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The Addams Family

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29 Jan 2025

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LATEST NEWS

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

West Side Story as presented by Bravo Theatre Group

Bravo Theatre Group  West Side Story  Saturday 28th September 2024  There is a line in ‘West Side Story’ that hits me every time. After...

Bravo Theatre Group  West Side Story  Saturday 28th September 2024  There is a line in ‘West Side Story’ that hits me every time. After breaking up their disturbing assault of Anita, a visibly emotional Doc castigates the Jets telling them “You make this world lousy!” Action’s response, “That’s the way we found it Doc”, is profoundly indicative of the show’s teenage delinquents being a direct product of their deprived social, cultural and economic environment. Sixty-seven years after its premiere, Bravo Theatre Group produced a gritty, exhilarating production of this ground-breaking musical, which tackled those very themes head-on, shining a light on the racism, violence and pent-up anger which moulded the world of its rival gangs.  Returning to the Temperance Hall in Loughrea this year, Bravo ran from Wednesday to Saturday, with a night off on the Friday for a spot of bingo. By the time Saturday night came round, the show was like a tightly coiled spring, ready to be unleashed upon an expectant audience. Front of house could not have been more welcoming to all. Friendly efficiency ensured that everyone was seated quickly, soaking up the atmosphere as the sixteen-piece orchestra went through their final preparations.  Director, Aoife McClafferty, did a superb job with this timeless tale of star-crossed lovers. She balanced romance and rage, whilst ensuring that a bleak tension ran right through the show. From the testosterone-charged Prologue, to Maria’s heart-breaking exit, leaving the four adults to reflect upon their tragic surroundings, Ms. McClafferty’s direction was strong and detailed throughout. ‘West Side Story’ requires very strong collaboration between director and choreographer, who need to work ‘as one’ for many of the show’s iconic scenes. This was clearly the case for this production, most notably in the rumble. It was as good as I’ve seen, with cast cleverly utilising trucked fencing to help create a violent cage-fight. There was a wonderful pace to the whole production, helped in no small way by exceptionally good stage management.  Shane Farrell earned his stripes as MD on this one. And what a job he did! His sixteen-piece orchestra brought the complex combination of Latin rhythms, jazz and classical music styles to life in a beautifully balanced and exhilarating way. We knew from the overture that this was going to be a wonderful musical interpretation of one of the most iconic musical scores. And it was. Underscored dialogue was crystal clear, an almost impossible achievement for this show. Vocally, the show was very strong. The final choral version of ‘Somewhere’ was simply stunning.  ‘West Side Story’ is, of course, famed for the myriad styles of its choreography. Jay Molyneux did a really fine job choreographing a very large and committed cast. The Prologue morphed some inspiration from Jerome Robbins’ iconic style with some excellent, original touches from Mr. Molyneux. His choreography was energetic, explosive and even aggressive when required; carefully propelling the narrative. ‘America’, with its syncopated, Latin rhythms, was superbly performed and the ‘Dance at the Gym’ was a crowded, sweaty mess of exhilarating movement and hormonal turbulence; exactly as it should be. ‘Cool’ was a wonderfully choreographed and executed number. However, I did feel that cast needed a bit more direction when it came to keeping a lid on the pressure cooker of frustration, hostility and rage. The poignant ‘Scherzo’/dream ballet sequence, featuring the magnificent Teagan Farrell and Aran McMenamin as younger versions of Maria and Tony, was so beautifully realised. The rumble was brilliantly choreographed. It was so violent and real, yet so controlled.  Emily Lohan played Maria with remarkable honesty and sensitivity. This really was a wonderful portrayal. She had a beautifully lyrical soprano voice, which was at its very best in ‘Tonight’. Her emotional range was so impressive in ‘A Boy Like That’ and in the final, gut-wrenching scene as she guarded Tony’s lifeless body.  Eoghan Mann looked every inch the former gang leader as Tony. He had a fine, tenor voice and a lovely pure falsetto at the end of ‘Something’s Coming’. ‘Tonight’ was a beautiful number with Ms. Lohan. He covered the end of ‘Maria’ cleverly and showed good emotional range throughout the show. There were times when I felt that he was a little over the top and needed to pull back, trusting the book and his director but overall, this was an impressive portrayal.  Keith Hanley was an excellent Riff, and we knew from the outset exactly why he had taken over from Tony as the leader of the Jets. Mr. Hanley had a commanding stage presence and led from the front in every scene. He sang very well in ‘Jet Song’, which was full of macho bravado. His stonewalling of Schrank in the drugstore was very nicely played and he showed great physicality and athleticism in the Rumble.  Hannah Wright delivered a powerhouse performance as Anita. Ms. Wright got every last nuance out of her characterisation, demonstrating an exceptional understanding of the text. Her ‘America’ was passionate, capturing the immigrant experience with a bleak, sardonic humour. ‘A Boy Like That’ was the musical and dramatic highlight that it should be. Ms. Wright’s barely audible but disturbingly real sobbing, in the silent aftermath of the taunting scene, cut a knife through the audience. A superb performance on every level.  Cian Forde had good presence as Puerto Rican gang leader Bernardo. He was very strong in the war council, his intimidating demeanour adding greatly to the tension as the teenage rivals set the tragic sequence of events in motion. Mr. Forde’s rumble with Mr. Hanley was excellent in its execution.  Jamie Callanan’s Action was a gritty, raw bundle of pent-up rage. Mr. Callanan was fully committed to the role, always focused and always in character. He was appropriately explosive when needed and we knew that he was capable of taking Lieutenant Schrank out had he not been restrained.  