AIMS AWARDS AND ADJUDICATION SCHEME SULLIVAN SECTION PUBLIC REVIEW FOR – 9 Arch Claregalway Musical Society
Galway City known as the city of Tribes and home of the Claddagh. This city at the very heart of the Wild Atlantic Way is brimming with arts, music and culture. The Town Hall Theatre is an impressive building, built in 1820, it first served as a courthouse, later as the Town Hall and was finally restored and converted into a Theatre at the cost of €2.3 million in 1996.
With a 400- seater auditorium, Town Hall Theatre is host to an eclectic mix of Theatre and on this occasion for me, it was musical theatre with the jubilant cast of 9 Arch Musical Society and their production of ‘Little Shop of Horrors’. The Theatre foyer was buzzing as I was greeted by a very welcoming Fergal Cavanagh. We settled into our seats surrounded by a very excited audience and the feeling enveloped you that a great night’s entertainment lay ahead.
‘Little Shop of Horrors,’ a Rock /Motown musical based on the 1960’S film by Roger Corman. Premiered Off-Off Broadway in 1982 before moving to the Orpheum Theatre on Off-Broadway where it enjoyed a five- year run before finally closing in 1987 with an impressive 2,209 performances under its belt. With music by Alan Menken and book and lyrics by Howard Ashman, it is famous for such gems as, ‘Suddenly Seymour’, ‘Skid Row’ (Downtown) and ‘Somewhere that’s Green’. It tells the story of the soft- hearted geek Seymour whose love of plants lands him in a very sticky situation, finding fortune and fame but at what cost? Shortly after notoriety comes calling Seymour loses the only thing that really ever mattered to him, Audrey, the love of his life. The beautiful Audrey burdened with zero self- esteem and a history of bad partner choices regrettably meets her demise in the jaws of the blood thirsty carnivorous plant, ironically named Audrey ll! As you may have already figured out this tale does not have a happy ending, never the less, it still delivers an hour and a half of retro irony partnered with fine humor and I, for one, indulged in the freaky nonsense of the Venus flytrap intent on world domination!
Director, Alan Greaney -This was Alan’s directorial debut and he embraced the role with courage and imagination never once being afraid to think outside the box. This was very evident as we witnessed the opening unfold with street performers busking, very much in keeping with true Galway style! A talented young lady sang and played the guitar and an energetic and talented hip hop dancer entertained. Homeless people filtered onto the stage every-one of them owning their individual character, again very much in keeping and setting the Skid Row scene nicely. The stage was open and atmospheric lighting governed the graffiti sprayed set. The overall production was tight and ran seamlessly with meticulous and precise jurisdiction. Delivering a steam roller of fun and comic delights, songs with punch, power and tender moments all wrapped up in an inventive new vision. I do hope this is the first of many seasons wearing the directors cap Alan, as there’s no doubt it suits you.
The orchestra was under the attentive eye of Shane Farrell, musical director and chorus master Shane and his five- piece band were hidden under the stage and although we could not see them, boy could we hear them! The overture made an immediate impact transporting us to Skid Row where we enjoyed number after number from Shane and the guys. The two keyboards were melodic and lent great support to the singers, as the guitarist Rick Harris expelled some fabulous crunchy guitar riffs accompanied by the intense bass and booming drums by John Duggan and Pat Coreless. This culminated in a rocky good show. Mr. Farrell was also cognisant of tender moments and impeccable detail was delivered in this respect. The band in my opinion were the underpinning base that drove the show from the first beat, never once taking their foot off the accelerator. The Principals and Chorus in this production were strong and had fire in their bellies. From the offset, they delivered with force immediately capturing the audience’s attention. The harmonies and pure volume of the opening number set the bar and many more joyous numbers were to follow. The work by Shane and the guys in the pit added greatly to the momentum of this production.
