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Made In Dagenham

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17 Mar 2025

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Hot Mikado

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25 Mar 2025

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The Witches of Eastwick

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2 Apr 2025

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Disney’s Beauty and the Beast

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13 Apr 2025

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The Clockmakers Daughter

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15 Apr 2025

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LATEST NEWS

The Wedding Singer as presented by Cecilian Musical Society

Public Adjudication   The Cecilian Musical Society  The Wedding Singer  Saturday 23rd November 2024  The Wedding Singer is proving to be...

Public Adjudication   The Cecilian Musical Society  The Wedding Singer  Saturday 23rd November 2024  The Wedding Singer is proving to be a popular show this season. With a nostalgic nod to the 1980s, it is a feelgood romp with a classic rom-com narrative. A very funny book and an infectious, 80s-inspired score, combine to make for a hugely entertaining few hours of pure escapism. Sondheim, it is not. But, for me, any show that can get away with lyrics such as “Oh Linda, you make me feel, like a fur trapper clubbing a seal” without the audience staging a mass walkout, deserves to be seen! The Cecilian Musical Society knew the gig and milked such comedic elements of the show quite unapologetically. It was a vibrant, colourful production, very worthy of the wonderful Lime Tree Theatre stage.  Front of House set a fun tone for what was to come. Society members wore brightly coloured shell suits in homage to the dubious fashion sense of those of us who remember wearing such high-end fashion back in the day. Rubik’s cubes and other 80s paraphernalia helped us all enter into the spirit of things before taking our seats. The funny pre-show announcements, courtesy of ‘George,’ had us nicely warmed up before the main event.  Director Des Henn gave us a highly entertaining show, with a strong blend of humour, romance, and nostalgia. It was a slick, well-rehearsed production that rattled along at a frenetic pace, with smooth transitions and fluidity between scenes. There was a tendency for principals to break the fourth wall and play lines directly to the audience on occasion, which jarred. Little bits of detail needed more attention. The glasses on Julia’s tray, as she entered the opening scene, were all empty. In the revolving restaurant scene, everyone ‘drank’ from empty glasses. The waiter ‘poured’ a drink for Tiffany without taking the lid off the bottle and she proceeded to ‘drink’ from her empty glass. Lots of work had clearly been done on characterisation and relationships between characters. There were so many standout performances in this show under Mr. Henn’s guidance. Overall, a really solid piece of direction with a strong eye for comedy, pace, and good attention to characterisation.  Michael Young did an excellent job as musical director. Conducting from his keyboard, Mr. Young got an amazing sound from his ten-piece band. Well chosen keyboard patches gave us a really authentic 80s sound which captured the vibrancy of the era perfectly. There was great attention to detail in the choral aspects of the show, with superb ensemble harmonies, both onstage and off. Choral highlights included ‘Pop,’‘Casualty of Love’ and ‘All About the Green.’ From the upbeat ‘It’s Your Wedding Day’ to the beautifully sensitive ‘If I Told You,’ each number was perfectly judged by Mr. Young and his band.  Choreographer Barbara Meany brought considerable experience to bear on this production. Routines were inventive, well-synchronised and very well performed. The opening ‘It’s Your  Wedding Day,’ showcased a large ensemble cast, setting a tone of celebration and high energy which drew us in from the very start. ‘Saturday Night in the City’ was a brilliantly performed, fast paced number which drove the narrative as we were thrust into the bustling nightlife of the decade. ‘All About the Green’ was another very impressive number. I loved the clever and creative use of chairs in a routine which was extremely slick and sharp. How wonderful it was to see so many gentlemen on stage and performing with such great precision in ‘Single.’ This was brilliantly executed by the lads.  Jason Ronan was a very charismatic Robbie Hart. He managed to balance this charisma with an engaging vulnerability which had us rooting for him right through the bumpy journey of his complicated love life. Mr. Ronan had good comic timing and very strong stage presence. He was very strong vocally, with superb tone and musicality. From the hilariously manic ‘Somebody Kill Me’ to the beautifully tender and sincere ‘Grow Old With You,’Mr. Ronan demonstrated a great understanding of the wildly contrasting styles that Robbie has to get to grips with.  Kim Ronan delivered an exceptionally good performance in the role of Julia, the waitress at the apex of the show’s complex love triangle. There was a sincerity and authenticity about Ms. Ronan’s characterisation that made her utterly believable. Every word had meaning and every movement had a reason in this most convincing portrayal. Ms. Ronan’s comic timing was exceptionally good. She also had a wonderfully strong and expressive singing voice. I loved her very funny ‘Come Out of the Dumpster’ and ‘If I Told You,’ with Mr. Ronan, was beautifully delivered. The chemistry between herself and Mr. Ronan was palpable. A truly captivating performance on all fronts.  Fulfilling the role of Julia’s “fairy godmother, only slutty” was the brilliant Alison Kearney. This was another exceptional characterisation. Ms. Kearney was hilarious in the role; unapologetically loud, brash, and flirtatious. She was so in tune with the comedic elements of the role, demonstrating wonderful comic expression and timing. This was a true ‘triple threat’ performance from Ms. Kearney. She gave a top-notch display of singing too. ‘Saturday Night in the City’ was an absolute tour-de-force of a number, performed with amazing presence, precision, and unbridled energy.  Brian Curtin, in the role of Sammy, looked like he had just stepped out of a Delorean, as he sported the most authentic looking mullet I’ve seen since 1987. Mr. Curtin had a lovely, comedic charm, playing the stereotypical band member who isn’t so lucky with the ladies. There was great chemistry with his fellow bandmates. He really had great fun with the role. Mr. Curtin sang very well in ‘Today You Are a Man’ but really came into his own during the brilliant ‘Single,’ leading from the front with a superbly spirited performance.  