Munster Express Review by Liam Murphy
Wateford Festival Opening nights.
The Mayor of Waterford, Cllr. Pat Hayes,
opened the 51st. Waterford International Festival of Light Opera as part of the
transitional, Waterford International
Music Festival. He was welcoming and
supportive and sang a few lines from a show as well. While there might be mixed
feelings about bringing the Festival back to May and not the traditional
September time or the November date of the 50th Festival, the quality and
excitement of the first weekend, should have dispelled such doubts. The best of
musical theatre strutted its stuff, as the show went on and the Theatre Royal
was the place to be, under a phenomenal Supermoon.The portents were good, and
the heavens echoed the celebration.
The Producers It was opening night, onstage and off stage, as Clara Musical brought their wonderfully entertaining, production of The Producers to the 51st Waterford International Festival of Light Opera. A new timeslot, another change in direction and a problem marketing that change,but as Aoife Devery and Fiona Rigney,as Usherettes, opened the onstage doors, the Festival was back, the competition was on. There was anticipation, and there was laughter, torrents of mirth, spurts of craziness in a show that makes fun out of a range of almost taboo subjects. Hitler---the crazy show within a show, Springtime for Hitler. Mel Brooks masterpiece on the Theatre Royal stage. Ya wohl, mine Theatremeister. The story of larger-than-life, Broadway producer, Max Bialystock and his timid accountant, Leo Bloom, who set out to get rich by staging the worst flop--a show that should close by page four, but as the onstage reviews said--"A satiric masterpiece", " a surprise smash", " It was shocking, outrageous, insulting...and I loved every minute of it" Sometimes shows make reviewing easy and Clara rocked the house with laughter, invaded the funny zone,detonated helpless laughter in an anschluss of entertainment, where creativity,music, acting, comedy, lighting, scenery and glorious song and dance annexed the stage and left the audience as prisoners of entertainment. I had seen this production, recently in Clara and this time it was funnier and more hilarious. I am still laughing, as I write this review, about the pigeons in the rooftop scene. Clara represent all that is great and optimistic about musical entertainment, with excellent community commitment, and this was so evident in the big brash song and dance numbers.Christy Bannon played a range of cameo parts, as did Nathan Meehan, Amanda Cunningham and Nigel Sammon. Eoghan Fingleton was a festival of campery as Carmen Ghia, Wayne Handy was a little subdued as Roger de Bris and Aoife Fitzsimons as the crazy old lady, Hold Me Touch Me, was wonderful. Seamus Carroll delivered a crazy, Nazi playwright, Franz Liebkind, with fabulous timing and comic business. Natalee Kelly, as Ulla the Swedish bombshell, reached her assets out into the audience, to deliver " stage to audience relationship". Her song, When You Got It, Flaunt It, was indeed a BIG number, an outrageous flash of show business. But the success of the entertainment was the towering performances of Paul Norton as Max and Malcolm Whelan as Bloom.With superb singing and physical comedy, they swept all before them. Whelan wheedled and wimped like as star and his, That Face, routine with Ulla was a wow. Norton was superb as, The King Of Broadway and the crazy lecherous cheque-collector in, Along Came Bialy. His wonderful recap song, Betrayed was a standout of standup. Alan Recks was splendid as Director / Musical Director. Sarah Griffin choreographed with panache. Simon Canon was a busy stage director. Derek Recks provided excellent sounds and "foley" work. Edel Kennedy excelled with a blitzkrieg of props and the hilarious puppet pigeons.
