Sister Act

‘Sister Act the Musical’ is based on the 1992 film of the same name. The West End premiere was in June 2009, on Broadway in April 2011, has been translated into eight languages and played all over the world. As the film and subsequent stage shows were headed by people such as Whoopi Goldberg and Alexandra Burke, many amateur companies have avoided the show but it works equally well with a white Dolores van Cartier.

In Newcastle, Ciara Mackey took the role with much comedic energy. With strong vocals she commanded the stage while interacting well with other principals and especially the chorus of nuns. They were an animated ensemble who put heart and soul into their singing. Individuals such as Orla Russell (Sister Mary Lazarus), Emma-Jane McKnight (Sister Mary Patrick), Anna Moore (Sister Mary Robert), Sheila Paolinelli (Sister Mary Martin-of-Tours), and Aedin Hoey (Sister Mary Theresa) each gave differing character to their roles – Orla with gravel voice and down-to-earth comments, Emma-Jane – joyful and naïve with delightful vocals, Anna also with excellent singing voice as she portrayed gradually unfolding confidence as the young postulant. Jay Walsh gave the role of Monsignor O’Hara and new lease of comedic life (often this is a characterless part), and Emma Nugent was always in total control as the Mother Superior. She delivered her dry one-liners and “I haven’t got a Prayer” with expert timing and perfect accent! Her exasperation with Sister Mary Clarence (Dolores) was well managed while the latter showed a developing respect for the Mother Superior.

The “baddies”, Curtis (Andrew Hill), TJ (Robert Annett), Joey (Paddy McGennity) and Pablo (Josh Kelso) were all well cast – Andrew’s height and frame gave him authority while Robert, Paddy and Josh showed great onstage rapport and brought the house down with “Lady in the Long Black Dress”! As Eddie Souther, Jamie skilfully played the shy unconfident ‘sweaty Eddie’ – even to the heart shaped sweat mark on his shirt at the end! His transformation number, “I could be that Guy” to Elvis figure and back was a sight to behold! The audience was delighted when he came up trumps - arrested the criminals and, stealing a kiss, asked Dolores for a date!

The many supporting roles – Dolores’ backing singers, featured dancers, barmen, hookers, brothers etc – were each undertaken confidently.

The company-built Set was functional and adaptable, with book flats situated front stage left and right and swiftly and silently utilised on stage when necessary as night club, bar, police station etc. Many plain church windows and curtained doors around the set were changed to reveal lovely bright “stained glass” during

“Raise your Voice”. In this small venue with little wing space or flying facilities, these were extremely effective and fitting as the nuns appeared in glittery tabards. Costumes by Utopia were excellent – giving the nuns increasingly sparkly habits. Outside the convent everyone was appropriately dressed in 70s gear with lots of flared trousers on view. Sound was well managed and Lighting, which employed many moving lights, was very effective. Money well spent!

The 10 piece orchestra under the baton of Gareth McGreevy, was hidden above the back of the stage and was always balanced with singers. Much time had obviously been spent teaching harmonies and the vocal effect was impressive. Tim’s choreography was innovative and effective. Although the nuns ensemble sometimes looked as if they were “doing their own thing” it was probably carefully choreographed to show their unbridled joy! Tim was blessed to have male principals who could move well! As for Neil; this was another triumph of direction in his quirky and original style and the comedy of the piece was fully delivered.

As I have come to expect; Newcastle Glees found that something extra in a show which has been performed by a number of societies in recent years. Congratulations to all those involved and thank you for a great afternoon’s entertainment (not forgetting the interval refreshments!)

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