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GREASE As performed by St. Brendan’s Choral & Dramatic Society

*NOTE - This show was adjudicated by Peter Kennedy on behalf of Therese Maher GREASE St. Brendan’s Choral & Dramatic Society, Loughrea,...

*NOTE - This show was adjudicated by Peter Kennedy on behalf of Therese Maher GREASE St. Brendan’s Choral & Dramatic Society, Loughrea, Date of Adjudication: Thursday, 12th December 2024 Overview: Grease is one of those show that seems to disappear every now and then but suddenly reappears and becomes a firm favourite with a new generation. Long may that trend continue, for it really is a fun show, and for St. Brendan’s, reviving their company after a lengthy time in hibernation, it was just the ticket to shine a light on much new and exciting talent. After a somewhat pedestrian start, a talented cast managed to pick up the tempo and treat the audience to an entertaining night of good old ‘50’s rock and roll, filled with familiar tunes, good comedy and some very good acting and singing. Perhaps a larger chorus might have beefed-up some of the musical numbers, but those who were there did their best to compensate with good energy and enthusiasm.  Direction: Director, Ronan Lardner, did a good job of keeping the pace of the show fairly sprightly throughout, and paid good attention to establishing the idiosyncratic character traits of each individual, but I did feel the cast themselves had to drag the show up to a good pace, after what was an awkward, almost concert like opening. Each of the first three numbers were performed like isolated songs, followed by an unnecessary scene change, and did little to draw the audience in. It was really at the start of the dialogue scenes that the show came to life. Having said that, the rest of the evening was peppered with good visual and verbal comedy, as I would have expected from a director who has a very good handle on comedy. His direction of people was very good, but I felt perhaps a bit more time was needed on directing the technical aspects of the show.  Choreography: With limited numbers to work with, perhaps the bigger numbers in the show lost a bit of their punch, but Ronan did a very good job of filling the stage and keeping his routines tidy and appropriate to the era being portrayed. The cast had been well-drilled, and all looked very confident and secure in their movement.  Musical Direction: As with the choreography, the lack of a sizeable chorus meant that the big numbers from the show were vocally a little less impactful that one might have expected, but in support of Musical Director, Shane Farrell, he can only work with what he is given, and with a small cast, he certainly made sure that they were vocally secure. Principal singing was always accurate and well-delivered, and there was good attention to diction throughout. As one has come to expect from Shane, he had assembled a very competent band for the show, who played with spirit, control and good energy. Tempi throughout were spot on. Principals: In the role of Sandy, Izzy Tuohy , had a delightful, youthful innocence which was complemented by a beautifully rounded and mellow-toned vocal quality, all of which were entirely appropriate for the role. Her acting was sincere and there was believable romance between herself and Danny. Nathan Canning  was an equally impressive Danny Zuko, a natural cool dude with an impressive vocal range. He gelled well with Sandy and was a good natural leader of the greasers.  Emma Flynn , as Rizzo, showed strong vocal control in a very well delivered “Worse Things I Could Do” and a cheeky rendition of “Look At Me, I’m Sandra Dee”, and while there was good stage presence and confidence in her acting, she had a tendency to play slightly too much to the audience. Nevertheless, a very accomplished performance. Emilia Fallon  made the most of the delightfully ditzy character of Frenchy, appreciating all her comedic opportunities, and functioning strongly amid the group of Pink Ladies. She was cute and loveable. Noinín Feerick  managed to eat her way through quite a bit of food during the course of her highly amusing performance as Jan. Her comedy was very good, and her relationship, both comedic and vocal, with Roger was very natural. Petra Killeen , as the mischievous and flirty Marty, gave the performance of the night. Her poise, attitude, stage-awareness, her comedic timing and her excellent facial expressions all combined in a most impressive display, which was completed by good dancing and a confident vocal ability. Very good work. Erin Doyle  was comfortable and controlled in the role of Patty Simcox, and while she never put a foot wrong, I did feel that she could have exaggerated the irritating side of her natural to provide even more comedy. Alicia Locteau , with the few opportunities that her character presents, did a good job of her acting and dancing, as Cha-Cha, while Heather Colohan  gave fine vocals to Beauty School Drop-Out as Teen Angel, and as the Radio Voice for Raining on Prom Night. Completing the female line-up, Yvonne Earls  brought a very good sense of fun, and a smattering of the disciplinarian, to the role of Miss Lynch. Nicely played. Tough guy of the T-Birds, Kenickie, was given a confident and cocky treatment by  Callum O’Donnell , who was also able to show his more vulnerable side when shunned by Rizzo. His delivery of Greased Lightning was spot on. Sammy Vieira , the most junior of the T-Birds, gave a good youthful interpretation of Sonny, as corny as he was cocky, and always enjoying his performance. John Morley ’s good rendition of Magic Changes was the high point of his nicely portrayed role as Doody, played with a fine sense of fun and comedy. Paul Masse  got a great amount of comedy from his role as Roger, with good sharp-witted delivery of his lines, and he was particularly enjoyable in his falsetto, making the most of a very well-sung Mooning.  Cian O’Ceallaigh  was an appropriately nerdy and insecure Eugene, getting good comedy from a fairly limited role.  Paul Callanan , perhaps, could have been a tad cooler, as the one-time celebrity, Vince Fontaine, but he did play up the comedy of being the “past-his-best” sleazy star, and had a good look for the role. Patrick Byrne  gave strong support to the proceeds as Johnny Casino, strutting his stuff and belting out The Hand-Jive. Chorus: There were only four additional members of a chorus, each of whom made a worthy contribution to the proceedings. Technical Presentation: The set for the show was basically the letters of the word “Grease”, made as three-dimensional pieces of about 5ft high, several sets of steps/bleachers, and several inset pieces for other locations, with a raised platform along the back of the stage. I’m not sure that the letters were necessary, or did anything to enhance the production, but they did slow down the scene changes. I felt as though the backstage crew, who, to their credit, were very industrious throughout the night, were fighting an unnecessary up-hill battle. The lighting for the show was more adequate than enhancing, managing to keep the main action well-lit and to embellish with disco effects, without really producing anything particularly eye-catching or adventurous. The sound quality was more successful, with good timing and cueing, and a very decent balance between pit and stage. Visual Presentation: Costuming for the show was effective, with principals adorned in outfits befitting their personalities. Nice work was done on Beauty School Dropout, and the dance outfit for the High School Hop were appropriate to the era. There was good work done, too, on the hairstyles for girls and boys alike. You could almost smell the Brylcream. The ladies make-up was appropriate to era and character.  Front of House: It was nice to receive such a warm welcome to the Temperance Hall, from a polite and efficient staff, who looked after my every need.  Adjudicator’s Suggestions: St. Brendan’s Choral and Dramatic Society had been dormant for a number of years, and it was refreshing and exciting to see them take to the stage again with such energy and enthusiasm. I have no doubt that this production will have blown away the cobwebs and will hopefully see the company grow and prosper again in the coming years. Thank you to all concerned for a very enjoyable experience. Adjudicated by Peter Kennedy on behalf of Therese Maher

The Addams Family as presented by Glenamaddy Musical Society

Society Name : Glenamaddy Musical Society Show Name : The Addams Family Adjudicator Date of Attendance : 30/11/2024 Brief Overview of the...