Les Miserables There were amazing scenes onstage and in the audience for South Eastern Youth Theatre Group's production of Les Miserables at the Waterford International Music Festival. There was such an outpouring of acclaim as a thunderous standing ovation,grew into cheers and roars of approval.The voices rang out"When Tomorrow Comes" and I knew that "tomorrow" was here and that the future of musical theatre was secure. There was such happiness in an around the theatre; as as people left the venue there was a natural phenomenon up in the heavens---a Supermoon, when a full moon coincides with the moon's perigee, its closest approach to earth (221,802 miles away). What a portent, what an omen and what a show. Before the show, there was emotion, anticipation and David Hennessy's young cast did not disappoint, they shone, they sparkled, they took the audience on a theatrical journey, full of hope and possibility. From the iconic, musical opening, the dramatic coda, Wayne Browne's orchestra, there was in intake of breath. As Jean Valjean said "Now let's see what the new world will do for me" Adam Phelan in the first of several cameos set the tone as the Bishop "at the end of the day". Lauren Cardiff as Fantine sang, I Dreamed A Dream, and you knew you were on a wonderful journey as a young cast, recreated a world of hope and despair, as workers, prostitutes,soldiers, students, revolutionaries sang out as conflict, death and redemption were pre-figured so wonderfully. Young Cosette (Pippa Griffin) sang Castle On A Cloud, and the impact was remarkable. Song after song, sentiment after sentiment, this young cast overwhelmed with diction, intention and intensity. Gavroche (Nathan Carey) sang, Look Down, with such cheeky feeling and he died on the barricades with such hammer blows of emotion. Cosette (Julie Power) gave such sincerity to, A Heart Full Of Love and In My Life. Marius (David Farah) chilled me with, Empty Chairs And Empty Tables, Eponine (Mimi Lane) was outstanding in ,On My Own. Enjolras (Colm Sommers) set the heart pounding with, Do You Hear The People Sing. Hayleigh O'Brien as Madame Thenardier and Kerill Kelly as Thenardier delighted and brought wicked fun and comedy to a tragedy. Ause Braike was exceptional as Javert and he injected, bitterness, dramatic conflict and passion into a multi-faceted performance. Glenn Murphy as Valjean, once again, drained me of superlatives with a towering performance full of awesome ability and emotional interpretation. What a total performer. Dermot Quinn designed a functioning "monster" of a set.Paul Browne illuminated on lighting. Avril Musgrave and Elaine Tighe worked wonders with costumes design and Brian "Juckey" Collins was an excellent Production Manager. This was a show where all the elements worked and worked magnificently.
The Boys In The Photograph Fusion Theatre Group from Northern Ireland brought the revised and amended version of Andrew Lloyd Webber and Ben Elton's, The Beautiful Game, to the Festival, under its new title, The Boys In The Photograph. This was a poignant production of a terrible time in Northern Ireland history, politics and sectarianism, from a young community group, who must have known the subject matter in a more personal way. In a sense, the Peace Process, has made this show into a piece of history, about a Catholic schoolboy football team and the lives of these young sports hopefuls, possible Georgie Bests, Gerry Adams or John Humes. The show started out with great attack and vigour with a rousing, The Beautiful Game, and then chilled into a pre-figuration of murder, maiming, betrayal and an almost loss of hope, as the future of these boys in the team photograph, the heroes and hooligans, the dreamers and the despairing are explored. The pace slowed like a Belfast, Romeo and Juliet to expose the central story of John and Mary, the love story, amid strife and civil confusion. Bigotry and hatred, slowly emerged and the ebullient priest, Fr. O'Donnell, dealt in cliches like "life is a game"' yet calling his charges "swine" and overlooking the taunts to a Protestant boy, Del, who wanted to play football and date Christine, a good-time Catholic girl. Even the new, happier,reconciliation ending couldn't save this show from getting darker and colder as "my country right or wrong" took on a chilling interpretation. God's Own Country, turned into Prod's Own Country, complete with the Waterford Thomas Francis Meagher Fife and Drum Band ( a wonderful touch) who raised the roof with a rattle of Orange triumphalism as Catholics pounded with dustbin lids. By the end of Act one, the horror of the time, eclipsed the crazy football victory and celebration as a mawkish "Let Us Live In Peace" exposed how unbalanced this production had become. The sound was uneven, the choreography was cluttered and crowded. The random sectarian killing of Ginger was a shock and the burial touched the audience deeply. Act two's wedding, again pre-figured the tragedy as , The Happiest Day Of Our Lives, descended into betrayal, maiming and some scenes seemed very contrived (as written). The tenderness of, The First Time was undercut by John leaving the marital bed, to go and help his IRA friend, Thomas. The mood got bleaker and bleaker and the heart seemed to leak out of this production. A prison scene seemed superfluous and Mary chilled the house with a powerful, If This Is What We're Fighting For. By the end John had returned and an uneasy peace was established. Brian Trainor was a splendid, Fr. O'Donnell and Conal Corr established comedy and tragedy as Daniel. Gavin Murphy was a wide-eyed, Del, who brought attention to all the scenes he was in. Vicky Saunders as Christine, sang her heart out and added a cutting practicality to the story. Eoin McAndrew was a fine Ginger who was loved shyly by Bronagh Walsh as Bernadette, who shone in her tragedy. David McCrossan was excellent as as the bearded Thomas, with glasses, who reminded of Gerry Adams. Conor Crossan as John was a tower of strength and vocal ability and Hannah Conlon was wonderful as Mary who anchored the best of this show. Ian Milford was director and musical director. Rebecca Leonard choreographed and Milford also designed the fine set, that had a nice touch of using the British Army soldiers to change and set the scenes.