Choreographer Jay Molyneux - Choreography was my starting base and to me it was blatantly obvious from the start that Jay had a strong dance background. Moves were polished and in keeping, groupings were tight and imaginatively set, pace was furious but measured, use of isolations, slo-mo and freezes were well applied, overall creativity was high and choreography well drilled. A definite show stopper for me was ‘Closed for Renovation’, this number was quality, the ‘Village People’ as I like to call them in their matching yellow vests, short shorts, big boots and moustaches, even on the females, was comedy gold. It was busy with props and some sidesplitting acting in quiet moments, the workman with the saw springs to mind! It was lovely as a fellow choreographer to see such creative and polished work.
The stage management of this show was in the capable hands of Chontelle Kenny, assisted by Jacqlyn Cronin and the six back-stage crew. Cast members were responsible for the exterior to interior changes of Mushnik’s Florists Shop and this was capably executed on cue and then dressed by the cast members sitting beside the set quite naturally. The ever- growing Audrey II was re-set without any disruption and the Dentist scene set and strike were also efficient. Overall, the set and props were attentively cared for and the well- rehearsed cast and crew synchronized well together to deliver a clean production.
Seymour was played by Jay Molyneux who was certainly multitasking for this production. Choreography and the lead role, quite the work load! Jay’s portrayal of Seymour was honest and carefully curated. The body mannerisms were excellent as was the acting and you found yourself instantly liking this young, unfortunate lost soul who had fallen on dire times and wishing he could find love and happiness. My heart melted for him as he cradled Audrey in his arms and she took her last breath. Jay displayed a myriad of emotions starting as the happy go lucky chap from the wrong side of town, to joy and pride in his success and new found fame, to inner conflict with his conscience and finally, love and heartbreak. Playing Seymour’s sweetheart, Audrey, was the beautiful Marilyn Bane. The problem with this part is that people tend to over play it and you end up with a squeaky, one dimensional, over the top barbie doll like character. With Marilyn luckily this was not the case, she pushed the boundaries but they were the right ones. Yes, we got the dizzy, over made up, short skirted, high heeled shuffling Audrey but in the right measures. Marilyn was believable and as a result her performance gained force as it travelled along. Marilyn’s ‘Somewhere That’s Green’ was a show stopping moment and her chemistry with Seymour was very special as their relationship grew from friendship to planning their lives together. Numbers like ‘Closed for Renovations’ and ‘Call back in the Morning’ were excellent and Marilyn was consistent in her performance right up to her unfortunate exit.
Jay Hall gave us a solid and believable Mr. Mushnik. His relationship with Seymour was comical and he approached the role with vigor and gusto. Sandwiched between Seymour and Audrey he brought a gruffness and tactless energy to the scenes. ’Mushnik and Son’ was uplifting and the scene where he threatened to expose Seymour as the killer was impressive and quite intimidating.
David Alexander slid on the leathers and the white coat to play Orin Scrivello, the sadistic and bullying dentist with a yen for pain. With crude and grinding shapes, he dominated from the start. Controlling and full of sensory overload, there were times you didn’t know whether to cringe or laugh! As he prowled the stage intimidating everyone that crossed his path, Mr. Alexander carried the part well delivering vulgarity and raucousness in abundance.
Emma Brady took on the mammoth role of Audrey ll with a rapturous embrace. Forcibly wedged into the corner of the set you witnessed the mood deepened as she grew. Her interaction with the other characters particularly Seymour was highly effective and as a result you found yourself feeling quite threatened by this alien like specimen. Emma had a moody and moving voice that belted out commands and demands from the plants malicious oversized mouth. Ms. Brady certainly made up for her loss of stage time in the finale, looking fabulous and rocking it out.
Part one of the fabulous Ronettes trio was Jessica McDonagh playing Crystal. Oozing stage presence, clean well- rehearsed choreography, clearly loving every minute of her performance, confident and with a wonderful vocal ability, Jessica delivered Crystal with impressive style. Part two was Niamh Sweeney in the role of Chiffon. Niamh carried this part well working in harmony with her two friends. Acting in quiet moments was exact and choreography and vocals were of an impressive standard. Our final part of the trio was Megan Folan, playing Ronette. Megan gave a powerful performance and dominated the stage well. She shared superb harmonies with her two counterparts and acted and danced the role convincingly and with flair and sophistication. On a whole these ladies generously embraced their roles, with incredible vocals and slick choreography. Great work.