Charlie Barry will have gained great experience from playing the role of Chino, whose act of vengeance in the aftermath of the rumble, brought about the catastrophic climax. Mr. Barry did well in his emotional scene with Anita.  Adam O’Kane as A-Rab was impressive in his post-rumble scene with Baby John, played by Éanna Moloney. I thought that Mr. Moloney underplayed the immaturity at times and needed to project more. However, he was at his very best in ‘Gee, Officer Krupke’ as the very funny social worker, appropriately brash and over the top.  Dylan O’Keefe, Oisín Dowling and John Morley were all very strong Jets as Diesel, Snowboy and Big Deal respectively. Paul Massé, Nathan Canning, Daniel Lynch and Daniel Foran all gave great support as Shark boys Pepe, Indio, Toro and Moose. I felt that Niamh McSweeney, as Anybody’s, was a very talented actress but needed more edge to be a bit more credible as a wannabe teenage hoodlum. Her menacing demeanour in the taunting scene, as she got caught up in the awful violation of Anita, was quite disturbing and showed that Ms. McSweeney was definitely able to portray a more aggressive side. Sarah Corcoran shone brightly as Rosalia in ‘America’ and ‘I Feel Pretty’. Her vocal in ‘Somewhere’ was simply stunning, a standout moment of the show. Emilia Fallon and Izzy Tuohy were also in great voice as Consuelo and Francisca.  Raphael McKenna Short and Ruth O’Neill as gang ‘WAGs’ did well as Graziella and Velma, quick to show their disdain for the boys’ war council games.  Gladhand was played by the very talented Yvonne Earls, who made a big impact trying to contain the rival gangs at the dance in the gym in her own inimitable way. Her hilarious facial expressions were a joy, contrasting greatly with her genuine melancholy in the final scene.  Norman Quinn was a very funny Officer Krupke, filling the role of an authority figure who was so easy to imitate and ridicule.  Patrick Byrne brought quite the despicable quality to the unapologetically racist cop, Schrank. We were very conscious that this stressed-out Lieutenant was always only one step away from a coronary. Mr. Byrne excellently balanced his less than endearing persona with what felt like a genuine moment of remorse in the heartbreaking final moments.  Doc was played with great sensitivity and heart by Declan Finn. His performance was underpinned by a genuine concern for and frustration with the teenagers who frequented his drugstore. He knew where it would all lead to, yet he was powerless to change the pre determined course of events. His anger and upset in saving Anita from the Jets was so authentic and well-judged.  The ensemble was so strong and committed throughout the show. And what a large cast it was too! The energy levels were off the scale in ‘Dance at the Gym’ and their choral singing was just stunning. I could genuinely have listened to the finale ‘Somewhere’ number all night long. It was that good!  Set design was perfect for the relatively tight space that is the Temperance Hall. Evoking the backstreets of New York City, we had wire fencing, corrugated hoarding, distressed signage, gang graffiti and grimy building flats. The iconic balcony was a fine feature on stage left. Two high, trucked platforms were utilised by Ms. McClafferty to great effect, especially in the ‘Tonight Quintet’ and at the end of the dream ballet sequence. Attention to detail was everywhere with this brilliantly textured set which took light so well.  Stage Manager, Niall Heaney, did a wonderful job. His crew ensured that we had exceptionally slick and fast transitions between scenes. With so much coming on and off for each change and so little room side stage to manoeuvre, this was such an impressive display from all involved.  For the most part, props were all very era appropriate. Prop dressing for the drugstore was super, although the miniature Wurlitzer looked a little out of place. Everything in the bridal shop looked perfect, including the brilliantly dressed tailors’ dummies. Herbal cigarettes brought a great air of authenticity to the war council.  There were moments of brilliance in the very busy lighting plot. The dramatic gobos on the front tabs as the overture kicked off were perfectly chosen. There was excellent work in the prologue reflecting the intensity of the brawl. There was great use of haze throughout to create atmospheric shafts of light when needed and the windows in the bridal shop were nicely backlit. There were some timing issues with cues though, especially in the ‘Tonight Quintet’. Additional tech time may have been needed for this number. A very good job complementing the director’s vision.  If you can hear the finger clicks in the prologue of ‘West Side Story’, you can bet your life that the sound is going to be pretty good for the rest of the show. Sound in this show was superb throughout. There was an excellent balance between pit and stage, with vocals always sitting above the music, even in the loudest numbers. This is as it should always be. Lose that and we lose the narrative. Not being able to hear underscored dialogue is a real bugbear of mine. However, we heard every single word. Full credit to Mr. Farrell, Ms. McClafferty and the sound team for ensuring that this was prioritised.  Costumes were extremely well coordinated. The subtle colour palettes for Jets and Sharks were well chosen and I really liked how each gang member had their own individual look. The pastel colours in the dream ballet sequence were a lovely touch and Maria’s red dress for the final scene was strikingly foreshadowing.  Hair and make-up were all in order. There was great attention to detail, with lots of suitable hair accessories complementing the overall look in ‘America’.  A wonderful production overall from Bravo Theatre Group, so well directed, musically directed and choreographed. It was an absolute pleasure to sit and watch one of my favourite shows getting the talent and high production values it deserves. congratulations to everyone involved on a visually stunning show with some standout performances. A worthy ten-year celebration. Bravo!  Pat McElwain  Gilbert Adjudicator 2024/2025 Photos by Paul Kelly - Indigo Lighting

9 to 5 as presented by Castlerea Musical Society

CASTLEREA MUSICAL SOCIETY 9-5 THE MUSICAL ADJUDICATION PERFORMANCE 25TH APRIL 2024 My journey to Co. Roscommon took me on an incredible...

