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UPCOMING EVENTS

Made In Dagenham

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9 Apr 2025

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Legally Blonde the Musical

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9 Apr 2025

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All Shook Up

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25 Mar 2025

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The Witches of Eastwick

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14 Apr 2026

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Come From Away

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4 Sept 2025

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LATEST NEWS

INFO: Have Your Say - AIMS Adjudication Review (Next Phase)

HAVE YOUR SAY! Many thanks to the societies who have responded to the initial questionnaire on the AIMS Adjudication Review. The headline...

HAVE YOUR SAY! Many thanks to the societies who have responded to the initial questionnaire on the AIMS Adjudication Review. The headline findings of the survey were shared with members at the National AGM in January. Phase 1 Results available here: (Downloads Section) https://www.aims.ie/downloads/cbc80516-82fb-427b-8979-0cfc2e86ed73 The subcommittee are delighted to announce that we are taking to the road for 2 in person workshops to further delve into the findings of the survey to gather more thoughts prior to any decisions being made on the scheme. This is your opportunity to have your say in person in a constructive way. The workshops will be held from 2-5pm (you must attend full session) on Saturday 29 March in The Strand Theatre, Carrick on Suir, Tipperary and Sunday 6 April in The Lucan Spa Hotel, Dublin.  The workshops are open to any registered member of an affiliated society. You can attend either workshop, but only one. You must register through your society secretary. The society secretary must then forward the confirmed list of all attendees from that society to  haveyoursay@aims.ie  by Monday 24 March.  Please note, while we hope everyone who is registering can attend, if the workshops are oversubscribed, we may have to limit the number of personnel per society. We are excited to be hitting the road and hope to see many of you there.

Beauty and the Beast as presented by Carnew Musical Society

Public Adjudication   Carnew Musical Society  Beauty and the Beast – The Broadway Musical  30th November 2024  How does a town with a...