There are hardly enough superlatives to describe the performance of Jamie Sheehan as androgynous keytar player, George. This was a truly excellent portrayal of the flamboyant band member. In a role that can often be overplayed for laughs, Mr. Sheehan struck the perfect balance between comic campness and charismatic presence in a most convincing portrayal. His vocal performance provided many comic highlights. I loved the hilariously knowing, ‘Spandauesque’ ‘George’s Prayer’ which was squeezed for every drop of comic potential. And the fabulous ‘Move That Thang’ was the perfect showcase for Mr. Sheehan’s brilliant dance ability.  Barry Danaher was truly obnoxious as the sleazy Wall Street banker, Glen. Mr. Danaher revelled in this villainous role, eliciting sharp intakes of breath from the audience at his misogynistic, self-absorbed antics. The epitome of materialistic arrogance, he was the perfect foil for the unfortunate, but ultimately more wholesome, Robbie. However, there was still a trace of comedic charm in Mr. Danaher’s portrayal that meant we didn’t despise Glen. We enjoyed disliking him and this subtle charm kept us engaged, in spite of his less likable qualities. He did very well in ‘All About the Green’ with a very strong, arrogant performance.  Strength in depth is the hallmark of a great show and that was certainly the case here as Hilary Phayer took to the stage as Linda, Robbie’s ex-fiancée and the reason behind his heartbreak. This was a standout performance, very physically aware, which was hilariously funny and suitably over-the-top. Her attempted seduction of Robbie was brilliant in all its duplicitous glory. ‘Let Me Come Home’ was one of the best vocal performances of the night as Ms. Phayer delivered a powerhouse, riotous romp which was both sensual and disturbing in equal measure.  Gráinne Hartnett was a sprightly and very funny Grandma Rosie and boy did she enjoy every minute on stage. She had a wonderfully slow and measured physicality which contrasted brilliantly with her energetic antics in ‘Move That Thang.’ I’m still wincing at her very impressive splits! Blessed with a youthful visage, Ms. Hartnett could have benefitted from a few ‘lines’ to age her a decade or two. However, this didn’t take away from what was a really entertaining performance.  Gillian Hunt played Julia’s mother, Angie, a bitter divorcee with a dubious moral compass. Ms. Hunt played the role very well and her shallowness shone through as she encouraged her daughter to cash in on Glen’s more favourable financial circumstances.  There was a host of cameo performers, all of whom provided very strong support, helping to uphold the very high standards of performance across the board. Chief amongst those was Brian Henry who, with just a few short lines, gave one of the funniest performances of the night. Credited in the programme as Bum, Mr. Henry was far from the butt of anyone’s jokes in his very humorous take.  The ensemble members in this show were energetic and very focused as they became wedding guests, nightclub revellers, office workers and a myriad other characters. They danced with great precision and performance levels and their choral singing was excellent. Great work from all involved.  Ray Burke did a really good job as stage manager. Changes were so slick and transitions from scene to scene were choreographed perfectly to ensure that there was no let-up in pace. As efficient as these changes were, I wished, from time to time, that crew weren’t visible. A really small point which might have made what was already an excellent job even better.  The set design was a clever blend of modern technological elements and more traditional set pieces. Multiple screens allowed for quick transitions between locations. With technology, however, can come technological glitches and the screens were, unfortunately, a little ‘glitchy’ at times, causing some distraction. Content was dynamic, enhancing the storytelling at all times. Fading some of the images in and out might have been a good idea as they were very abrupt at times. The physical elements of the set were so well constructed and beautifully finished. The house was most impressive and the sinks, along with the toilet cubicles, looked great, as did the dumpster. I also loved the floor with its very 1980s neon lines.  Lighting was very impressive for the most part. It was colourful, bold, and dynamic in the dance numbers yet sensitive and atmospheric in the more tender moments. There was really good attention to detail in complementing what was happening on the screens. Haze and gobos were used very effectively, especially in ‘Saturday Night in the City’ which looked fabulous. LED battens worked really well, particularly the well-timed ‘stabs’ during ‘Casualty of Love.’ Things were let down a bit in ‘George’s Prayer’ as the cues for dialogue were always a little late. For me, it appeared that the operator was going on the lines rather than anticipating the lines.  Sound was in great hands, with excellent cueing and clear, warm dialogue settings throughout. Sound effects were perfectly chosen and at appropriate levels. The vibrating bed effect raised quite a few giggles! The band sound was excellently mixed and it was so refreshing to hear every word, in every song. Choral singing, both on stage and off, was outstanding in its balance and the vocal warmth. Underscored dialogue was also given great attention. Again, we heard everything. Even though we lost Rosie and George’s mics momentarily in ‘Move That Thang,’ we could forgive that minor lapse as everything else was so good.  Props were appropriate to the decade, for the most part. The wedding cake looked well and items such as the crates and trash cans added to the authenticity. Glen’s phone, with its enormous battery, was hilarious and the perfectly chosen bedclothes had obviously been sitting in someone’s hot press for the last forty years. Rosie’s Walkman was a funny and nostalgic nod to the era. The CD player box was obviously empty though and needed something to give it a bit of weight.  There was great work from the costume department, capturing the distinctive style of the 80s. From the coordinated baby blue of the opening wedding party to the band’s matching jackets, there was meticulous attention to detail. Individual looks like Julia’s cutesy dungarees, George’s flamboyant attire, Sammy’s red leather jacket and Rosie’s luminous lycra added so much to the authenticity and visual impact of the show. The Wall Street business uniforms were suitably sharp for ‘All About the Green.’ Holly’s wonderful outfits projected her flirtatious personality and Linda looked every inch the rock goddess.  Hair and make-up were perfectly suited to the era. Sammy’s mullet took pride of place and George’s look had Karma Chameleon vibes. Great attention to detail from all involved.  This was a super production of a most entertaining show by Cecilian Musical Society. The in depth talent in the company was such a pleasure to see. It was a real spectacle of a show with superb choreography, excellent musicality, and wonderful performances across the board. It was a pleasure to be in attendance.  Pat McElwain  Gilbert Adjudicator 2024/2025

The Addams Family as presented by Newcastle West MS

Society name: Newcastle West Musical Society Show name: The Addams Family Adjudicator date of attendance: 07/11/2024 Brief overview  of...