Society Name : Glenamaddy Musical Society Show Name : The Addams Family Adjudicator Date of Attendance : 30/11/2024 Brief Overview of the Show and Evaluation of Front of House Glenamaddy Musical Society's production of The Addams Family  was a charming and spirited attempt at bringing the iconic macabre family to life on stage. This darkly comedic musical, based on Charles Addams' comic strip, focuses on the eccentric Addams family and their interactions with the more conventional Beineke family. The show is filled with whimsical, quirky humor that celebrates the bizarre yet loving nature of the Addams family. The production was well-received, and the cast’s enthusiasm was evident, and the performances were generally full of heart. However, there were several areas that could have been improved to enhance the show’s impact. The Front of House team did a solid job of creating a welcoming atmosphere. The staff were friendly and efficient, and the venue itself was comfortable for the audience.  Director  - Direction and Production The direction of the show by Nigel Cassidy was generally solid. The blocking was functional, with each character positioned appropriately for their scenes. Several moments of the show could have benefited from more energy or urgency to push the narrative forward. This is a show that thrives on exaggerated, almost cartoonish performances, it would have elevated the performances to push the performer more towards this direction. Greater emphasis on pushing the characters' quirks and exaggerating their behaviors would have added an additional layer of humor and flair to the production. More attention to smooth and efficient transitions between scenes would have helped maintain the energy of the performance. This can be achieved by a solid communication between the director and the stage management team. Finer points of the production were hampered by Nigel’s presence onstage, rather than being able to sit back and see the bigger picture. Musical Director  - Direction and Orchestra The role of the musical director, Mary Jo Fitzpatrick, faced several challenges that affected the overall musical experience. The positioning of the piano so close to the stage made it difficult for the performers to maintain proper eye contact with the conductor, leading to cueing issues. This affected the overall timing and rhythm of the performance. Having the MD facing the musicians would help in keeping the performance more even. More research into the tempos of numbers would help keep the energy of the show. The Addams Family  is not scored for extended changes, so it is the responsibility of the MD to fill the silent pauses between scenes needed to be appropriately filled with scene change music. This, coupled with speedier scene changes will help maintain the flow and keep the audience engaged. With an unmic-ed cast, the balance between the orchestra and the cast was not always ideal, especially when the singers turned away from the front. MaryJo could work more closely with the cast and orchestra to strengthen the ensemble harmonies and create a more cohesive sound. Choreographer  - Choreography Dance and movement are vital elements of a show like The Addams Family. The choreography, by Niamh O’Flanagan, was simple but did not fully bring the energy required for this production. The enthusiasm with which they were performed was without question. If movements are more tailored to suit the capabilities of the cast, and extra time is put into solidifying the choreography, the clean execution will fall into place. More focused rehearsal time on building confidence and improving stamina will ultimately benefit the society as they move forward.  Leading Principals -  Singing and Acting Gomez Addams (Johnny Garvey) - Johnny delivered a solid performance as Gomez, capturing his charm and warmth with a strong tenor voice, particularly in "Happy/Sad." His pacing sometimes felt aimless, and the performance would have benefitted from moments of stillness to allow his natural charisma to shine through more confidently. Morticia Addams (Niamh O’Flanagan) - Niamh portrayed Morticia with grace, but her vocal transitions into higher notes were occasionally shaky, detracting from the character’s smooth, sultry nature. Lifting her gaze up the raked seating would improve her connection with the audience and strengthen her stage presence. Wednesday Addams (Ciara Farrell) - Ciara’s portrayal of Wednesday was competent. More focus on the energy and rebellious sharpness required for the character would enhance the portrayal. Her interactions with Gomez were a highlight, really showing the father daughter relationship.  Pugsley Addams (Michaela Gilhooly) - Michaela’s performance as Pugsley was hindered by the gender discrepancy in the role. While her voice was lovely, the mischievous, bratty nature of Pugsley was underdeveloped. More work towards embracing the character's petulance would have benefitted her performance. Tighter cues from the MD would have helped with cueing issues. Lucas Beineke (Patrick Monaghan) - Direction towards a more confident physicality and better exploration of Lucas’s awkwardness would have improved Patrick's performance. More work was needed on the energy and chemistry with Wednesday, as well as timing and vocal precision. Alice Beineke (Sarah Kane) - Sarah shone as Alice Beineke, delivering an engaging performance full of energy. Her portrayal of Alice was particularly strong in "Waiting," where she stole the spotlight. Pushing Alice further into her madness would have added an extra layer of humor to the role. Mal Beineke (Nigel Kennedy) - Nigel’s portrayal of Mal was effective. He captured the jolly, businesslike aspect of the character, but his frustrations were underexplored. A stronger focus on Mal’s breakdown in "Full Disclosure" would have given his performance more depth. Grandma Addams (Ann Molloy) - Ann’s portrayal of Grandma Addams lacked the direction of eccentricity needed for the character. Her performance was too grounded, and the humor and physicality of Grandma were missing. A stronger emphasis on timing and energy, along with an accent, could have made the character more memorable. Fester Addams (John Reilly) - Embracing the character’s quirky absurdities would have made Fester stand out more. John’s portrayal was a little restrained and could have leaned more into the eccentric nature of the character. Chorus/Ensemble  - Singing, Acting, and Choreography The chorus and ensemble were a dedicated and enthusiastic group, hindered by a lack of confidence and experience. They gave great energy to the choreography. Moving forward they would benefit from additional dance training. Their vocal performances will benefit from stronger cueing and greater work on harmony, which affected the overall sound of the show. The ensemble did well to maintain their character throughout the performance and brought an overall sense of fun to the production. Stage Management & Set Design The set design was a highlight of the production. The use of levels and entrances helped to create the illusion of the Addams family home, and the overall design was visually effective. The scene changes were slow and disrupted the pacing of the show. More coordination between the director and stage crew is needed to ensure smoother transitions