CASTLEREA MUSICAL SOCIETY  9-5 THE MUSICAL ADJUDICATION PERFORMANCE 25TH APRIL 2024 My journey to Co. Roscommon took me on an incredible journey across Ireland on a lovely, bright Spring day. The production was held in the Hub, a venue known for its quirky yet modern design, and typically used consistently by many groups. Castlerea Musical Society, with its adaptability and creativity, transformed this space into a welcoming and warm visual. The Hub, with its unique features, was magically transformed into a stunning theatre, providing the perfect setting for the show. The society's commitment to excellence was evident in every aspect of the production, from the excellent direction and choreography to the super chorus. The Front of House team for "9-5" was excellent. And thank you for the picnic that was served at the interval. It was like a picture in itself. I should have taken a photo! The team was welcoming, friendly, and helpful outside and inside the hall; this team's organisation and efficiency were notable. Given that this was a production in a hall used by other communities quite regularly, the team's commitment to safety was also evident.  The Director, Ronan Lardner, showcased his exceptional talent in the direction of '9-5'. His clear vision not only brought out the best in the cast but also created a beautiful narrative that resonated with the audience. The show's pacing was masterfully managed, keeping the audience engaged throughout. Even in the more significant ensemble numbers, this Society's energy filled the room with each consistent note. Mr Lardner's creative use of the stage and props added to the overall production, with seamless transitions between scenes and effective blocking that highlighted essential moments. These elements were a testament to Mr Lardner's impressive work, which contributed significantly to the show's success. I hope to see you in many productions again, Mr Lardner. Bravo.  The Musical Director, Shane Farrell, led the orchestras to create an absolute joy for every number. The tempo and accompaniment provided by the orchestra were exceptional, elevating the show's overall quality. Their unique energy, talent, and precision added a vibrant and dynamic dimension to the production, perfectly complementing the cast's performances. The orchestra's seamless synchronisation with the performers on stage and ability to maintain the correct tempo throughout the show significantly contributed to its success. Their outstanding performance truly enhanced the audience's experience, and I praise you all for your gorgeous contribution to this show. Your dedication and talent were truly remarkable, and I am grateful for the opportunity to witness your work.  The choreographer was Ria Purcell. This young lady’s talent and choreography were outstanding, with Ms Rea demonstrating vital creativity and originality, making the dance numbers thrilling and entertaining. The dancers' synchronisation and precision were commendable, and the various dance styles kept the show dynamic and engaging. The choreographer's talent in working with the cast and bringing out their best was evident in the performance's high quality, and it was also apparent to me, Ms Purcell, that you have a lovely rapport with your cast. Overall, the choreography was a standout feature of the show, and I loved it. The Stage Manager was Mr Niall Heaney. The set design was visually stunning, with creative use of props and set pieces bringing the audience into the world of the story. The set changes were seamless, and the attention to detail was commendable. The sound design was top-notch. The panels were multifunctional and simply superb visually and practically. Smooth and consistent movement, they were also so pretty to the eye. I loved the colours of simple works, and it did work here at this stage in this production. An absolute gentleman to speak with, and Mr Heaney, you did an excellent job in this role for this production.  The sound in "9-5 The Musical" by Castlerea Musical Society was excellent. The sound team demonstrated a deep understanding of sound production, ensuring clear and well-balanced audio throughout the performance. The effective use of sound effects and seamless integration with live performances showcased the team's attention to detail. Additionally, the management of microphones and amplification was top-notch, creating a smooth auditory experience for the audience.  The lighting design was also very good. The lighting effects were well-timed and added depth and emotion to the production. Using different colours and lighting techniques added to the show's overall aesthetic, making it visually stunning. The sets, sound, and lighting design worked seamlessly, creating a cohesive and immersive production. The attention to detail and commitment to excellence in these areas significantly contributed to the show's success. The entire production team should be proud of their exceptional work in this technical area, which was a huge success. Bravo.  The costumes were visually superb and added more authenticity to the show. The era-appropriate costumes brought the characters to life, highlighting their personalities and individual quirks. The costumes were well-fitted and well-made, allowing the actors to move freely, yet they were very striking in appearance. The attention to detail in the costumes was impressive, with each outfit uniquely tailored to suit the character's style.  The hair and makeup teams did an excellent job. Great attention to detail in these areas burst with colour and visuals, and this was a superb job done by a very talented team. The wigs and hairpieces used were well-made, and the attention to detail in the hair and makeup design was commendable. The attention to detail in the props' design was impressive, and upon my tour backstage, it was obvious that the props were many. Given the space that was converted backstage to create this vision of production, props were well-maintained and cared for. They, in turn, were used effectively, which added to the show's overall success in a challenging situation with all the work realised to convert the Hub into a Theatre.  Jacqueline Kenny played the part of Violet. Ms Kenny was a standout character in "9-5" with her excellent stage presence and exceptional acting skills in this role as Violet. She brought a lovely heart to this role, effortlessly portraying Violet's ambition, determination, and vulnerability. Ms Kenny’s robust vocals consistently showcased her impressive vocal range and passionate delivery. Overall, this was a truly memorable performance as Violet, making the character a highlight of the show. I loved you in this role, Ms Kenny.  Chloe Donnellan played the part of Doralee. And Ms Donnellan was a delight to watch and listen to on stage. Her Southern charm and quick wit were spot-on, and I and indeed the audience, couldn't help but fall in love with her.  Her vocals were gorgeous, and her comedic timing was impeccable. Ms Donnellan brought a unique energy to the role, making Doralee an absolute highlight of this production. I looked forward to listening to and watching you in the character you created from start to finish in this role. You were a fantastic Doralee. Bravo, Ms Donnellan.  Enya Reilly played Judy's part. Ms Reilly underwent significant growth throughout the show and portrayed the transformation beautifully. Her strong performance brought out the character's vulnerability and determination. Ms Reillys solo numbers were a testament to her vocal talent, and her chemistry with the other actors was palpable. Overall, Ms Reilly delivered a standout performance as Judy, making her character a show's highlight. “Get Out And Stay Out! was a stunning number. The audience was silenced, and you could hear a pin drop. It was an absolute highlight of the show and had a strong message for women about empowerment, strength, and independence.  