HALLMARK FILMS
Directed by Lesley Demetriades
Starring Fiona Gubelmann and Eoin Macken
Tara Egan-Langley, Rose Henderson, Flavia Watson, and Sophia Adli
A feature film shot in three weeks in County Wicklow. Christmas came briefly to Redcross in August and the film was released in the US and Canada in late November 2024.
BY HELEN CASEY
Directed by Caroline FitzGerald
Helen Casey’s ESMERALDA is a new play about friendship, mothering and the power of choice in women’s lives.
Brid (Rose Henderson), Catriona (Fiana Toibin) and Nuala, one time school friends, now middle aged, have arranged to meet.
A trip down memory lane.
Brid gets busy showing off her dance moves, a stranger (Fiona Condon) turns up on a bicycle , memory lane reveals its secrets and lies….and of course there’s Esmeralda.
Set Design by Martin Cahill
Lighting Design by Cathy O’Carroll
Stage Management by Eva Walsh
Assistant director Sinead Ringwood
Choreography Diane Richardson
Image by Naomi O’ Dwyer
Esmerelda – Review
by Frank L
Esmeralda is a trip down memory lane when three old school friends Brid (Rose Henderson), Catriona (Fiana Toibin) and Nuala agree to meet at what is apparently Nuala’s holiday home. However, Nuala is waylaid so Brid and Catriona can chat and reminisce. They also reveal some of the choices that they have made in their life. However, both are somewhat guarded. Brid appears to be the more content character and is all on to participate in what is happening at the end of the pier where a long sunken boat is about to be raised, while Catriona has little interest. All the time they are waiting for Nuala to arrive. Eventually, Nuala’s daughter Michele appears on a bicycle with the key. She is however in a highly distressed state. She cannot help blurting out to Brid and Catriona the cause of her great unhappiness. When she leaves Brid and Catriona react to her plight in opposite ways. They have an argument and what was guarded is now revealed.
The set consists of the outside of a holiday home with a picture window. On the window sill, a large number of babushka dolls are lined up, graded from large to small. There are random chairs and a table which are typical of a holiday home.
In the first part of the play, Brid plays the more prominent role and Henderson has a ball as she relives the dance steps of her teenage years. At this stage, Catriona plays a more passive role. But following the arrival and departure of Michelle, Catriona goes into no-holds-barred mode and one can feel her palpable anger and indeed fury as she lets rip. It is an impressive performance by Toibin and she is far more imposing in this format than she was gently reminiscing in the first part.
This is a serious production but the early scenes need to be tightened. The opening section of the play adds little to the overall flow, but the final confrontation between Brid and Catriona is a fine piece of theatre and makes it all worthwhile.
Written by Helen Casey
Directed by Caroline FitzGearld
Starring Rose Henderson, Fiana Toibin and Fiona Condon
Set Design by Martin Cahill
Lighting Design by Cathy O’Carroll
Stage Management by Eva Walsh
Assistant director Sinead Ringwood
Choreography Diane Richardson
Image by Naomi O’ Dwyer
BY ALAN McMonagle
Sight Nor Sound Theatre
Directed by Gorretti Slavin
Premiered at the 2024 Galway Theatre Festival, the Good Crank launches its 2025 tour at The Purty Kitchen in DunLaoghaire.
2025 Dates:
The Purty Kitchen DunLaoghaire 23 April – 25 April 8pm
Tickets: €18 at www.eventbrite.com
The Viking Theatre Clontarf 28 April – 10 May 8pm
The Civic Theatre Tallaght 12 May – 16 May 8.15pm (watch out for extra matinee performance 13 May 1pm)
Smock Alley (Boys’ School) 20 – 24 May 8pm (watch out for extra matinee performance 24 May 3pm)
Backstage Theatre Longford 14 June 8pm
Cork Arts Theatre 6 August – 9 August at 8pm (watch out for extra matinee performance 6 August 1pm – so good we did it twice!)