and maintain the flow of the performance. Technical -  Lighting and Sound The lighting and sound need more work going forward. Noticeable issues impacted the show’s overall technical quality. The lighting needed a better focus as there were significant differences in intensity between upstage and downstage areas. The lack of microphones made it difficult to balance the sound of the orchestra with the cast, meaning vocal power was lost when performers were not facing forward. The popping sound before sound effects also needs to be investigated. Visual - Costumes, Hair, and Make-Up The costumes were a strong point of the production, with attention to detail and clear character definition. The makeup and wigs were fitting for the show, with the ghostly chorus especially standing out. Pugsley’s hair was a missed opportunity. The messy bun for a female performer playing a male character was jarring and detracted from the otherwise seamless visual design. Adjudicator’s Suggestions/Comments Glenamaddy Musical Society’s production of The Addams Family  had many strengths, including a dedicated cast and solid design elements. There were several areas that could be refined. The direction could focus more on exaggerating the characters’ quirks and creating a stronger emotional connection between the performers. The musical direction needs to work on cueing, tempo control, and balancing the ensemble. Choreography should be tailored to the cast's strengths, and more attention should be paid to stage management and technical elements to ensure a smooth and polished show. With these improvements, Glenamaddy Musical Society has the potential to deliver a truly exceptional production in the future. Keep pushing the boundaries, and future performances could achieve a higher level of excellence.

Rock of Ages as presented by 9Arch Musical Society

9 Arch Musical Society  Rock of Ages  Saturday 23rd November 2024  As I battled through the inclement weather en route to Galway, I...

9 Arch Musical Society  Rock of Ages  Saturday 23rd November 2024  As I battled through the inclement weather en route to Galway, I wasn’t prepared for the breakdown and subsequent abandonment of my poor car somewhere along the M4. But the musical theatre gods shone through Storm Bert’s efforts to derail my quest. Add in a tow truck, a taxi, and more profanity than that which was dripping from 9 Arch Musical Society’s production of ‘Rock of Ages’ and I managed to make it to the Town Hall Theatre with minutes to spare. How fortunate I was to make this thoroughly entertaining production and to experience its very talented cast in what was an irreverent riot of 80s colour, full-on raunchiness, hedonistic abandon, and gross profanity.  The front of house team was so friendly and helpful. Everything appeared to be well organised and efficient. In spite of the relatively small foyer space of the Town Hall Theatre, everything was kept moving thanks to the great efforts of the team.  The very talented Alan Greaney was an extremely busy man with this one. It is one thing to direct a massive production like ‘Rock of Ages,’ but to also play the central role of its narrator is a mammoth undertaking altogether. As director, Mr. Greaney’s greatest strength lay in his excellent handling of the myriad comic opportunities within the script. He elicited very funny performances from his cast, himself included, who were pacy with their dialogue and held for laughter, when required. Comic timing across the cast was very strong and it was clear that this had been an area of focus during rehearsals. Visual humour was equally strong. The humorously captioned protest placards were a delight, as were the seemingly never-ending array of Lonny’s hilarious t-shirts, which deserved a curtain call all of their own. A merchandising opportunity was surely lost there. I would have bought them all! Continuity was excellent as one scene ran into another with great fluidity, ensuring good pace throughout. For me, there were two main issues which kept arising throughout the show. These had to do with sightlines and performers hitting their marks for lighting purposes. Overall, a really strong piece of direction from Mr. Greaney, with excellent attention to pace and the comic possibilities of the script. Congrats on a mammoth undertaking!  MD Shane Farrell and his excellent band looked absolutely amazing with their wigs, costumes, and accessories. They blended into the Bourbon Room very well, never looking out of place amidst the comings and goings of its eclectic mix of colourful clientele. And what a fabulous sound they made too. It was loud. It was face-melting. It was thunderous. Exactly as it should be! However, the key thing was that we heard every single word that was said and sung. This is a notoriously difficult balance to achieve with this show. All credit to Mr. Farrell and the sound department. Offstage ensemble vocals, of which there were many, were excellent. The choral sound in ‘The Final Countdown’ was superb, as it was in ‘Can’t Fight This Feeling.’ The finale ‘Don’t Stop Believin’ was incredibly powerful and musically sublime in its harmonies, phrasing and performance. Full credit to chorus mistress Katie Feeney who did trojan work too. Principal singing was very strong throughout and there was great sensitivity and nuance in the more subtle ballads. A super job.  Choreographer Jay Molyneux did an excellent job. Routines were energetic, inventive, precise and performed with delicious knowingness. The cast got the humour and this was reflected in the choreography, which was very much an extension of the zany, comedic style of the show. I loved the full-on energy of the opening as we were invited to ‘Cum on Feel the Noize’. Confidence and performance levels were sky high, setting the tone for the craziness which was to follow. Our hippy friends were a delight in ‘We’re Not Gonna Take It’, a quirky, well-rehearsed routine, performed with great gusto and more than a little tongue-in-cheek.  Homegrown talent Laura Ní Cheallaigh was an impressive Sherrie, the quintessential ingenue who lives the dream and successfully graduates from waitress to stripper. Ms. Ní Cheallaigh had excellent presence and delivery of dialogue was very strong. She sang well, with a rock chick edge that was perfect for the style of show. ‘Every Rose Has It’s Thorn’ with Justice was beautifully sung and performed; one of the musical highlights of the show.  I really enjoyed Eoin Mullins’ portrayal of Drew, the aspiring rock star from South Detroit who falls for Sherrie’s charms. Mr. Mullins had a really good handle on the tongue in cheek nature of the show. His delivery was so clever as he lived every moment on stage. Mr. Mullins was equally at home with the more sensitive moments too, as demonstrated sitting forlornly on the side of the stage. Drew is a challenging role vocally and there were some small signs of vocal tiredness in the extremely high upper register, at the end of what must have been a very tiring week. But the quality was there and when Mr. Mullins let rip in numbers such as ‘I Wanna Rock’ and ‘Oh Sherrie’ we were left in no doubt as to his vocal talent. His power, control and beautiful tone were a joy.  