Society name: Newcastle West Musical Society Show name: The Addams Family Adjudicator date of attendance: 07/11/2024 Brief overview  of show and evaluation of Front of House From the moment guests walked through the door, the front-of-house experience was warm and inviting, setting the tone for the evening. Despite the unconventional use of a sports hall as the venue, the transition to a theater space was thoughtfully executed, and the show emanated a strong sense of community. The front-of-house team made an excellent first impression with their warm and friendly welcome. The community spirit was evident, with a sense of inclusion that was a lovely introduction to the evening’s entertainment. The atmosphere was transformed into one of intimacy and excitement, with the audience immediately drawn into the world of the Addams family.  Director-  Direction and Production Director Susan Browne was responsible for guiding the creative vision of The Addams Family , and her dedication and passion for the project were evident throughout. However, the dual responsibility of directing/choreographing, and also performing as Morticia Addams, presented some challenges for the production. In scenes where Susan was not performing, there was a noticeable improvement in the attention to detail, with stronger pacing, character interactions, and more precise blocking choices. In the other scenes some challenges affected the flow of a few scenes, particularly those that required smooth transitions and more fluid interactions between performers. The Addams Family  thrives on sharp wit and quick exchanges, and the slower delivery in some scenes diminished the impact of the humor. Small details benefit from a director who can observe the action more objectively from a distance. Given the scope of the production, it’s clear that an assistant director could have been a valuable asset, helping to manage the finer details and offering a fresh perspective. With some additional support, the direction could have been even more polished, allowing the production to fully reach its potential. Musical Director-  Direction and Orchestra Musical Director Elaine Davern led the orchestra with great skill, ensuring the music was well-balanced and the band’s lines were clear and present throughout the performance. The band performed excellently, and the balance between the orchestra and singers was effectively maintained, ensuring that the vocals were never overpowered by the instrumental sections. The audience could clearly hear the nuances in the musical score, which enhanced the overall experience. However, there were moments during certain numbers, where the vocal timing and cues seemed slightly off. The fault here appeared to lie more with the cast than with Elaine’s cueing or musical preparation. With more preparation here the cast would be more attuned to their cues and the musical timing, and the blend of voices. Leading Principles Gomez Addams (Colman Deely):  Colman's performance as Gomez Addams had moments of charm, and his mellow vocal tone was a highlight. The pacing of his dialogue felt slow, and he struggled to inject the necessary energy and flair into the character’s comedic moments. Gomez is meant to be a dynamic and larger-than-life character, and the portrayal occasionally lacked the exuberance required to fully capture Gomez’s playful spirit. A more energetic delivery could have allowed the comedy to land more effectively. Morticia Addams (Susan Browne):  Susan’s vocal performance as Morticia was powerful, and she demonstrated an impressive command of the songs' ranges. However, her characterisation of Morticia felt somewhat stern and overly dramatic at times. Morticia is meant to exude an air of unflappable calmness, even in her more exaggerated moments, but the interpretation leaned more towards a somber tone. With a bit more lightness and nuance, Susan could have delivered a more balanced performance. Wednesday Addams (Molly Sparling):  Molly’s performance as Wednesday was one of the standout moments of the production. She captured the character’s sardonic wit perfectly and displayed excellent vocal ability. The chemistry with her co-star, Padraig Doherty (Lucas Beineke), was palpable, and her portrayal of the complicated father-daughter relationship with Gomez was particularly well-executed. This performance suggests that Molly is an exciting talent with a promising future in musical theater. Lucas Beineke (Padraig Doherty):  Padraig brought a refreshing energy to the role of Lucas, providing a great contrast to Wednesday’s darker character. His vocal performance, especially in I’m Crazier Than You , was beautiful and well-matched to Sparling’s Wednesday. His portrayal of the character was believable and full of energy, making him an engaging presence on stage. Supporting Roles- Singing (if applicable) and Acting Pugsley Addams (Tiernan Bourke):  Tiernan’s portrayal of the mischievous younger brother was endearing. Although a little hesitant in the early scenes, he grew into the role and held his own alongside the more experienced cast members. His voice showed great potential, and with further development, he could become an even more standout performer. Alice Beineke (Anne Marie Murphy):  Anne Marie delivered a performance that was one of the strongest in the show. Her powerful voice was a major asset, although there were moments when she could have pushed her character’s madness and eccentricity further, particularly in Waiting . Still, her portrayal was convincing, and her voice added depth to the character. Mal Beineke (Charlie O’Connell):  Charlie’s portrayal of Mal was understated but effective. His portrayal of a man bewildered by the bizarre Addams family was believable, but there were opportunities to further explore his bewilderment and confusion to add more layers to the character. Fester Addams (Eamonn O’Connor):  Eamonn’s portrayal was an audience favourite. More work on the nuances of Festers eccentricities, and playful energy would have brought more depth to the quirky nature of the character, as well as some accent work. I would suggest some vocal lessons to create greater strength in this area.  Grandma (Annmarie Keating):  Annmarie’s performance as Grandma was one of the most delightful aspects of the show. She brought a wonderful sense of humor and quirkiness to the role, and her moments on stage were genuinely funny. However, some of her best moments felt a bit underdeveloped, which may have been due to directorial choices. Still, the performance was a highlight. Lurch (Paul Keys):  Paul had a lovely voice, but unfortunately, he missed his key in the finale. Lurch’s character also had more potential for comedic emphasis, particularly in his slow movements. A more exaggerated performance in this area would have enhanced the humor of his character. Chorus/Ensemble The ensemble worked hard and clearly enjoyed themselves on stage, bringing energy and life to the production. Though their performances had the potential to be more polished, they demonstrated clear commitment to their roles and created an enjoyable atmosphere on stage that was spirited and lively. With more refinement, the ensemble could elevate their performances even further, showcasing the strength of the entire company. Stage Management & Set Design The set design was cleverly executed, making effective use of the small stage space and limited wing area. The set was well-painted and decorated, creating a visually appealing environment. However, the pace of scene changes could have been quicker, as they were a bit slow, affecting the overall momentum of the show. The inclusion of a curtain for external scenes, like Moon and Me , was an interesting idea, and this device could have been used more frequently to signal transitions between spaces. Technical- Light and Sound  The sound design was generally effective, providing a good balance between the music and vocals. However, there were moments when the chorus could have been lifted more in the mix to ensure their voices were heard more clearly. Some missed cues, but nothing major to affect the performance. While the lighting was basic, it was used effectively to support the mood of the production. In this design lies the proof that a lot can be done with a small rig. Some important lighting cues were missed, particularly during the “ding” moments of Gomez’s scenes, which impacted the intended dramatic effect. Visual- Costumes, Hair and Make Up The costumes were well-executed, with a clear attention to detail that helped define each principal and chorus character. The makeup was particularly impressive, with ghostly shading adding to the gothic atmosphere of the show. Hair was styled to suit each character, adding an extra layer of visual detail that made the production aesthetically pleasing. Adjudicators suggestions/ comments-   overall comments on the production and comments to enhance the standard for future performances. In conclusion, Newcastle West Musical Society’s production of The Addams Family  was a strong and enjoyable effort. While the direction, performances, and technical elements showed clear potential, there were areas where more refinement and attention to detail could elevate the overall production. Additionally, some performances would benefit from more energy and focus. With continued development and a little more fine-tuning in both rehearsal discipline and directorial oversight, Newcastle West Musical Society’s future productions will undoubtedly be even stronger. The foundation of talented performers and dedicated team members is clear, and with the right adjustments, they can achieve a higher level of theatrical excellence.

