Sister Act

Until tonight I’d somehow managed to miss all local productions of Sister Act and have not even seen the 1992 Whoopi Goldberg film upon which it is based, so this was my initiation into this crazy world of gangsters and nuns. What a night it was!

Cabaret singer Deloris van Cartier witnesses a gangland shooting and is hidden by the police in the local convent until the trial. To keep her out of trouble, Mother Superior puts her in charge of getting the convent choir to sing in tune. She achieves amazing results with the choir, plus great fame and fortune for the hitherto failing convent, but will she manage to evade the gangsters once they spot her on television? It’s all rather daft, but given fantastic performances and spectacular costumes and lighting, you can serve up something really rather special.

Helen Stoddart’s direction calls for an ultra-simple black set with few props (very efficiently managed by the crew and cast), relying on well-chosen projected backdrops and stunning lighting to paint the pictures. Very effective, especially when you add in beautiful, sparkling costumes (a great climax in the finale, thanks to the wardrobe department) and what must have been the South East’s entire stock of nuns’ habits!

Jane Pegler’s beautiful voice gave Mother Superior exactly the right authority and “I Haven’t Got a Prayer” was full of emotion. Her cut-glass English tones jarred a little at first, but really helped her stand apart from the Bronx accents of the other nuns. Danielle Cox gave a touching interpretation of the innocent Sister Mary Roberts, especially in “The Life I Never Led”, and Emily Rennicks was a delightfully barmy Sister Mary Patrick, but first prize for characterisation must go to Peta Reading, delivering Sister Mary Lazarus’ cutting one-liners with such style and force. The ensemble singing of the huge chorus of nuns was a great sound – even out of tune! – and they performed the choreographed big numbers with precision.

What should I say about Marlene Hill, who takes the pivotal role of Deloris? Wow! What a stupendous performance! A singing voice of liquid gold, with just the right amount of sassy attitude. Bold, vivacious, full of spirit and totally adorable, she completely held my attention in every number, with her singing, acting and movement. We are so lucky she chose to move to this part of the UK!

Ben Horner as Police Officer “Sweaty” Eddie Souther, his first lead role for South Downe, demonstrated an amazing, silky-smooth singing voice with enormous vocal range. “I Could Be That Guy” should have been a really difficult song to sing but, for him, it was a breeze – even the clever costume change in the middle. His acting and comic timing were spot-on too – definitely someone to look out for in the future.

The ever watchable Steve Reading led the trio of bumbling gangsters (Matt Sackman, Ed Chase and Paul Goldthorpe), who obviously enjoyed the knockabout fun and should have been better used by the script. They ably demonstrated their singing and dancing talents in the well-executed “Lady in the Long Black Dress”.

Although a little slow to get going, the show gained pace in Act 2, helped by the twelve piece orchestra. Under the trustworthy baton of Alan Pring, it produced a wonderful sound – never too loud, always supporting the singers. The sound system was crystal clear – essential when the lyrics come at you so quickly.

The rapturous applause from the first night audience at the final curtain was well deserved.  South Downe Musical Society and director/choreographer Helen Stoddart have taken (in my opinion) a rather uninspiring script and score, grabbed it by the throat, added loads of pizazz and served up a stunning evening’s entertainment.

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