Alan Greaney, as the show-stealing narrator Lonny, gave a masterful performance. Who better to pull the strings and guide the audience through the hilariously irreverent narrative than the show’s director? Mr. Greaney was so comfortable as he blasted through the fourth wall, toying with the audience with his impeccable comic timing. Nobody was safe when he cheekily meandered off script…or did he? It was so hard to tell at times! He had the audience in the palm of his hand from the get go, with his in your face, less than sanitised delivery. Not only was he a superb comedian, but he also had a powerful rock god vocal with a superb range. He hit us between the eyes with his ‘Cum On Feel the Noize’ at the top of the show. But the icing on the cake was the hilarious, but brilliantly sung, ‘Can’t Fight This Feeling’ with Dennis. A top-class portrayal all round.  Jay Hall had great fun with the role of that “above average guy”, Stacee Jaxx. He owned the stage as he strutted into the Bourbon Room, revelling in the attention as his rock star ego grew and grew. Mr. Hall was quite the contemptible character and yet we warmed to his vulgarity in spite of his misogynistic tendencies. It’s not every gentleman who can pull off a leopard print thong. For that alone, Mr. Hall deserved his very own standing ovation. ‘I Want to Know What Love Is’ was a superbly sung, riotous romp with Sherrie and his ‘Renegade’ at the end of Act 2 was excellent.  As proprietor of the Venus Club, Justice Charlier, Sinead Murphy did very well. She had excellent presence and looked every inch the rock goddess. That hair! She delivered a really strong vocal performance, with ‘Every Rose Has Its Thorn’ being one of the standout musical moments of the show, for me. Dialogue was clear and her accent was secure. However, I did feel that Ms. Murphy could have been a little bigger with her delivery to match her fabulous presence on stage.  Niall Conway was hilarious in the role of Dennis Dupree. He was totally immersed in the role, looking and sounding every inch the most convincing stoner. Comic timing was so sharp and he played off Mr. Greaney particularly well. Mr. Conway is one of those comedians who only has to walk out on the stage for people to laugh at him. He wrung every humorous drop of comic business out of the part. ‘Can’t Fight This Feeling’ with Mr. Greaney took some by surprise. It was such a funny number and all credit is due to both performers who relished every second and lapped up the audience support.  Gustav Louw did well as German property tycoon Hertz Klinemann. He had good presence and looked the part as he carried himself with strength and authority. I felt that his delivery could have been stronger though. Given that he is essentially a villainous presence and there are such strong characters around him, I thought that a stronger, more adversarial delivery was required.  Niall Caulfield brought his considerable experience to bear on the role of Franz, Hertz’s extremely flamboyant offspring who isn’t gay…just German. This was a very camp performance full of not-so-gay abandon and energy. Comic timing was really strong, although a few things fell flat occasionally as Mr. Caulfield was so lost in the characterisation that his diction suffered slightly. Just a very small thing to watch in high-energy roles as we sometimes push ourselves to the brink and forget that the words are the most important thing. ‘Hit Me With Your Best Shot’ was comedy gold and Mr. Caulfield looked like he was loving every second.  I have seen Róisín Lawless on stage many times over the years and she is quite the chameleon as she morphs into every role that she plays. An excellent comedienne, Ms. Lawless was the perfect fit for the over-the-top shenanigans of city planner Regina. Comic timing was excellent and her facial expressions were a delight. She worked very well alongside Mr. Caulfield, showing that opposites do, indeed, attract. Her contribution to ‘Hit Me With Your Best Shot’ was immense and very funny to boot. Her vocal in ‘The Final Countdown’ was seriously impressive too. A super job!  Jessica McDonagh was a really funny Waitress #1 with great comic timing. She was ahead of her time managing to get a cheeky ‘Hawk Tuah’ reference into an 80s musical, but it was delightfully crass and in keeping with the very dubious, vulgar tone of the show. She had a great voice too, with plenty of power and was a strong performer in the ensemble numbers.  If there was an award for the most appearances on stage in a three-month period, Niamh McSweeney would have to be a shoo in. This time round she played the role of reporter, Constance Stack. Her scene with Stacee was very funny as Ms. McSweeney displayed a deft comic touch.  Vanessa Walsh was a strong, stern Mayor who clearly ran a tight ship and was intent on levelling the Bourbon Room to the ground.  There was strong support too from David Alexander as both Drew’s agent, Ja’keith and Sherrie’s father.  Anne O’Donnell also doubled up, playing a sympathetic Mother Christian and the Strip Club DJ very well. Mark Shivnan impressed and was clearly enjoying himself as Joey Primo.  The ensemble was kept extremely busy throughout and what an energetic, committed group this was. Yes, it was a Saturday matinee, but that mattered not one bit as we were blown away by one number after another, the energy levels through the roof. Everyone was in tune with the irreverent tone of the show. All credit to Mr. Greaney. Vocally this was a fantastic ensemble and the harmonies were an absolute credit to everyone. And ladies in ‘Pour Some Sugar’…take a bow!  Jacqlyn Cronin was a very effective stage manager, ensuring that the show flowed very well throughout. With no major scene changes as such, it wasn’t a particularly busy show on the surface. However, with such a large cast and a plethora of props, there was a lot to keep track of. Dressing the ‘pull out’ section on stage right each time it came off would have kept crew on their toes too. Masking and sightlines needed to be addressed from time to time, as performers could be seen waiting in the wings before their scenes. Just something small to be aware of.  The impressive set, with its two levels, allowed for some interesting staging opportunities. The detailed dressing, the neon signs and the overall finish were superb. I loved the very clever ‘pull out’ section on stage right which was so well dressed as it transformed into Sherrie’s bedroom, the mayor’s office and the restroom. I would have liked the band’s ‘stage’ to be slightly higher as performers were sometimes lost on it when cast stood in front. Sightlines needed more consideration at the design stage. The stage left steps, and any action or entrances on them, were completely hidden from view for a sizeable section of the audience sitting on the right, facing the stage. Masking was a bit of an issue also, with performers visible in the wings on occasions as they prepared to go on stage.  There was great attention to detail in the props department. Nothing appeared out of place. The Sunset Strip model was very impressive, as were smaller hand props such as newspapers, coffee cups and many more. I loved the hilariously captioned protest placards. The ‘Fogmaster 5000’ was so bad that it was actually brilliant. JaKeith’s ‘brick’ phone brought back memories, for sure. The glass on the photo frame played a bit of havoc with the lights, bouncing reflection all over the set. Maybe just pop out the glass in future.  