Public Adjudication   Carnew Musical Society  Beauty and the Beast – The Broadway Musical  30th November 2024  How does a town with a population of just over a thousand people sustain a musical society that is on its 56th production since 1967? I have no idea. You’ll have to ask the good folk of Carnew Musical Society what sort of musical magic has been at play over the last six decades. One thing for sure is that there was musical magic aplenty to be seen in St. Brigid’s Hall as the group presented a fabulously entertaining version of Disney’s ‘Beauty and the Beast.’ With its fabulous Alan Menken score and a book full of drama, emotion and humour, the show is always a firm favourite. It was great to see so many children in attendance. Many were, no doubt, getting a taste of theatre for the first time. Others were likely dreaming of performing on that very stage in years to come. Either way, they left with smiles on their faces and songs in their hearts as they headed into the Wicklow night.  Carnew Musical Society is renowned for its front of house and it wasn’t difficult to see why. Every effort had been made to transform the relatively small foyer into a ‘Beauty and the Beast’ themed space. And what a great job they did too with their displays, costumes, colouring competition entries and a myriad details right down to the lovely red roses on the ushers. The auditorium was decorated with large ‘Once Upon a Time’ storybooks; a lovely detail which transformed the space.  There are few who know the stage of St. Brigid’s Hall as well as Michael Dunbar and this familiarity was a large part of the success of the production as he cleverly utilised the playing space to its fullest potential. There was always good attention to the narrative detail and every moment was visually engaging. The simple set design allowed Mr. Dunbar to create multiple locations with just a suggestion of place and this added greatly to the fluidity of the show which he was very aware of throughout. There was good use of onstage freezes, which created some lovely pictures. Relationships between characters were a real strong point of Mr. Dunbar’s direction. From the very funny banter between Lumiere and Cogsworth to the touching father/daughter bond between Maurice and Belle, there was great care and attention to detail in the dynamics between the key players. But it was the relationship between Belle and Beast, with its multiple layers of complexity, that really drew us in. Their journey was engaging and very believable as they moved from adversarial beginnings to a place of mutual respect and love.  Conor McCarthy did a wonderful job as musical director. Conducting from his keyboard, Mr. McCarthy got a rich, vibrant sound from his ten-piece orchestra, always complementing the storytelling. This was a very impressive group of musicians. From the familiar opening bars of the show, we were swept along on a wave of Disney magic as they played with great precision, sensitivity and awareness of the drama and emotional depth of the show. Choral singing was of a very high standard, with tight, well-balanced harmonies throughout. ‘Be Our Guest’ and ‘Human Again’ were standout numbers chorally. There also was beautifully sensitive underscoring right through the show.  Graham Finnerty’s choreography was original, well-rehearsed and suited all levels within the cast. Mr. Finnerty was very in tune with the narrative, ensuring that his routines always complemented the storytelling. Gaston’s ‘Me’ was very cleverly moved and there was great awareness of the comic timing required. ‘Gaston’ was performed with gusto by the energetic ensemble and included a fun ‘dance-off.’‘Be Our Guest’ is every choreographer’s dream (or nightmare!). Mr. Finnerty devised a visually impressive and precise routine which suited all abilities. I loved ‘Human Again’ with the longing and hope of the ‘inanimate’ objects reflected in the routine. Equally entertaining was the high-energy ‘Mob Song’ and its flag-flying nod to some other ‘French’ musical.  Anna Kenny’s performance as Belle was breathtaking at times. She completely inhabited the role, playing the iconic character with a perfect blend of innocence, strength, and vulnerability. Ms. Kenny’s intelligence as an actress was so impressive. Her singing was a highlight of this production. Her vocal and emotional range made each song special. ‘Home’ was sung with fabulous expression, beautiful tone, and exceptionally good control. ‘A Change in Me’ was quite stunning, showcasing a pure, musical theatre voice that was a joy to listen to. Her upset was palpable as Beast lay injured at the hand of Gaston. The quiver in her voice added layers of believability and poignancy to the scene.  