Meet Kitty Clogg, played by Rose Henderson. She lives by herself in Single Street, the oldest street in town, and certain in her belief that she is never going to die. Kitty’s got a few things on her mind. There’s neighbour Phyllis Quirke, determined to ply Kitty with industrial quantities of questionable wine. There’s neighbour Jack, self anointed inventor of the iPod and never slow to remind Kitty about what a crank she is. There’s ex-Yoga master turned cowboy builder, keen to throw up an apartment complex out back of Kitty’s house. Then there’s the mystery of what happened to the main man in Kitty’s life. Here one day, gone the next, without so much as a thank you for the memories.
With her singular attitude, Kitty doles out the warp and woof of her life. And it’s while in the throes of her daily commentaries that the spectre of memory starts to niggle Kitty. So much so that Kitty feels compelled to make one final effort to uncover the truth of her vanished man’s whereabouts.
Duration: 55 mins
STARRING ROSE HENDERSON
DIRECTED BY CAROLINE FITZGERALD
**FINAL CHANCE TO SEE THIS MARVELLOUS PLAY**
CORK ARTS THEATRE 10-13 JULY 2024
Premier performances produced in conjuction with
THE NEW THEATRE, JUNE 2023
VIKING THEATRE, OCTOBER 2023
Set design Martin Cahill
Sound design Neil Handly
Lighting design Cathy O Carroll
Stage Management Eva Walsh
Assistant Stage Management Aidan Murtagh
Photography & Video Al Craig
It is the first anniversary of Martin’s death, Angie’s lover. His family has come to visit his grave. Angie watches the mourners from the safety of her car, hidden under the Yew tree. She remains unseen, her own grief buried deep within. She remembers the foxes, appearing in formation like a string of ugly thoughts…..VIXEN by Helen Casey is a compelling psychological drama of one woman’s resilience, determination and desperation to name the love that was hers, but belonged to another. Both haunting and mesmerizing, it is a visceral exploration of love, unspoken loss and uncomfortable truths. As we are drawn further into Angie’s world, the emotional rollercoaster plunges from the frothy highs to a much darker terrain filled with suspense and a gnawing grief. Tis better to have loved and lost…or is it?
IRISH INDEPENDENT – KATY HAYES
– WED 28 JUNE 2023
VIXEN REVIEW: A PORTRAIT OF THE OTHER WOMAN IN THE AFTERMATH OF A SUDDEN DEATH
It was said after the coronation of King Charles III that this was a great year for “side chicks”, with Camilla finally getting to be crowned queen. This interesting monologue play by Helen Casey gives an account of how it feels to be the unacknowledged “side chick” after the sudden death of a lover, while the wife and family absorb all the public grieving space.
Angie is an art teacher. We are in her apartment on the first anniversary of Martin’s death, a day she has booked as a holiday from work so she can process her grief in private. She spent the morning visiting his grave, then hid in her car under a yew tree and watched from afar when his wife and family arrived.
Angie is a complex creature and indulges a recurring fantasy of meeting the wife and confessing the affair. She runs this confrontational scenario in different versions in her head – these passages are the best writing in the play. Casey’s style is perceptive and often poetic. The vixen of the title reflects some vivid symbolism involving foxes. And the story is well shaped; the slow revelation of how Martin died is satisfying and the conclusion brings a welcome flourish.
Rose Henderson is skittish and spirited as Angie, the off-kilter element of this clandestine relationship neatly embodied. She captures the anger of the “bit on the side”, her number hidden in his phone under the title “boiler repairs”.
Caroline FitzGer;ald directs with great sensitivity, ensuring Henderson hits the high points of intensity as well as the more playful elements.
But the story could do with more texture. More details of Martin’s liffe and their experiences together – this material remains vague, with a few gestures at art galleries and hotels. Martin never becomes a real flesh-and-blood creation in the writing. Angie’s devotion to him comes across clearly, but the lack of detail means we never understand why she is so devoted. And this is a real weakness in the generally accomplished storytelling.
The cosy New Theatre provides a lovely space for this kind of work that relies on direct communication with the audience. At 50 minutes, the play is short and sweet, a pleasant diversion, and Henderson’s warm stage presence wins you over.
NO MORE WORKHORSE – 29 JUNE 2023
We meet Angie (Rose Henderson) as she has just returned home to her apartment. Today is the one-year anniversary of the death of her lover; Martin. It has been a difficult year for her, made worse by the fact that she couldnt attend Martin’s funeral. While Angie was in love with Martin, she was a secret part of his life. Martin was married and Angie was his mistress, his ‘bit on the side’ and this is her story.
