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The Addams Family as presented by Claremorris Musical Society

Society name: Claremorris Musical Society Show name: The Addams Family Adjudicator date of attendance: 29/01/2025 Brief overview  of show...

Society name: Claremorris Musical Society Show name: The Addams Family Adjudicator date of attendance: 29/01/2025 Brief overview  of show and evaluation of Front of House Claremorris Musical Society’s production of The Addams Family  was a highly enjoyable and ambitious performance that showcased the dedication, talent, and passion of all involved. The production successfully brought the delightfully macabre world of the Addams family to life, delivering strong performances, striking visuals, and an overall engaging theatrical experience. While there were areas that could have been further polished, the effort put into the show was evident, and the audience was thoroughly entertained. The welcome at the venue was warm and inviting, setting the tone for the evening. The front-of-house team managed the audience with professionalism, ensuring a seamless experience. The promotional materials, including the program, were well-designed and informative, giving clear insights into the cast, crew, and production team. Seating arrangements were well-coordinated, and the atmosphere before the show built anticipation effectively. The only small suggestion here would be to enhance signage for first-time attendees to ensure they find their way easily. Director-  Direction and Production The direction of The Addams Family  by Donna Ruane was well thought out, capturing the humor and heart of the story. There were some wonderful character developments, allowing each actor to bring their role to life with individuality. The comedic timing in several key moments was spot-on, eliciting genuine laughter from the audience. The pacing and overall flow of the show were strong, maintaining engagement throughout. However, a slightly snappier tempo in some scenes, particularly with Gomez, could have added an extra layer of energy to the narrative. The chemistry between characters was well established, which is crucial in a show that thrives on the quirky relationships of the Addams family and the stark contrast with the Beineke’s. The use of space was commendable, making full use of the stage in creative ways. Scene transitions were generally smooth, but minor refinements in movement between set changes would enhance fluidity even further. Overall, this was a well-directed and well-paced show that brought out the best in its cast. Musical Director-  Direction and Orchestra Musically, the production was well-balanced, with a strong orchestral performance led by Deirdre Lee that complemented the vocalists effectively. The harmonies among the cast were clearly well-rehearsed, and the diction was crisp, ensuring that the lyrics and dialogue were easily understood. This was particularly commendable, as clarity can sometimes be a challenge in musical theatre. There were, however, a few moments where cueing seemed slightly off, particularly in ensemble numbers. While these were not overly disruptive, a bit more attention to musical transitions and entrances could elevate the overall musical tightness. Despite these small moments, the orchestra maintained a well-rounded sound, supporting the action on stage without overpowering the performers. Choreographer - Choreography The choreography by Jay Molyneux was one of the weaker elements of the production. While it served its purpose, it remained a little basic, and there were moments where the potential of certain talented dancers could have been further explored. One Normal Night  and the various renditions of But Love  would have benefited from more dynamic movement and greater variation in stage patterns. One of the strengths of The Addams Family  is its ability to incorporate character-driven choreography, and this was an area that could have been expanded upon. Encouraging the ensemble to infuse more characterization into their movement would have added an extra layer of engagement to the numbers. That said, the performers were committed to their roles, and there was a strong energy in their execution. A bit more variation in choreographic style would further enhance future productions. Leading Principals – Singing and Acting Gomez – David Alexander. David delivered a solid performance as Gomez, balancing the humor and sincerity of the character. Vocally, his tone was smooth and pleasant to listen to. His pacing was slightly slow at times. Gomez’s nervous energy is a driving force in the narrative, and a quicker tempo in his dialogue would add further dynamism. His chemistry with Morticia was believable and engaging, and a slightly more exaggerated quirkiness would have enriched his performance even further. Morticia – Vivienne Lee A commanding and confident performance. Morticia requires a strong presence, and Vivienne delivered this effortlessly. Her relaxed and poised demeanor allowed her to embody Morticia’s elegance and dominance in the household. Vocally, she handled her songs well, and her movement was graceful and