David Cooke played the part of Franklin J Hart. A wonderfully played quintessential villain of the show, who delivered an outstanding performance in the role. Mr Hart brought the character's sleazy charm and narcissism to life, making the audience love to hate him. His physicality and comedic timing were impressive, making his scenes entertaining and engaging. Overall, Mr Cooke delivered a memorable performance as Franklin J Hart.  Kieran Croghan played Joe's part. An essential character in the show, Mr Croghan effortlessly portrayed this gentleman in a gorgeous, friendly way. His chemistry with the rest of the cast made his scenes engaging and entertaining. His vocals were impressive, and his comedic timing was spot-on. Overall, this was a fabulous role; they acted with so much care, which was endearing.  Roisin Grant played Roz. What a character!!! She brought a unique energy to the show. Her performance was nuanced, bringing out the character's wit and charm. This was such an impressive role, showcasing her vocal talent and range. Her chemistry with the other actors was palpable, making her scenes engaging and entertaining, and it was funny in so many stages of this production.  Declan Carroll played the part of Dick. I loved the impact you had in this production as the nasty husband who left his lovely wife Judy at the beginning of the show and leaving, only to return where by now the lovely Judy, your wife, had become the independent lady that had strength and hope and rebuilt herself by herself with great friends and a beautiful life.  Olive Walsh played Missy. What a character! Ms Walshe added a lot of humour and energy to the production. Her comedic timing was spot-on, making the audience laugh with every line she delivered. She brought a unique charm to the role, making her scenes engaging and entertaining.  Frances Cooke played the part of Kathy. Ms Cooke brought a lot of heart to the show. Ms Cooke left a lasting impression on me in this role. As an employee in the office, you faced extreme sexism and underappreciation in the office. You blended in beautifully with the ensemble numbers. Still, you shone in your moments, and you brought out through your character that there was a lovely camaraderie between you and your fellow employees. A charming role, Ms Cooke.  Shane McDonagh played the part of Dwayne. Dwayne's portrayal of Doralee's husband was simply excellent. Mr McDonagh’s depiction of a besotted and loving husband was heartwarming and entertaining. Dwayne's chemistry with the actress playing Doralee was palpable, and their interactions on stage were incredibly natural and easy-going. His performance added a delightful layer to the production, and his ability to convey genuine affection for his on-stage wife was truly commendable. Dwayne portrayed this lovely character as beautifully executed and entertaining, with a charming stage presence and a beautiful, warm, sweet man. Watching you in this role and the love and care you showed, Doralee, was a joy.  Dino Valentic played Josh's part. This was a lovely character created by Mr Valentic. A beautiful respect for his Mother, Violet, a devil-may-care attitude with a charming stage presence who lit up the stage when he was on it with his pure, evident, lovely personality and subtle but funny comedy moments with his Mum, Margaret, about going back dating, etc. A boldness, a bit cheeky and yet a gentleman, Mr Valentic, this was a charming role for you that you played exceptionally well.  Ciara Gallagher played the part of Margaret. Ms Gallagher delivered a captivating performance that showcased the complexities of her character's journey. Her portrayal of a woman struggling with alcoholism was both humorous and poignant, eliciting genuine laughter from the audience during her drunken moments.  Ms Gallagher beautifully depicted the contrast between living in disarray and taking control of her life, delivering a powerful message of resilience and empowerment. Her portrayal of Margaret was a standout feature of the production, showcasing her talent and ability to convey the character's journey with authenticity and grace. Kay Joyce played Maria. Her comedic timing was spot-on, making the audience laugh with every line she delivered. She brought a unique charm to the role, making her scenes engaging and entertaining. Overall, Ms Joyce delivered a solid performance as Maria, making her character a memorable part of the show. Michael Sheridan played Bob Enright. The actor effectively captured the essence of the character and delivered a convincing performance. His stage presence and interaction with other characters added depth to the production. The commitment to the role and the ability to engage the audience were evident throughout the performance. Overall, Mr Sheridan’s portrayal contributed positively to the show's success. Pat McDonnell played the part of Tinsworthy, and this gentleman was a joy to watch!! To his surprise and shock, the cavalry came to get rid of Franklin D Hart!! Mr McDonnell played a crucial role in the storyline exceptionally well. Mr McDonnell's portrayal of Tinsworthy reflected a commanding presence, if somewhat eccentric! This was a gorgeous role played by Mr McDonnell, and it was a fabulous costume with excellent diction and stage presence. A small cameo role played so well that you made a huge impact. Loved you in this role, Mr McDonnell. Bravo. John Mitchell played the Doctor. It was a brief but impactful role in the show, displaying a character of brusque importance, great costume, excellent stage presence, and wonderful diction in a role that was small yet important.  Alicia Manning played the Candy Stripper. This young lady played the role so very well, with a lovely, easy-going presence and a smile that would light up any room. It was a lovely part and well played, Ms Manning.  Thomas Mearon played the detective. Again, it was a brief but impactful role in the show. He had a great costume and an air of importance, leadership, and, indeed, questioning that was striking and impressive. Mr Mearon delivered a convincing performance, highlighting his sharpness and attention to detail in this character he brought to life. His chemistry and acting with the rest of the cast were excellent.  The chorus members' movements were well-coordinated, and their gorgeous sound, energy, and enthusiasm were commendable. This lovely chorus's contribution to the show's success was evident in its ability to create a solid and successful output. This Chorus and their contribution to the show's success should not be overlooked. Making this show even more memorable and entertaining than it already was. As a team, Outstanding performance that brought the house down at the end of the evening and rightly so.  The production of "9-5" was very good. The direction and choreography were top-notch, contributing to the show's success. The sets, sound, and lighting design were visually stunning and worked seamlessly together. The cast delivered memorable performances, with standout portrayals of Violet, Doralee, Judy, Franklin J Hart, and Joe, to name only a handful of you. This entire team should be proud of their exceptional work in making the world a brighter place this evening, and I wish each of you every success for the future in this lovely society. CAROLINE DALY JONES  SULLIVAN ADJUDICATOR 2023 / 2024