This is a one-woman piece with Rose Henderson taking the part of the ‘other woman’ Angie. Rose is a regular on Fair City and has worked on a variety of TV shows, even making an appearance as Sister Assumpta on Father Ted! This is a new piece written by Helen Casey. Helen has worked in theatre for many years, and is involved with “drama in education; creating and devising theatre in school and community settings.
The set design (by Martin Cahill) gives us the sitting room of Angie’s apartment, complete with a sofa and various tables and chairs. Often in small venues such as this, the actor is left with a barren stage but time and effort went into this set.
This is an interesting topic for a play and it is rare we get to hear this side of the story. It is also unusual how unrepentant Angie is she doesn’t see herself as a homewrecker, nor is she consumed by guilt. The piece gives many good images and moments in their affair but doesn’t give us an insight into how the relationship started or evolved. It would give the production more depth if the character of Martin was developed further but he remains elusive. The script contains many moments in their relationship, such as weekends away and their time in her apartment, which are handled well. Rose Henderson is lively and vivacious on stage, keeping the audience entertained and on her side throughout. In the wrong hands, she may have lost the audience, but Angie feels like a warm and friendly character that would be difficult to dislike. The piece has an original slant and the performance of Rose Henderson gives the piece life.
STELLAR MAGAZINE
Punter’s comments:
Saw Vixen last night in the New Theatre. I would totally recommend it. It’s a beautifully heightened piece of writing that is excellently directed. You get to see Rose Henderson as you’ve never seen her before. What versatility! She creates a ‘vixen’ with great warmth, wit and understanding. You could hear a pin drop in the Theatre. Overall it’s a gorgeous piece. – Liam Halligan, director
Rose Henderson was wonderful in the role. Congratulations to the writer Helen Casey and legendary director Caroline FitzGerald – Jack Gilligan
I was really, really moved by the performance of Vixen this evening. Rose’s performance was stunning. – Brid McCarthy
Rose is an absolutely outstanding actress
Vixen was so cleverly written, challenging and inviting us to think about the unsaid and unseen heartfelt in Angie’s life. Lovely coupling and resonances with words – poetic and poignant.
Enjoyed Vixen – especially the twist at the end
Congratulations Helen, on a super play. A powerful exposition on the complexity of relationships. And a stunning performance from Rose. Top drawer – Clodagh Havel
OMG Amazing. Vixen was performed so beautifully. Adored every second.
The character Angie unravelled before us, layers beneath layers, opening up and at times closing up to catch breath, to find courage. Declaiming as the wine and the sugar took hold. The piece disturbed me in the best possible way that theatre should. Angie appeared a cornered vixen howling in both triumph and grief, resigned to her fate, now the quarry, now the ‘other woman’. In the closing minutes we see Angie like a prisoner awaiting execution, or is it absolution? The widow ascends like a vengeful angel from the underworld looking for that missing piece of herself. In the widow’s mind, Angie is that missing piece. In confronting Angie she will only ever see her own self reflected back, the truth that she too is ‘the other’. In the end the wily vixen steals away into the shadows feeding on the memories, the leftovers beyond death, and each pebble brought to the grave, a love letter. – Sean Molloy
A tour de force, Rose. Loved Angie’s intensity and spirit and the play on Vixen/foxes. You totally held your audience. Don’t think I’ll be looking for vacancy as mistress! – Ros B
Brilliant performance – Sandra Bogle
Fantastic. It’s just lovely when a play and a performance are just perfect together – M Cahill
Fantasic show Rose. Such versatility and courage. You’re phenomenal, every moment perfectly judged! – Isobel Mahon
Fantastic show and performance. Could see you enjoyed all of it. That’s what stood out to me. – Luke Collins
A PLAY by ISOBEL MAHON
Directed by CAROLINE FITZGERALD
at the CIVIC THEATRE STUDIO
Starring Isobel Mahon, Donagh Deeney and Rose Henderson
Design Martin Cahill
Drumming up publicity:
A SHORT FILM
BY DECLAN CURRAN
DIRECTED BY ARON HOLDEN
Starring Rose Henderson (Imelda) and Declan Curran (Ciaran) and set in the beautiful hills of Castlewellan. Imelda is shocked to find out that her grandson Ciaran has decided to move in with her. She is suspicious that the family have decided she cannot cope on her own and is reluctant to welcome him and positively frightened by his high tech ways. He can’t imagine life without WiFi and a compromise must be found.