fitting for the character. Overall, a very strong portrayal. Wednesday – Chloe Connor. Chloe gave a solid performance, especially in Pulled , where her vocal ability shone through. One small note for improvement would be to lift her eyeline more frequently, particularly in a venue with raked seating. Her chemistry with Lucas was natural and believable, which is key to making their relationship resonate with the audience. Lucas Beineke – Oisin Dowling. Lucas was played with an appropriate level of preppy energy, and his interactions with Wednesday and his parents were well done. Oisin’s voice suited the role well, and he fit seamlessly into the dynamic of the show. A confident performance overall. Fester – Mervyn Fahy. A standout performance with excellent energy and presence. Fester’s eccentricity was fully embraced, making him an audience favorite. His vocals were strong, and his comedic timing was spot on. A truly enjoyable portrayal. Supporting Roles – Singing and Acting Pugsley – Ryan McDonnell A fantastic young performer with a strong stage presence. His petulance and mischievous energy were well played, and his vocals were lovely. He held his own confidently in a cast of experienced performers. Grandma Addams – Mary Dempsey. A hilarious and fully committed performance. The character’s eccentricity was dialed up to great effect, and her comic timing was impeccable. Vocally strong, and a joy to watch. Alice Beineke – Nicole Scott. A standout performance. The contrast between Alice’s perky sweetness and her descent into madness was executed brilliantly. Her vocal strength added an extra layer to her performance, making her an audience favorite. Mal Beineke – Paul Singleton. A clear character journey was evident, from the stiff and conservative father through the descent into madness during Full Disclosure , ending in the clarity during Crazier Than You . A well-executed transformation that enhanced the humor and depth of the role. Lurch – Ruadhan Gormally. Absolutely stole the show. Every movement and expression were perfectly timed, demonstrating that strong acting doesn’t always require many lines. A truly memorable portrayal. Chorus/Ensemble – Singing, Acting, and Choreography The ensemble maintained strong energy and presence throughout. Their harmonies were a highlight, creating a rich sound. While dance ability varied, extra workshops could help elevate the movement standard. Overall, an engaged and effective ensemble. Stage Management & Set Design A mixed execution in terms of set design —some set pieces looked highly professional, while others needed more refinement to match the overall aesthetic. I enjoyed that the cast did the scene changes. It is an effective way to keep the pacing of a show that isn’t scored for big scene changes. Small details, such as minimizing crew visibility during the opening scene transitions, could further enhance professionalism. Technical- Light and Sound A beautiful lighting design with strong visual moments, especially the pre-show state. It was a really striking image to walk it to. A patchy focus DSC was distracting, and some inconsistencies in spotlighting like Pugsley and Fester standing on the chairs in Full Disclosure needed minor refinements.  Sound balance was mostly excellent, though reverb on songs was slightly overdone. Visual- Costumes, Hair and Makeup Excellent costuming with great attention to detail. All of the characters were very clear, and each costume was well fitted. Morticia’s dress was particularly striking.  Makeup blending, especially shading, needed minor refinements. The brown was overly heavy on the chorus. Pugsley’s makeup needed to continue down his neck and behind his ears for a consistent colour. Fester’s bald cap was excellent, as was his make-up. Wigs and hair were good overall. Gomez’s wig needed more tidying up and slicking down, he may have been better without a wig. Adjudicators suggestions/ comments In conclusion, Claremorris Musical Society’s production of The Addams Family  was an entertaining and enjoyable experience. Strong performances, excellent musical direction, and memorable comedic moments all contributed to a highly successful production. While there were some areas for improvement in terms of pacing, choreography, and technical elements, these were relatively minor compared to the overall positive impact of the show.  The production succeeded in capturing the dark humor and charm of The Addams Family  while also delving into the emotional depth of the characters. This balance of humor and heart is one of the show’s most endearing qualities, and it was well-executed by the cast and creative team. With continued focus on pacing, choreography, and refining some technical aspects, future productions could become even more dynamic and polished and will undoubtedly continue to entertain and delight audiences. It was a highly enjoyable evening of theatre that showcased the talent and dedication of everyone involved.

The Hunchback of Notre Dame as presented by Ballinrobe MS

Ballinrobe Musical Society  The Hunchback of Notre Dame  Sunday 16th February 2025  Upon entering the hall of Ballinrobe Community...

