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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

Grease as presented by Roscrea Musical Society

Grease as presented by Roscrea Musical Society: Tuesday, 7th May 2024. For the final adjudication of my tenure as Adjudicator, it was a...

Grease as presented by Roscrea Musical Society:   Tuesday, 7 th May 2024.   For the final adjudication of my tenure as Adjudicator, it was a pleasure to visit Roscrea and relax in the company of the Pink Ladies, the T-Birds, and all the other characters who comprise the good old comedic romp that is Grease. A fine director of old once told me he refused to direct a show whose dramatic highlight was a girl skipping her period, and he was kind of right. It’s not a show filled with high drama, but when approached in the right manner, it can certainly be a show that is bright, vibrant, colourful and great fun in which to be involved. Step up, Paul Norton, a director who definitely likes to have a bit of fun, and not surprisingly, he made sure that Roscrea Musical Society had more than a few laughs with his production.  Given the very limited stage space and facilities of the Abbey Hall, Paul sensibly opted for a neutral and delightfully created set, with images and motifs appropriate to the era, and created location with the use of good props and dressing and projections. These were handled with tidy efficiency by a good stage crew under the guidance of stage manager, Ian Hanrahan. Mr. Norton made sure that his characters played their roles with fun and exaggerated energy, and he ensured that the space available to the cast was well used. The pace of the show was very good, but as always, with Paul, comedy was the big strength of the production, which is as it should be with Grease. I’m quite sure Roscrea had a great time bringing this to the stage. Highlight of the show was a hilarious towel routine for “Magic Changes” which was very well-performed.  Musical Director, Mary Rose McNally, a bit of a seasoned Rock’n’Roll chick herself, had great fun too, with a very competent and enthusiastic band of musicians, maintaining bright and breezy tempi throughout a very nicely played show. Mary Rose had done very good work on the chorus, making sure harmonies were well-realized, and her principals were musically very secure. There was also a good balance between the musicians and the singers.  Dayna Quinlan was a most delightful choice for the role of Sandy Dumbrowski, combining a lovely youthful innocence with a beautiful vocal quality and convincing acting. At only seventeen, which such capabilities, I suspect she’ll play many character and leading roles in the future. On this occasion, she certainly made a big impression.  Adam Skeffington, looking considerably less monstrous than the last time I saw him, made a great impact as cooler than cool dude, Danny Zuko, strutting with assurance, singing with melodic tones and playing his comedic and romantic scenes very convincingly.  Aoife Digan played a fairly hard-nosed Rizzo in a production which might have allowed her to give more lightness to her character. She was strong and emotional in “Worse Thing I Could Do”, but I’d have liked more lightness and comedy in her “Look at Me, I’m Sandra Dee” number. I also felt that the F-word was slightly out of kilter with the lighter tone of the rest of the show. However, as always, her performance was solid and reliable. Colm Hogan was a strong Kenickie, dominating his scenes with a comical arrogance and delivering his vocals with great confidence. He had a great look and attitude for the role. Megan Maher, as aptly described in the show program, was “short, classy, cute and sassy” in the role of Marty. She was also fun and feisty and gave a strong rendition of “Freddy My Love” with lovely vocal quality.  Eimhin O’Meara played Sonny Latierri, as a dorkish, wannabe-cool-dude with great comedic quality and confidence. A nicely created character, with good vocals and movement.  Laoise O’Connell played a cute, dim and flirty Frenchy, full of fun and comedy and was also an accomplished dancer. She was particularly notable for very good facial expressions. Cole Flanagan as Doody was fortunate to have the funniest number in the show, and made the most of it, supported by his fellow gang members. A very good comedy performance and a rockin’ good voice.  Helen Flynn had great fun with the role of food-aholic, Jan, always vibrant and animated, and very capable in all of her routines, both vocally and dance-wise.  Zach O’Halloran was her counterpart, a lazy and slobbish Roger, but still well able for his dances and his good comedic activity. “Mooning” was well-delivered by both.  Teresa Bourke was a very amusing, catty, and capable Patti Simcox, and I’m quite sure she would have been just as funny without the unnecessary speech impediment. A good character player.  Jason Fitzgerald was an unusually lanky dork as Eugene Florczyk, but he used his height to good effect in creating a withering wimp when confronted by the T-Birds. Very nicely played.  Lisa Hogan was a sexy, sassy and delightfully tacky Cha-Cha Di Gregorio, strong in character and very agile in her dancing.  David Walshe made a very decent vocal job of both Johnny Casino, and Teen Angel, selling “Beauty School Drop-Out” particularly well.  Stalwart performer, the young and lovely Siobhán Bowe, aged herself delightfully to play the stuffy schoolteacher, Miss Lynch, as reliably as she always does.  John Lynch, either enhanced by miracle-grow hair-restorer or a rather natty wig, had a lot of fun with pervy DJ, Vince Fontaine.  A super, energetic and fun-loving chorus of dancers worked hard all night to give life and enthusiasm to all of their routines, which they succeeded in doing with good polish and also a very decent vocal quality throughout.  This was a great fun show for Choreographer, Stephanie Browne, to display a good range of steps and styles. Her rock’n’roll numbers were exciting and very well executed, and there was plenty of imagination and creativity in the rest of the show. She was fortunate to have a very willing chorus to bring all of her routines to life with great proficiency. A very good body of work.  Lighting for the show was generally tidy and effective, with good special areas and plenty of variety and colour for the rock and roll sequences, although cueing wasn’t always as tight as it should have been. Sound quality throughout was very decent and well-balanced. Costumes were well-sourced and all good and appropriate, as one expects for Grease, with T Bird and Pink Ladies Jackets, and good individuality in the principal characters. I loved the towels, etc, for Magic Changes and the Beauty School Drop Out rollers and robes.  Wigs/hairstyles were, again, very tidy and era appropriate, and there were no issues at all with make-up. Plenty of good props and dressing helped to nicely dress the stage.  I have never not enjoyed a visit to Roscrea, passionate and energetic as they always are in presenting their annual musical, and above all, they have a great spirit of camaraderie and fun in everything they do, as typified by this most enjoyable production of Grease. Thank you for the great entertainment, and indeed, for many, many years of friendship and happy memories.  Peter Kennedy Gilbert Adjudicator 23/24

9 to 5 as presented by Carrick-on-Suir Musical Society

9 to 5, as presented by Carrick-on-Suir Musical Society. Friday 26th April 2024. Director, Martin McNelis, combined a very good set...

