ROCKSHINNY! 2026
Rockshinny is a school rock band from St. Brendan's National School in Loughshinny, Co. Dublin , known for performing classic hits and playing at local venues like the Millbank Theatre. Active since at least 2018, the group has performed at St. Maur's G.A.A. club and reached the final auditions for the Late Late Toy Show
The Drowsey Chaperone
Note: this is a Rush Musical Society Production and is not part of the RDS Patron Scheme.
The Drowsy Chaperone is a five-time Tony Award-winning meta-musical that simultaneously parodies and pays loving homage to the Jazz Age American musical comedies of the 1920s. The show is framed by a lonely, middle-aged musical theatre fan, known as the "Man in Chair," who plays the cast recording of a fictional 1928 show in his apartment, which then magically comes to life in his living room.
The Show-Within-a-Show: The fictional 1928 musical centers on the impending wedding of a glamorous Broadway starlet, Janet Van de Graaff, to an oil tycoon, Robert Martin. The producer of her Follies, Mr. Feldzieg, conspires to stop the wedding to keep Janet in show business, a plan supported by two gangsters disguised as pastry chefs. A bungling Latin lover, Aldolpho, is enlisted to seduce Janet, but mistakenly seduces her "drowsy" (tipsy) chaperone instead. Mistaken identities, a blindfolded roller-skating groom, and general madcap delight ensue, culminating in a multiple wedding finale officiated by Trix the Aviatrix.
The Man in Chair: The Man in Chair provides a running, witty commentary on the plot, the characters, and the actors who originated the roles, offering insights into the tropes of the genre and snippets of his own life.
Ulster American
Set in a London House of a Director Leigh, the play brings together three characters: Leigh Carver, a brash and egotistical Oscar-winning American actor; Jay Conway, a proud Northern Irish theatre director; and Ruth Davenport, a feminist Northern Irish playwright whose new play they are about to stage. What begins as a polite meet-and-greet devolves into a volatile clash of egos, ideologies, and national identities.
As the men try to assert control over Ruth’s work—each with his own agenda—underlying misogyny, nationalism, and performative liberalism explode into violence. The play is both hilariously outrageous and deeply unsettling, holding a mirror up to the arrogance of privilege and the complexities of cultural appropriation.
Note: The play is known for its controversial content and strong language, and is intended for mature audiences.