Ballinrobe Musical Society  The Hunchback of Notre Dame  Sunday 16th February 2025  Upon entering the hall of Ballinrobe Community School, I was immediately struck by the set’s central, imposing representation of the famous stained glass rose window of Notre Dame Cathedral. Beautifully lit and slicing dramatically through the haze, it created a palpable sense of reverence as a full-house audience took their seats for the opening performance of Ballinrobe Musical Society’s musical version of Victor Hugo’s timeless tale, ‘The Hunchback of Notre Dame’. The musical aligns more with Hugo’s novel than the more child-friendly Disney classic. However, in the hands of a very skilled production team, a good balance was struck between the show’s lighter moments and its darker, more unsavoury elements.  Enormous effort had gone into transforming the ‘foyer’ area into a welcoming theatre space with various displays, photographs, and flower arrangements. Front of house personnel were beautifully turned out in tuxedos, adding a touch of class to proceedings. Everything was highly efficient, running like a well-oiled machine, and it was clear that this wasn’t the team’s first rodeo.  Alan Greaney’s direction was confident and thoughtful, from the opening procession of the wonderful choir to the superbly realised, dramatic release of ‘molten lead’ as the show built to its conclusion. There were seamless transitions between scenes and some beautifully staged and dramatic moments throughout. There was very good work on relationships between characters and careful handling of the more sensitive themes. Staging was very strong although there were sightline issues at times behind the kneeling gargoyle on the upper level/bell tower. Accents covered quite the geographical spread, with American, RP, Cockney and even an Irish brogue thrown in for good measure. A really strong piece of direction on a show that can sometimes fall between the stools of comedy and darkness. For me, the balance was very well struck.  Shane Farrell did an excellent job as MD on what is a very challenging show musically. His fourteen-piece orchestra was a joy, exploring the considerable emotional depth of the show and always supporting the narrative, whether in the more sensitive or the highly dramatic moments. Choral work was simply wonderful. The choir, seated on pews throughout the show, added an additional layer of grandeur and scale to proceedings with their incredible sound. They provided a superb foundation, upon which the onstage cast continued to build a stunning wall of dramatic harmonies. Principal vocals were excellent and special mention must go to the beautifully sensitive underscoring throughout the show.  Aoife McClafferty’s choreography was so appropriate to the style of show. Often drawing on traditional dance forms, her well-rehearsed routines were always enhancing the narrative. Whether the cast were throwing themselves into an exuberant folk dance or just moving subtly to a choral piece, everything was so precise and perfectly suited to the piece. ‘Topsy Turvy – Part 1’ was a fabulous routine full of energetic revelry and the ‘Tavern Song’ featured excellent, dynamic movement which was brilliantly performed by the ensemble. I loved the beautifully subtle movement of ‘In a Place of Miracles,’ performed with haunting solemnity by the ensemble before entering a very strong formation as the song built to the end. ‘Esmerelda’ was an excellent number, with strong and precise movement and the congregants’ movement in the Entr’acte was simple but entirely appropriate.  Keith Hanley performance in the titular role tugged at the heartstrings in what was a beautifully realised interpretation. His Quasimodo was vulnerable and sympathetic, yet this was balanced with heartfelt angst as his childlike yearning to belong and to be loved overflowed into waves of powerful emotion. Mr. Hanley’s deformed physicality was remarkably consistent and his disfigured movement was so well-judged; always believable and never overly contrived. His singing was top tier, with his soaring upper register being most impressive. ‘Heaven’s Light’ was superbly sung and the powerful ‘Made of Stone’ was one of many vocal highlights.  Sarah Corcoran delivered an enchanting performance as the free-spirited Esmerelda. She had wonderful presence and really inhabited the role in a most captivating manner. A very talented actress, she balanced grace and dignity with fierce strength and deep emotion. Her awe inspiring, seemingly effortless vocal was a delight. ‘Someday’ with Phoebus was beautifully sung, as was the emotionally charged ‘God Help the Outcasts,’ a powerful representation of Esmerelda’s deep sense of empathy and justice. A stunning performance.  Niall Conway brought much gravitas to the role of the sinister and obsessive Claude Frollo, Archdeacon of Paris. His commanding presence and impressive emotional range added layers of intensity as he captured the character’s complexity in a most chilling performance. He was a formidable authoritarian, calculating and highly manipulative. His reporting of Esmerelda to the king, for practising witchcraft, sent shivers down my spine. Mr. Conway’s deeply resonant, baritone voice provided much colour during his many chilling and menacing moments. He had many musical highlights but his highly conflicted ‘Hellfire’ was simply stunning.  