Elements of lighting for this show were excellent. There was great use of haze and moving lights to create a rock gig vibe as strong beams cut through, giving us amazing, strong pictures throughout. Colours were well chosen and lighting states reflected the mood, whether we were listening to a big power ballad or a full-on, headbanging production number. There were times when more key light was required for faces. This was particularly noticeable on the upper level, where faces were lost from time to time. I know it must be a very problematic area to light but it needed something. There were issues with cast hitting marks but that was more of a directorial issue than the lighting operators. On the afternoon that I attended, there was a number of late cues, which surprised me, given how far into the run the group was.  Sound was really top notch. There was an excellent balance between band and pit and there was great work with the offstage vocals which added so much to the overall sound. Dialogue was warm and clear at all times. Cueing was also excellent. The end of Act 1 was the part of the show that really underlined for me how good the sound was. Every element was mixed to absolute perfection as the band and vocalists belted out ‘Here I Go Again’. It was huge. It was loud. But every single layer could be heard with crystal clarity. A brilliant job!  Costumes added so much to the visual spectacle and were excellent all round. Mr. Greaney’s t shirts threatened to steal the show, of course. The gorgeous gospel robes looked fabulous.  Stacee’s leopard print left little to the imagination and nor did his leather trousers! I loved Ja’Keith’s Don Johnson inspired, Miami Vice look. Justice’s red leather coat was quite stunning. Of course, we had the obligatory lederhosen thrown in for good comic measure. Hard hats and overalls looked great for ‘The Final Countdown’ and Drew’s brightly coloured shellsuit struck a disturbing nostalgic chord. The well-chosen ensembles for ‘Pour Some Sugar’ were very memorable indeed.  Hair and make-up were just fun, fun, fun! Hair was big! Make-up was bright and loud, reflecting the 80s era very well. A really super job which added so much to the visual spectacle.  I thoroughly enjoyed this very slick and entertaining show. Production values were excellent and cast were very talented. As mentioned, I did think that someone with a critical eye for detail needed to be out front to ensure that avoidable issues were identified and ironed out as the week progressed. In spite of those minor issues, this was an excellent production, high on humour, with a superb cast. Well done to all!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos kindly shared by the society; taken by Denis Cavanagh

The Sound of Music as presented by Boyle Musical Society

Society name: Boyle Musical Society     Show name: Sound of Music  Adjudicator date of attendance: 22/11/2024 Brief overview  of show and...

Society name: Boyle Musical Society     Show name: Sound of Music  Adjudicator date of attendance: 22/11/2024 Brief overview  of show and evaluation of Front of House On a wet and rainy evening, St. Joseph’s Hall in Boyle presented a warm and inviting atmosphere that was most welcome. Friendly faces greeted the arriving audience, whose enthusiasm and excitement could not be dampened by the weather. The hospitality from the Front of House team added to the charm of the evening and set the tone for what was to be an engaging and enjoyable production. The buzz of excitement was tangible, and it was clear that this production had already brought the community together. Director – Direction and Production The direction of The Sound of Music  by Vivienne Moran was commendable, with thoughtful use of space and creative staging choices. The decision to utilise the center aisle for the nuns’ procession and the wedding scene was particularly effective and added a refreshing perspective. There was evident attention to detail, especially with the smaller roles and featured chorus parts, which made the production feel dynamic and engaging. The comedic elements of the script were pulled out beautifully, and the lighter tone injected fun moments I hadn’t previously realized existed in The Sound of Music . This approach gave the production a unique and joyful energy.The Von Trapp children were handled with care, and each of their distinct personalities shone through—a testament to the Director’s work in developing their characters. Maria’s character arc, transitioning from carefree novice to confident governess, was delicately nurtured and portrayed with heart. Moments such as her confrontation with the Captain and her bond with the children felt particularly genuine and moving. The Director also skillfully balanced the show’s emotional depth with its moments of levity, ensuring that the production never felt too heavy. Overall, it was a production full of heart and joy. Musical Director – Direction and Orchestra Anne Kielty was the musical director, and it was a standout feature of this production. The singing, particularly from the ensemble of nuns, was nothing short of glorious. The opening unaccompanied chorus showcased stunning harmonies that were both impeccably balanced and beautifully blended. It set a high bar for the evening and immediately highlighted the society’s vocal strengths. The orchestra was an absolute joy to listen to. The balance between the pit and the stage was finely tuned, ensuring that the music supported the performers without ever overpowering them. A particular mention must go to the brass section—their use of mutes to maintain balance was thoughtful and effective. The orchestra’s polished and nuanced performance added a professional quality to the production that did not go unnoticed. Choreographer – Choreography The choreography by Victoria Walker presented a mixed bag in this production.   “So Long, Farewell” was a standout number. The clever and thoughtful choreography, particularly at the start, was well-executed and perfectly suited to the Von Trapp children’s characters and abilities. However, “Sixteen Going on Seventeen” felt a little over-ambitious for the performers. A simpler, more grounded approach would have allowed them to focus on character connection rather than the movement itself. Similarly, the ballroom sequence appeared to push the performers beyond their comfort zone—a simplified routine could have been equally effective while ensuring confidence in execution.In “How Do You Solve a Problem Like Maria,” there was noticeable scope for additional movement or formation changes. Some dynamic staging here would have added energy and visual interest to the number. Overall, while there were moments of brilliance, a more tailored approach to the performers’ strengths would have elevated the choreography further. In group scenes like the nuns’ procession and family escape, the restrained and deliberate movement choices were very effective, adding to the dramatic tension. Leading Principals – Singing and Acting Maria Rainer (Lizi Hannon) : A lovely portrayal of the beloved governess. Hannon’s energy and warmth were evident from the moment she appeared. Her strong vocals, coupled with a genuine motherly presence, anchored the production. Her