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Made In Dagenham

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9 Apr 2025

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Legally Blonde the Musical

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9 Apr 2025

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25 Mar 2025

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14 Apr 2026

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4 Sept 2025

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LATEST NEWS

Rock of Ages as presented by 9Arch Musical Society

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

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

The Sound of Music as presented by Boyle Musical Society

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

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

Beauty & The Beast as presented by Marian Choral Society

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

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

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
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