Edward Scott was a dashing, charming Phoebus de Martin. Mr. Scott played the role with great passion. His romantic chemistry with Esmerelda was palpable and their scenes together were both tender and passionate. A very strong actor with wonderful presence, Mr. Scott sang so well too. ‘Someday,’ as he joined Esmerelda, was one of the vocal highlights of the show, with both voices blending musically and dramatically in a most moving performance. His defiance of Frollo in Act 2 was very well played, balancing the more romantic elements of his story with a steely strength of character.  Enda Mulchrone, who played Jehan Frollo, Claude’s wayward brother and father of the abandoned Quasimodo, was a strong actor who showed impressive range. The strong bond between himself and his more pious brother was evident and there was a nice contrast between his rebellious nature and his instinctive desire to have Quasimodo cared for as his own health faded rapidly.  The extremely talented Angela Staunton was simply wonderful as Clopin, the ‘Queen of the Gypsies’ bringing all of her talent and exceptional stagecraft into play, in creating a character that was playful and mysterious but with an underlying dark edge. Ms. Staunton had outstanding presence and physicality, commanding the stage with a very strong energy. She was vocally superb, at her very best in ‘The Court of Miracles’ and ‘Topsy Turvy (Part 1)’ which she drove with confidence and charisma. Her hauntingly delivered monologue at the end of the show, detailing the discovery of Quasimodo’s and Esmerelda’s skeletons, was so chilling.  Aoife Kilcullen, Joff Manning, Siobhan Campbell and Eimear McGovern were an exceptionally strong quartet as the gargoyles; Quasimodo’s ‘friends’ and confidantes. These four actors were very thoughtful in their individualised characterisations as well as having keen comic timing, when required. They worked very well together and with Mr. Hanley. Expression and diction were superb across the board, as was the clarity of their narrative. They sang so well too, providing much support throughout the show. ‘Flight Into Egypt’ was particularly excellent. Their collective stillness, when required for long periods of time, was most impressive. Bravo all! Mr. Manning did very well when featured as St. Aphrodisius at the top of Act 2. My only minor observation was that I felt more could have been done with hair/makeup/costume to give these wonderful performers a more ‘stone-like’ appearance.  Emma Loscher, Eimear Philbin, Catherine Conway, and Kate McDonnell worked very well together as the show’s narrators. Whether appearing as congregants or revellers, they delivered the important elements of the narrative in a very clear and expressive manner, singing very well both as individuals, and collectively, right through the show. My only concern was that they were occasionally lost when singing during choreographed sequences and, even though we could hear them clearly, their voices were occasionally appearing from ‘nowhere,’ taking away from the overall point of focus.  Emma Daly was an excellent Madame. This was a small cameo but she brought everything to it. How good it was to have such a strong actress in this role.  Lorna Dennehy was equally strong as Florika, with strong presence and a superb singing voice when reappearing in Act 2. Richard Crumlish and Tom Carney provided strong support as Father Dupin and King Louis XI respectively and Patrick Mulchrone and John Morley did well as Official and Lieutenant Frederic Charlus.  The ensemble in this show was exceptionally strong. The choir members were remarkable in both their stillness between scenes and their superb singing. The onstage ensemble had incredible energy and focus. They were so well rehearsed and their performance levels were excellent. Background business was always meaningful. Everyone was a character in the story, whether in the sombre or more joyous moments. Harmonies and dynamics were top notch and choreography was performed with great precision.  Stage manager Kenneth McCarthy did an excellent job in ensuring that the show moved slickly and with great finesse. This was a large set and the moving trucks were big and solid. But everything moved smoothly and was timed with military precision. I loved the hooded crew moving the door truck during ‘Out There’ with Quasimodo on top. It was brilliantly theatrical and it didn’t matter that they were seen. Confetti canons were a great touch, perfectly timed, as were the shots of smoke from beneath the stage to herald Clopin’s magical exits. A really impressive job!  There was a great sense of grandeur about the multi-level set which was epic in its proportions and excellently finished. The design worked very well, with seating areas for the choir and the upper level on stage right serving as the bell tower, complete with bells and ropes. Trucked pieces were very solid and beautifully finished. Clever design ensured that multiple locations could be created by reversing trucks. The door piece looked great, with its hidden steps and fine scenic artistry. I loved how it became an extension of the bell tower, allowing for additional staging options.  