moment of falling in love during the dance was particularly touching. Captain Von Trapp (Tom Nolan) : A well-executed performance with a beautiful tenor tone. The stiff, reserved nature of the Captain was effectively captured by Nolan, with glimpses of warmth emerging as the story progressed. His emotional delivery during “Edelweiss” was especially moving and heartfelt, cementing one of the most poignant moments of the production. Mother Abbess (Josephine Carroll) : Unfortunately, this role felt under-rehearsed, with line delivery appearing uncertain at times. The accent was inconsistent, and while her classical voice was pleasant, the top notes posed a challenge. The overly familiar physical interactions with Maria, such as hugging, felt out of place for the time period. Liesl Von Trapp (Rachel Bolger) : A strong portrayal of the protective eldest sibling. Bolger showed maturity and confidence while still capturing the youthful energy of the character. Frederick Von Trapp (Jake Reilly) : The character’s awkward teenage persona was evident, though Reilly seemed unsure of himself at times. Greater confidence in his performance would have allowed him to stand out more. Louisa Von Trapp ( Grace Hourican) : Hourican had a warm and engaging presence. Her admiration for Liesl came through clearly, and her vocals showed potential with further development. Kurt Von Trapp (Rian Wynne) : A cheeky and charming performance. Wynne brought wonderful energy and blended seamlessly with the group as any good middle child would. Brigitta Von Trapp (Elena Greene) : A true firecracker! Green’s comic timing was excellent, and she delivered cheeky moments with confidence and charisma. Her voice was strong and clear, making her a standout performer. Marta Von Trapp (Tess McDermott) : McDermott’s facial expressions were a delight to watch. She was never without a reaction and added delightful moments, even off-script. Gretl Von Trapp (Emma Doherty) : A charming portrayal of the shy youngest sibling. Doherty confidently held her own throughout and never faltered. Supporting Roles – Singing and Acting Max Detweiler (Diarmuid Beirne) : Beirne has excellent comic timing and physicality. His performance was marred slightly by an inconsistent and distracting accent. His interactions with the Captain and Frau Schraeder were lively and entertaining. Frau Schraeder (Fiona Madden) : A wonderful embodiment of a wealthy, entitled lady. Her physicality and “looking down her nose” mannerisms were well-played by Madden. While her vocal performance was not the strongest, she delivered her numbers with confidence, ensuring that the character’s personality remained at the forefront. Frau Schmidt (Aoife O’Connor) : A standout supporting role and a perfectly balanced portrayal of efficiency, frustration, and exasperation with the Captain’s ways. O’Connor’s performance was understated yet impactful with impeccable comic timing. Rolf Gruber (Oisin Dowling) : Dowling is vocally strong, though physically a little awkward. Dance classes would benefit his confidence and physical presence on stage. With additional training in movement and stage confidence, he has the potential to develop into a more polished and engaging character. Franz the Butler (Jacob Burke Tighe) : The role of Franz felt underdeveloped, with a lack of clear characterisation. Greater attention to physicality, posture, and vocal delivery would help Tighe create a stronger and more distinct presence as the loyal but stoic butler. Sister Margaretta (Ceara Conlon): Conlon’s soft understanding for Maria was evident throughout. She showed a kindness and a concern towards the novice that others didn’t.  Sister Sophia (Deirdre Feeney): Feeney remained stoically between the other two sisters, bending neither way, but always adhering to the rules. Caught in the middle she played the peacemaker well Sister Berta (Emily Rooney) : Rooney portrayed the Mistress of Novices as suitably prudish and straight laced. Her lack of tolerance for Maria was evident in her disdain. As was her frustration as Sister Margaretta’s kindness towards the flighty novice. Chorus/Ensemble – Singing, Acting, and Choreography The nuns’ singing was heavenly and undoubtedly the strongest point of the ensemble. Their harmonies were stunning, and they set a beautiful tone throughout the production. Individual character moments were a nice touch, particularly during the aisle entrances, which added personality. The family escape scene brought the ensemble together in a moment of quiet, restrained urgency, which was highly effective. However, there were moments where efficiency in getting into positions was lacking, which occasionally slowed the pace of the production. Stage Management & Set Design The set design was visually impressive, with larger pieces cleverly doubling for multiple scenes. The period-appropriate design was well-executed overall, though some attention to detail—such as covering gaps in tall set pieces and ensuring the drapes on the staircase were neat—would have elevated the visual impact further. Scene changes were slow at times, which affected the flow of the show. Streamlining these transitions would enhance the overall pacing. Technical – Lighting and Sound Lighting  – While fairly basic, the lighting suited the production’s needs. The loss of a FOH light was unfortunate, but the LX operator did well to compensate. The focus on the stage extension was slightly awkward and would benefit from repositioning the lamps for future productions. Sound  – The balance between the pit and the stage was excellent. Voices were clear and blended beautifully. However, missed sound cues, particularly for entrances like the Butler’s, were noticeable and disrupted some moments. Visual – Costumes, Hair, and Makeup The costumes were superb and well-suited to the period and setting of the production. A particular highlight was Frau Schraeder’s elegant and striking wardrobe, which perfectly captured the sophistication of her character. The Von Trapp children’s costumes were equally delightful, adding charm and authenticity to the family scenes. Hair and makeup were appropriately subtle and in keeping with the time period. The nuns’ simple styling matched the characters well, and the Captain’s military look was sharp and polished. The visual presentation of the production as a whole was both cohesive and effective. Adjudicator’s Suggestions and Final Thoughts Boyle Musical Society delivered a heartwarming and enjoyable production of The Sound of Music , brimming with charm, energy, and glorious vocals. The attention to character detail and clever use of space made the show a delight to watch.To further elevate future productions, I would suggest focusing on: Simplifying choreography to suit performers’ abilities. Enhancing the efficiency of scene changes and ensemble transitions. Addressing technical aspects, such as sound cue consistency and lighting focus. The society’s clear passion and talent shone through, creating an uplifting experience for all. Congratulations to everyone involved! Photos kindly shared by the society // Photographer : Benny Morgan

Beauty & The Beast as presented by Marian Choral Society

Marian Choral Society  Beauty and the Beast  Saturday 2nd November 2024  PUBLIC REVIEW  As I drove through the gates of St. Jarlath’s...

