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UPCOMING EVENTS

The Sound Of Music

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24 Jun 2025

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Les Miserables

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4 Mar 2025

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Young Frankenstein

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28 Apr 2025

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HXT 2025 Production

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11 Nov 2025

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Joseph and the Amazing Technicolor Dreamcoat

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22 Apr 2025

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LATEST NEWS

AIMS AGM 2025 Info

Sadly, due to the impact of Storm Èowyn the AIMS AGM will not take place in Lisburn this weekend as previously planned. It will now take...

Sadly, due to the impact of Storm Èowyn the AIMS AGM will not take place in Lisburn this weekend as previously planned. It will now take place online tomorrow Sunday 26th of January at 2pm. If you wish to receive the Zoom link to attend the AGM then please email registrar@aims.ie and within this email please advise Máirín if you are a voting rep please. All our welcome to attend but we need to ensure those entitled to vote are properly accounted for. This decision to move the AGM and indeed working weekend online wasn’t taken lightly but as you can appreciate the safety of all those attending and our members is of the utmost importance. We look forward to seeing lots of you online on Sunday and hearing your views, thoughts and ideas for the year ahead!

Calamity Jane as presented by St. Agnes Choral Society

St. Agnes’ Choral Society  Calamity Jane  Saturday 16th November 2024  The Grand Opera House in Belfast is a wonderful venue. It is...