This wasn’t a prop heavy show but things were generally appropriate to the era. Candles, lanterns, tambourines with ribbons, the king’s sceptre, and Esmerelda’s distinctive necklace all looked well. Quasimodo’s teddy bear was not appropriate for the 1400s, however.  Lighting was, quite literally, a game of two halves. A most unfortunate technical glitch, which was nobody’s fault, meant that lighting was hampered in the first act. However, once rectified, the lighting design and operation were simply stunning, creating beautifully atmospheric  pictures, ranging from shadowy, foreboding states to brighter, more colourful ones. There was a great dramatic tension created in the Entr’acte as cast were backlit, creating mysterious silhouettes amid a palpable air of suspense. Combined with very good use of haze, the atmosphere created was quite stunning. Low fog and perfectly chosen colours added greatly to the visually stunning ‘In a Place of Miracles.’ The backlit ‘molten lead’ was highly dramatic, as were the red movers and LEDs in the finale.  Sound was exceptionally good. Cueing was perfectly timed and levels were very well judged for orchestra, principals, ensemble, and choir. Dialogue was warm and clear at all times and it was so refreshing to be able to hear every word of underscored dialogue. Great support was given to soloists and there was superb balance in the ensemble vocals. Sound effects were appropriate, when used, especially the very atmospheric bells which added great authenticity to the story.  There was a very good costume plot, which impressed greatly with its medieval authenticity. The hooded robes for the choir and congregants looked great and I liked the fact the different colours set them apart. The gypsies’ costumes were suitably colourful, flamboyant, and earthy, although they could be seen underneath the robes when the ensemble reverted back to being congregants. Frollo’s imposing robes reflected his superior status. The only small point that I would make is that I felt that the gargoyles’ costumes were a missed opportunity to be a bit more creative.  Hair and makeup were generally appropriate, although, again, I thought that the gargoyles could have benefited from some more creativity.  This was a superbly staged production by Ballinrobe Musical Society. There were standout performances, an impressive set, excellent stage management and the most stunning choral performance, which drew on many members, past and present. It was a true community effort on a massive scale. The society has a deep and rich history over fifty-one years. I have no doubt that the next half century will bring as much enjoyment to the community as ‘The Hunchback of Notre Dame’ clearly did.  Pat McElwain  Gilbert Adjudicator 2024/2025 Images by White Thorn Media

Guys and Dolls as presented by GUMS

Public Adjudication  Society name: Galway University Musical Society (GUMS)  Show name: Guys and Dolls  Date of attendance: 8th February...

Public Adjudication  Society name: Galway University Musical Society (GUMS)  Show name: Guys and Dolls  Date of attendance: 8th February 2025  The Black Box Theatre was the venue for Galway University Musical Society’s production of ‘Guys and Dolls.’ It may be three quarters of a century old but there is still an enduring appeal about this musical fable of Broadway, based on the stories and characters of Damon Runyon and his distinctive, post-prohibition vernacular. 1930s New York may be a far cry from a modern day university campus in the west of Ireland but this talented group of students still approached the iconic show with considerable energy and enthusiasm. With limited resources, they produced a rather lengthy show with memorable characters and plenty of laughs.  Cast members were busy in the lead up to the show, introducing themselves to patrons, in character, and selling raffle tickets. Nathan and Sky conducted the raffle, in character of course, at the interval. The front of house announcements, referencing the show’s characters, were witty but I felt that they were a little overcooked.  Kate O’Dowd will have learned a lot from directing such a mammoth production. This was a long show, taking just over three hours. Pace was an issue at times and things could have been tightened up in places. With such a large cast on stage, it was sometimes difficult to know where the point of focus was meant to be. The opening Runyonland sequence was quite chaotic from an audience perspective. It wasn’t always clear who the characters were or what was meant to be happening. There was generally a good eye for comedy and the audience enjoyed the many funny scenarios that unfolded. Much will have been learned from the experience. I look forward to seeing Ms. O’Dowd build on this experience, as she brings her enthusiasm and passion to future productions.  