The very talented Eoghan Fingleton gave a towering performance as Beast. His journey from scarred recluse to being sympathetic and emotionally in tune, was very skilfully played. There was great nuance to his inner struggle and eventual redemption. Mr. Fingleton’s thoughtful delivery of dialogue was very strong, as was his wonderful ability to tell a story through song. He had a resonant, rich, baritone voice, with just the right level of vulnerability, as he powered through the raw emotion of ‘If I Can’t Love Her’ to bring Act One to a dramatic climax. The chemistry between himself and Ms. Kenny was very believable, with some beautifully tender moments.  Rory Robinson was a very likable and quirky Maurice. His characterisation was full of charming eccentricity. The father/daughter relationship with Belle was beautifully authentic. There was a lovely sincerity to ‘No Matter What,’ with solid support from Mr. McCarthy, which was sung with great character. Mr. Robinson’s dialogue was most thoughtful. Pauses were a fraction long at times, which affected pace, but strong characterisation compensated for this. His generous observation of Belle during the beautiful ‘A Change In Me’ was so subtle but most heartfelt. A really strong portrayal from a very skilled performer.  Richard O’Toole was an excellent Gaston who moved with great swagger as the self-obsessed antagonist with more brawn than brains. It takes a very strong actor to portray a character who is both despicable and likable at the same time. Mr. O’Toole got the balance just right. He was insanely arrogant and yet we laughed at his vainglorious antics as he pranced and posed. Mr. O’Toole’s comic timing was razor sharp and his delivery confident and bold. He had great physicality and a very good sense of pace. I loved his hilariously narcissistic ‘Me’ which was, naturally, all about him. ‘Gaston’ was another fun number and Mr. O’Toole wrung every last drop out of the comedy, both physical and lyrical.  Gaston’s dim-witted sidekick, Lefou, was played with great energy, physicality, and humour by Paul Kehoe. Mr. Kehoe was very animated and had a range of facial expressions that Jim Carrey himself would have been proud of. The literal whipping boy of the show, he must have been nursing bruises for weeks after the run. There aren’t too many opportunities for Lefou to shine from a musical point of view but Mr. Kehoe grabbed the limited opportunity with a powerful singing performance in ‘Gaston.’ A very funny portrayal.  James Dobbs lit up the stage as Lumiere, the charming candle with a certain je ne sais quoi. Mr. Dobbs had a captivating presence on stage, always in character and always in tune with what was going on around him. His wonderful facial expressions were perfect for this style of performance and he had a natural comedic edge which is very difficult to teach. His excellent accent was consistent right through the show and diction never suffered. There was great chemistry with Cogsworth as they traded quick-witted banter. Mr. Dobbs was equally strong vocally and the standout number, ‘Be Our Guest,’ was a great showcase for this talented triple threat.  John Young was a perfectly cast Cogsworth, the tightly-wound, excitable and officious clock who tries to maintain order amidst the chaos. His upper crust accent was a delight and his diction was crisp and clear. Mr. Young excelled at the highly-strung, exasperated delivery and he had a superb sense of comedy which added to the wonderful dynamic between himself and Mr. Dobbs. Together, they created many of the show’s funniest moments, providing much-needed levity at times. In addition to all his fussiness, there were also glimpses of emotional depth. His concern for Beast and acceptance of Belle were nicely played, adding balance to an excellent portrayal.  Niele Byrne was a lovely Mrs. Potts, radiating goodness and maternal warmth. A very strong actress, she showed a clear understanding of text and was always in tune with the narrative. The title number ‘Beauty and the Beast’ was a most gorgeous rendition and the perfect showcase for Ms. Byrne’s beautiful, clear voice.  Maria Forrest was the perfect Madame de la Grande Bouche, larger than life and suitably over the top. A fine actress, Ms. Forrest’s powerful voice was delightfully shrill as the operatic wardrobe.  Babette was played with flirtatious glee by Erin Hogan, who got great fun out of her characterisation. Her chemistry with Mr. Dobbs was electric and they really squeezed everything out of their scenes together.  John Donohoe was a darkly ominous Monsieur D’Arque and his presence in Act 2 added greatly to the build-up of tension.  Louisa McCabe, Carol Byrne and Áine Kinch were a delightful trio as ‘Les Filles de la Ville.’ They were suitably over the top in their fawning over Gaston and their shrill delivery was very funny. Equally strong as each other, they worked very well as a group.  After missing the show due to a bout of illness, I was delighted to see the talented Gearóid Hogan make it to the stage for the last performance as everyone’s favourite teacup, Chip. Gearóid did a terrific job, well able to hold his own acting and singing alongside this very talented cast. He had lovely expression and sang beautifully in ‘Human Again.’  The ensemble members were kept very busy and had a good handle on the narrative which they helped to drive every time they stepped on stage. They were well-rehearsed in their choreography and their choral singing was exceptionally strong. ‘Gaston’ was a great number with everyone entering into the energetic fun.  Raymond Brennan’s stage management was generally well organised and efficient. There was clever use of cast to set and strike furniture during some transitions, helping to ensure fluidity and pace. At times, crew needed to be careful not to be seen side stage. A very efficient job from the crew overall.  I was really impressed with the set design which was simple but visually appealing. The three archways against the well-lit cyc were a beautiful focal point, as were the pillars dressed with ivy and roses. The stained-glass windows down stage left and right were beautifully finished. The six clever, multifunctional pieces, either side of the stage, moved to become buildings or trees, as necessary. This was a clever piece of design which allowed the show to flow effortlessly from scene to scene. The raised rostrum added good depth to the playing space, allowing for flexibility with staging. Overall, a super design which was perfect for the stage and contributed greatly to the creation of a versatile playing space.  Props were generally well chosen and appropriate to the style of show. The baskets, flowers, and books in the opening number, ‘Belle,’ added great authenticity and character depth. The cuddly toy duck seemed out of place. The iconic rose looked suitably enchanted. Maurice’s invention was a fun contraption. I loved the beautifully dressed table in the castle complete with its rich, red tablecloth, candles, and flower centrepiece. The skull on the tavern table was a great find too.  The lighting design was simple but very effective, enhancing the storytelling and adding a magical quality which complemented the mood in every scene. The stunning silhouette of the prince in the stage right archway at the top of the show was beautifully atmospheric. There was nice lighting throughout, isolating and drawing our attention to the enchanted rose, when required. The lighting states for the cast freezes were shadowy and atmospheric. I loved the red and blue lighting which framed Beast so dramatically in ‘If I Can’t Love Her.’ Both ‘Be Our Guest’ and ‘Human Again’ were a kaleidoscope of movement and colour. The transformation had the kitchen sink thrown at it with low fog, dramatic flashing beams and blinders built into the set. A triumph!  Sound was of a very high quality all through the show. There was great balance between orchestra and cast. Vocals were always warm and clear and the choral sound was expertly mixed. No cues were missed and everything was slick and professional. There was good use of sound effects, with the wolves and the beast roar being most impressive.  The costume department did so well in creating and coordinating such a huge number of costumes. The show is iconic in terms of its costuming and all the familiar, key elements were delivered in style. The enchanted characters were all visually stunning. Belle’s gorgeous, pink dinner dress was a spectacle in itself and her iconic yellow ballgown was just perfect. Beast’s beautiful regal attire was the perfect nod to his royal past. Overall, a wonderful costume plot.  With such a visual show, it was great to see so much attention to detail in the hair and makeup department. Principal characters looked so well. Beast’s headpiece was very realistic yet allowed him to be expressive. I loved Madame de la Grande Bouche’s wig which was great fun. Mr. Robinson was the quirkiest looking Maurice I have seen in a long time. A fabulous job all round!  This was a wonderful 56th production for Carnew Musical Society. The society is everything that AIMS should be about. Community is at the heart of the group and that is what has enabled them to thrive through the decades. Judging by the fine array of talent at the group’s disposal, there will be many more decades to come. Congratulations on a super show and very best wishes for the future. Pat McElwain  Gilbert adjudicator 2024/2025 Photography by Eamonn Doran & Lorna Doran McEvoy