St. Agnes’ Choral Society  Calamity Jane  Saturday 16th November 2024  The Grand Opera House in Belfast is a wonderful venue. It is difficult not to feel the very palpable ambience, history, and character which its walls exude. And so, how lovely it was to experience an ‘old school’ musical in this historic theatre, which is over a century old. If indeed first impressions count, then St. Agnes’ Choral Society’s production of ‘Calamity Jane’ hit the ground running before a word of dialogue was spoken. There was something quite joyous and uplifting about hearing a huge choral sound right through the exquisitely played overture. Only it wasn’t the cast making that sound. It was the audience. Hundreds of voices singing ‘The Black Hills of Dakota’ set a glorious tone for what would be a most entertaining and memorable production of a true classic.  As one might expect, the front of house arrangements were excellent in the large and busy foyer of the Grand Opera House. Staff were friendly, courteous, and most efficient. I was greeted by the society representative, who shared many interesting insights into the theatre and the vibrant musical theatre scene in Belfast. As we filtered into the theatre, pre-show, the curtain was open and the Golden Garter was already open for business, with a guitar-playing old-timer banging out a tune in what was a nice, original touch by director, Laura Kerr.  Ms. Kerr gave us a superbly crafted version of this classic tale. The story may be over seventy years old but it is still relevant and entertaining. There is comedy galore, love stories aplenty and lots to be explored about challenging traditional gender roles and stereotypes. Ms. Kerr got it all and had great fun with every element. Comedy was strong, as were the more tender moments. Characterisation and attention to the narrative detail were impressive. There was great use made of the enormous playing space and Ms. Kerr ensured that the pace rattled along like a freewheeling stagecoach.  Andrew Robinson’s musical direction was top notch. From the opening bars of the sumptuous overture, we knew that this was going to be a musical feast of a show. And what a feast it was. The orchestra, superbly mixed by the sound department, was simply stunning. We may as well have been listening to the movie soundtrack, such was the incredibly rich sound, superb musicianship, and excellent balance of this wonderful fifteen-piece orchestra. Mr. Robinson conducted with considerable flair and was clearly offering great support to the company on stage. The gentlemen in ‘Adelaide’ sang beautifully and, throughout the show, we heard exquisite, well-balanced harmonies.  Choreographer, Amy Blackshaw, was very clever in how she used her very large cast. Full ensemble numbers weren’t overly intricate but the excellent precision, confident execution and high-performance levels across the cast meant that numbers like ‘The Deadwood Stage’ and ‘Windy City’ were extremely impressive. The smaller dance groups also excelled in numbers such as ‘It’s Harry I’m Planning to Marry’ and sections of ‘Windy City.’  Of course, the entire show practically hinges on one performance. How blessed we were to have Lorraine Jackson in the titular role. Ms. Jackson was captivating as the sharpshootin,’ straight talkin’ frontierswoman, Calamity Jane. She was brash and rough around the edges, entirely believable as the tomboyish spinner of dubious yarns. And yet, there was an endearing vulnerability about her performance that drew the audience in, ensuring that her characterisation avoided caricature, in what was a very balanced and nuanced portrayal. Ms. Jackson traversed the line between hilarity and sincerity so seamlessly. And then she sang ‘Secret Love.’ I can only describe her performance of this song as a tour de force, standout moment. It was quite remarkable on every front. From the heartfelt sentiment to the soaring, powerful vocal which never once faltered, this was a fabulous rendition.  I really enjoyed Kyle Emerson’s performance of legendary figure, Wild Bill Hickock. Again, Mr. Emerson avoided caricature, balancing strength, and masculinity with a sprinkle of heart and sincerity. The relationship between Bill and Calamity was well developed and Mr. Emerson worked very well with Ms. Jackson. His lovely, rich baritone was easy on the ear, particularly in ‘Adelaide’ and the gorgeous ‘Higher than a Hawk.’ It was a really authentic, down to earth portrayal.  Gareth McGreevy cut quite the dashing presence as Lieutenant Danny Gilmartin, the focus of Calamity’s affections. Mr. McGreevy had excellent stage presence and clear delivery of dialogue. There was a lovely rapport between himself and Ms. Jackson and the subplot between himself and Katie Brown was tenderly played. He also sang very well. ‘Love You Dearly’ was one of many musical highlights in the show.  Aideen Fox was an excellent Katie Brown. Ms. Fox is a very talented actor but also a skilled comedienne with super timing. Her impostor syndrome, as she nervously tried to dupe the gentlemen of Deadwood into believing that she was, in fact, Adelaide Adams, was played so well. ‘Keep it Under your Hat’ was excellently sung and performed with a deft comic touch. Once again, Ms. Fox played Katie with an underlying sincerity that really worked, allowing us to forgive her initial deception of Calamity.  