Original 'Munster Express' Clara Review
Clara Musical Society took on the immense task of staging, Mel Brooks musical, The Producers, on a stage a little larger than the Theatre Royal in Clara GAA Centre and brought Hollywood and Broadway to fresh life with a production as exciting and crammed with quality performances, an excellent line up of principals, a detailed series of settings, great choreography, powerful
singing, some wonderful technical surprises and lashings of comedic moments.
The director and musical director, Alan Recks drove the show along, and it built and built, getting better and better and funnier and funnier. The big musical numbers, I Wanna Be A Producer, the crazy Little Old Ladies scene, Along Came Bialy and the outrageous, Springtime For Hitler, were wonderful and the energy onstage was so impressive.
Without two strong male leads, this show would be difficult to carry off and Clara had two splendid lead performers in Paul Norton as Max Bialystock, the scheming,conniving,Producer, who is onstage for most of the show and he just got better and better and funnier and funnier and his acting and singing were a joy. Malcolm Whelan, as Leo Bloom, the accountant, who wants to be a producer gave another splendid performance, of loss, frustration, panic and craziness, had me in floods of laughter and spasms of admiration for his wonderful comedic work while sharing a stage with a manic Max and a curvy Ulla, the Swedish dreamboat. Natalee Kelly was a riot as Ulla and she seduced not only Leo, but the audience as well. Even opening her coat was a production. Her big number, When You Got It, Flaunt It, was lagrant and fragrant, in the best possible taste.
Add to these, John Coss as Carmen Ghia, Wayne Handy as Roger DeBris and Seamus Carroll as Franz Liebkind and you had a show to remember. I must make special mention of Aoife Fitzsimons as Hold Me Touch Me was hilarious as a Little Old Lady with a Zimmer frame.
When Clara bring this show on Friday 4th May for the Opera festival, make sure you have a ticket. Get tickets now.
The Producers It was opening night, onstage and off stage, as Clara Musical brought their wonderfully entertaining, production of The Producers to the 51st Waterford International Festival of Light Opera. A new timeslot, another change in direction and a problem marketing that change,but as Aoife Devery and Fiona Rigney,as Usherettes, opened the onstage doors, the Festival was back, the competition was on. There was anticipation, and there was laughter, torrents of mirth, spurts of craziness in a show that makes fun out of a range of almost taboo subjects. Hitler---the crazy show within a show, Springtime for Hitler. Mel Brooks masterpiece on the Theatre Royal stage. Ya wohl, mine Theatremeister. The story of larger-than-life, Broadway producer, Max Bialystock and his timid accountant, Leo Bloom, who set out to get rich by staging the worst flop--a show that should close by page four, but as the onstage reviews said--"A satiric masterpiece", " a surprise smash", " It was shocking, outrageous, insulting...and I loved every minute of it" Sometimes shows make reviewing easy and Clara rocked the house with laughter, invaded the funny zone,detonated helpless laughter in an anschluss of entertainment, where creativity,music, acting, comedy, lighting, scenery and glorious song and dance annexed the stage and left the audience as prisoners of entertainment. I had seen this production, recently in Clara and this time it was funnier and more hilarious. I am still laughing, as I write this review, about the pigeons in the rooftop scene. Clara represent all that is great and optimistic about musical entertainment, with excellent community commitment, and this was so evident in the big brash song and dance numbers.Christy Bannon played a range of cameo parts, as did Nathan Meehan, Amanda Cunningham and Nigel Sammon. Eoghan Fingleton was a festival of campery as Carmen Ghia, Wayne Handy was a little subdued as Roger de Bris and Aoife Fitzsimons as the crazy old lady, Hold Me Touch Me, was wonderful. Seamus Carroll delivered a crazy, Nazi playwright, Franz Liebkind, with fabulous timing and comic business. Natalee Kelly, as Ulla the Swedish bombshell, reached her assets out into the audience, to deliver " stage to audience relationship". Her song, When You Got It, Flaunt It, was indeed a BIG number, an outrageous flash of show business. But the success of the entertainment was the towering performances of Paul Norton as Max and Malcolm Whelan as Bloom.With superb singing and physical comedy, they swept all before them. Whelan wheedled and wimped like as star and his, That Face, routine with Ulla was a wow. Norton was superb as, The King Of Broadway and the crazy lecherous cheque-collector in, Along Came Bialy. His wonderful recap song, Betrayed was a standout of standup. Alan Recks was splendid as Director / Musical Director. Sarah Griffin choreographed with panache. Simon Canon was a busy stage director. Derek Recks provided excellent sounds and "foley" work. Edel Kennedy excelled with a blitzkrieg of props and the hilarious puppet pigeons.