Oliver! as presented by Galway Musical Society

Oliver! As presented by Galway Musical Society: Saturday, 20th April 2024. Oliver, with a twist, would be an appropriate way to describe...

Oliver! As presented by Galway Musical Society:   Saturday, 20 th April 2024.   Oliver, with a twist, would be an appropriate way to describe this exciting adventure from Galway Musical Society, for it certainly wasn’t your run-of-the-mill production. Having opted for a Steam Punk styling for the show, Director Paul Norton didn’t allow any half-measures. The costuming was superbly detailed, almost industrial in nature and brilliantly sourced, with hats and goggles, chains and trinkets, buckles, and hardware attachments. Aesthetically, the set was quite spectacular, excellent in construction and beautifully painted. It had a good and well used upper walkway, and a half revolve that was dressed differently for several scenes. Most of the changes occurred off-stage, which allowed for a very free-flowing sequence, and reduced the stress on the stage manager, Chontelle Kenny, who, along with her crew, efficiently looked after the props. The sets and the costumes combined really did give the whole production a new energy and vitality, plus the fact that the Musical Director, John Roe, was working off a new set of choral and orchestral arrangements that significantly beefed up the musical substance of the show. There were more choral harmonies than I can ever remember, and happily, they were extremely well-rehearsed and very strongly performed. So too, the wonderful new orchestrations, which were played with zeal by a most competent and confident band of musicians. The balance was great, and the playing was very sensitive and mellow for the more tender musical passages. I’ve done the show so often in the past that I suppose I take much of the quality of the piece for granted, but this was a wake-up call. Everything about the new improved book and score made me sit up and pay attention.  Equally impressed to be working on enhanced chorus numbers, Choreographer, Michael Healy, did a very good job of filling his routines with invention and high-energy. While the standard of the dancing was very accomplished, the focus in the biggest numbers was definitely on the ambiance of the performance, resulting in a very in-your-face, powerful delivery, vibrant energy, and big, strong finishing pictures. The stage just seemed to leap into life. His work with the workhouse orphans and with Fagin’s gang of miscreants was very noteworthy and so much fun.  The other major success for Paul Norton was the direction of principals, which was significantly darker than usual, with a strong emphasis on the crass, the sinister undertones and the depravity of the story, which, if you have read the original work by Dickens, is a much more accurate realisation of his writing, than the normal sugar-coated musical version. Of course, it might have fallen flat had he not infused his dark ideas into the minds of his performers so successfully. The cast rose brilliantly to the challenge.  There was a very disturbing demeanour about Patrick Byrne in the role of Fagin, and yet a hilarious streak of the ridiculous about him. His look and his voice were perfect, and his comedy was very well-played. His work with the children was excellent, almost fatherly, in a toxic and creepy manner, but his scenes with Bill Sykes best displayed both his weaker nature and his evil interests. His songs were very well delivered, especially “Reviewing the situation.” Very good work.  Keith Hanley as Sykes was terrifying. Looking like a gothic force of evil, he strode about the stage with menace, growled and sulked, and gave vent to frightening bursts of anger. I preferred the old arrangement of “My Name,” but he still performed the new version with a level of quiet terror. His abuse of Nancy and Oliver was intense, and his murder of Nancy was disturbingly evil.  There was great passion in Sarah Corcoran’s singing of “As Long As He Needs Me,” and indeed, her vocals throughout were very strong. I would have liked her to be more brazen in “Oom-Pah-Pah,” and I think perhaps she needed to wreck her hair and look a tad more slattern generally, but her heart was in her character.  As Mr. Bumble, Niall Conway, gave a hilariously comedic and inappropriate performance, rambunctious in the delivery of “I Shall Scream,” and an utter slob once he was married to Widow Corney. His powerful voice was used to great effect in the opening scene, to put the fear of God into the workhouse boys, and he sang “Boy For Sale” with a quality tenor voice.  An excellent character comedic performance.  Not to be outshone, Heather Colohan was an equally loquacious Widow Corney, with a lugubrious countenance that evaporated only when she was flirting with Bumble. “I Shall Scream” was ribald and hilarious, and her performance was notable for superb facial expression, the strongest being disdain. Very good work.  As undertaker, Mr. Sowerberry, Mervyn Fahy was dull and creepy and pedantic in the delivery of his lines, creating a very sinister character, and apart from a tendency to drop the level of his voice, he managed his role and his song most capably.  