Footloose As Presented by Trinity Musical Theatre

Public Adjudication   Trinity Musical Theatre  Footloose  Thursday 28th November 2024  This season appears to be turning into a...

Public Adjudication   Trinity Musical Theatre  Footloose  Thursday 28th November 2024  This season appears to be turning into a celebration of the 80s, with shows such as ‘The Wedding Singer’ and ‘Rock of Ages’ getting plenty of outings. Trinity Musical Theatre continued the trend with their production of ‘Footloose’ at Griffith College. As a show, the script may lack substance and its premise may be a little far-fetched. However, the tale of one teenager’s crusade to overturn a smalltown ban on dancing is stuffed full of enough iconic 80s tunes, great dance numbers and comic opportunities, that it more than makes up for its lightness of plot. Trinity Musical Theatre capitalised on all these positive elements to produce a lively, exuberant production which was very entertaining but, unfortunately, let down quite a bit by its technical elements.  This was Trinity Musical Theatre’s first time to produce a show in Griffith College and they will have learned a lot from the experience. The venue is not a dedicated theatre space but more of a lecture hall facility. Access to the auditorium was through a door at the back of the stage and patrons had to walk across the stage area to get to their seats. Front of house personnel were welcoming and all seemed in order as the audience arrived for this opening night performance.  Conor Lawler made his directorial debut and he will have learned a huge amount to carry forward to his next theatrical venture. The simple set, with its open playing space and raised platform area, allowed for lots of options with the staging. This simplicity was used well by Mr. Lawler, allowing the show to flow without the intrusion of cumbersome set changes. Blocking was effective for the most part and there was good pace generally. Themes of grief and teenage rebellion were well played and the more sensitive, emotional scenes were beautifully realised.  Philip Walshe did a fine job as musical director, getting a good sound from his band which captured the driving energy of the show’s classic 80s numbers and their clever arrangements. There was great work done with harmonies. The church choir at the top of the show sounded superb. Unfortunately, the band was too loud in places and vocals were drowned out, particularly in the more upbeat numbers where bass and keys were too high in the mix. Principal vocals were of a very high standard.  Muireann Carey did well as choreographer, devising well-rehearsed and lively routines in a variety of different styles. From the exhilarating opening number to the energetic finale, every number was performed with gusto by a young, committed cast who were enjoying every moment on stage. ‘Holding Out For A Hero’ was an emotionally charged routine with great life and precision. ‘Let’s Hear It For The Boy’ was another standout sequence with great synchronisation from all involved. The energy that bounced off the stage in the ‘Footloose’ finale was simply infectious.  Senan McCloskey played the lead role of Chicago teen, Ren, who moves to bible-belt Bomont after his parents’ divorce and takes on the Town Council in an effort to have the local ban on dancing overturned. Mr. McCloskey was charming but with a defiant edge and attitude that balanced perfectly with his likeability. He was at his very best when acting and had a really strong understanding and delivery of text. Mr. McCloskey had a good voice but struggled with his upper register on the night that I attended. Ren’s big solo, ‘I’m Free’ had the required passion and angst but lacked the higher vocal range necessary. His confrontation with Reverend Shaw in Act 2 was brilliantly played, with emotion that was most believable.  Rachel Reid played Ariel, the rebellious preacher’s daughter who longs to escape Bomont and its overbearing restrictions. Ms. Reid was a fine actress with superb diction and a really good delivery of dialogue. She had a lovely emotional range, drawing us into her complex story of grief, rebellion and, ultimately, hope. She had an excellent voice, at her best in ‘Holding Out For A Hero.’ Her trio, ‘Learning To Be Silent,’ with Vi and Ethel, was one of the vocal highlights of the night.  Eoin Daly was one of the standout performers of the show, playing Reverend Shaw Moore. He was very believable as the overprotective, smalltown minister, his strict exterior hiding the deep hurt caused by the loss of his son. He displayed a fine baritone voice in ‘Heaven Help Me.’ His final sermon, full of humility, was moving and from the heart.  Juliet Hill delivered a beautifully sincere performance as Vi, the stifled preacher’s wife. We knew that she was broken-hearted at the loss of her son and struggling to support her remaining child without going against her husband. A skilled actress, Ms. Hill also had a most beautiful singing voice. Her ‘Can You Find It In Your Heart?’ was very moving, sung with a heartfelt vocal as she pleaded with Reverend Moore to reconsider.  Carla Moran was an exuberant Rusty, bringing levity and fun to proceedings. Her acting was solid and diction was strong. Where Ms. Moran really shone though was with her incredibly powerful singing voice which left many jaws on the floor. She had a super range and wonderful confidence. Her performance levels were off the charts as she sang. ‘Let’s Hear It For The Boy’ was a musical highlight of the show.  