Shrek as presented by Fermoy Musical Society

Society name: Fermoy Musical Society  Show name: Shrek  Adjudicator date of attendance: 03.11.24 Brief Overview of Show and Evaluation of...

Society name: Fermoy Musical Society  Show name: Shrek  Adjudicator date of attendance: 03.11.24 Brief Overview of Show and Evaluation of Front of House  Fermoy Musical Society’s production of Shrek on Gala night provided a delightful and immersive experience right from the moment patrons entered the venue. The front of house was transformed into the whimsical world of Duloc, with beautifully decorated corridors and a mini set where audiences could take photos with the characters. This creative touch set the tone for a fun-filled evening. On Gala night, the catering was exceptional, adding a festive and personal atmosphere that further enhanced the overall experience.  Director – Direction and Production  Killian Collins’ direction brought many strong moments to Shrek , particularly in terms of character development and humour. The pacing was effective throughout most of the show, and the relationships between characters felt well-developed, giving the production emotional depth. However, the final scene faltered due to poor blocking, which undermined its impact. The absence of the sunset reference in the climax was noticeable, leaving the wrap up of the story lacking. The Dragon, which should have been a key visual spectacle, was unfortunately not visible to the audience, diminishing its intended grandeur. The decision to have Gingy portrayed by two different puppets operated by two different performers seemed awkward, as it created inconsistency. Additionally, while the idea of a dragon puppet had potential, its execution was not as fluid or dynamic as one would expect for such an important character. Overall a delightful interpretation of the Disney classic, that was entertaining and enjoyable throughout.  Musical Director – Direction and Orchestra Ronan Holohan’s direction of the orchestra showcased a talented group of musicians, with particularly impressive instrumental performances. However, the orchestra was occasionally too loud, particularly the brass section, which overpowered the vocalists, making it difficult to hear soloists even from the fourth row. While the chorus performed well and provided a punchy, well-rehearsed vocal presence, balancing the sound to ensure the voices of soloists could be heard more clearly would improve the overall experience.  Choreographer – Choreography  Therese O’Sullivan’s choreography was one of the highlights of the show. The dance numbers were lively, energetic, and tailored to the cast’s abilities, adding a delightful physicality to the production. The choreography was clean, well-executed, and effectively contributed to the pacing and energy of the show. However, one particular number “Forever” felt disorganized and didn’t contribute meaningfully to the storytelling. The choreography here appeared chaotic and detracted from the flow of the show, but all the other dance numbers were engaging, creative, and really well-performed.  Leading Principals – Singing and Acting  Shrek (Ian McGuirk): Ian delivered a strong portrayal of the iconic green ogre. His voice was beautiful, with a rich, pleasant tone, especially during the softer moments. He developed the character’s arc well, showing real growth. While his interpretation leaned into a more “laddish” version of Shrek, which worked well, it didn’t fully capture the darker, more intimidating aspects of the character. His anger could have been more commanding in certain moments, but his softer side was particularly endearing.  Fiona (Lisa Feerick): Lisa’s portrayal of Fiona showcased a strong vocal performance, but there was room for more contrast in exploring Fiona’s dual personality. Her physicality was excellent, and she was clearly comfortable on stage. The chemistry  between Fiona and Shrek was strong, but the transition through I Got You Beat felt somewhat abrupt; a more gradual build could have enhanced the moment.  Donkey (Jack Fitzgerald): Jack’s interpretation of Donkey was outstanding. His vocal control and facial expressions were excellent, and he brought a vibrant, comedic energy to the role. He expertly captured the nuances of the character, maintaining his energy even in scenes where he wasn’t the focus. His comedic timing was perfect, and he brought humour and heart to every moment.  Lord Farquaad (Diarmuid Vaughan): Diarmuid’s portrayal of Lord Farquaad was thoroughly enjoyable. He embraced the character’s prissy, pompous traits with ease, providing a performance that was both entertaining and comedic. His vocal performance was strong, and his physicality— particularly while kneeling— was impressively fluid, adding to the humour of the character.  Dragon (Rebecca Flavin): Rebecca’s vocal performance as the Dragon was impressive, with a powerful range that was effortlessly executed. However, her performance lacked the personality and sass that is typically expected of the Dragon. The character is known for its confidence and flair, but Rebecca’s portrayal felt reserved and didn’t bring the expected vibrancy. While this could have been a directorial choice, it did detract from a character that could have been a show-stealer.  Supporting Roles – Singing and Acting  Young Fiona (Lauren Daly): Lauren’s portrayal of Young Fiona was charming and mature beyond her years. Despite the challenge of performing alongside older actors, she held her own with poise and confidence. Unfortunately, some sound imbalances meant that her voice wasn’t always audible, particularly at the end of the trio. Teen Fiona (Florence Dewhurst): Florence’s Teen Fiona showed promise with a lovely stage presence and a strong voice. She portrayed Fiona’s vulnerability and longing well, and there is great potential for her to further develop into an even more powerful performer in future productions.  Gingy (Orla O’Dwyer): Orla’s portrayal of Gingy was enjoyable, with strong vocalisation throughout. However, it was puzzling that she did not puppeteer Gingy in the first instance, which felt inconsistent and may have confused the audience. A more cohesive approach to puppeteering would have strengthened the character’s impact.  Mama Ogre (Colette Daly)  Niamh delivered a performance filled with a strong and commanding presence. Her voice carried a sense of authority and maternal depth that resonated well with the character. She effectively conveyed Mama Ogre’s motherly instincts, which made her decision to kick her son out at age seven feel all the more dramatic.  Papa Ogre (Andy Armitage)  Donagh brought a soothing quality to Papa Ogre with his pleasant vocal delivery. His focus was primarily directed downward toward his son on the floor, which limited his engagement with the audience. While this made his interaction with his son feel intimate and sincere, it created a disconnect with the audience. A greater effort to lift his gaze and share his emotions with the audience would have enhanced his performance.  Pinocchio (Freddie Dewhurst)  Freddie offered a consistent and well-executed portrayal of Pinocchio. His commitment to voicing the character was commendable, maintaining the high-pitched tone throughout without faltering. This effort to sustain the voice may have slightly affected his volume. His characterisation was charming and believable, effectively capturing the physicality of a “wooden” boy with detailed and deliberate movements.  Bishop (Tom Beresford): Tom Beresford’s portrayal of the Bishop was understated but lacked the gravitas that the role needed. Additionally, there were some issues with the character’s accent work, which needed more consistency.  Chorus/Ensemble – Singing, Acting, and Choreography  The chorus was vibrant, energetic, and brimming with enthusiasm. Their singing was strong and polished, and they brought the fairytale characters to life with distinct personalities. Whether portraying the eccentric fairytale characters or the uniformed citizens of Duloc, the chorus’s performances were well-synchronised and engaging. Their commitment to each scene was impressive, and they contributed significantly to the show’s dynamic energy. The choreography and blocking were thoughtfully designed, with movements that helped maintain the flow of the show while also contributing to the storytelling.  Stage Management & Set Design  The set design was highly creative, featuring modular trucks that should have allowed for efficient scene transitions. The set pieces were beautifully painted and carefully crafted, with attention to detail. However, the scene changes were slow and caused pauses that interrupted the flow of the performance. Given the modular set design, it could have been more effective if the cast were choreographed to move the pieces, which would have added a layer of stylized movement and kept the energy up.  Technical – Lighting and Sound  The lighting was mostly effective, though there were some technical issues that affected the overall polish of the production. A significant problem arose during the scene  leading up to Forever and during the song itself, where technical difficulties resulted in much of the action taking place in darkness. The lighting lacked the finesse required to highlight key moments, and the follow spot was problematic, often failing to hit its mark  and moving erratically across the stage. A second follow spot could have been beneficial for several songs to ensure key characters were consistently illuminated.  Visual – Costumes, Hair, and Makeup  The costumes were impressive, with a great deal of attention to detail. The fairytale characters’ outfits were particularly well-designed, capturing the essence of each character. The Duloc citizens’ costumes provided a uniform and cohesive look for the town. However, Shrek’s costume didn’t fully convey the character’s large, imposing presence, as the padding seemed insufficient to create the desired effect. While the makeup was overall detailed and well-executed, Shrek’s makeup had some inconsistencies. His cheeks could have been shaped more to create a rounder look, and there was a noticeable mismatch in skin tones between his face and hands. Additionally, his legs were left unpainted, which detracted from the overall effect.  Adjudicator’s Suggestions and Final Thoughts  The production had many standout elements, and with some attention to detail, it could be elevated to a higher level. Improving scene changes, ensuring consistent lighting, refining technical aspects, and maintaining energy during the more chaotic moments would enhance the overall experience. Additionally, ensuring consistency in costuming and makeup across all characters would contribute to a more polished production. With these adjustments, Fermoy Musical Society has the potential to create something truly magical in future performances.

Shrek as presented by Nenagh Choral Society Youth Academy

Nenagh Choral Society Youth Academy  Shrek the Musical   Friday 4th October 2024  It is hard to put into words how impressed I was by the...