9 to 5, as presented by Carrick-on-Suir Musical Society.   Friday 26 th April 2024.   Director, Martin McNelis, combined a very good set design with imaginative movement of props and set pieces to ensure a smooth-running production of 9 to 5 for Carrick-on-Suir. I loved the somewhat abstract set for this show, and how it incorporated good solid set pieces into the neutral background. What I loved even more was the very swift and smooth operation of the scene changes, with everything arriving in its place at just the right moment. This suggests well-thought-out design, and great organization and efficiency on the part of Stage Manager, Michael O’Hara, and a hard-working stage crew.  With a strong cast to work with, characterizations were well achieved, and relationships were well-handled. Comedy was nicely emphasized, and yet there was good balance with some nicely played emotional scenes, so that the moral of the story wasn’t lost amid the business.  The very talented Sandra Power took the role of Violet Newstead in her stride, bringing to it a wonderful vocal quality, excellent comedic timing, and good dramatic acting when she is pushed to make a stand for feminism. Her relationship with her son was very credible, and her romantic journey with Joe was very realistically cautious and all the more credible for that. Sandra worked well with Doralee and Judy, but she shone at her brightest with a classy “One of The Boys” number.  Jordan Freeman, sporting a very good blonde wig, made a charming and Dolly-esque character of Doralee, and proving along the way, that being eye-candy is not what determines a woman’s personality. Very nicely played with good comedy, and very vocally secure throughout.  Ashley Lonergan got the shy, nervous, and vulnerable first appearance of Judy Bernly just right, earning the sympathy of the audience, who then watching her grow into the very able and quirky feminist that she eventually becomes. This was a nice developmental journey, played with good comedy and accompanied by a nice vocal quality that shone during “Get Out and Stay Out.”  Tarryn Attlee was as comical as she was scary as Roz Keith, the office snitch, and unrequited lover of her boss. Her romantic protestations, (Heart to Hart) were hilarious to say the least, and I guess we kind of felt sorry for her too. Delightfully played.  Neill Bourke brought a hint of rock-star charisma to the role of despicable misogynist boss, Franklin Hart, Jnr. Cock-sure of himself and completely derogatory to his employees, he really was the pervy boss we all love to hate. Of course, it was all done with a strong level of comedy, and it was a pleasure to see his comedown at the climax of the show. “Here For You” was as sleazy as he could make it, and very well delivered.  Bobby Landers was a light-hearted and sincere Joe, wearing his heart on his sleeve in an effort to win the affections of Violet, and quite prepared to bide his time. Their relationship had a lovely natural development, including a very touching rendition of “Let Love Grow.” Jonathan Caulfield gave us a loyal and entertaining cowboy performance, in the role of Doralee’s lovin’ husband, Dwayne Rhodes, while Eoin Sheedy was a creep and ultimately a loser as Judy’s love-rat husband, Dick. Both of these roles were played with good strong character. Emma O’Leary made a good job of coming across as the ditzy, oblivious wife of Franklin, Missy, while Maria Rayner slurred delightfully as office lush, Margaret. Siobhan Grace Regan was a competent and confident Kathy Cooper, and Claire O’Hara was very good as the unfairly dismissed Maria Delgado.  Ryan Barnes turned in a neat cameo as Violet’s son, Josh, and company stalwart, Padraig Sheehan, gave a light-hearted gravitas to the role of Mr. Tinsworthy.  Good support came from Kyle Walsh as Bob Enwright, Ger Breen as the Detective, Jim Kennedy as the Doctor, and Isobel Cooney as Candy Striper.  Vocally, there were confident harmonies and plenty of strength from the chorus in all their numbers. As Chorus Master, Eamon O’Malley, had his chorus well-drilled. As Musical Director, he had good control of a very respectable orchestra who were spot on with the varied rhythms and styles of the show, from country hoedowns to the jazzier dance numbers. Balance was good throughout, showing good sensitivity in the gentler numbers.  Keith Dwyer-Greene did his most effective choreography on “One of the Boys” and “Dance of Death” and “Cowgirl’s Revenge,” with great steps and good imagination. The routine for “Heart to Hart” was great fun and most of the choreography of the offices scenes was tidy and efficient. As with the MD, Keith was fortunate to have a chorus who were energetic in their execution of their routines. The enthusiasm with which they performed in the dream sequences showed their appreciation of the comedy of the piece.  The show was nicely and appropriately costumed, with a nice effort going into the specialist outfits for the dream sequences and for “One of the Boys.” The ladies’ hairstyles/wigs were all very good and make-up looked natural.  The pace of dialogue was good throughout the show, and stage placings and pictures were very effective. Significantly, Martin, in his direction, ensured that the message that women should be treated with respect, came across loud and clear. Congratulations to him, and indeed to all involved for what was a very tidily directed and enjoyable piece of theatre. My sincere thanks to Carrick-on-Suir for so many most enjoyable shows during my tenure as adjudicator, and I wish you continued success into the future. Peter Kennedy Gilbert Adjudicator 23/24

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