Sarah O’Dowd and Eoin Nicklin shared the role of musical director, with Ms. O’Dowd conducting an orchestra made up primarily of student musicians with a few pros thrown in for support. Tempi were not always secure. To be fair to Ms. O’Dowd, some musicians needed to be more aware and to keep a closer eye on her to ensure a tighter orchestral sound. There was strong work chorally, with a fine sound from the cast and, in particular, the gentlemen, who were most impressive in their bigger numbers. There was good work too from the ladies in ‘A Bushel and a Peck’ and ‘Take Back Your Mink.’Underscoring was sensitively handled throughout the show. Overall, a very good job on cast vocals but there was room for development in terms of orchestral work.  Lorna Collins’s choreography was generally very good throughout the show. However, some routines were hampered by overcrowding on stage, which took away from both movement and overall shape. The Havana sequence was so crowded that it was difficult to see formations, as dancers competed with one other for space. When fewer people were on stage, the choreography flowed in a more exciting and precise way. The two Hot Box numbers were the highlights of the night. ‘Take Back Your Mink’ was particularly sharp, with good precision and great use of the full stage. Hats off to the very talented bunch of dancers in this number. ‘Sit Down You’re Rocking the Boat’ was very well conceived and performed with much glee by the cast, who were clearly enjoying every second.  Mike O’Sullivan was a very suave Sky Masterson. Mr. O’Sullivan had a very relaxed and natural presence on stage, which really suited the role. An intelligent actor, he balanced sincerity with duplicity when he first arrived in the Mission, in a most convincing, nuanced, and comical way. Mr. O’Sullivan sang very well too and was particularly strong at delivering the narrative through song.  Eimear Wolohan did very well as Sarah Brown, the “Mission doll” who ultimately manages to rehabilitate the highest roller of them all, Sky Masterson. Ms. Wolohan was in tune with both text and subtext, with good delivery of dialogue and a clear understanding of the narrative. Her beautiful soprano voice was at its best in ‘I’ll Know’ and her ‘Marry the Man Today,’ with Adelaide, was wonderful.  Jonathan Newman is one of the most exciting, up and coming comedians on the AIMS circuit and we will be hearing a lot about him in the future. He did a Nathan as Nathan Detroit, bringing to mind Mr. Lane’s accent and inflections in what was a very funny, well-studied characterisation. Dialogue was generally well delivered although there were some pacing issues with very long pauses being a hallmark of his characterisation. Mr. Newman had a great physicality and an hilarious range of facial expressions. ‘Sue Me’ was a highlight of physicality and musicality, with Mr. Newman showing off a fine, expressive baritone.  Laura McGinley was an impressive Miss Adelaide, balancing the comic possibilities of the role with a lovely layer of poignancy. Accent and delivery were super. Her scenes with Mr. Newman were very well paced and comic timing was excellent. There was a great rapport between the two. One doesn’t usually come away from a production of ‘Guys and Dolls’ thinking about what a great singer Adelaide was. However, Ms. McGinley turned that on its head with her superb vocal performance. Her effortless, powerhouse delivery was very impressive, especially in ‘Take Back Your Mink.’ Her lament was funny, poignant and very well sung.  Killian Cogan had great energy, expression and comic timing as Nicely Nicely Johnson. Mr. Cogan had excellent stage presence and was always in tune with the narrative, whether directly involved in a scene or not. His “rare tropical aunt” scene with Sky was very funny indeed. He also displayed a fabulous tenor voice in his excellently performed ‘Sit Down You’re Rocking the Boat’.  Olivia Berry’s gender swapping Arvide Abernathy was interesting. I felt that Ms. Berry had wonderful potential in the role which was very over the top at times. Less is often more and toning things down slightly would have helped to make her character more sincere, in my opinion. Ms. Cogan had a beautiful voice and I loved the heartfelt delivery of ‘More I Cannot Wish You’ which was so sensitively delivered.  I found it very hard to see past Thomas Cannon’s strong Donegal accent in his portrayal of Lieutenant Brannigan. He was clearly a good performer but the choice did jar with me, especially when the occasional “aye” was dropped in for effect. It felt like his accent became the comic vehicle rather than the text.  Robert Cosgrove was a diminutive Big Jule, the Chicago ‘scoutmaster’ who wants in on the NYC gambling action. Mr. Cosgrove was a good character actor. He did, however, need to take more care with diction and projection at times. He was very funny in the Mission scene as he recounted his lack of convictions.  Cormac Kerins, as Harry the Horse, had the most glorious, booming, deep voice which would give Morgan Freeman a run for his money. He was a great addition to the male chorus numbers. He needed to be conscious of pace at times and more awareness of positioning would have helped his characterisation greatly.  