Nenagh Choral Society Youth Academy  Shrek the Musical   Friday 4th October 2024  It is hard to put into words how impressed I was by the cast of ‘Shrek the Musical’ which played at the Scouts’ Hall in Nenagh. This group is everything that AIMS should be proud of. What a joy it was to witness over fifty young people, performing to a phenomenally high standard, being expertly guided by a homegrown director/choreographer and doing so against a backdrop of excellent production values.  Front of house was a classy affair, with exceptionally friendly ushers, formally dressed, ensuring that everyone was looked after in a most efficient and welcoming manner. The bustling foyer, bedecked in green and buzzing with excitement, set the tone for the fabulous production to come.  Director, Stephanie Browne, did an excellent job on this most endearing production, which was brim full of heart, warmth and comedy throughout. Ms. Browne’s attention to the narrative detail was wonderful and she ensured that every cast member knew exactly what was going on at every turn. Attention to detail was everywhere to be seen, from the excellent props to the exquisite set, to the stunning costume plot. Nothing was left to chance in a production that was fast-paced and exceptionally slick from beginning to end.  Ms. Browne’s choreography was equally impressive. Not only were the quirky numbers brilliantly executed by a very skilled ensemble, they were also infused with comic business aplenty and every cast member was in on the joke. This was never clearer than in the brilliantly performed ‘Freak Flag’, which showcased this company’s dancing skills at their very best. The ‘Morning Person’ rat tap dance, with a nod to 42nd Street’s iconic opening, was clever and hilarious to boot.  Mary-Rose McNally was Musical Director for the show and her orchestra was clearly comprised of excellent musicians. The sound was big and the band was rockin’! However, they were far too loud in the brassier numbers, often drowning out soloists, harmonies and underscored dialogue. Over amplification of the brass section appeared to be an issue and I felt that more work needed to be done with the sound department to ensure that performers could be heard. Principal singing was of a very high standard throughout. Ensemble vocals were also top-notch particularly in the big production numbers like ‘Freak Flag’ and the brilliant finale number.  Stephen Keegan gave a very nuanced performance as the titular character, showing us that ogres do, indeed, have layers. Mr. Keegan treated us to layers of anger, determination, hope, despair and love in what must have been a dream role for him to play. Every single fibre of his being was invested in the role. He had a wonderfully studied physicality, inhabiting the lumbering, gentle giant with apparent ease. Mr. Keegan was completely invested in every movement, every facial expression and every puff of wind broken. But above all, Mr. Keegan was funny. Hilariously so. He nailed the slapstick antics just as well as the subtle humour in what was an excellent comic performance. What a great voice Mr. Keegan had too. ‘Who I’d Be’ showcased his beautiful tone and was a standout moment of the show.  Gráinne Scullane gave us a most endearing interpretation of Princess Fiona. It was the first time seeing the show that I truly felt the inherent sadness of the character’s imprisonment in a tower for two decades. This was very much down to Ms. Scullane’s beautifully subtle handling of the emotional elements of her character. Her singing was equally good. ‘Morning Person’ was a vocal and comic treat, and she really showed her vocal chops in ‘I Think I Got You Beat’.  The wise-cracking Donkey was played with a deft comic touch by the very talented Jayden Guilfoyle. Mr. Guilfoyle made this role his own with a brilliant fusion of sarcastic charm and comic timing that, at only seventeen years of age, belied his youth. His physicality was superb and his energy levels were off the charts. He also boasted a powerful, melodic voice, especially in his very funny rendition of ‘Don’t Let Me Go’.  Adam Carroll was another extremely talented seventeen-year-old, in the role of the pint-sized Lord Farquaad. His comic timing was exceptionally good, and he drew on a never-ending arsenal of facial expressions that would have left Jim Carrey in the ha’penny place. He was more than able to belt out a tune too and his ‘What’s Up Duloc?’, with a brilliant ensemble supporting, was one of the show’s many highlights.  Just when we thought that Nenagh’s talent pool must surely be running dry, we were treated to a simply brilliant performance from Cleo Griffin as she breathed vocal life into an impressively imposing and superbly operated Dragon. ‘Forever’ was powerful, controlled and seemed almost effortless. The standout vocal performance of the show, for me.  A very talented Eamon Coffey gave everything to the role of Pinocchio, fully committing himself to the challenging physicality and stratospheric vocal register of his delivery. The shrillness of that delivery occasionally affected clarity of diction. Mr. Coffey was superb in the brilliantly performed ‘Freak Flag’.  Erin Burke gave an unforgettable singing performance as Gingy and ‘trebled up’ by adding Sugar Plum Fairy and an hilarious vocal turn as Bluebird to an already extremely impressive CV. Her stunning riffs in ‘Freak Flag’ excellently delivered.  Isobel McLeish did a great job playing Fairy Godmother. She also joined the wonderful Ellen O’Sullivan as Young Fiona and Ms. Scullane for a beautiful rendition of the heartfelt ‘I Know it’s Today’.  