Runner up BEST SHORT FILM FOYLE FILM FESTIVAL
DEAR IMELDA
Indie Shorts Magazine, 16 Aug 2024
Starring Rose Henderson and Declan Curran
Direction ***** Aron Holden
Cinematography ***** Raditya Santosa
Screenplay ***** Declan Curran
Editing ***** Aron Holden
Music ***** Tara Howley
Perhaps one of the finest shorts to come out this year, Director/Editor Aron Holden’s Dear Imelda set in a bucolic countryside of Ireland, explores the relationship between the eponymous Imelda (Rose Henderson) and her unwelcome grandson Ciaran (Declan curran). That he is unwelcome becomes evident right from the opening scene, but the hilarity of the two keeps snowballing until a secret deeply nurtured gets exposed. Holden lets the story take a wonderful turn to shed light on age, distance, relationships and the effect time and technology has on them, and in doing so he deftly manoeuvres the narration into one that leaves behind a sweet, emotional and thought-provoking outcome.
At 17:38 minutes, Dear Imelda not only manages to create an engaging timeline, but also leaves enough space for impactful moments that are long enough to be effective, and short enough to not become overly dragging. Declan Curran, who also happens to play the grandson Ciaran has an unmistakable boyish charm that he uses effectively to bring a cheeky but adorable temperament for his character. Right from stepping into Granny Imelda’s doorstep, Henderson makes it clear that this is her turf and an unwelcome guest shall remain subject of her suspicion. Words fall short when it comes to praising Henderson, the performance is simply that addictive. Her movements, antics, body language are spot on to what you’d expect the elderly generation to be. While wary and fiercely protective of her space and independence, one can’t help but fall in love with her when she peeks into her grandson’s activities. Watch out for the scene where she rummages through a parcel delivered, despite knowing its contents aren’t meant for her!
Tara Howley, whose music plays a crucial role in Dear Imelda manages to transport on in time. And it’s used with effect, to evoke a sense of belonging to something tender and dearly cherished. It’s worth noting how Holden uses the music to bring the characters together in an unexpecting but deeply personal way. As Ciaran and his Granny begin working out each other’s quirks, the small tasks undertaken, be it the grocery shopping or installing of the internet, they all become points of both contention, hilarious drama and an eventual surrender. The generation gap is well explored in these moments, using very little dialogue, which adds shimmer to the script.
Raditya Santosa, whose cinematography captures the beauty of Ireland like no other, offers plenty of shots that manage to cover the vastness, the emptiness and the space in between the house, its surroundings and its occupants in a manner that can only evoke bliss. It’s a feat in itself, because not only does it bring to life Imelda’s life but also its loneliness and the grim heartache she nurtured until unwittingly Ciaran ends up finding I out. There is a wholesomeness to this story, not simply because of its climax, but the approach that Holden takes. It is deliberate, measured and yet generous in its emotions and the lead actors do a wonderful job at bringing to life their characters. So wonderful is their chemistry and the natural disposition of their performance that one ends up hoping for a series or at least a sequel. A much deserved, a much awaited reply to Dear Imelda….
DEAR IMELDA
UK Film Review
Critic|: Jason Knight, July 7 2024
Directed by: Aron Holden
Written by: Declan curran
Starring: Rose Henderson and Declan Curran
A young man goes to stay with his grandmother and ends up changing her life for the better.
The setting of this short comedy drama is Ireland’s countryside, where Imelda (Henderson) an elderly woman, resides in a house by herself. One day, her grandson Ciaran (Curran) arrives as he needs a place to stay. Although she allows him into her home, she is unhappy with his presence as he unwillingly disrupts her lifestyle and he also brings technology into her house, which she is not fond of. However, he discovers something about her that will bring joy into her life.
