AIMS AWARDS AND ADJUDICATION SCHEME SULLIVAN SECTION PUBLIC REVIEW FOR – 9 Arch Claregalway Musical Society
Based on the true story of the Von Trapp family, ‘The Sound of Music’ is undoubtedly the epitome of the classic stage and movie musical. Based on the blossoming love affair of Georg Von Trapp and Maria, the origins of the Anschluss in Austria and the family’s exit to a brighter life in the United States. Obviously, there was a bit of poetic licence in the final Broadway production which opened in 1959 with the then forty-six-year-old Mary Martin as Maria. It was an instant hit and is still popular with audiences today. It was a pleasure to be back in Galway’s Town Hall Theatre to see 9 Arch Claregalway Musical Society’s production of the show.
I attended on the opening night of the society’s short four performance run. There were a few wee first night nerves which I am sure were sorted out during the rest of the run.
The show was gently directed by Jay Molyneux who explored the script to tease out as much humour as possible from it. There were some lovely touches in the direction such as how certain lines were delivered, how and when pauses were taken to maximum effect and
some of the disapproving facial expressions were great. There were a few wee pieces which I would have directed differently and would have held a moment a little longer for dramatic effect. This is an important story which really shows how Hitler was able to manipulate minds such as Rolf and Franz, turning neighbour against neighbour and family against themselves. The horror of what was to come after the family left Austria should always be at the back of our minds.
Jay was also choreographer of this show. Although there is not much dancing as such in the show the stage movement was on the whole well thought through and executed, though there were opportunities for even more movement in the production. There was obviously a wide range of talent which I am sure could have risen to further challenges.
Shane Farrell conducted the nine-piece orchestra. This was a beautifully melodic interpretation of the score. The singing throughout the show was of a high standard. The chorus, particularly the huge chorus of nuns, at times created a wonderful depth of sound. The principals and those with just one or two lines in the show sang with conviction in a very tuneful and pleasing manner. The children had all great voices which made a beautiful blend together
and sounded very good in their individual roles. Maria and the Captain’s voices sounded very strong individually and harmonised well together.
Maria was beautifully played by Megan Lohan. There was a well-scrubbed innocence in this portrayal. Megan looked the part, sang with a gorgeous tone and acted so well too. There were some lovely moments such as her confrontation with Von Trapp, the first meeting with the children and her subsequent winning them over and a nice scene in the bedroom with Frau Schmidt. She related well to the Captain and their love affair seemed very natural. Alan Greaney gave us a slightly wittier Captain than usual, with a natural flair for comedy shown in some excellent delivery of his lines. He too had a beautiful tone to his singing voice and gave us a pleasing ‘Edelweiss’.
Elsa was played with class by Anne O Donnell. She moved so elegantly around the stage creating beautiful poses as she went. Her acting throughout was in keeping with the part and she has a stunning singing voice. Max who looked a bit like Georg’s brother with the same body type, hair and beard differentiated himself with great comedy timing and a convincing American accent. This was a gentle and nicely paced performance. Annette Cavanagh who played the Mother Abbess did so with a great deal of dignity and gave us a wonderful version of ’Climb Every Mountain’.
Cian O Ceallaigh as Rolf and Saoirse McCarthy as Liesl worked well together as the ill-fated young lovers. Cian created a character who grew from a nervous young man to a determined Nazi who almost betrays the family. Cian moved round the stage well and I think I would have stretched his dancing skills much more than in the slightly lack lustre routine for ‘Sixteen Going On Seventeen’. Liesl too looked as if she could have risen too much more of a challenge. As the eldest child in the family, Saoirse was most convincing, particularly in her growing friendship with Maria. This was a great performance with Saoirse showing a lovely maternal quality towards the other children. She sang well in all her musical numbers.