Marian Choral Society  Beauty and the Beast  Saturday 2nd November 2024  PUBLIC REVIEW  As I drove through the gates of St. Jarlath’s College, Tuam, eagerly anticipating Marian Choral Society’s production of ‘Beauty and the Beast’, I was momentarily transported back ‘a few years’ to when twelve-year-old Pat stepped out of his dad’s Fiat Mirafiori and surveyed his new school and ‘home’ for the very first time. It was here that I encountered the late greats, Joe Donoghue and Noel Kirrane and it was here that I first discovered my passion for all things theatre. How special it was to return to where it all began and, even more special, to see a show produced by a group with such close ties to these two great inspirations of mine.  MCS brought a most entertaining version of the much-loved Disney classic to the St. Jarlath’s hall. This relatively small stage is not without its limitations but that didn’t deter the production team from creating many, often unexpected, magical moments which wowed a very appreciative, final night audience.  Front of house couldn’t have been more welcoming. A bit of a seating mix-up was dealt with very professionally and cheerfully and all was well as Cogsworth and Lumiere guided us through the necessary front of house announcements.  Aoife McClafferty directed with a good eye for characterisation and the technical flourishes required to create that Disney magic. She found much comic business in the script, balancing these very well with the more tender moments. Ms. McClafferty created some lovely magic with the gauze and the transformation scene was a most unexpected, technical triumph as the Beast was elevated above the stage before magically regaining his princely form. There were some really effective ensemble freezes which, complemented by atmospheric lighting, were beautifully staged. Gaston’s demise was well-realised, again using the technical elements of set and lighting to good effect.  Musical Director, Shane Farrell, did sterling work with Alan Menken’s delightful score. His eleven-piece orchestra was a joy. From the opening bars of the magical overture, we knew that this was going to be a very special show musically. Principal singing was generally very good but it was the incredible choral sound in the bigger ensemble numbers that impressed most. ‘Be Our Guest’ and ‘Human Again’ were just stunning from both orchestra and cast with exceptionally good levels from both and equally wonderful balance between vocal parts.  Jay Molyneux’s choreography was nicely devised to suit the capabilities of his large cast. Bigger production numbers were well-drilled and rehearsed with clever formations and good use of available space. It was difficult to know where to focus in the opening ‘Belle’ number, as there was so much going on. However, ‘Be Our Guest’ did not disappoint. This was a wonderfully creative number, a kaleidoscopic treat, full of energy and precision. The can-can section worked very well, and I loved the final picture which was perfectly accentuated by the superb lighting. Likewise, ‘Human Again’ was executed well by the large ensemble cast, even if some facial expressions needed attention to reflect the joy of the characters no longer being cursed. The tankard clinking sequence was fun and precisely executed in one of the real highlights of the show. Kate MacDonnell was a self-assured, likeable and endearing Belle whose loyalty and love for her father, Maurice, shone throughout. Diction was excellent and she had strong stage presence befitting this iconic Disney character. Ms. MacDonnell had a beautiful soprano voice and demonstrated excellent control. She really impressed with her two big numbers, ‘Home’ and ‘A Change in Me’, both of which were sung with great thought and sincerity. I did feel that the emotion could have been stronger in reaction to the Beaast’s demise before the transformation sequence but that is a very small point in what was a really fine, all-round performance from Ms. MacDonnell.  Beast is one of the more difficult roles in musical theatre. If the traditional type of mask is used, all facial expressions and nuances become null and void once you hit the stage. Everything becomes focused on the voice and the physicality, making it a very different and challenging role to rehearse and to perform. Paul Singleton looked great in his imposing portrayal. He was angry and intimidating when required but there was a vulnerability there too which was nicely underplayed. Mr. Singleton had a fine singing voice and cleverly used his characterisation to mask some vocal tiredness in ‘If I Can’t Love You’.  Jonathan Newman was a youthful Gaston who put everything into playing the role of the muscle-flexing, misogynistic lothario, full of his own importance. Mr. Newman had wonderful presence, delivering lines with just the right amount of knowing self-obsession and arrogance to make him both utterly despicable and likeable at the same time. After a shaky entrance in ‘Belle’, he recovered well and sang with a strong baritone voice.  Ruadhán Gormally was another very talented young man in the role of village idiot and Gaston’s inept sidekick, LeFou. Mr. Gormally’s portrayal was brim full of character and chaotic exuberance. He was an excellent physical comedian, with hilarious facial expressions and rubber-limbed antics in what was a suitably cartoonish performance.  The flamboyant Lumiere was played with great energy and expression by Stuart Barrows who delighted in the comic opportunities his role presented. Mr. Barrows gave us a performance full of wit and charm. His French accent was consistently strong throughout. He had great cheeky banter with Babette, revelling in the flirtatious fun with a comic campness that endeared him to the audience from the start. He performed his big showcase number ‘Be Our Guest’ with great aplomb, displaying a fine voice to boot.  Making up the other half of this impressive double act, Norman Quinn gave a standout performance as a cantankerous, pompous Cogsworth. This was a superbly judged and very funny characterisation which Mr. Quinn clearly enjoyed every minute of. Mr. Quinn sang very well, particularly in ‘Human Again’, always maintaining his wonderfully stuffy accent and demeanour. A top notch, funny performance.  John Mulrooney was a sympathetic Maurice, Belle’s crackpot inventor father. Mr. Mulrooney was a very good performer, with fine stage presence. We felt for him, especially when imprisoned by the Beast and when set upon by Gaston. I did feel that some work needed to be done with his accent, which tended to ‘travel’ a bit, but this did not take away hugely from a fine performance.  