As his domineering wife, Mrs. Sowerberry, Donna Creaven was somewhere between the wicked witch of the west and Norah Batty! With a great north of England accent, and a rather scary demeanour, I was amazed at how naturally she played the hen-pecking wife! “That’s your Funeral” was very well-delivered, and there was strong comedy as she got her come  uppance from Oliver, ass-first into a coffin.  Michael Healy, after choreographing the show, settled nicely into the role of Noah Claypole, being obnoxious in his treatment of Oliver, and comically inappropriate in his relationship with Charlotte, played with great character and a brazen attitude by Aisling Carroll, who sleazed about the stage like a harlot in the making. These two were a lovely pairing.  David Alexander brought a strong element of dignity and normality to the role of Mr. Brownlow, sincere in his concern for Oliver, and delightfully disgusted by the antics of Bumble and Corney.  As his housekeeper, Mrs. Bedwin, Michelle Drysdale reprised “Where is Love” very nicely, and showed genuine kindness and concern for Oliver.  Jay Hall was quite ridiculous and extremely funny Dr. Grimwig, a kind of blustering buffoon who never quite got the diagnosis right. Very nicely played.  Kate Timothy made a good impression as Nancy’s sidekick, Bet, and made the most of her opportunities to shine.  Linsey Cant died with dignity as Old Sally, after successfully croaking her revelation about Oliver’s past. A well-played cameo.  The voices of Emma Murphy as the Rose Seller, Aoife Kilroy as the Strawberry Seller, Roisin Holland as the Milkmaid and Brandon Collier as the Knife Grinder, were all excellent and contributed so much to the success of “Who Will Buy.”  And then there were the children.  In the titular role of Oliver, 11-year-old Rónán Harney was a sensation. Looking every bit the impoverished waif, when he sang “Where is Love” and tears rolled down his cheeks, I think the whole theatre melted. He displayed great fun and energy in “Consider Yourself” and “Pick a Pocket,” and sang divinely for “Who Will Buy,” but what impressed me the most was the sheer terror that he displayed when kidnapped and dragged about the stage by Bill Sykes. Unreal acting ability for one so young.  12-year-old, Harry Greaney, played the role of The Artful Dodger with confidence and ability, even if he had a tendency to rush his lines. His singing was strong and very tuneful, and while he had the perfect cheeky chap look about him, he perhaps needed a cheekier attitude to match it. But this is a young man to watch out for, being charming, polite, and very talented.  Charley Bates, played by Iarlaith Kennedy, delivered his few lines to Fagin with a great cheeky chap attitude.  The chorus of children in this production were smaller in number than one usually expects for Oliver! but they certainly weren’t small in attitude or achievement. As the workhouse orphans they looked pale and impoverished, and sang “Food Glorious Food” with gusto, but they really came to the fore as Fagin’s gang. Looking like a genuine gang of best buddies, their sense of fun and adventure in all their scenes was excellent. Scuffy and unkempt, they looked fabulous and their delivery of “Pick a Pocket,” “I’d Do Anything,” “It’s a Fine Life” and “Be Back Soon” was energetic, highly amusing, and delightfully sung. What a talented bunch!  Thanks, in part, to the new vocal arrangements, the chorus work in this production was vastly more substantial than usual and inspired the Director and the Choreographer to go to town in their big numbers. “Consider Yourself” grew from a delightful duet with Dodger and Oliver into a showstopper of energy and strong vocals. “Oom-pah-pah” was like a crowded night in a very unruly rugby club bar, and “Who Will Buy” built into a big, bright, and beautifully presented number. Singing was pretty great throughout, and the dance and movement were polished and precise.  The show was enhanced by very effective lighting, with good colour to suggest dark and shadowy surroundings, without actually being too dark. Action was well highlighted, and the effects when Nancy was being murdered by Bill, were quite stunning and chilling. Sound quality was good throughout, perhaps with Oliver starting a bit quiet and then being quickly boosted. Cueing was good and the balance between stage and pit was carefully controlled.  As usual, Paul Norton came very close to that line that shouldn’t be crossed, but given the style of this whole production, I don’t believe, on this occasion, that he actually crossed it. The show was bawdy and brash, dark, and disturbing, but then again, it wasn’t the director, but the author who wrote of child exploitation and corruption, bawdy barmaids and nefarious criminals, and murder and mayhem. Perhaps more than any of his previous productions, he got this one completely right. Peter Kennedy Gilbert Adjudicator 23/24 Photos by Ian Walsh of Brenóg Media https://www.brenogmedia.com/ https://www.instagram.com/bren_0g/

Legally Blonde as presented by Castlebar Musical & Dramatic Society

LEGALLY BLONDE CASTLEBAR MUSICAL AND DRAMATIC SOCIETY 7TH – 9TH MARCH 2024 Adjudication Performance 7th March 2024 It was a glorious day...