Franz, played by Michael Cooney, made an efficient butler who really can’t be trusted. He was always there in a scene bringing information
and pushing the story on. Olibhia Donnelly played a warm Frau Schmidt and I really didn’t mind her using her own accent. David Alexander was a threatening Herr Zeller. Feargal Cavanagh played the Admiral von Schreiber with an experience and menace in his voice.
The three principal nuns: Sister Bertha (Sonja Stevens), Sister Margaretta (Eve Garavan) and Sister Sophia (Katie Bebbington) were all excellent in their very individual roles. Each one created a particular stage character but they all worked so well together. The singing was great and we had a lovely version of ‘Maria’. I particularly liked some of the looks of disgust poor Maria was given.
The team of children did a great job right through the show. This is quite a long show and they never seemed to tire as the night progressed. Friedrich was the young man of the group. He delivered his lines really well, moved well round the stage and sang with a rich but very tuneful tone. Well done Keith Hanley for your interpretation of Friedrich and thanks for the laughs you gave us in ‘Lonely Goatherd’. Louisa played by Alana Mullins had wonderful posture on stage. Her accent was impeccable and she managed to maintain it throughout the show. She sang gloriously and moved with such ease around the acting areas. Cameron Heneghan created a very believable Kurt. I loved his dancing with Maria at the ball. He sang brilliantly, how can we ever forget that last note in ‘So Long Farewell’. Katie Larkin gave us quite a few belly laughs as the slightly outspoken Brigitta. Her delivery of lines was faultless. She too sang strongly and moved well also. Lucy Keenan made a lovely Marta. She had a wonderful stance on stage and she lit up the auditorium with that radiant smile. The youngest member of the family was Faye Greaney as little Gretl. Well done Faye you played your part so well. There were lovely moments with this character, like when she steps forward to bow but doesn’t, Faye played this with such great comic timing. She also sang her solo line in ‘So Long Farewell’ so beautifully.
The setting of the show caused all sorts of problems which I hope were resolved after the opening night. The society had decided to use a series of painted cloths, some of which were beautifully painted. Cloths of this type then set a standard for all the properties, furniture etc which appears in front of them. I was very disappointed in the look that was created and also by the impracticality of giving so much of the stage area to a permanent hillside which was really only used at the start and end of the show. This caused great congestion on the stage which was a big area and problems of this type with more creative planning just wouldn’t have happened. I have seen quite a few shows recently which have used rotating trucks to give a seamless change, maybe an idea for next time. I would also advise that the stage team should constantly check that that black tabs are positioned so that they cover activity in the wings, unfortunately this was not the case in this show. The props were a mixed bag with some nice pieces of furniture, tea set etc. I really missed the tombstones or grille in the penultimate scene which was a bit flat with the family hiding behind one lectern.
The stage was quite well lit through the show, though I think a few tree gobos would have added a lot to the evening scenes. The penultimate scene in the Abbey really didn’t work as the stage light was too bright and Rolf’s torch was too tiny. Pity as this can be one of the most dramatic moments in the production. The final picture however was absolutely stunning with the nuns silhouetted and the family at a height behind them. The quality of the sound was great throughout the show. A lovely tone was created and the stage/pit balance was perfect.
The costumes were generally of a pleasing standard but a few modern shoes and a selection of coloured stockings on the nuns did jar a little. The children looked pristine in their beautiful costumes and Maria had a good range of outfits. The nuns’ habits were all very authentic looking. Hair and make-up were generally sound but I would aim for less colour on the nuns whose makeup should be very non-descript. There were nice touches with hairstyles at the ball.
The huge chorus in this show added much to the production. This is a bit of a thankless task for the chorus who aren’t on stage too much but this cast gave heart and soul when they were on. Well done.
There were some fine performances in this production of ‘The Sound Of Music’. The bones were here for a great show. I would hope that in future this company would think about the show’s staging, as sets, props etc should enhance a show and not detract from it.
This was a hugely entertaining night of a heartfelt production which was lyrical, witty and at times poignant. Well done to all involved in 9 Arch Claregalway Musical Society’s production of ‘The Sound of Music’.