The results of an unexpected family reunion is where the narrative follows and some are humorous and others are dramatic and they all involve Ciaran’s efforts to improve things for Imelda. Starting with throwing away her expired food and fixing her television, he then proceeds to introduce her to the internet and other technological products such as headphones. Although she initially refuses to have significant technology into her life, she eventually accepts it and it does make things better for her. However, Ciaran’s most significant contribution occurs when he attempts to contact a past friend of Imelda’s who he becomes aware of after seeing his granny looking through a photo album.
Story aside, this film also serves as a commentary about technology, about how technology makes people’s lives more comfortable and also seems to suggest that the elderly tend to be unaware of the benefits this application.
This short would not be a high-quality viewing without Henderson’s magnificent performance. Her character is a person who has become accustomed to living by herself and not relying on technology. She is kind of childish, utilising a tablet as a cutting board and treating the Internet like it is a lethal threat and she seems to be a bit confused, forgetting things such as buying new food and the condition of certain objects. She appears to find comfort by looking at pictures of her and a friend from when they were children. She goes through significant character development as she accepts her grandson into her life and embraces technology. Ciaran is a kind and helpful youth, played sympathetically by Curran. He cares deeply for his grandmother and goes to great lengths to make her life more comfortable and happy.
Huge commendations go to Holden’s superb directing, which includes wonderful shots of the ocean and landscapes, that are supported by Raditya Santosa’s cinematography. Holden also worked on the editing and is quite creative with the montages.
The beautiful music by Tara Holey and Faliq Auri is another element that deserves praise, especially when it comes to the song that enchants Imelda.
This is a heart-warming story about a caring youngster who manages to improve the life of his grandmother. Exploring old age, nostalgia and the significance of support and reaching out, this short provides an emotional and at times comical experience.
A SHORT FILM
BY ASH CORRISTINE
DIRECTED BY NOEL McINERNEY
PRODUCED BY MELISSA COLLINS
“A feisty older woman (Rose Henderson) desperate to pay for her son’s wedding band starts a Zoom Fans baking channel, but quickly realises that her version of Baps and Buns may be somewhat different.”
Funded by ENGINE SHORTS, LIMERICK
Director of photography: Niall O’Connor
Editor: Nathan Campion
Assistant Director: Luka Vukosavljevic
Sound: Shane Costello
Art Department: Rachel Ryan
Costume: Eabha Daly
Hair & Make-up: Caitlin O’Donnell
A SHORT FILM, directed by Niamh Collins
ELF – Emerging Limerick Filmakers
Mob the Trench is set in a future where a 130 year old priest (Arthur Riordan) is confronted by an angry mob where a mixed nut sorting machine has disproven the existence of God, bringing his own faith into question.
The film opens with a woman (Rose Henderson), a community leader with a prosthetic eye, is watching an advert for Huxley’s mixed nuts. Incensed by what she now believes are lies told to her by the Clergy, she rallies and coordinates the mob.
It’s an ambitious, unusual and unique project supported by the Arts Council of Ireland, Screen Ireland, Limerick City and County Arts Office and the National Youth Film and Animation Network. We’re working with Odyssey Studios, the Screen Composers Guild of Ireland, Fantastic Films and our crew of experienced young filmmakers (who have been at this for three years) are writing, directing, shooting and leading the project in all areas. Mob the Trench will be premier at DIFF.
A RADIO PLAY by GILLIAN GRATTAN
Recorded in KCLR 96FM, Kilkenny
Producer Breeda Slevin
Sound by Martin Bridgeman
Funded by the BAI and KCLR
LINK TO LISTEN:
https://kclr96fm.com/documentary/coolbawn-women-a-radio-drama/
Produced by RTE at the CONVENTION CENTRE Dec 2022
On the eve of the Late Late Toy Show, twelve-year-old Nell Mooney is determined to recreate her Mam’s favourite Toy Show night traditions, but not everyone in her family wants to remember the past. Disaster strikes, and with the entire Toy Show in jeopardy, Nell and the local kids must find a way to save the night and keep everyone’s favourite TV show alive.