Eoin Mullins; well this is one young man who is meant to live on the stage. The pure enjoyment expelling from his every pore was unavoidable to notice. As Skip Snip he gave a convincing and suave performance and as customer no.1, a hilarious nuanced account of a gentleman with more money than sense. Although we didn’t get to hear a lot of Eoin’s singing it was clearly apparent that a fine voice was present. Mr. Mullins talent and versatility are to be applauded.
Karina Harte played customer no. 2, displaying some fine acting and contributing greatly to the 9 Arch team of performers.
Bernstein was played by Shane Mularkey, Shane delivered a strong Bernstein. Shane is a fine dancer and very obviously enjoys performing. Róisín Níc Aodhgáin delivered a dominating Ms. Luce with strong acting and excellent vocals.
Patricia Martin took on the role of Marsha Maly with a dithering and confused yet playful style. There was an enthusiastic vibe to this character and the audience reveled in the comedy.
Mervyn Fahy was responsible for Audrey II’s movement (The plant). An important job and not an easy one! Co-ordination was good and well- rehearsed. With some good comic timing.
The 9 Arch Musical Society chorus contributed greatly to the production. They were vibrant, energetic and a pleasure to watch.
Set Production was by Marsha Fleming with set design by Marsha Fleming and Alan Greaney. Set construction and painting was by Eugene Finnegan, Marsha Fleming and Ester Stupers. The set had a definite urban vibe and there was great attention to detail. Neon graffiti was sprayed on the flats which shone out when blue light hit the stage giving a retro feel. A raised back platform and steps were set with scaffold surround again giving that commercial Bronx vibe. Underneath the platform was a roll-up door which resembled a storage unit. The exterior of Mushnik’s Shop was cleverly reversible to the interior which had an abundance of detail with a window that converted into a projection blind, ample shelving and front door for customers. On the opposite side of the street, we had a doorway with steps giving the three Ronettes their hangout spot. The Dentists surgery was also well detailed with the traditional dentist chair and a horrific looking wall dressed with torture tools. The set as a whole was effective and well dressed with additional overflowing dustbins, a bench and additional props all of which were efficiently navigated. Marsha Fleming and Ester Stupers provided the props and glove puppets. We had some very creative and talented ladies at work here. The props were plentiful and in keeping with the scenes particularly in the florists. The glove puppets were an excellent addition and I can only imagine the work and time that went into it, but they really worked a treat.
Fintan Higgins, on sound, gave good support to the singers. The band were powerful and their levels adequate. The balance between the band and the singers was well measured.
Lighting by Paul Kelly of Indigo Lighting was atmospheric with tight queuing and impressive scene plotting.’ Somewhere that’s Green’ was beautifully lit, particularly the picture finish.
Costumes by Annette Cavanagh, Jay Molyneux and Cast. The costumes for this production were excellent. Every performer was perfectly in character. The finale was brilliantly costumed with Audrey II and the cast and chorus all in green costumes, wigs and accessories, with fabulous streamers hanging from the shoulders, this added some much-needed glitz and glamour, which this unstoppable finale deserved. The hair and makeup design by Annette Cavanagh and Jay Molyneux was very well structured and meticulously presented.
Mr. Brian Travers was the wonderful MC for the night and the front of house staff were friendly and welcoming. The show programme was highly professional and I absolutely loved the little packet of seeds enclosed saying ‘Don’t plant the Seeds!’ Highly humorous to say the least! Reading the Production Team in the programme you could see that this is a tight knit group, with lots of very talented people ready to wear many hats and multitask to make their productions as great as it can possibly be. This is known as your theatre family and from what I witnessed on the night of November 20th this is a family who excel and love doing what they do.