Ben Donohoe was a lively, energetic Benny Southstreet with good comic timing and a great voice in ‘Fugue for Tinhorns’ and ‘Guys and Dolls.’ He was a standout performer in all of the bigger production numbers too.  The role of Rusty Charlie is terribly underwritten. However, Jacob Flanagan did a good job with it, shining in all of the bigger scenes. He sang very well in ‘Fugue for Tinhorns’ right up to that final, solo “Epitaph!” when things went awry.  General Cartwright was played by Taryn Clarke and she had good, strong presence befitting of the Salvation Army boss. There were some curious delivery choices though, with Ms. Clarke unnecessarily breaking the fourth wall, on occasion.  Eloise De Sousa and Aoife O’Sullivan did very well as featured dancers in Havana and there was good support too from Eoin Conroy as Angie the Ox, Anna Maloney as Mimi and Brian Kearney as Joey Biltmore.  There was no doubting the energy and enthusiasm of the very large ensemble. Sometimes this exuberance needed to be controlled, as background business became overly distracting and drew focus from the principal cast during dialogue and key moments. Singing was very strong indeed and it was clear that a great deal of work had been put into the gorgeous vocal harmonies. There was great work from the Hot Box girls and good focus from all involved in the sewer scene too.  Clodagh O’Sullivan did well as stage manager, marshalling a committed and organised crew who ensured that all changes were slick and conducted with minimum fuss.  The set was basic but functional. Upstage, we had a fine NYC skyline, a permanent fixture for the duration of the show. Two ‘building’ trucks, covered in signs reversed to give us the interior of the Mission. The interior of the Mission needed a lot of attention as it was far too bare to look ‘real.’ The Hot Box slash curtain piece looked so well but it wasn’t used. Could Adelaide have made at least one of her entrances through this? Havana and the sewer were disappointing. There was no sense of place in either and, because of the way in which things were set up, we were still in the streets of NYC for both. With so many varying locations in ‘Guys and Dolls,’ projection might have been a good, cost-effective route to take at the design stage.  Unfortunately, a lot more attention to detail was required in the props and furniture department.  Lighting was a mixed bag for the most part. The plot was basic but worked quite well. There was nice silhouetting of cast at the end of numbers like ‘Oldest Established.’ On either side of the stage, six visible par cans, mounted on upright poles and pointing in various directions, pulsed blue and amber light throughout transitions and in some songs. I felt that this was an unusual choice. We lost front light during ‘Guys and Dolls’ leaving cast faces in darkness. With no change of set, a lot more was required in terms of design and timing of cues as we snapped from the dance sequences to the downstage left action during the Havana scene.  Sound was generally very good indeed, with very clear vocals and dialogue. No entries were missed in what is a very busy show. The show could have benefited from some sound effects, like the phone or some traffic. The sound balance in choral numbers was very good indeed. Costumes were generally good. The Salvation Army uniforms looked well, although more attention was needed to the skirt styles and lengths to ensure uniformity. The guys’ suits were suitably slick. Their hats were all the same though and might have benefited from coloured bands tying in with their tie colours. The Hot Box girls’ classy black dresses for ‘Take Back Your Mink’ were nicely sophisticated and their reveal worked very well. I didn’t feel that the yellow and white ensembles for ‘Bushel and a Peck’ were of the era though. Havana was a missed opportunity. With no change of set, the costuming should have been the medium through which a sense of place was achieved. The crapshooters’ ballet was a bit of a mishmash with some modern blouses, not tucked in and uncertainty as to who the additional people were supposed to be. If the girls were to be established as gangsters, more attention needed to be given to their look. Waistcoats, hats, and a tidier look overall were necessary.  More attention was needed to hair and makeup design. There was no real attempt to replicate hairstyles of the era. Some of the Salvation Army ladies, including General Cartwright herself, had quite the rebellious streak, with their bright red lipsticks and strong eyeshadow. The Hot Box girls were suitably ‘showy’ and Adelaide looked every inch the star of the Hot Box.  This was an entertaining production of the timeless classic. The talent is undoubtedly there, in bucketfuls, and I know that many of the performers will be rising to prominence through the musical society circuit for years to come. Well done on taking on such a big show and very best wishes with your future endeavours. Pat McElwain Gilbert Adjudicator 24/25 Photos taken by Paul O’Mahony - Former member of GUMS

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.
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