LEGALLY BLONDE CASTLEBAR MUSICAL AND DRAMATIC SOCIETY 7TH – 9TH MARCH 2024 Adjudication Performance 7th March 2024 It was a glorious day upon my arrival into the town of Castlebar as I looked forward to this performance of Legally Blonde by this lovely Society who this year are celebrating their 10th Birthday. The front of the House was a tight ship. It was well run, with many front-of-house staff milling through the theatre on the busiest of evenings when I arrived. I was looked after by Ms Anne Marie Gibbons, PRO of the Society, and the full team. It was very well supervised and executed, and the theatre, as large as it is, was filled rapidly and with little fuss. Well done, Front-of-House Team. I was surprised to see just how big this venue was, and, once I was shown to my seat there was a charming vibe already emanating from this audience as they awaited the performance to begin. The director for this production was Ms Donna Ruane. Ms Ruane had a lovely vision for this show. It is sometimes, I believe, quite challenging to translate the film we all know to a stage production that is so dynamic and vibrant and so full of energy. Ms Ruane brought a sense of fun to this show as Director. It is one of Ms. Ruane’s strengths to bring out critical moments in the show beautifully, which impacted the audience through lovely emotion, lovely humour, and good casting. We were immediately brought into Elle’s world, a world of pink, fun, and fluffiness, and I instinctively wanted Ms Woods to succeed. Ms Ruane's lovely direction for this role was excellent. This was a very entertaining show. Particular mention was the Harvard Law School scenes, “Bend and Snap” and the courtroom scene with Carlos which was particularly well done with beautiful comedic timing. This cast was well-balanced and worked very well together, and I do believe it worked well with Ms Ruane at the helm also and the rest of her production team. Ms Claudia O'Sullivan was the choreographer for this show. As I type, the first thought that comes into my head immediately is, “Bend and Snap.” What a tremendous choreographic number this was. The energy bounced off the stage, and the fitness levels must be colossal!! The energy throughout your Choreography was so slick and well-moved, and everyone was so very well in tune with one another, with not a foot wrong. “Oh My God” was so energetic that it bordered on excited hysteria!! “What You Want” was moved well, with so much energy again, and it was one of the show's highlights for me. Superb Choreography here and such an immensely long number which required so much fitness. Not once did the energy levels and electric vibe change. I looked forward to the dance numbers and was not disappointed. Very well done, Ms O’Sullivan. The Musical Director for this show was Ms. Deirdre Lee. Ms Lee had a clear understanding of the music and brought out the best performances from the cast. The music throughout added beautifully to the show, and this Orchestra was very well-balanced and created a lovely sound, never overshadowing the cast. An excellent Job, Ms Lee, and it enhanced the show wonderfully. The Stage Manager for this production was Mr. Brian Murphy. This show ran very smoothly from start to finish. To give but two examples, the scene where Elle takes some new clothes and the clothes rails are slowly and smoothly moved on stage by the backstage crew dressed professionally in black on either side, not disturbing the dialogue or the players. The scene where Paulette's salon is brought on stage again while the cast was speaking was expertly well done, along with the videography of illusions that donned the theatre throughout with scenes of golf courses, Harvard Law, Jail, and Library. The list is endless, all the intricate little details which I love were so beautifully woven into the production was so very well run by Mr Murphy as Stage Manager and his team—well done. Set Design Construction and Props were the responsibility of re-staging set design Co and, most importantly, the very clear and distinct videography. These projections worked well. Examples include the men's department store and golf course. Paulette's set salon was beautiful, so pretty, and so versatile. The clothes rails in the men's department store and that excellent caravan were visually and practically superb. The only set that I felt could have been better was the set for Oh My God, you guys with the Delta Nu. I do think the set could have had more depth to it and some more detail as it was pretty flat. I understand that sets are a massive part of any production, and there are many reasons why a set is used or developed in the way it is, but just personally, when so much videography is used in other scenes when there is an actual physical set that it could be more embellished, decorative and more accurate. However, in complete opposite, Paulette’s Salon was simply superb; I loved the wallpaper, the attention to detail, and the colours, which were all so lovely. It was so beautiful, and the incredible detail that had been put into this was obvious. The sound was by Frankie McDonald—McDonald AV. The Sound was excellent throughout. Mics between the Orchestra, principals, and ensemble were very balanced. Very well done here, given the amount of vigorous movement, dancing, singing, and dialogue involved. I did not once hear a flaw, error, or imbalance. There is no mean feat in such a lively production. Very done, Mr. McDonald. Simply awesome. Lighting was by Indigo Lighting. Again. Excellent. Beautiful colours, bursts, and flashes are beautifully used throughout. I felt some areas could have been lit with more spots or vital lighting, such as the Delta Nu Sign on the opening set. I couldn’t read it properly from where I was seated. It needed more light on the sign so the audience knew where this particular part of the story was happening. It's just a minor issue, but I must mention it. There was excellent use of spots elsewhere, particularly on Elle and other main characters. These colours spot lit the main characters successfully and effectively, to create beautiful visuals, and enhance the storyline beautifully. Costumes by Nomac Productions were smashing. Particular mention to ALL of Elle’s wardrobe, Paulette’s wardrobe was a sheer winner throughout, Emmet, the poor student, Warner the wealthy, and Vivienne Prim and Proper. Still, Kyles's costume also drew a laugh from the audience with his cool costume and his swagger, and the chorus all were costumed effectively and were a visual explosion of lovely colour throughout. Props were provided by Re-Staging Set Design. Superb attention to detail here, from Emmet's satchel to Paulette's salon to the courtroom scene with Carlos, and one could not forget to mention it. However, Bruiser and Rufus were glorious editions to the performance, drawing oohs and aahs and awws throughout the show. Props were a huge contributor to this lovely feel-good show's overall magic. Well done to the props team. Great job. Lorna Dennehy played Elle