Congratulations 9 Arch Musical Society and I wish you many more successful and enjoyable productions. Thank you for a wonderful night.
Galway City known as the city of Tribes and home of the Claddagh. This city at the very heart of the Wild Atlantic Way is brimming with arts, music and culture. The Town Hall Theatre is an impressive building, built in 1820, it first served as a courthouse, later as the Town Hall and was finally restored and converted into a Theatre at the cost of €2.3 million in 1996.
With a 400- seater auditorium, Town Hall Theatre is host to an eclectic mix of Theatre and on this occasion for me, it was musical theatre with the jubilant cast of 9 Arch Musical Society and their production of ‘Little Shop of Horrors’. The Theatre foyer was buzzing as I was greeted by a very welcoming Fergal Cavanagh. We settled into our seats surrounded by a very excited audience and the feeling enveloped you that a great night’s entertainment lay ahead.
‘Little Shop of Horrors,’ a Rock /Motown musical based on the 1960’S film by Roger Corman. Premiered Off-Off Broadway in 1982 before moving to the Orpheum Theatre on Off-Broadway where it enjoyed a five- year run before finally closing in 1987 with an impressive 2,209 performances under its belt. With music by Alan Menken and book and lyrics by Howard Ashman, it is famous for such gems as, ‘Suddenly Seymour’, ‘Skid Row’ (Downtown) and ‘Somewhere that’s Green’. It tells the story of the soft- hearted geek Seymour whose love of plants lands him in a very sticky situation, finding fortune and fame but at what cost? Shortly after notoriety comes calling Seymour loses the only thing that really ever mattered to him, Audrey, the love of his life. The beautiful Audrey burdened with zero self- esteem and a history of bad partner choices regrettably meets her demise in the jaws of the blood thirsty carnivorous plant, ironically named Audrey ll! As you may have already figured out this tale does not have a happy ending, never the less, it still delivers an hour and a half of retro irony partnered with fine humor and I, for one, indulged in the freaky nonsense of the Venus flytrap intent on world domination!
Director, Alan Greaney -This was Alan’s directorial debut and he embraced the role with courage and imagination never once being afraid to think outside the box. This was very evident as we witnessed the opening unfold with street performers busking, very much in keeping with true Galway style! A talented young lady sang and played the guitar and an energetic and talented hip hop dancer entertained. Homeless people filtered onto the stage every-one of them owning their individual character, again very much in keeping and setting the Skid Row scene nicely. The stage was open and atmospheric lighting governed the graffiti sprayed set. The overall production was tight and ran seamlessly with meticulous and precise jurisdiction. Delivering a steam roller of fun and comic delights, songs with punch, power and tender moments all wrapped up in an inventive new vision. I do hope this is the first of many seasons wearing the directors cap Alan, as there’s no doubt it suits you.
The orchestra was under the attentive eye of Shane Farrell, musical director and chorus master Shane and his five- piece band were hidden under the stage and although we could not see them, boy could we hear them! The overture made an immediate impact transporting us to Skid Row where we enjoyed number after number from Shane and the guys. The two keyboards were melodic and lent great support to the singers, as the guitarist Rick Harris expelled some fabulous crunchy guitar riffs accompanied by the intense bass and booming drums by John Duggan and Pat Coreless. This culminated in a rocky good show. Mr. Farrell was also cognisant of tender moments and impeccable detail was delivered in this respect. The band in my opinion were the underpinning base that drove the show from the first beat, never once taking their foot off the accelerator. The Principals and Chorus in this production were strong and had fire in their bellies. From the offset, they delivered with force immediately capturing the audience’s attention. The harmonies and pure volume of the opening number set the bar and many more joyous numbers were to follow. The work by Shane and the guys in the pit added greatly to the momentum of this production.