Killian Forde had a busy night playing Papa Ogre, Papa Bear and Bishop. It was great to see his versatility as he skilfully jumped from one character to the next.  Katelyn Carson doubled up as Mamma Ogre and Mama Bear. As the latter, she knocked her solo out of the park in ‘Freak Flag’, with a powerful, soaring delivery and exquisitely tasty riffs.  Kaedan Hogan Long was a fine Young Shrek and gave us a lovely comic turn as Farquaad’s father, Grumpy.  This was a wonderful ensemble performance. Nobody’s face dropped at any point. Again, full credit to Ms. Browne for instilling such wonderful performance levels and a strong sense of stagecraft in her very talented company.  Set design was exceptionally good. The stunning preset, beautifully lit in a green wash through atmospheric haze, presented us with the most realistic looking swamp imaginable. It was almost cinematic in appearance. Perfectly textured trees, rocks, flora and fauna gave a very authentic look to what would continue to be a visual feast for the rest of the show. The printed side flats were incredibly effective. All of the set pieces were so well finished, especially Fiona’s tower. Perfectly chosen projections added amazing depth.  Stage Managers Rachel Browne, Máire Long and Philip Talbot marshalled an extremely efficient crew whose transitions were slick and seamless at all times. They were aided throughout by the director’s clever use of lighting to isolate action downstage whilst scene changes happened upstage. This ensured that the show rattled along at a frenetic pace, with scene changes ‘magically’ appearing as one scene dissolved to reveal another.  Kudos must be given to the props department for their amazing attention to detail. Not a thing was out of place, nor anything left to chance. Fiona’s book for ‘I Know it’s Today’ was just perfect. The fact that someone decided to place a green blanket in the tower rather than any other colour, was deliciously appealing to my inner nerd. And the onion, which could be a throwaway prop (pun intended!), was so well made. As for the bluebird puppet…just wow! Attention to detail is often the difference between a good show and a great show. Well done team.  A visually stunning and dynamic lighting design was key to enhancing the make-believe world inhabited by the story’s displaced fairytale characters. With the exception of one minor glitch, excellent timing of operation meant that the show’s many visual highlights were brilliantly captured. One of the most magical moments was the dragon’s reveal which had everything thrown at it from a lighting point of view. I would have liked more face light for ‘Travel Song’ but I appreciate that there were likely unavoidable issues with upstage positioning which affected this. A small point in what was a really top-class design and operation.  Sound design needed attention, in my opinion. Mr. Keegan’s mic did not appear to be EQ’d correctly on the night that I attended. His dialogue sounded tinny and lacked fullness and warmth. The many sound effects were excellent and were superbly timed. Timing for Shrek and Fiona’s fart-off/burp-off added greatly to the hilarious onstage business. I felt that overamplification of the orchestra led to a significant imbalance between stage and pit. There was great balance between vocal parts in the bigger ensemble numbers however, where the tight harmonies were clearly heard.  There aren’t enough superlatives to describe how good the costume plot was for this show. The programme didn’t credit the source of the myriad costumes but the visual impact was an absolute delight. With over fifty performers, and multiple changes for many, the coordination of costumes for this show was a mammoth undertaking. Shrek’s iconic tartan trousers, Farquaad’s amazing little costume complete with tiny legs, the stunning silver sequins for the tap dancing rats and the multiple fairytale characters’ detailed looks were just stunning. But it was the Duloc dancers and the precise uniformity of their red, blue and yellow outfits (a clever swipe at a certain Disney princess, no doubt) which impressed the most. Bravo!  Make-up and hair provided yet another visual feast. Shrek’s iconic look was perfectly recreated with the aid of facial prosthetics and the most incredible pair of ogre hands. I’d say Mr. Keegan is still scrubbing his green make-up off. Again, attention to detail was everywhere, from the witch’s prosthetic proboscus to Pinocchio’s elongating nose and his make-up tying in with his costume design. There was great uniformity in the Duloc dancers’ wigs and Farquaad’s wig was just perfect. Similarly, there was excellent work done to create every single fairytale character; far too many to mention individually here. A stunning job. There is something really special happening in Nenagh and I can only assume that director/choreographer Stephanie Browne has an awful lot to do with that. This was a visually stunning, excellently directed and choreographed show which showcased exceptional talent across the board. The fact that most of the performers were still in their teens didn’t matter to me in the slightest. This cast transcended their youth. They were that good. Don’t take my word for it. If you have never attended a Nenagh Choral Society Youth Academy show before, make it your business to do so. You will thank me.  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos kindly provided by the society; Photos by Elizabeth Floyd.