Based on the true story of the Von Trapp family, ‘The Sound of Music’ is undoubtedly the epitome of the classic stage and movie musical. Based on the blossoming love affair of Georg Von Trapp and Maria, the origins of the Anschluss in Austria and the family’s exit to a brighter life in the United States. Obviously, there was a bit of poetic licence in the final Broadway production which opened in 1959 with the then forty-six-year-old Mary Martin as Maria. It was an instant hit and is still popular with audiences today. It was a pleasure to be back in Galway’s Town Hall Theatre to see 9 Arch Claregalway Musical Society’s production of the show.
I attended on the opening night of the society’s short four performance run. There were a few wee first night nerves which I am sure were sorted out during the rest of the run.
The show was gently directed by Jay Molyneux who explored the script to tease out as much humour as possible from it. There were some lovely touches in the direction such as how certain lines were delivered, how and when pauses were taken to maximum effect and
some of the disapproving facial expressions were great. There were a few wee pieces which I would have directed differently and would have held a moment a little longer for dramatic effect. This is an important story which really shows how Hitler was able to manipulate minds such as Rolf and Franz, turning neighbour against neighbour and family against themselves. The horror of what was to come after the family left Austria should always be at the back of our minds.
Jay was also choreographer of this show. Although there is not much dancing as such in the show the stage movement was on the whole well thought through and executed, though there were opportunities for even more movement in the production. There was obviously a wide range of talent which I am sure could have risen to further challenges.
Shane Farrell conducted the nine-piece orchestra. This was a beautifully melodic interpretation of the score. The singing throughout the show was of a high standard. The chorus, particularly the huge chorus of nuns, at times created a wonderful depth of sound. The principals and those with just one or two lines in the show sang with conviction in a very tuneful and pleasing manner. The children had all great voices which made a beautiful blend together
and sounded very good in their individual roles. Maria and the Captain’s voices sounded very strong individually and harmonised well together.
Maria was beautifully played by Megan Lohan. There was a well-scrubbed innocence in this portrayal. Megan looked the part, sang with a gorgeous tone and acted so well too. There were some lovely moments such as her confrontation with Von Trapp, the first meeting with the children and her subsequent winning them over and a nice scene in the bedroom with Frau Schmidt. She related well to the Captain and their love affair seemed very natural. Alan Greaney gave us a slightly wittier Captain than usual, with a natural flair for comedy shown in some excellent delivery of his lines. He too had a beautiful tone to his singing voice and gave us a pleasing ‘Edelweiss’.
Elsa was played with class by Anne O Donnell. She moved so elegantly around the stage creating beautiful poses as she went. Her acting throughout was in keeping with the part and she has a stunning singing voice. Max who looked a bit like Georg’s brother with the same body type, hair and beard differentiated himself with great comedy timing and a convincing American accent. This was a gentle and nicely paced performance. Annette Cavanagh who played the Mother Abbess did so with a great deal of dignity and gave us a wonderful version of ’Climb Every Mountain’.
Cian O Ceallaigh as Rolf and Saoirse McCarthy as Liesl worked well together as the ill-fated young lovers. Cian created a character who grew from a nervous young man to a determined Nazi who almost betrays the family. Cian moved round the stage well and I think I would have stretched his dancing skills much more than in the slightly lack lustre routine for ‘Sixteen Going On Seventeen’. Liesl too looked as if she could have risen too much more of a challenge. As the eldest child in the family, Saoirse was most convincing, particularly in her growing friendship with Maria. This was a great performance with Saoirse showing a lovely maternal quality towards the other children. She sang well in all her musical numbers.
Franz, played by Michael Cooney, made an efficient butler who really can’t be trusted. He was always there in a scene bringing information
and pushing the story on. Olibhia Donnelly played a warm Frau Schmidt and I really didn’t mind her using her own accent. David Alexander was a threatening Herr Zeller. Feargal Cavanagh played the Admiral von Schreiber with an experience and menace in his voice.