Mrs. Potts was played by Suzanne Garvey with a lovely, maternal warmth. Ms. Garvey’s rendition of the title song was just gorgeous. Her accent was consistent, and diction was excellent throughout. Particularly impressive was how in tune Ms. Garvey was with the narrative action, even when she was not the direct focus. Her subtle, intelligent reactions to her fellow performers showed a great deal of thought had been invested in the subtext. Rian Finegan was a delightfully enthusiastic Chip. What an amazing experience for him to get to work with such a great production team and cast. He was always confident and engaged, living every moment on stage. Line delivery was crystal clear, and he had a fine singing voice too.  Hannah Rhatigan enjoyed her portrayal of Mme. de la Grande Bouche very much. She showed great characterisation and comic timing as the enchanted wardrobe and sang strongly throughout.  How lucky MCS was to have the very talented Angela Staunton in the role of the saucy, amorous Babette. She brought great comedic flair to the role and her coquettish carry on with Lumiere provided many of the show’s comic highlights.  I loved the three Silly Girls whose infatuation with the egomaniacal Gaston was delightfully cartoonish and over the top. These three worked so well together, making the very most out of every comic opportunity.  Stephen Leo had an imposing, sinister presence as Monsieur D’Arque. I did feel that his wig needed to be off his face more so that we could see his malevolent features more clearly.  The large ensemble had plenty of involvement and, for the most part, engaged well with the dramatic action. There was an angry energy in ‘The Mob Song’ and some incredibly disciplined freezes throughout the show which looked really effective. Choral singing was wonderful throughout and dances were well rehearsed and executed.  Stage manager Julie McHugh ensured that the show moved along at a good pace, with well organised scene changes executed in an efficient manner. Movement of the trucked items worked well as did the operation of the midstage gauze. The operation of the two revolves was smoothly handled, although it might have worked better to coordinate turning them with cover from the orchestra, to mask the noise created. I did question the crew striking the fireplace and chair, in full view, at the top of ‘Something There’. Seeing crew walk on when there was no blackout, momentarily broke the magic for me. Congrats on the operation of the transformation ‘lift’. This looked wonderful and I’m sure it required a lot of tech time in rehearsal. Great job all!  The set was simple but visually appealing. It worked well in what is a fairly restrictive venue. In general, there was good attention to detail. I loved the beautifully dressed proscenium arch with its ornate ‘Beauty and the Beast’ plaque overhead. The front of the revolves were nicely detailed with roses and ivy. The imposing winding staircase for the castle’s West wing was impressive, as was the beautifully detailed library which was magically revealed by Beast. Both revolves looked great and their design allowed for smooth operation. The bottom of the fireplace needed a little touch of black paint and its casters needed to be hidden.  I felt that more work was required in the props department. ‘Beauty and the Beast’ is a ‘prop heavy’ show and requires a lot of attention to detail. Some props were excellent. LeFou’s blunderbuss looked great, as did Maurice’s wacky invention. I felt that ‘The Mob Song’ was a missed opportunity for props. It could have been brought to life so much more by the inclusion of sticks, weapons, tools, lanterns, torches etc. The few props that were used, seemed to be lost in the crowd and could have been more prominently featured.  The lighting for this show was exceptionally good, showing great understanding of mood and atmosphere. Some wonderful effects were created throughout the show and the lighting was instrumental in creating that Disney magic on so many occasions. There were some beautifully timed reveals behind the gauze and, when the gauze was used as a backdrop, the gobos used to dress it were very well chosen. There was good use of haze, never too much, which accentuated the moving lights in some very dramatic sequences. This was particularly evident in ‘Be Our Guest’ which was a visual feast.  Sound was pretty much flawless, in my view. Dialogue was crystal clear, especially underscored dialogue which can often be problematic. The wonderful sound design complemented the exquisite score, with superb balance within the orchestra and a most welcome stage/pit balance too. Choral singing was exceptionally well mixed and sound effects were well chosen and appropriate.  ‘Beauty and the Beast’ is such a visual show and costuming is a key factor in getting that visual element just right. For an iconic story, with such specific costuming requirements, there are certain expectations regarding how each character should be presented. With few exceptions, the costume department delivered. Principal costumes were, for the most part, in line with expectations. I loved most of the enchanted characters’ costumes which were fun and detailed. Gaston’s padded muscle suit didn’t work as well, I felt. Belle’s iconic yellow ballgown needed a little bit of attention as the centre panel was off kilter. A huge job for the costume team who deserve every credit for their mammoth undertaking.  Hair and make-up were generally very suitable with good attention to detail throughout principal and ensemble players. Gaston and LeFou had some interesting eyebrow energy going on and their wigs were suitably cartoonish. There was good attention to detail with most wigs, particularly for the castle characters. Maurice’s wig looked great and was suitably quirky. However, more care could have been taken to hide the visible hairpins. Monsieur D’Arque’s wig needed to be pinned back as we lost his face whenever he was in side profile.  Well done to all involved on a really entertaining production of this “tale as old as time”. It was an absolute pleasure to be in attendance. I have to commend everyone involved in the acquisition and installation of the tiered seating in St. Jarlath’s hall. What a game changer for the college and for Marian Choral Society! I have no doubt that Joe and Noel are smiling down and nodding approvingly.  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Andy Newman
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