“Toy Show the Musical celebrates one of our nation’s most loved traditions and in that, recognises the importance of play, the transformative power of the imagination, and the strength, bravery, and resilience of children.” Director Séimí Campbell
“Has perfect recipe to become an instant Christmas classic”, Irish Examiner
“A rollercoaster of emotions”, Evoke.ie
“… Will likely see not a single dry eye in the house”, Buzz.ie
Jamie Beamish (Bridgerton, Derry Girls, Otto Bathurst’s Halo, Billy The Kid) will play the role of Dad, aka Brendan Mooney, the father of the lead character of the musical Nell.
Clare Barrett (Fair City, Medicine, Wild Mountain Thyme, Trad) has been cast to play Nell’s Mam, Áine Mooney.
The role of Nana will be played by Anna Healy (The Spin, The Last Return, Mother’s Day and Emmerdale).
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Dee Forbes, the Director General of RTÉ, has defended Toy Show the Musical following negative reviews, saying “the audience reaction so far has been fantastic”. Ms Forbes said “families and children are really loving the show”, saying it was “always going to be a show led by children for children, in keeping with Toy Show itself”.
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In the opening moments of Toy Show the Musical an ensemble of children are performing an elaborate song-and-dance countdown. “Only 12 more hours to go,” they sing energetically, impatient for “the one and only night when we all come together” to begin. Are they talking about Christmas, a person might legitimately wonder, looking at the sparkling lights and gingerbread clues, or about the arrival of Santa Claus? No. They are waiting for The Late Late Toy Show, which in this odd confection from Jane Murphy and Katherine Drohan elevates the annual TV show beyond its status as a contemporary cultural tradition to that of a national holiday.
The book and lyrics from Lisa Tierney-Keogh and Jamie Beamish create a plausible storyline for proceedings, with RuthAnne Cunningham and Harry Blake’s wide-ranging music offering a skeleton structure to the plot. It is Toy Show eve, and the kids of Tricycle Street are especially excited for this year’s programme, as one of their friends, Billy Bagpipes (Calum Kieran), is due to perform. Nell Mooney (played on opening night by the spunky Clare Keely) has some trepidation: it is the first time that her late mother (Clare Barrett) will not be present to conduct the family’s Toy Show rituals, and she is not sure her father (Beamish) wants to participate at all. When an all-island power cut puts a stop to festivities, Nell and her gang of friends (who include several stars from previous Toy Shows) step in to save the day.
There is much to admire in the ambitious staging by Séimí Campbell, which moves along quickly on Colin Richmond’s revolving set. Puppets stand in for lead characters in flashbacks. The adult ensemble animate pieces of furniture. A miniature streetscape offers panoramic views of the community, a symbol also of the greater global community the musical invokes. Richmond’s props and costumes are also noteworthy, adding an ingenious and inventive DIY feel that will inspire creative children.
But the production cannot shake off its indebtedness to the source material it seeks to celebrate. The Late Late Toy Show may have become an important element of an Irish Christmas, but the musical tries far too hard to make a case for its significance. Despite the talent evident on the stage and behind it, it is difficult not to feel cynical about the artistic intention of what is essentially a spectacular, self-congratulatory marketing ploy.
Forget the politics, the Toy Show musical is good innocent fun
RollerCoaster.ie
There’s absolutely no doubting that the Late Late Toy Show has become a seminal programme in the Irish psyche, spawning, among other things, pyjamas, sweet filled boxes, mugs, games, dicky bows (yes, really) and slippers.
Your social media feed alone is filled with enough proof that this is now a ‘thing’.
The last Friday in November has become the day when Christmas trees are decorated all over the country, when families gather in matching pyjamas dear lord, spare us from the onesies and the children are force-fed sugar-filled sweets in a bid to keep them awake for at least a half an hour of it so that parents can feel less guilty about being glued to it until the bitter end.
What started as a short slot on the country’s most popular talk show has grown to become a broadcasting behemoth, with tickets like gold dust and advertising slots a coveted splurge.
Nell Mooney played on opening night by the wonderful Clare Keeley is facing into the season with a bit of a dilemma.
It’s the first year without her mother (Clare Barrett), who loved Christmas, and she wants to recreate the happy times her family all had together, but her dad (Jamie Beamish, who also wrote the book and lyrics) is not getting into the spirit at all. She’s helped somewhat in her bid to jolly up the neighbourhood by her lovable but rather bonkers grandmother (Anna Healy), who may or may not be dating two men as well as attending judo and flamenco classes.