Forever Plaid as presented by Muse Productions

Muse Productions  Forever Plaid  Saturday 14th September 2024  PUBLIC REVIEW   A café, in an industrial estate in Shannon, Co. Clare, was...

Muse Productions  Forever Plaid  Saturday 14th September 2024  PUBLIC REVIEW   A café, in an industrial estate in Shannon, Co. Clare, was the venue for Muse Productions’ Irish premiere of ‘Forever Plaid’. It’s always refreshing to see something new and in an ‘alternative’ venue too. But I have to admit to feeling a little apprehensive at the prospect of seeing a cast of only four actors, with a band consisting of only keyboard and bass guitar, perform for 90+ minutes with no interval. In a café. In an industrial estate. I smiled an ironic little grin as I entered the Hope Café, HOPING that what lay ahead would manage to keep the attention of myself and the small, sold-out audience; every one of whom must have fancied their odds in the raffle. I needn’t have worried. Not one little bit.  Front of house was most efficient, and it wasn’t long before we were all seated looking at four covered microphones on a very small stage. The minimalist set consisted of two flats, two nicely framed ‘Forever Plaid’ logos, a wooden, barnlike back wall, a few stools and…eh…that was kind of it. The band, all two of them, were tucked away on-stage right, with the keyboard player in full view and the shy bassist partially visible behind one of the aforementioned flats.  First, some context for those unlucky enough not to have seen this production. ‘Forever Plaid’ introduces us to a 1950’s Pennsylvania-based, vocal quartet (The Plaids) who, we soon learn, have been wiped out in a terrible traffic accident, on their way to their first professional gig. Slammed by a bus full of Catholic schoolgirls en route to see The Beatles’ first performance on The Ed Sullivan Show in 1964, The Plaids have been given a second chance. A chance to return to earth 60 years later to perform the gig that eluded them when they met their tragic demise. And that’s where we find them. We are the audience for this, their one-off performance. Their opportunity to see what might have been. “The biggest comeback since Lazarus!” What unfolds over the course of the next hour and a half is delightfully entertaining, often hilarious and, at times, unexpectedly poignant.  Director, Martin McNelis knew the gig. He pitched this charming, revue-style show pretty much perfectly, eliciting superb performances from his four cast members and leaving no stone unturned as he squeezed every last comic nuance from this exceptionally talented quartet. Sometimes, there can be a small detail at the top of a show that makes you sit up and think “this is going to be a good one!” For me, that moment came right at the start as Smudge, Jinx, Sparky and Frankie removed the dust covers from their microphones and slowly folded them with deft precision and in perfect sync. It set the perfect tone for the evening’s entertainment and was a fitting overture to what would continue to be a very cleverly directed show, peppered with so many comic highlights and a fair dollop of nostalgia to boot. Audience participation and interaction was a key element to the comedy of the show. Even the AIMS President got in on the act, as did the delightful Rose who unexpectedly joined the guys on piano for an impromptu jam. How delighted Rose was to receive her plaid patterned dental floss and her personalised certificate.  Gary Loughnane’s choreography was not your usual musical theatre fare. There wasn’t a jazz hand or a ‘kick, ball, change’ in sight. But what we did see was in perfect keeping with 1950s, doo-wop style, precise moves. A very high level of collaboration with Mr. McNelis was evident in Mr. Loughnane’s work. There were brilliant comic touches built into the choreography. Going wrong on purpose is a very difficult thing to pull off convincingly. However, throughout this show, we had exactly that from our four talented, barbershop terpsichoreans; their perfectly synchronised moves being purposely thrown out of kilter by someone false starting on a box step or going right when the other three had gone left, or having to discreetly switch a microphone from right hand to left hand, mid-routine, in the hope that nobody had noticed. These ‘mistakes’ were cleverly incorporated into the moves and were the source of much hilarity throughout. What was so utterly clever about the execution was the subtlety of these deliberate errors and how we second guessed ourselves at times as to whether or not it was intended before seeing an equally deliberate, awkward attempt to fix said error.  Musical direction was in the hands of Shannon Hegarty. Ms. Hegarty also made up one half of the band. And, as strange as it may sound, this two-piece combo of piano and bass was more than adequate to bring the myriad musical numbers to life. Of course, their excellent musicianship was always apparent as they navigated through the many musical highlights, from the upbeat ‘Crazy ‘Bout Ya Baby’, to the Caribbean medley to the emotionally charged and uplifting finale ‘Love is a Many Splendored Thing’. The sparseness of the band also allowed us to relish the delicious four-part harmonies which were simply breathtaking at times.  Cliodhna McNelis, as chorus mistress, must have taken great personal pride in the well deserved standing ovation at the end of this show. Yes, she had four extremely talented young gentlemen to work with but those superbly sung, intricate, tight harmonies required a huge amount of hard work, drilling, guidance and, I’m sure, an infinite amount of patience before they were unleashed upon an audience. The Plaids’ local newspaper critic cuttingly declared “This group’s sound is to contemporary music as Formica is to marble”. I am so happy to report that nothing could be further from the truth!  