There was no doubting that Kevin McReynolds, as saloon proprietor Henry Miller, is a very talented man with all of the tools necessary to play the role. He had good stage presence; his accent was strong and he had a most expressive face. However, I did feel that Mr. McReynolds needed more guidance in trusting the book and giving more consideration to the lines. I felt that he played things in a very over the top manner and that he needed to be reined in. again, I have to stress that the talent was clearly there. I just felt that it needed some coaxing to get the balance right.  Helen Smyth was lovely as Harry’s niece, Susan. She was a great dancer, had excellent stage presence and great expression in her delivery of dialogue. This was a really well-rounded performance in what can sometimes be a throwaway role.  Sam Nolan was a very likable and funny Francis Fryer. He was another very strong performer who wrung every last drop out of his character. A fine character actor, Mr. Nolan’s ‘Everyone Complains About the Weather’ was a super number, delivered with great flair, a fine voice, and a keen understanding of its comic potential.  Fiona Keegan was a very strong Adelaide Adams. Her delightfully full vocal was excellent in ‘It’s Harry I’m Planning to Marry.’ There was a tendency sometimes to play dialogue directly to the audience rather than to the character she was addressing on stage. That said, her dialogue was very clear and well delivered.  Sean Allen impressed as Rattlesnake and he sure scrubbed up well for the wedding. Stephen McQuillan did very well as Doc Pierce. There was strong support too from Paul Maguire as Joe, Jarlath Burns as Hank, Andrew Johnston as Pete, Pat Smyth as Col of Fort Scully, and Callan Hamill as Prospector.  This was a very large and committed Ensemble who were very well-rehearsed and looked like they were enjoying themselves no end. They had a fabulous, collective energy and were always engaged and focused. Their choral sound was magnificent and they were dramatically responsive, when required. Their dance routines, cleverly devised and so well rehearsed, were so precise and very well performed.  Stage manager Andy McKnight and his excellent crew did a wonderful job. Fly cues were meticulously timed, trucks were smoothly positioned and struck, and changes flowed seamlessly, contributing greatly to what was a very pacy and fast-moving show.  The very large, hired set, worked perfectly on the Grand Opera House stage. The imposing Golden Garter truck was set very far upstage left. The trucked ‘stage,’ which moved on and off very smoothly, was a great addition. Adelaide’s dressing room was very impressive with its working doors and the cleverly hinged cabin ‘transformation’ worked very nicely too. The fabulous backdrops added greatly to what was a visual feast of a show.  Props were meticulously chosen, with superb attention to detail noted in all areas. Francis Fryer’s suitcase, Henry’s pocket watch, the carpet beater, wooden trunk, wooden bucket were just a few of the fine array of well-chosen props which were authentic to the era. But it was the full-size stagecoach, with Calamity on top, that really stole the show as it was wheeled on. Lighting was excellent, perfectly complementing the tone and mood of every scene. There was beautiful use of two follow spots. These were sometimes in a soft focus, barely noticeable. At other times, such as when Katie was performing her ‘show’ song, it had a sharper edge. There were some gorgeous changes within musical numbers, beautifully capturing shifts in mood. Gobos and haze were used to great effect to help create some very atmospheric states.  Similarly, sound was top notch. The orchestra was mixed to perfection and there was an incredibly well-balanced choral sound, all the more surprising because of the sheer numbers on stage. I didn’t observe any missed cues on the night; however, I did feel that a little bit more support for underscored dialogue would have been helpful.  Costumes were brilliantly authentic and everyone was turned out so well. How great it was to see so many authentic cowboy hats and boots. The showgirls’ red, white, and blue were very striking. So too were the ‘bride’ dancers’ ensembles, with their veils, their long white gloves, and dresses. Calamity’s iconic look was very authentic, as was Danny’s uniform. A super, detailed plot, which must have taken a huge amount of coordination. Well done to all.  Hair and makeup appeared appropriate to the era. Wigs were well-chosen and well-styled. There was great fun had with Francis Fryer’s hair and make-up for his ‘Hive Full of Honey.’  This was a wonderful production of a timeless classic, in one of the finest venues that the country has to offer. A strong production team, technical crew, and some wonderful casting decisions, made this a show that will live long in the memory. Thank you and well done on a superb performance.  Pat McElwain  Gilbert Adjudicator 2024/2025 Some photos shared by the society; Photos by Nicola McKee