Isaac Casey was very funny as the slow-witted, socially awkward yokel with two left feet. His journey through ‘Let’s Hear It For The Boy’ was perfectly judged, as he transformed into quite the mover by the end of the number. I loved Mr. Casey’s fabulous country voice which was perfectly suited to the excellently performed ‘Mama Says.’ He had great comic timing but balanced this levity with the darker side of Willard’s character.  There was an incredible strength in depth amongst the female vocalists in this show. Connie Angela McGowan as Wendy Jo and Laura Cole as Urleen were two phenomenal singers in their own right. My only regret was that they didn’t have larger roles to showcase their undoubted talents. They were both excellent in their roles, providing great support for Ms. Moran as part of their trio.  Colm Lombard was a perfect choice for the role of Chuck Cranston, Bomont’s bad boy and overbearing boyfriend to Ariel. Mr. Lombard had great presence as the town bully. You just knew he wasn’t to be messed with. He sang so well too and was excellent in ‘The Girl Gets Around.’  Tomás Hartnett and Sean Treacy were suitably jockish sidekicks for Chuck in the roles of Travis and Lyle.  Willard’s entourage was completed very well by Luke Reid, Senan McGuinness, and Daniel O’Brien as Garvin, Bickle and Jeter, respectively.  Emma-Jane Nannetti played Ren’s mother, Ethel, with great sincerity and sensitivity. She was a devoted mother, trying to put her best foot forward. But the pain of being abandoned by Ren’s father was still there and Ms. Nannetti played this in a very subtle way. She shone in ‘Learning To Be Silent,’ a standout musical moment in the show.  Anthony Daly saw his own opportunity to shine in the role of Cowboy Bob and grabbed it with both hands. His ‘Still Rockin’ at the top of Act 2 was a great number, very well performed.  Channing Kehoe was a very stern Principal Clarke. They had great presence and they brought a great sense of authority to the role. There was strong support too from Megan Bolger and Niall Grogan as Lulu and Wes Warnicker, Emma Murray and Paddy Treacy as Eleanor and Roger Dunbar and Patrick Nyhan as the cop.  A youthful, energetic ensemble showed great commitment to the show. Their well-rehearsed and performed dancing was uplifting, especially in the opening sequence and the standout ‘Let’s Hear It For The Boy.’ Vocally, this was a very secure show, with excellently performed harmonies which, unfortunately, competed against the band too often.  Emer Munnelly’s stage management was organised and efficient but felt quite panicky at times as crew almost sprinted on to complete changes. The biggest issue from a stage management perspective was the lack of adequate masking which meant that we could see performers passing back and forth as they tried to get from one side of the stage to another during scenes.  A very simple but visually appealing set allowed for quick transitions and multiple staging opportunities, with interior and exterior scenes played in what was an open playing space. The stage right church house and stage left barn structures were beautifully finished and framed this playing space very well. The wooden frame, upstage of the rostrum, broke up the black backdrop nicely.  Lighting left a lot to be desired. It lacked creativity, precision, and any sort of theatricality. The bright, lino-type floor did not help matters, as there was a very strong ‘bounce’ which meant that everything was extremely stark. Cues and transitions were abrupt and jarring with very sudden snaps. On occasion, moving lights intermittently swept across the playing space for no apparent reason.  Sound was a mixed bag. There were some great sound effects which added a layer of authenticity to scenes. The school bell, car, train, and crickets were all very appropriate and well timed. There were multiple late cues for microphones, suggesting that the operator was not familiar enough with the show or that enough tech time wasn’t available. Mic levels for dialogue, were set far too high. The level and balance of the band needed attention. Individual instruments were far too high in the mix at times, with bass, keys and guitar being the main offenders.  Props were generally appropriate to the era. We had a nice podium for the Reverend and I liked the well-made protest signs. There were a few missed opportunities, perhaps. It felt strange for the trio at the Town Council meeting not to have any notes, pens, documents, or a glass of water.  Costumes looked well and were generally suitable for the 80s Hicksville vibe of the show. The ensemble’s red tops and black leather for ‘Holding Out For A Hero’ were a great choice and there was good fun had with the very authentic looking cowboy hats and checked shirts. I felt that there could have been more of a dramatic distinction between Ariel’s more conservative, preacher’s daughter look and her more rebellious side reflected in her costuming. Hair and make-up were simple but effective, with nothing looking out of place apart from black eyes for Ren and Ariel which did not look natural.  Trinity Musical Theatre are blessed with some exceptionally talented people and this shone through their show, in spite of some poor technical elements. The energy and commitment from every single person on stage was palpable and I look forward to seeing this very talented company on stage again in the future.  Pat McElwain  Gilbert Adjudicator 2024/2025