There are upbeat tunes and dance sequences aplenty, with delightfully nutty teachers, overbearing mammies and an enthusiastic lollipop lady all adding to the colour.
Of course, this being the Toy Show, there is an element of tragedy too. As Nell and her brother Luan try to come to terms with their mother’s death by still talking to her and via flashbacks to when she was still alive, their dad is happy to bury himself in his work fixing clocks and hoping the season will just pass him by.
But Nell is determined not to let that happen. She brings home a tree so big it can’t fit in the house, she wants lights that can be seen from space, and for their family to laugh and sing together again.
The talent on display in this staging is of a very high calibre indeed the young actors in particular are as precocious and adorable as you’d expect.
The beauty of the real Toy Show, of course, is the sheer unpredictability of it all, the inability to know what the children are going to say or do, the expectation of what could go wrong. In the absence of all of that, the musical’s script is strong enough to carry it. It’s 90 minutes, without an interval, and it flew by.
I brought three girls with me, aged 17, 13 and 11, and they all loved it. There may be much to criticise about the politics of this show, but there’s so much to praise about the staging.
Lauren Murphy – Entertainment.ie
In reality, it seems that Toy Show: The Musical has not been as warmly received by the public as RTE bosses may have anticipated.
The show, which is currently running at Dublin’s Convention Centre after opening there last week, and features original songs by pop songwriter Ruth-Anne Cunningham, has cancelled five performances – citing illness among the cast as the reason.
The affected shows were due to take place on Saturday and Sunday with RTE releasing a statement saying “It is with deep regret that due to illness in the cast and crew that RTÉ Toy Show the Musical had to cancel its afternoon and evening shows today and its three shows tomorrow.
“The team did everything possible to avoid this situation and are truly sorry for the inconvenience caused. Our ticketing partner, Ticketsolve will be in touch as soon as possible with those with tickets for cancelled shows regarding rescheduling or refund options.
“As media fragments, RTÉ, as a dual funded public service media organisation, has an obligation to diversify its commercial activities beyond advertising. We must try new things, to grow and sustain all we are obliged to do,” Forbes wrote. “Inevitably when we do something new, it attracts attention. While the BBC (and other broadcasters) has developed many live shows based on some of its big TV properties (eg, Top Gear, Strictly Come Dancing, Dr Who), this new show, developed over the past few years, is a new departure for RTÉ.”
She went on to say that the employment of mostly Irish cast and crew, and nurturing the development of the young cast into the stars of tomorrow was a “key aim” in developing the show.
“The attempts by some to pit Toy Show the Musical against other productions is at odds with the broad support we have received from the theatre world,” added Forbes. “It is also at odds with the amount of airtime support RTÉ routinely makes available to live events of all kinds through its RTÉ Supporting the Arts scheme.”
She went on to say RTÉ was “very proud” of the show and that it had not detracted from the organisation’s World Cup coverage, developing documentaries like ‘Quinn Country’ or their political news coverage. “RTÉ has long had to do many things at once,” she said, “that’s what we’re here to do.”
“While there is a significant degree of resilience in the cast, where roles can be covered by understudies, given illness persists among a cast of predominantly children, it is necessary to make further adjustments to the schedule this week,” it read. “On Wednesday 21st and Thursday 22nd we will be reducing the number of shows from three performances a day to two, cancelling the 12.30 show on Wednesday and the 7.30pm show on Thursday.
Ticketsolve, our ticketing partner, will today be contacting those affected regarding rescheduling and refund options. We will of course be offering full refunds. In addition, for those who missed the show due to the cancellations, we would like to a 25% discount on tickets to attend a show this week or next. We sincerely hope those affected by the cancellations can find a time to come and see the show.
The Toy Show the Musical team is truly sorry for the real inconvenience these changes have caused. We have been monitoring and responding to ticket holders on social platforms and are very aware of how disappointed and upset families were that the shows were cancelled, particularly at such short notice. The team tried its very best to make the shows happen, but ran out of time and options and had to cancel. The adjustments we are making to the schedule this week are to minimise the risk of that happening again.