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.

Sister Act as presented by Coolmine Musical Society

Coolmine Musical Society  Sister Act  Wednesday 13th November 2024  What is it about musicals featuring nuns that always raises a smile?...

Coolmine Musical Society  Sister Act  Wednesday 13th November 2024  What is it about musicals featuring nuns that always raises a smile? From ‘The Sound of Music’ to ‘Nunsense,’ you can be sure that shenanigans are always afoot when a convent follows an overture. ‘Sister Act’ is no different and the absolute highlight of Coolmine Musical Society’s production was its wonderful ensemble of black and white-clad sisters embracing such shenanigans with gleeful abandon, singing and dancing up a storm as they brought their talented production team’s vision to life on the Draíocht stage.  There is always a unique buzz and sense of occasion in the Draíocht foyer before a show. There was no exception on the night I attended and society stalwarts were on hand to make sure that everything flowed well and was organised to perfection.  Director E.J. Reilly brought a lot of experience to bear on this very entertaining show. There was a strong emphasis on the comic possibilities. Such was the enthusiasm of the audience, that there was a number of times when cast needed to hold for laughter so that subsequent lines could be heard. The visual elements of the show could not have been in better hands and there was great work with the superbly committed ensemble, giving so many talented people a chance to shine. There was good pace throughout the show and characterisation was strong. The fast-moving, hilarious chase scene was very cleverly moved, incorporating the six upstage doors into the brilliantly timed, frenetic action. An impressive job on a mammoth show.  Nicole McDonald’s choreography was so cleverly in tune with the tone of the show. From the precision moves of Deloris and her backup girls in the opening scene, to some hilariously creative freestyle moves in the convent, Ms. McDonald not only devised some excellent numbers but she also allowed her to cast the freedom to make them ‘real.’ Nuns balanced precision with arthritic hips and grace with dodgy knees as they infused character into every number.  Caitríona Ní Threasaigh did a wonderful job as MD. Having her orchestra split between two separate locations couldn’t have been too much fun. This was as good a group of musicians as anyone could hope for and they really brought the ‘fabulous’ Alan Menken score to life. Principal singing was strong and the bigger ensemble numbers were just powerful, with perfectly balanced harmonies and excellent dynamics. Offstage vocals were excellent, especially in ‘Here Within These Walls’ and ‘I Could Be That Guy.’  Bronwyn Andrews was a really impressive Deloris Van Cartier. Ms. Andrews gave a standout performance as the conflicted ‘nun on the run,’ with a most polished, nuanced portrayal, commanding the stage. She was feisty, funny, and full of charm as she rejuvenated the Queen of Angels choristers, transforming them into a musical force to be reckoned with. Her wonderfully full and soaring voice was a delight; at its very best in the brilliantly sung ‘Raise Your Voice.’ But it was the gorgeous tone, tenderness and sincerity of ‘Sister Act’ which stole the show for me.  Séamus Sullivan gave us a cartoonish portrayal of ‘sweaty’ Eddie Southern with a strong focus on physical comedy which really worked. Mr. Sullivan’s timing was very good and he balanced this comic business well with the more sensitive elements of Eddie’s character. He had a great rapport with Ms. Andrews throughout. Mr. Sullivan relished every second of the hilarious ‘I Could Be That Guy,’ embracing the silliness and committing fully to the randomness of Eddie’s fantasy only to be jolted back to reality with a bang.  Kathy Kelly was excellent in the role of Deloris’ adversary, Mother Superior. Ms. Kelly’s wimpled visage could portray a myriad, effortless emotions with ease, ranging from the disapproving to the exasperated, to the more sensitive and softer side of the convent’s formidable leader. What a magnificent voice she had too, with ‘Haven’t Got a Prayer’ being one of the highlights of what was a very strong show musically.  