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

INFO: AIMS 60th Concert - OVATION - Accepting - Soloist Audition Invitation

AIMS are taking to the stage in the Convention Centre on Saturday 11th of October for Ovation our 60th celebration event! We are looking...

AIMS are taking to the stage in the Convention Centre on Saturday 11th of October for Ovation our 60th celebration event! We are looking to see who’ll be the stars of this show! Under the sparkling stewardship of our fabulous Production Team: Director : EJ Reilly Musical Director : Shane Farrell Choreographer : Jonny Smith We are now inviting auditions for those who’d like to make a shortlist of our Soloists in the Concert. Our team have put together an audition pack and you’ll be asked to submit Video Audition and from these a shortlist will be created. If you’d like to audition then please email aimsconcert@gmail.com and an audition pack with all the details you need will be sent on. This email will also be able to answer any technical or general queries you may have. Deadline for Submitting your Audition is Thursday 20th of March. Our Production Team will then whittle down these auditions; those that make the short list will be expected to attend auditions in person which will take place on Sunday 25th of May at a venue in Dublin . At a later date, we will be looking for some young stars to join us too. Those looking to perform must be over the age of 10. Plenty of jazz hands are promised and we will be holding Dance Auditions in May in various venues around the country with more details to follow…. Everyone auditioning for the Dance rehearsals will be taking place in a central location and you’d be expected to travel to the rehearsal venue in the lead up to the concert! And then of course we will need our fabulous Chorus …. This will be open to all who are interested in being part of this magical occasion. Chorus rehearsals will be held in regional venues from the middle of August . There will also be two big rehearsal days coming up to the concert in a central venue when all the chorus will come together with our MD Shane. Registration for Chorus will be opened over the next few weeks. We’d encourage the talent that lights up the stages up and down the country to come and take centre stage! From the oldest to the youngest, the soprano to the alto, the tenor to the bass…. This is YOUR chance to be part of our celebration with plenty of Ovation! along the way! We’ll await your sparkle ✨

SULLIVAN SOCIETIES

Below is our comprehensive list of SULLIVAN societies.

If you would like the contact details for a society, please contact either the Registrar or the National PRO. If you would like information distributed to our members for a small cost, please Contact our National Secretary.

Society
Aghada Centre Theatre Group
Arklow Panto Creations
Baldoyle Musical Society
Ballinasloe Musical Society
Ballyshannon Musical Society
Ballywillan Drama Group
Bardic Theatre
Bellvue Academy of Performing Arts
Birr Stage Guild
Boyle Musical Society
Bray Musical Society
Carrigaline Musical Society
Castlebar Musical & Dramatic Society
Castlerea Musical Society
Cecilian Theatre Arts
Claremorris Musical Society
Cork City Musical Society
Craic Theatre
Creative Minds Productions
Currid School of Performing Arts
DCU Drama Society
Donegal Youth Musical Theatre
Drogheda Musical Society
Dun Laoghaire Musical & Dramatic Society
Dundalk Musical Society
Dunmore Musical Society
Encore Performing Arts Academy
Enniscorthy Musical Society
Ennistymon Choral Society
Fermanagh Musical Theatre
Fermoy Musical Society
Fortwilliam Musical Society
Fun House Theatre Company
Glasnevin Musical Society
Glenamaddy Musical Society
Glencullen Dundrum MDS
Golden Apple Players, The
Greasepaint Productions
Kells Musical Society
Kill Musical & Dramatic Society
Kilmacud Musical Society
Kilrush Choral Society
Letterkenny Musical Society
Light Opera Society of Tralee (LOST)
Limerick Musical Society
Lisnagarvey Operatic and Dramatic Society
Londonderry Musical Society
Loughrea Musical Society
Mary I Dramatic Arts Society
Moycullen
Naas Musical Society
Nenagh Choral Society Ltd
Newcastlewest Musical Society
Newry Musical Society
Newry Youth Performing Arts
Now and Then Production Company (The)
O'Connell Musical Society
Phoenix Performing Arts College
Phoenix Productions
Pioneer Musical & Dramatic Society
Pop-Up Theatre, Sligo
Portadown Phoenix players
Portmarnock Musical & Dramatic Society
Queen's University Belfast Musical Theatre Society
Rathmines & Rathgar Musical Society
Ratoath Musical Society
Roscrea Musical Society
Roundwood Variety Group
Roundwood Variety Group
Rush Panto Society
Sheevawn Musical Youth Theatre
Sligo Fun Company
Sligo Musical Society
St. Agnes' Musical Society
St. MacNissi's Choral & Dramatic Society
St. Michael's Theatre Musical Society
St. Patrick's Hall Musical Society, Strabane
Stage Left Youth Theatre
Stage One New-Musical Group (S.O.N.G.)
Striking Productions Carlow
Studio 55 Productions
The Little Sea Musical Society
The Odd Theatre Company
Tralee Musical Society Youths
Tullyvin Musical Society
Twin Productions
UCC Musical Theatre Society
Ulster Operatic Company
University of Limerick Musical Theatre Society
Youghal Musical Society
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