Choreographer Jay Molyneux - Choreography was my starting base and to me it was blatantly obvious from the start that Jay had a strong dance background. Moves were polished and in keeping, groupings were tight and imaginatively set, pace was furious but measured, use of isolations, slo-mo and freezes were well applied, overall creativity was high and choreography well drilled. A definite show stopper for me was ‘Closed for Renovation’, this number was quality, the ‘Village People’ as I like to call them in their matching yellow vests, short shorts, big boots and moustaches, even on the females, was comedy gold. It was busy with props and some sidesplitting acting in quiet moments, the workman with the saw springs to mind! It was lovely as a fellow choreographer to see such creative and polished work.
The stage management of this show was in the capable hands of Chontelle Kenny, assisted by Jacqlyn Cronin and the six back-stage crew. Cast members were responsible for the exterior to interior changes of Mushnik’s Florists Shop and this was capably executed on cue and then dressed by the cast members sitting beside the set quite naturally. The ever- growing Audrey II was re-set without any disruption and the Dentist scene set and strike were also efficient. Overall, the set and props were attentively cared for and the well- rehearsed cast and crew synchronized well together to deliver a clean production.
Seymour was played by Jay Molyneux who was certainly multitasking for this production. Choreography and the lead role, quite the work load! Jay’s portrayal of Seymour was honest and carefully curated. The body mannerisms were excellent as was the acting and you found yourself instantly liking this young, unfortunate lost soul who had fallen on dire times and wishing he could find love and happiness. My heart melted for him as he cradled Audrey in his arms and she took her last breath. Jay displayed a myriad of emotions starting as the happy go lucky chap from the wrong side of town, to joy and pride in his success and new found fame, to inner conflict with his conscience and finally, love and heartbreak. Playing Seymour’s sweetheart, Audrey, was the beautiful Marilyn Bane. The problem with this part is that people tend to over play it and you end up with a squeaky, one dimensional, over the top barbie doll like character. With Marilyn luckily this was not the case, she pushed the boundaries but they were the right ones. Yes, we got the dizzy, over made up, short skirted, high heeled shuffling Audrey but in the right measures. Marilyn was believable and as a result her performance gained force as it travelled along. Marilyn’s ‘Somewhere That’s Green’ was a show stopping moment and her chemistry with Seymour was very special as their relationship grew from friendship to planning their lives together. Numbers like ‘Closed for Renovations’ and ‘Call back in the Morning’ were excellent and Marilyn was consistent in her performance right up to her unfortunate exit.
Jay Hall gave us a solid and believable Mr. Mushnik. His relationship with Seymour was comical and he approached the role with vigor and gusto. Sandwiched between Seymour and Audrey he brought a gruffness and tactless energy to the scenes. ’Mushnik and Son’ was uplifting and the scene where he threatened to expose Seymour as the killer was impressive and quite intimidating.
David Alexander slid on the leathers and the white coat to play Orin Scrivello, the sadistic and bullying dentist with a yen for pain. With crude and grinding shapes, he dominated from the start. Controlling and full of sensory overload, there were times you didn’t know whether to cringe or laugh! As he prowled the stage intimidating everyone that crossed his path, Mr. Alexander carried the part well delivering vulgarity and raucousness in abundance.
Emma Brady took on the mammoth role of Audrey ll with a rapturous embrace. Forcibly wedged into the corner of the set you witnessed the mood deepened as she grew. Her interaction with the other characters particularly Seymour was highly effective and as a result you found yourself feeling quite threatened by this alien like specimen. Emma had a moody and moving voice that belted out commands and demands from the plants malicious oversized mouth. Ms. Brady certainly made up for her loss of stage time in the finale, looking fabulous and rocking it out.
Part one of the fabulous Ronettes trio was Jessica McDonagh playing Crystal. Oozing stage presence, clean well- rehearsed choreography, clearly loving every minute of her performance, confident and with a wonderful vocal ability, Jessica delivered Crystal with impressive style. Part two was Niamh Sweeney in the role of Chiffon. Niamh carried this part well working in harmony with her two friends. Acting in quiet moments was exact and choreography and vocals were of an impressive standard. Our final part of the trio was Megan Folan, playing Ronette. Megan gave a powerful performance and dominated the stage well. She shared superb harmonies with her two counterparts and acted and danced the role convincingly and with flair and sophistication. On a whole these ladies generously embraced their roles, with incredible vocals and slick choreography. Great work.