Les Miserables There were amazing scenes onstage and in the audience for South Eastern Youth Theatre Group's production of Les Miserables at the Waterford International Music Festival. There was such an outpouring of acclaim as a thunderous standing ovation,grew into cheers and roars of approval.The voices rang out"When Tomorrow Comes" and I knew that "tomorrow" was here and that the future of musical theatre was secure. There was such happiness in an around the theatre; as as people left the venue there was a natural phenomenon up in the heavens---a Supermoon, when a full moon coincides with the moon's perigee, its closest approach to earth (221,802 miles away). What a portent, what an omen and what a show. Before the show, there was emotion, anticipation and David Hennessy's young cast did not disappoint, they shone, they sparkled, they took the audience on a theatrical journey, full of hope and possibility. From the iconic, musical opening, the dramatic coda, Wayne Browne's orchestra, there was in intake of breath. As Jean Valjean said "Now let's see what the new world will do for me" Adam Phelan in the first of several cameos set the tone as the Bishop "at the end of the day". Lauren Cardiff as Fantine sang, I Dreamed A Dream, and you knew you were on a wonderful journey as a young cast, recreated a world of hope and despair, as workers, prostitutes,soldiers, students, revolutionaries sang out as conflict, death and redemption were pre-figured so wonderfully. Young Cosette (Pippa Griffin) sang Castle On A Cloud, and the impact was remarkable. Song after song, sentiment after sentiment, this young cast overwhelmed with diction, intention and intensity. Gavroche (Nathan Carey) sang, Look Down, with such cheeky feeling and he died on the barricades with such hammer blows of emotion. Cosette (Julie Power) gave such sincerity to, A Heart Full Of Love and In My Life. Marius (David Farah) chilled me with, Empty Chairs And Empty Tables, Eponine (Mimi Lane) was outstanding in ,On My Own. Enjolras (Colm Sommers) set the heart pounding with, Do You Hear The People Sing. Hayleigh O'Brien as Madame Thenardier and Kerill Kelly as Thenardier delighted and brought wicked fun and comedy to a tragedy. Ause Braike was exceptional as Javert and he injected, bitterness, dramatic conflict and passion into a multi-faceted performance. Glenn Murphy as Valjean, once again, drained me of superlatives with a towering performance full of awesome ability and emotional interpretation. What a total performer. Dermot Quinn designed a functioning "monster" of a set.Paul Browne illuminated on lighting. Avril Musgrave and Elaine Tighe worked wonders with costumes design and Brian "Juckey" Collins was an excellent Production Manager. This was a show where all the elements worked and worked magnificently.
