if perhaps he needed to be more flirtatious in the execution of his song. He did very effectively project the annoyance and frustration of realizing that he had been little but a stepping stone for Eva.  Lauren Cardiff displayed all the correct emotions of being rejected as Peron’s Mistress. Her delivery of “Another Suitcase” was beautiful enough to leave us wanting to hear more from her.  The Children of Argentina sang divinely in Santa Evita, with perfect tuning and beautiful, clear diction.  There was very good work done by choreographer, Ali Reville, particularly in the precise and military routines of the generals and the Aristocratic chorus. The Art of The Possible, Peron’s Latest Flame, and The Chorus Girl Hasn’t Learned Her Lines were delightfully regimented and classy in appearance, with simple but extremely effective patterns and movements. There was great energy, too, in Buenos Aires, A New Argentina and The Money Kept Rolling In, which were all performed with energy and good accuracy by an enthusiastic chorus. In a show that doesn’t always stand out for its dancing, this was an engaging presentation. It was a nicely costumed show, with Eva always looking extremely stylish, good attention to the Generals and good work on the ordinary people. There was an almost Ascot-Gavotte look and feel about the rich peoples’ chorus, which was most effective, and another nice original idea. Hairstyles/wigs were very appropriate and well-managed. From a make-up point of view, the standard was very good, and the work done on the ailing Eva was most impressive. The stage was nicely dressed with only essential furniture, and a very good array of banners, signs, flags and other appropriate props. The show was visually very attractive.  The very delightful Chairperson, Seneiva Magill, gave me a warm welcome to one of my favourite theatres, and was attentive and hospitable throughout the evening. I’m indebted to you all for a most enjoyable night, and I only hope that you will keep striving to be your best and keep entertaining your audiences as much as you did with this lovely production. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Colin Shanahan

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