It is almost impossible to discuss performances individually for this show as it was the cast’s collective excellence which stood out from beginning to end. Each of the four got to showcase themselves for their own star turn yet all four blended perfectly in performing this charming, ensemble piece. I think that one of the best compliments I can pay them is that, at different points in the show, each of them stood out as my favourite.  Conor McNelis as the bespectacled Smudge had exceptional comic timing and gave us a wonderful version of ‘Sixteen Tons’ whilst accompanying himself admirably on spoon and ketchup bottle. His geeky, nerdy persona was completely incongruent with his resonant, bass tones. His vocal depth was totally unexpected but, like so many unexpected elements of the show, took the audience by surprise in the best way possible. A superb performance all round.  Ethan Cassley gave a stunning performance as the timid Jinx, prone to nosebleeds when hitting the higher notes. The sight of a pitiful Mr. Cassley trying to bravely continue his performance with tissue-stuffed nostrils, had me howling with laughter. He too was a wonderful, natural comedian and this contrasted beautifully with his melancholic realisation that he would never have the opportunity to tell someone that he loved them. Mr. Cassley’s ‘Cry’ was a vocal highlight of the evening for me.  Colm Hogan played the hilarious Sparky and his towering stature was utilised to great comic effect throughout. His subtle raising of his mic stand early in the show, told us all we needed to know about his magnificent comic timing and the hilarity which was to ensue. He sang brilliantly in ‘Perfidia’ and his comic subtlety in trying to discreetly read the words written on his hand was a joy. However, Mr. Hogan’s ultimate showcase arguably came as he mimicked a seal with a ball on its nose. Yes folks, it was that kind of show!  Cillian Fahy as a sincere Frankie (real name Francis!) was an equally strong comic actor. He was a great conduit between the audience and the guys and revelled in blasting the fourth wall into oblivion. He had a gloriously warm tenor voice and really came into his own during his uplifting but poignant monologue at the end of the show, as he tried to convince his fellow Plaids to sing the finale ‘Love is a Many Splendored Thing’. This, of course, was the song they had been rehearsing in their convertible when that busload of pesky Catholic schoolgirls blasted them into the obituaries. And when we heard that final number, we were swept along on the crest of a heavenly, harmonic wave as our endearing quartet prepared to leave the stage for the very last time, having fulfilled their collective dream. It was one of those ‘in the feels’ moments.  Stage management was in the hands of Brian Dowling and Ted Germaine. Whilst there wasn’t anything for them to do in the way of set changes, I’m sure that they were kept busy having a multitude of props ready for the Plaids offstage left.  Many props were in what you might call a rather outlandish category. From the giant plungers used as mics, to Sparky’s melodica, to the coloured lights that unexpectedly made their way into the audience and back on stage again in a moment of utter mayhem, to Smudge’s ketchup percussion, you just never knew what weird and interesting item was going to appear next. There was great attention to detail too, with actual Decca 45s, brilliantly designed, mocked up album covers and, later in the show, more authentic album covers.  Lighting was basic but effective, utilising a small, compact rig. But there didn’t need to be any bells and whistles for this performance-driven piece, and everything was well lit throughout. Sound, although deceptively simple on the surface, must have taken some time to perfect. Four wireless handheld mics were used for most of the show. However, some of the show was unamplified. I have to admit that I was unsure about this aspect when it was announced before the show, but it worked perfectly in the intimate surroundings of the Hope Café. Balance between the band and vocals was always very good. What was most impressive though was the excellent balance between the four vocals. This was maintained even as lead vocals swapped between the four; something which would have taken quite some time in tech rehearsal to bed in.  Hair and makeup requirements were quite minimal apart from some obligatory hair grease. Costumes were excellent, from the classy white tuxedo jackets, plaid bow ties and matching cummerbunds of the opening scene to the iconic, long-awaited, plaid tuxedo jackets presented by a very competent delivery lady, living her best cameo life. The novelty sombreros were a humorous addition, adding nicely to the fun.  I can’t finish this review without mentioning the brilliant but utterly bonkers Ed Sullivan Show sequence, during which our crazy crooners hysterically performed a range of novelty acts at breakneck speed. They threw themselves into their roles as juggler, flamenco dancer, plate spinner, trick shooter, dog trainer and Mr. Hogan’s sublime ball-balancing seal.  This was a great production, superbly directed and brilliantly performed. I laughed, I had a speck of dust in my eye which needed wiping, and I laughed some more. A thoroughly entertaining night from four exceptionally talented young men, guided by a very strong production team, all of whom certainly gave Lazarus a run for his money! Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Darragh Carroll

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