Sister Mary Robert, the nervous postulant who finds her voice, was played with great skill by the very talented Nicole Lamb. Ms. Lamb was completely immersed in the role, with great thought behind every action and reaction. She was funny and endearing and the audience loved her coming of age as Deloris helped her find her mojo. ‘The Life I Never Led’ was exceptional, not just for Ms. Lamb’s wonderful vocals, but for her instinctive and heartfelt connection with the lyrics in what was a tour de force performance.  Jenny Seery had a great joie de vivre in what was a very funny, energetic, and perky portrayal of Sister Mary Patrick, a larger-than-life member of the Queen of Angels community. Ms. Seery had a “powerful instrument” and she wasn’t afraid to use it! Facial expressions and comic interactions were quite hilarious, especially in Act 1, and vocals were very strong in all numbers. She had some wonderful comedy moments and worked really well with Ms. Lamb.  There were moments when Sharon McNamara threatened to steal the show as the wise cracking, gloriously grumpy Sister Mary Lazarus. Ms. McNamara’s performance was hilarious, as she went from disgruntled choir leader to fully invested rapper with arthritic ease. It was a superbly judged portrayal with excellent comic timing, stage presence and an aging physicality that was beautifully consistent.  Monsignor O’Hara was played with a very ‘oirish’ charm by Michael Goulding, who clearly enjoyed every minute on stage and made the most of every comic opportunity with what is quite an underwritten role. Mr. Goulding played for laughs and the audience duly responded. He worked very well with Ms. Kelly and his excitement at the prospect of a Papal visit to Queen of Angels was palpable. I loved his quirky enjoyment of ‘Take Me To Heaven’ as he boogied away, lost in the moment. A fun-filled, endearing performance!  Eddie Brady’s Curtis was despicable and threatening, as all good villains should be. Mr. Brady gave us a very laid-back, menacing delivery, leaving us in no doubt but that this gangster was unhinged, violent and a far cry from being the sharpest knife in the drawer. Mr. Brady gave an effortless vocal performance and was particularly impressive during the fun filled ‘When I Find My Baby,’ his beautifully rich singing voice at complete odds with the sentiment of the song and the assorted weaponry on display.  Mr. Brady’s henchmen, all equally inept (character-wise!), were a perfectly chosen trio of shady gangsters. Rory Dignam was a very funny Joey, strutting the stage with macho bravado and a comedic flair that had the audience in the palm of his hand. He looked great with his very 70s wig and moustache and his singing was very strong in ‘Lady in the Long Black Dress’. Daire Kelly as Pablo was an inspired bit of casting. I mean, it’s not every talented triple threat who rocks up to audition with perfect Spanish too! Mr. Kelly’s performance was full of fun and he took every opportunity he could to wring everything out of the role. His vocal chops were quite evident too, especially in his delicious falsetto during ‘Lady in the Long Black Dress.’ Taylor Hynes gave a quite extraordinary performance as TJ. His flamboyant take on the character was hilarious. We knew from the start that this colourful gangster could only have made it in because of Uncle Curtis. His presence was exceptionally good and his dancing was wonderful. But it was his incredible vocal in ‘Lady in the Long Black Dress’ that really stole the show. An outstanding job!  Mike O’Brien was a strong Ernie but his performance was far too fleeting as his untimely demise set the whirlwind narrative of the show in motion. He provided great posthumous support as an ensemble member for the rest of the evening.  Aoife Parkes and Eva Kelly provided super dramatic and vocal support for Ms. Andrews in the opening scenes, as back-up dancers Tina and Michelle. Harmonies were on point and their movement was so well synchronised. Both also shone in the ensemble scenes.  Kathryn Gibbons was very funny as the aged Sister Mary Theresa, enjoying her every geriatric gyration with glee. And what a funny ‘debut’ we had from Liz Cass, playing Sister Mary Martin of Tours with her hilariously consistent vacant stare. Yes, the lights were on but there definitely wasn’t anyone home.  Gerry McCann’s unexpected appearance as His Holiness brought me right back to Ballybrit Racecourse in 1979. The drummer kissing his ring was a nice touch.  ‘Sister Act’ is nothing without a motley crew, talented ensemble. Coolmine MS had an exceptional bunch of nuns, altar boys, dancing law-enforcement and inebriated barflies who breathed great life into every scene. Of course, the nuns were quite brilliant, committed to every scene, executing every dance routine with precision and hitting us with walls of harmonious sound that were quite euphoric at times. Take a bow all.  Gerry McCann was stage manager and had his work cut out with what can only be described as a monster of a set. His sizeable crew was very efficient and organised, managing the many changes of location very well, considering the size of the trucks and the flying requirements. A few minor ‘second night syndrome’ glitches did not take away from the flow and continuity of what can be a challenging show to keep moving. Overall, a really tight and efficient job with a huge beast of a set.  The hired set was visually stunning and its sheer size was immense. From the enormous Last Supper ‘tapestry’ to the imposing statue of the Queen of Angels herself, everything was on a huge scale. The sliding convent walls provided good cover for the many scene changes necessary for this episodic show. Eddie’s police station was very well dressed, with excellent attention to the tiniest detail, right down to the well-chosen wanted posters of some very dodgy looking fugitives. The confessional was a stunning piece in its own right and the enormous stained-glass windows were superbly authentic as well as providing great opportunities for the lighting department. Unfortunately, the set did provide challenges for the crew in places when movement of trucks behind the sliding walls was far too noisy.  Props were well chosen and authentic to the era. The assorted weaponry used during ‘When I Find My Baby’ added a fun, tongue-in-cheek element to the number. I loved the zimmerframes, festooned with fairy lights and the wooden bowls did not look out of place in the convent. One small thing was that I felt the Mother Superior’s desk was in need of more dressing. Documentation, letters, pens etc. might have added something.  Lighting was very strong throughout the show adding great depth and atmosphere to the wonderful set. There was great use of gobos, casting atmospheric shadow on the set and floor as needed. This was particularly striking in the convent scenes. The disco ball, pouring its glittery magic into the audience, was a nice effect. The backlit stained-glass windows looked stunning. The use of moving lights and plenty of colour added so much to the nuns’ large production numbers. There were some lovely states achieved in the brilliantly performed ‘I Could Be That Guy’ as Eddie dreamed of what might be.  Sound was generally very good. Balance between pit and stage was excellent and there was a glorious choral sound, both onstage and from the offstage singers when needed. Dialogue was crisp and clear, and I was very impressed with how clear all underscored dialogue was. Sound effects were generally well-chosen, although I did think that the two gunshot levels needed attention.  Costumes were very well coordinated. The 1970s have a lot to answer for when it comes to crimes against fashion and many of those misdemeanours made their way onto the Draíocht stage. Deloris’ pre-habit attire was suitably flamboyant and I loved the gangsters’ daywear which was so authentic to the era. The nuns were fabulously turned out at every stage of their fashion journey, especially their colourful finale costumes. The prison uniforms for Curtis and co. were great fun and the dancing police ladies looked great as they supported Eddie. Eddie’s discoloured armpits were a ‘nice’ touch and his multi-layered, quick-change costumes worked very well without being overly bulky and flagging the gag. Deloris’ FM boots were perfectly chosen.  Hair and makeup were in very capable hands. The hirsute gangsters’ looks screamed 1970s and Deloris’ wig was suitably large and flamboyant. Tina and Michelle were superbly turned out and Monsignor O’Hara’s wig looked like a bad toupée but it worked!  Coolmine Musical Society did a super job with this highly entertaining show, high in production values and full of fun and energy. A very strong cast and production team invested everything they had to offer, to the delight of their hugely appreciative audience. And how fabulous it was!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos kindly shared by the Society - taken by Rob Kennedy

