While it was loud in places, it was in the right places, with levels adjusted as required all evening. The result was that the audience caught every word while being treated to a guitar riff or keyboard solo where necessary. And, of course there were a few tricks throughout the evening. I heard the crowing of a cock as Peter denied being with Christ and that perfectly timed thunder crack in the finale.
There was good sound desk reverb on Mary in “I don’t know how to love him” and on the band in “Trial by Pilate”. Cueing all evening was spot on while the balance between the small band and the stage was good. I also loved the curtain call with the dull chords emphasising Mr Kelleher’s pools of light.
John Grayden
AIMS ADJUDICATOR
I heard every word and note of the performance although the Mill Theatre is not a big venue and the auditorium, I suspect, is quite a dry acoustic. Vinny Osborne of The Sound and Music Company used wall and arch mounted speakers to relay the action and employed a plethora of mics on the night with minor characters and, at times, some chorus members sporting the little buds close to their mouths. Cueing was nigh perfect all evening and no channels were left on when mics should have been killed. I appreciated the echo on the final lines of “Love makes the world go round” as Bill and John slip into a drunken incoherence and I’ll swear I heard some birdsong in the garden scenes. The thunder crack and the voiceovers in the library scene as the Hareford ancestors come to life was also well co-ordinated with the lighting desk. Vinny also ensured there was a good balance between Dave O’Connor’s band and the stage. The only time the musicians threatened to overwhelm the singers was in the play-out as the band really let rip.
John Grayden
AIMS Adjudicator
The sound balance and cueing was protected from Vinnie Osborne (Sound & Music Company). We did have a nice throw from the chorus in ‘Downtown’. Excellent sound effect in gasmask scene.
Richard (Richie) Ryan. B.A., ALCM.
AIMS ADJUDICATOR