The Boys In The Photograph Fusion Theatre Group from Northern Ireland brought the revised and amended version of Andrew Lloyd Webber and Ben Elton's, The Beautiful Game, to the Festival, under its new title, The Boys In The Photograph. This was a poignant production of a terrible time in Northern Ireland history, politics and sectarianism, from a young community group, who must have known the subject matter in a more personal way. In a sense, the Peace Process, has made this show into a piece of history, about a Catholic schoolboy football team and the lives of these young sports hopefuls, possible Georgie Bests, Gerry Adams or John Humes. The show started out with great attack and vigour with a rousing, The Beautiful Game, and then chilled into a pre-figuration of murder, maiming, betrayal and an almost loss of hope, as the future of these boys in the team photograph, the heroes and hooligans, the dreamers and the despairing are explored. The pace slowed like a Belfast, Romeo and Juliet to expose the central story of John and Mary, the love story, amid strife and civil confusion. Bigotry and hatred, slowly emerged and the ebullient priest, Fr. O'Donnell, dealt in cliches like "life is a game"' yet calling his charges "swine" and overlooking the taunts to a Protestant boy, Del, who wanted to play football and date Christine, a good-time Catholic girl. Even the new, happier,reconciliation ending couldn't save this show from getting darker and colder as "my country right or wrong" took on a chilling interpretation. God's Own Country, turned into Prod's Own Country, complete with the Waterford Thomas Francis Meagher Fife and Drum Band ( a wonderful touch) who raised the roof with a rattle of Orange triumphalism as Catholics pounded with dustbin lids. By the end of Act one, the horror of the time, eclipsed the crazy football victory and celebration as a mawkish "Let Us Live In Peace" exposed how unbalanced this production had become. The sound was uneven, the choreography was cluttered and crowded. The random sectarian killing of Ginger was a shock and the burial touched the audience deeply. Act two's wedding, again pre-figured the tragedy as , The Happiest Day Of Our Lives, descended into betrayal, maiming and some scenes seemed very contrived (as written). The tenderness of, The First Time was undercut by John leaving the marital bed, to go and help his IRA friend, Thomas. The mood got bleaker and bleaker and the heart seemed to leak out of this production. A prison scene seemed superfluous and Mary chilled the house with a powerful, If This Is What We're Fighting For. By the end John had returned and an uneasy peace was established. Brian Trainor was a splendid, Fr. O'Donnell and Conal Corr established comedy and tragedy as Daniel. Gavin Murphy was a wide-eyed, Del, who brought attention to all the scenes he was in. Vicky Saunders as Christine, sang her heart out and added a cutting practicality to the story. Eoin McAndrew was a fine Ginger who was loved shyly by Bronagh Walsh as Bernadette, who shone in her tragedy. David McCrossan was excellent as as the bearded Thomas, with glasses, who reminded of Gerry Adams. Conor Crossan as John was a tower of strength and vocal ability and Hannah Conlon was wonderful as Mary who anchored the best of this show. Ian Milford was director and musical director. Rebecca Leonard choreographed and Milford also designed the fine set, that had a nice touch of using the British Army soldiers to change and set the scenes.
Original 'Munster Express' Clara Review
Clara Musical Society took on the immense task of staging, Mel Brooks musical, The Producers, on a stage a little larger than the Theatre Royal in Clara GAA Centre and brought Hollywood and Broadway to fresh life with a production as exciting and crammed with quality performances, an excellent line up of principals, a detailed series of settings, great choreography, powerful
singing, some wonderful technical surprises and lashings of comedic moments.
The director and musical director, Alan Recks drove the show along, and it built and built, getting better and better and funnier and funnier. The big musical numbers, I Wanna Be A Producer, the crazy Little Old Ladies scene, Along Came Bialy and the outrageous, Springtime For Hitler, were wonderful and the energy onstage was so impressive.
Without two strong male leads, this show would be difficult to carry off and Clara had two splendid lead performers in Paul Norton as Max Bialystock, the scheming,conniving,Producer, who is onstage for most of the show and he just got better and better and funnier and funnier and his acting and singing were a joy. Malcolm Whelan, as Leo Bloom, the accountant, who wants to be a producer gave another splendid performance, of loss, frustration, panic and craziness, had me in floods of laughter and spasms of admiration for his wonderful comedic work while sharing a stage with a manic Max and a curvy Ulla, the Swedish dreamboat. Natalee Kelly was a riot as Ulla and she seduced not only Leo, but the audience as well. Even opening her coat was a production. Her big number, When You Got It, Flaunt It, was lagrant and fragrant, in the best possible taste.
Add to these, John Coss as Carmen Ghia, Wayne Handy as Roger DeBris and Seamus Carroll as Franz Liebkind and you had a show to remember. I must make special mention of Aoife Fitzsimons as Hold Me Touch Me was hilarious as a Little Old Lady with a Zimmer frame.
When Clara bring this show on Friday 4th May for the Opera festival, make sure you have a ticket. Get tickets now.
ClaraMS 2012 Production
Book by
Mel Brooks
and
Thomas Meehan
Music by Mel Brooks
Lyrics by Mel Brooks
The movie
Two Acts, Book Musical, Rated R
Original Broadway Version
Bialystock and Bloom! Those names should strike terror and hysteria in anyone familiar with Mel Brooks' classic cult comedy film. Now as a big Broadway musical, THE PRODUCERS once again sets the standard for modern, outrageous, in-your-face humor. It is a truly "boffo" hit, winning a record twelve Tony Awards and wowing capacity crowds night after night. The plot is simple: a down-on-his-luck Broadway producer and his mild-mannered accountant come up with a scheme to produce the most notorious flop in history thereby bilking their backers (all "little old ladies") out of millions of dollars. Only one thing goes awry: the show is a smash hit! The antics of Max Bialystock and Leo Bloom as they maneuver their way fecklessly through finding a show (the gloriously offensive "Springtime For Hitler"), hiring a director, raising the money and finally going to prison for their misdeeds is a lesson in broad comic construction. At the core of the insanely funny adventure is a poignant emotional journey of two very different men who become friends.