Guys and Dolls as presented by Newcastle Glees MS

Newcastle Glees Musical Society  Guys and Dolls  Saturday 9th November 2024  ‘Guys and Dolls’ is one of those shows that never seems to...

Newcastle Glees Musical Society  Guys and Dolls  Saturday 9th November 2024  ‘Guys and Dolls’ is one of those shows that never seems to age. A superbly funny, snappy script and an exquisite score by Frank Loesser, combine to ensure that it is always an audience favourite. Newcastle Glees produced a very energetic and entertaining version of the classic musical. The performers often breached the proscenium, bringing the colourful inhabitants of Runyonland right into the audience, much to their delight.  I’m guessing that few societies in the country can claim to be putting on productions in a venue built over a hundred years ago. Newcastle Glees can boast exactly that, as they own and manage the wonderful Annesley Hall, built in 1891. The lovely hospitality front of house was duly reflected in the uniquely warm and welcoming atmosphere that seemed to emanate from this beautiful venue.  Laura Kerr did a fine job as director, with a close eye on the comic possibilities of the book. There was such a frenetic energy in the opening sequence, as a multitude of interesting characters vied for our focus and the show burst into life. Dialogue was generally pacy; exactly as it should be in what can be quite a long show. Pace dipped occasionally with some delayed entrances, however. For the most part, action in the auditorium worked really well, giving us an up close and personal theatrical experience. I even got some very authentic literature from the ladies of the Salvation Army! On occasion, action played in front of the audience was obscured. There was really great work in the tricky sewer scene, which had lots of pace, comedy and focus from all of the gentlemen.  Mark Tilley took up the reins as musical director, bringing the show’s delightful score to life with his wonderful, ten-piece orchestra. The orchestra sound was remarkably rich and full, excellently mixed by the sound department. The contrapuntal ‘Fugue for Tinhorns’ was so well sung, with the perfect dynamics allowing the melody to feature strongest, depending on who was singing it at the time. Chorally, this was an excellent show. From the Hot Box girls’ fun numbers to the iconic and excellently performed ‘Luck Be a Lady’ the ensemble singing was top notch. But it was the brilliant ‘Sit Down You’re Rockin’ the Boat’ that really showcased the excellent group vocals.  Choreography was in the very experienced hands of Clare Donnelly, whose vision and creativity were all over the show. She devised some wonderfully dynamic routines, culminating in the excellently rehearsed and slick Crapshooters’ Ballet which had the audience crying out for more. This really was the standout number of the show. Not to be outdone though, the Hotbox girls really impressed in Take Back Your Mink, which was a really polished, fun number with great performance levels from all. I loved the very cleverly staged ‘Sit Down You’re Rockin’ the Boat’ which swept us all along on the crest of a wave as everyone got drawn into Nicely’s ‘dream’ with unconstrained abandon.  Allen Gordon was a very charming and charismatic Sky Masterson. Mr. Gordon had excellent stage presence. He was in tune with the text at all times in what was a very thoughtful and intelligent interpretation of his role as the confident, high-stakes gambler. His knowing  manipulation of Sarah as he lured her in, his mind set on Havana, was very cleverly played. He sang beautifully too. ‘My Time of Day’ was absolutely gorgeous, showcasing Mr. Gordon’s rich, melodic tones so well.  Francis McKinney played the central role of good old reliable Nathan Detroit. Mr. McKinney gave us an extremely energetic portrayal of the eternal bachelor who has been running an illegal crap game ever since he was a juvenile delinquent. He was clearly putting his heart and soul into the iconic role and there was no doubting Mr. McKinney’s talent. At times, he needed some guidance regarding overuse of hand gestures which were very busy indeed. Mr. McKinney’s facial expressions, accent and comic timing were all very strong and he got a great audience reaction. He sang very well too, especially in the very funny ‘Sue Me.’ A solid portrayal of the role.  Emma-Jane McKnight was an excellent choice to play ‘mission doll,’ Sarah Brown. Ms. McKnight was a very strong actress who moved seamlessly from prim and proper Salvation Army girl in the earlier scenes, to a deliciously funny, drunken mess in Havana. She balanced the comic with the strait-laced so well, giving us a very gentle, yet passionate, interpretation of the role. What a voice Ms. McKnight had too. Her rich, soaring soprano was an absolute joy. She showed excellent control and was most impressive in ‘I’ll Know’ where her wonderful top register was most impressive.  That well-known fiancée, Adelaide, was played by Orla Russell, who lit up the stage in every scene. Ms. Russell was heartbreakingly hilarious. She found depth and nuance at every turn, balancing heartache with delicious ditziness, making her a most lovable character. ‘Marry the Man Today,’ with Ms. McKnight, was one of the highlights of the show for me and Ms. Russell’s vocals in all of her numbers was most impressive. An excellent comic performance.  Josh Clarke was a very likeable Nicely Nicely Johnson, with excellent comic timing. His dialogue was snappy, his diction was clear, and his reactions were suitably animated in a really fun portrayal. Mr. Clarke is clearly a gangster in real life too, as he almost stole the show with his fantastic performance of ‘Sit Down You’re Rockin’ the Boat.’ Super work!  Melissa Maguire played the hard-nosed General Cartwright, doing so with an imposing presence that was perfect for her domineering character. I felt that delivery of dialogue needed to be bigger and more boisterous, in order to match this very strong presence. I loved her little comic turn as she refused Nicely’s whiskey in ‘Sit Down You’re Rockin’ the Boat,’ a fleeting but very funny moment.  