Eoin Mullins; well this is one young man who is meant to live on the stage. The pure enjoyment expelling from his every pore was unavoidable to notice. As Skip Snip he gave a convincing and suave performance and as customer no.1, a hilarious nuanced account of a gentleman with more money than sense. Although we didn’t get to hear a lot of Eoin’s singing it was clearly apparent that a fine voice was present. Mr. Mullins talent and versatility are to be applauded.
Karina Harte played customer no. 2, displaying some fine acting and contributing greatly to the 9 Arch team of performers.
Bernstein was played by Shane Mularkey, Shane delivered a strong Bernstein. Shane is a fine dancer and very obviously enjoys performing. Róisín Níc Aodhgáin delivered a dominating Ms. Luce with strong acting and excellent vocals.
Patricia Martin took on the role of Marsha Maly with a dithering and confused yet playful style. There was an enthusiastic vibe to this character and the audience reveled in the comedy.
Mervyn Fahy was responsible for Audrey II’s movement (The plant). An important job and not an easy one! Co-ordination was good and well- rehearsed. With some good comic timing.
The 9 Arch Musical Society chorus contributed greatly to the production. They were vibrant, energetic and a pleasure to watch.
Set Production was by Marsha Fleming with set design by Marsha Fleming and Alan Greaney. Set construction and painting was by Eugene Finnegan, Marsha Fleming and Ester Stupers. The set had a definite urban vibe and there was great attention to detail. Neon graffiti was sprayed on the flats which shone out when blue light hit the stage giving a retro feel. A raised back platform and steps were set with scaffold surround again giving that commercial Bronx vibe. Underneath the platform was a roll-up door which resembled a storage unit. The exterior of Mushnik’s Shop was cleverly reversible to the interior which had an abundance of detail with a window that converted into a projection blind, ample shelving and front door for customers. On the opposite side of the street, we had a doorway with steps giving the three Ronettes their hangout spot. The Dentists surgery was also well detailed with the traditional dentist chair and a horrific looking wall dressed with torture tools. The set as a whole was effective and well dressed with additional overflowing dustbins, a bench and additional props all of which were efficiently navigated. Marsha Fleming and Ester Stupers provided the props and glove puppets. We had some very creative and talented ladies at work here. The props were plentiful and in keeping with the scenes particularly in the florists. The glove puppets were an excellent addition and I can only imagine the work and time that went into it, but they really worked a treat.
Fintan Higgins, on sound, gave good support to the singers. The band were powerful and their levels adequate. The balance between the band and the singers was well measured.
Lighting by Paul Kelly of Indigo Lighting was atmospheric with tight queuing and impressive scene plotting.’ Somewhere that’s Green’ was beautifully lit, particularly the picture finish.
Costumes by Annette Cavanagh, Jay Molyneux and Cast. The costumes for this production were excellent. Every performer was perfectly in character. The finale was brilliantly costumed with Audrey II and the cast and chorus all in green costumes, wigs and accessories, with fabulous streamers hanging from the shoulders, this added some much-needed glitz and glamour, which this unstoppable finale deserved. The hair and makeup design by Annette Cavanagh and Jay Molyneux was very well structured and meticulously presented.
Mr. Brian Travers was the wonderful MC for the night and the front of house staff were friendly and welcoming. The show programme was highly professional and I absolutely loved the little packet of seeds enclosed saying ‘Don’t plant the Seeds!’ Highly humorous to say the least! Reading the Production Team in the programme you could see that this is a tight knit group, with lots of very talented people ready to wear many hats and multitask to make their productions as great as it can possibly be. This is known as your theatre family and from what I witnessed on the night of November 20th this is a family who excel and love doing what they do.
Congratulations 9 Arch Musical Society and I wish you many more successful and enjoyable productions. Thank you for a wonderful night.