Woods. Bubbly, pretty, gorgeous voice, massive energy, fantastic dancer, and an excellent Elle from start to finish. From the very first second you bounced onto the stage, you were a bright light, a beautiful Elle Woods, with lovely chemistry with your fellow cast members, notably Warner and Emmett, but also with your other characters, specifically Serena, Margot, Pilar, and, of course, your beautiful friendship with Paulette Bonafonte. You have a lovely voice, with a colossal dynamic and tone moving from energetic to emotional, from being so vulnerable to being so strong. “So Much Better” was an absolute highlight, showing off your vocal range beautifully with so much emotion. You were so charming. I warmed to you immediately. You moved beautifully and with great energy in so many dance numbers, and it was lovely to witness you in this role you created as Elle Woods. Well done, Ms Dennehy. Margot, Serena, Pilar, and Kate were played by Nicole Scott, Emma Daly, Ewa Cieslak, and Sophia Byrne, respectively. What a fabulous troupe you all were in this show full of life and joy you were when you each walked on stage. You were a tour de force to be reckoned with, with breath-taking energy and a friendship and loyalty to Elle that was admirable and a joy to watch every single time you, arrived on stage. Your physical fitness levels and energy were something to be envied (a part I will never audition for !!), as were your bubbly personality and great costumes. It was magnificently played and so wonderfully cast. Bravo. Paul O’Brien played Emmet Forrest, a lovely, heart-warming character loving the simple things in life with no drama. Humble, earnest, and lovely humility endeared me to Mr O’Brien’s character in this role. I loved your transformation from a rather shy, reserved, and quiet man into the lawyer you became and the confidence you gained through the show. With a vocal that seemed a little nervous initially and underconfident, you did get more confident as the show progressed, and you were a lovely Emmett. This was a charming, simple, humble part, and you wore your heart on your sleeve. I liked your portrayal of Emmett Forrest Mr O’Brien from beginning to end. Olwyn Behan played Paulette Bonafonte's part. What a glorious role. What a gorgeous character you were, Ms Behan. And a beautiful vocal. “Ireland” was a highlight of the show for me. There was such lovely rapport between you, Elle, and the rest of the cast; you were lonely, unbelieving in yourself, and blind to your beautiful personality, believing you would never find love and being unhappy. And you blossomed in this part. You moved around the stage effortlessly with lovely, funny facial expressions and drama. Your song Ireland showed your utter vulnerability and longing for a man who will love you as much as you loved the idea of Ireland. You played this part very well, Ms Behan. I loved you in it. Well done. Again – fab costumes!. Matthew Largent played the part of Professor Callaghan. What a strong character Mr Largent made in this role. He had a bit of an attitude of great self-importance and very egotistical in this role. Mr. Largent had an air of authority about him from the first moment he arrived on stage. The song “Blood in the Water” was well played, while a bit of light on the higher notes however, it was still a good vocal. Strong character. Well-acted Mr Largent. Enda Mulchrone played Warner Huntington III. Mr Mulchrone played and acted well in this part. I did feel that Mr. Mulchrone's vocal performance was somewhat inconsistent, where, at times, some notes broke or were lighter than others or under the note in singing. I felt Mr. Mulchrone could have been a little more passionate, and more emotion could have been given firstly to breaking up with Elle, and then to his romance with Vivienne, and then to his desolation at Vivienne breaking up with him. Visually, Mr. Mulchrone, you looked great, fabulous costumes. and with Vivienne and Elle aesthetically, you were a fantastic group and well-cast. It was just a little on the vocal and the emotions that I felt you could have given more on the evening I attended. Katie Padden played the part of Vivienne Kensington. Straightlaced, proper, strict, and very serious, this part was played very well by Ms Padden. I lost some words in the earlier scenes when she was initially introduced to the audience. I felt that some of the dialogue was spoken into the wings rather than to the audience for some of Ms Padden's dialogue. I think more emotion and love was needed and her feelings for Warner could have been a bit stronger in the overall performance. Ms Padden has a beautiful speaking voice. Sarah Granahan played the part of Brooke Wyndham. Again, a great part played with great energy, fiery passion, and the urgency of a woman who has been accused of the wrong and is fighting her case to be cleared and freed of the murder of her husband. “Whipped into Shape” was a visual treat with enviable energy from beginning to end. Superb acting and comedic timing. Ms Granahan, you played your part very well, and again, I envied your energy! Well done. Aoife Halligan played Ms. Hoops, a supportive role for Brooke Wyndham as a fellow inmate in jail with Ms. Wyndham. Ms Halligan played a lovely part here. And there is no such thing as a small part. Well done, Ms Halligan. I also wish to mention the part of Kyle. I loved your entrance through the audience with the house lights on you, and your swagger was brilliant and hilarious. Your charm and the love you had for yourself (!) were so funny. However, your interactions with Paulette really won me over in this part for you. You lit up the stage, the audience lapped up your fun sense of humour, and your joie de vivre, and the dialogue between yourself and Paulette and her reactions was one of the best pieces of comedy I have seen on a stage on my journey this year. Chorus- Every number in this show was sung well and to a very high standard, with lovely balanced harmonies and excellent sound and tone. With so many numbers, this chorus played a massive role in this show's success. Harmonies were beautiful, moving from soft singing in the more emotional scenes to tremendous singing in the more significant numbers, including choreography mentioning “Bend and Snap” and “Oh My God you Guys” in particular. This Chorus was a vocal delight from start to finish. Well done to every one of you. You are a lovely, talented, and very young Society who did a marvellous job with this year's show. And as a Society as a whole, I applaud you all. It was a pleasure to be in your company this evening, and I applaud every one of you for your performances on stage, backstage, in front of the house, in the committee, orchestra, or production team. It was my pleasure to be in your company, and I wish you ongoing success and many more years to come. Thank you. Caroline Daly Jones Sullivan Adjudicator 2023/2024 Some photos shared by the society - Photographer - Alison Laredo
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