Harry the Horse was played with great comic flair by Finbar Finnegan. Mr. Finnegan was a real shady character with superb comic timing. His mix-up between his getaway car and his Buick was beautifully timed.  Diarmuid Taggart brought warmth, sincerity, and humour to the role of Arvide Abernathy. A very clever actor, he brought layers of nuance to a role that can often be thrown away. He had wonderful comic timing too, He displayed a lovely baritone in the superbly performed ‘More I Cannot Wish You,’ in which he connected with the lyrics in a most touching and sincere way. The connection with Sarah was beautiful.  Martin McDowell gave a very memorable performance as a gravelly-voiced Big Jule, the ‘scoutmaster’ from East Cicero who takes Nathan to the cleaners during the much-anticipated crap game. Mr. McDowell had a most imposing presence, (which nobody can deny!), and he controlled the pace in the sewer scene perfectly. And it has to be said that it’s not too often that you get a Big Jule who can dance the Crapshooters’ Ballet as well as Mr. McDowell did! Bravo. The decision to have hard-nosed Lieutenant Brannigan played as a very ‘stage Oirish’ cop was, for me, misjudged. That said, Sean Trainor was clearly a talented performer, with great expression, presence, and wonderful diction. However, the ‘be the hokey’ take, which was played for laughs at every opportunity, just didn’t sit well with me and took away from Mr. Trainor’s overall performance.  Stephen Donnan-Dalzell was a most exquisite Hot Box MC, played with a flamboyant flair and a touch of decadence that was both daring and original. They owned the stage and made the very most of their scenes, rocking their very unique look in a very fresh take on what is often a throwaway cameo.  James Marsden, Gordon Donaldson, and Luca Keaveney were all strong as Benny Southstreet, Angie the Ox and Rusty Charlie, with Mr. Marsden shining in the excellent ‘Fugue for Tinhorns’ and with his very funny cheesecake shenanigans.  Katy Keaveney was a supportive Agatha and Clare Cunningham got good fun out of Mimi, somehow managing to find her earring on the Hot Box floor.  A committed ensemble impressed vocally, and their dancing was strong in the big production numbers where they put huge energy into every routine. I was very impressed by the gentlemen who put such great effort into their reactions to the Hot Box routines. They were really enjoying themselves! ‘Sit Down You’re Rockin’ the Boat’ was a tour de force with every cast member giving their all and enjoying every second.  Stage manager Clair Williams ran a really tight ship and ensured that her crew were organised and slick for all changes. In such an episodic show, it is important to keep things flowing and Ms. Williams was acutely aware of this. Movement of the trucked pieces was very well choreographed and there were no obvious glitches on the night that I attended.  Set design was simple but very functional. The upstage NYC skyline looked great, and the four multifunctional pillar trucks were cleverly effective in minimising the space restrictions. The newsstand looked very well. The sewer was most impressive and the upper level for Sky and Nicely’s entrance worked really well. I really liked the straw umbrella for Havana, although the inflatable palm tree was not of the era.  Props were a little hit and miss and I would go as far as to say that some items should not have been allowed onto the stage. The Salvation Army bass drum, with Union Jack and associated branding, looked out of place, as did the flag used in the opening procession through the audience which referenced Belfast. The kitchen shower props were plentiful and authentic. There was lots of money floating about the crap game but cast needed to ensure that they had enough to accurately reflect the lines.  A very strong lighting plot complemented the dramatic action of the production very well. Havana was very impressive as the heat and driving energy of the scene were reflected in the dynamic lighting. The sewer scene was excellently lit, giving us a dark, atmospheric feel without ever compromising on clarity. A standout lighting moment was that dramatic first cue into ‘Luck Be a Lady Tonight,’ creating a stunning picture as Sky contemplated his biggest gamble yet.  I thought that the sound design was pretty much flawless in its operation. The orchestra was mixed to perfection. Dialogue and singing were crystal clear and there was a lovely array of sound effects which added nicely to street scenes and the sewer in particular. Cast just needed to be conscious of pulling back their ad libbed, background dialogue when their mics were on, as they were occasionally competing with the scripted dialogue. A superb costume plot added great depth and authenticity to the production. Everything appeared era appropriate. I loved the gangster outfits, and the spats were a particularly nice touch. The Salvation Army uniforms were perfectly staid. The Hot Box outfits, complete with birds’ nests and detachable eggs were a hoot and Adelaide’s ensembles were suitably over the top. The long dresses for ‘Take Back Your Mink’ were very elegant and Adelaide’s wedding was…well, very Adelaide.  Hair and make-up were appropriate for the era. The news vendor’s blonde wig needed attention (*prays it was a wig!) and some of the Hot Box ‘Take Back Your Mink’ wigs needed fixing for a more polished overall look.  This was a highly entertaining and fun production of one of the most iconic stage musicals ever written. It had it all and the audience responded accordingly. It was a pleasure to attend this unique and historic venue for what was a really great night’s entertainment. I sang all the way home!  Pat McElwain  Gilbert Adjudicator 2024/2025

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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
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