The three principal nuns: Sister Bertha (Sonja Stevens), Sister Margaretta (Eve Garavan) and Sister Sophia (Katie Bebbington) were all excellent in their very individual roles. Each one created a particular stage character but they all worked so well together. The singing was great and we had a lovely version of ‘Maria’. I particularly liked some of the looks of disgust poor Maria was given.
The team of children did a great job right through the show. This is quite a long show and they never seemed to tire as the night progressed. Friedrich was the young man of the group. He delivered his lines really well, moved well round the stage and sang with a rich but very tuneful tone. Well done Keith Hanley for your interpretation of Friedrich and thanks for the laughs you gave us in ‘Lonely Goatherd’. Louisa played by Alana Mullins had wonderful posture on stage. Her accent was impeccable and she managed to maintain it throughout the show. She sang gloriously and moved with such ease around the acting areas. Cameron Heneghan created a very believable Kurt. I loved his dancing with Maria at the ball. He sang brilliantly, how can we ever forget that last note in ‘So Long Farewell’. Katie Larkin gave us quite a few belly laughs as the slightly outspoken Brigitta. Her delivery of lines was faultless. She too sang strongly and moved well also. Lucy Keenan made a lovely Marta. She had a wonderful stance on stage and she lit up the auditorium with that radiant smile. The youngest member of the family was Faye Greaney as little Gretl. Well done Faye you played your part so well. There were lovely moments with this character, like when she steps forward to bow but doesn’t, Faye played this with such great comic timing. She also sang her solo line in ‘So Long Farewell’ so beautifully.
The setting of the show caused all sorts of problems which I hope were resolved after the opening night. The society had decided to use a series of painted cloths, some of which were beautifully painted. Cloths of this type then set a standard for all the properties, furniture etc which appears in front of them. I was very disappointed in the look that was created and also by the impracticality of giving so much of the stage area to a permanent hillside which was really only used at the start and end of the show. This caused great congestion on the stage which was a big area and problems of this type with more creative planning just wouldn’t have happened. I have seen quite a few shows recently which have used rotating trucks to give a seamless change, maybe an idea for next time. I would also advise that the stage team should constantly check that that black tabs are positioned so that they cover activity in the wings, unfortunately this was not the case in this show. The props were a mixed bag with some nice pieces of furniture, tea set etc. I really missed the tombstones or grille in the penultimate scene which was a bit flat with the family hiding behind one lectern.
The stage was quite well lit through the show, though I think a few tree gobos would have added a lot to the evening scenes. The penultimate scene in the Abbey really didn’t work as the stage light was too bright and Rolf’s torch was too tiny. Pity as this can be one of the most dramatic moments in the production. The final picture however was absolutely stunning with the nuns silhouetted and the family at a height behind them. The quality of the sound was great throughout the show. A lovely tone was created and the stage/pit balance was perfect.
The costumes were generally of a pleasing standard but a few modern shoes and a selection of coloured stockings on the nuns did jar a little. The children looked pristine in their beautiful costumes and Maria had a good range of outfits. The nuns’ habits were all very authentic looking. Hair and make-up were generally sound but I would aim for less colour on the nuns whose makeup should be very non-descript. There were nice touches with hairstyles at the ball.
The huge chorus in this show added much to the production. This is a bit of a thankless task for the chorus who aren’t on stage too much but this cast gave heart and soul when they were on. Well done.
There were some fine performances in this production of ‘The Sound Of Music’. The bones were here for a great show. I would hope that in future this company would think about the show’s staging, as sets, props etc should enhance a show and not detract from it.
This was a hugely entertaining night of a heartfelt production which was lyrical, witty and at times poignant. Well done to all involved in 9 Arch Claregalway Musical Society’s production of ‘The Sound of Music’.