With a truly hysterical book co-written by Mel Brooks and Thomas Meehan (ANNIE) and music and lyrics by Mr. Brooks , THE PRODUCERS skewers Broadway traditions and takes no prisoners as it proudly proclaims itself an "equal opportunity offender!"
Music by Mel Brooks
Lyrics by Mel Brooks
The movie
Two Acts, Book Musical, Rated R
Original Broadway Version
Bialystock and Bloom! Those names should strike terror and hysteria in anyone familiar with Mel Brooks' classic cult comedy film. Now as a big Broadway musical, THE PRODUCERS once again sets the standard for modern, outrageous, in-your-face humor. It is a truly "boffo" hit, winning a record twelve Tony Awards and wowing capacity crowds night after night. The plot is simple: a down-on-his-luck Broadway producer and his mild-mannered accountant come up with a scheme to produce the most notorious flop in history thereby bilking their backers (all "little old ladies") out of millions of dollars. Only one thing goes awry: the show is a smash hit! The antics of Max Bialystock and Leo Bloom as they maneuver their way fecklessly through finding a show (the gloriously offensive "Springtime For Hitler"), hiring a director, raising the money and finally going to prison for their misdeeds is a lesson in broad comic construction. At the core of the insanely funny adventure is a poignant emotional journey of two very different men who become friends.
With a truly hysterical book co-written by Mel Brooks and Thomas Meehan (ANNIE) and music and lyrics by Mr. Brooks , THE PRODUCERS skewers Broadway traditions and takes no prisoners as it proudly proclaims itself an "equal opportunity offender!"
The Producers Cast List for Waterford
Max Bialystock Paul Norton
Leo Bloom Malcolm Whelan
Ulla Natalee Kelly
Roger de Bris Wayne Handy
Franz Liebkind Seamus Carroll
Carmen Ghia Eoghan Fingleton
Mr. Marks/Sergeant O' Toole Nigel Sammon
Set Designer Bryan Graham Finnerty
Costumier Kevin/ Jack Christy Bannon
Choreographer Scott Stephen Rabbette
Lighting Designer Shirley Amanda Cunningham
Hold Me-Touch Me Aoife Fitzsimons
Usherettes Aoife Devey & Fiona Rigney
Judge / Donald Tommy Scanlon
Jason Derek Dalton
Lick Me-Bite Me Niamh Sammon
Kiss Me-Feel Me Grainne Donoghue
Jury Foreman Nathan Meehan
CAST
Fionnuala Handy, Sinead Wyer, Grainne Donoghue, Georgina O'Toole, Martina Carney, Tamara Keegan, Sarah Sheridan, Stacey Buckley, Grainne Kinsella, Michael Murray, Sinead Doorley, Bebhinn Wynne Judge, Niall Keegan, Davin Walshe and Tommy Scanlon.
Max Bialystock Paul Norton
Leo Bloom Malcolm Whelan
Ulla Natalee Kelly
Roger de Bris Wayne Handy
Franz Liebkind Seamus Carroll
Carmen Ghia Eoghan Fingleton
Mr. Marks/Sergeant O' Toole Nigel Sammon
Set Designer Bryan Graham Finnerty
Costumier Kevin/ Jack Christy Bannon
Choreographer Scott Stephen Rabbette
Lighting Designer Shirley Amanda Cunningham
Hold Me-Touch Me Aoife Fitzsimons
Usherettes Aoife Devey & Fiona Rigney
Judge / Donald Tommy Scanlon
Jason Derek Dalton
Lick Me-Bite Me Niamh Sammon
Kiss Me-Feel Me Grainne Donoghue
Jury Foreman Nathan Meehan
CAST
Fionnuala Handy, Sinead Wyer, Grainne Donoghue, Georgina O'Toole, Martina Carney, Tamara Keegan, Sarah Sheridan, Stacey Buckley, Grainne Kinsella, Michael Murray, Sinead Doorley, Bebhinn Wynne Judge, Niall Keegan, Davin Walshe and Tommy Scanlon.
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