Sister Act

Swanage Musical Theatre Company excelled themselves with this musical romp in a nunnery: principals were very well-cast; the band was excellent (if rather loud); and it was overall a most enjoyable evening.

Delores Van Cartier held the audience from start to finish in a thoroughly professional performance which did not falter. It is not always easy to find depth of character or sincerity in musical theatre, but find it she did, convincingly portraying the brash nightclub singer and floozie, before (eventually) showing real feeling and connection with the nuns. Club-owner Curtis was ruthless and rough, while his sidekicks were as feckless a bunch of hoods as could be expected: revoltingly lascivious Joey; desperately un-cool TJ; unintelligible Pablo and the short-lived sneak, Ernie.

Mother Superior was unyielding, unbending in every respect, physical and emotional, but showing real desperation in her powerful song 'I Haven’t Got a Prayer'. Sister Mary Lazarus played the dour and grumpy choir-mistress with a humorous core perfectly; Sister Mary Patrick was exactly right: enthusiastic, upbeat and in good voice; Sister Mary Robert had a suitably clear, youthful voice and modest demeanour. A highlight of the production was the Nuns’ choral work, with 'It’s Good to Be a Nun' an excellent introduction to the choir and the uplifting, cheekily-choreographed 'Sunday Morning Fever' a rousing opening to Act 2.

There were plenty of memorable episodes: Monsignor O’Hara and the altar boy with the church roof fund placard; angry Sweaty Eddie; dancing nuns, who were loving it, but nonetheless had some decorum; the cheesy moves of the backing singers in the Moonlight Lounge; the four men (slightly camp) doing Dads’ disco-dancing; and a very efficient strip-change (twice).

On the technical front, also, this was a very ambitious production, with high-quality props (the illuminated juke-box was impressive), gorgeous, colourful costumes (do nuns usually have such a comprehensive wardrobe?); and a set which impressed not only because it created the convent so well, but because it provided interesting opportunities for lighting and staging. The three-point lighting and haze for Mary Robert was just right for her solo and the tall, stained glass windows were lit well in all directions but most effective when back-lit. These might perhaps have been used more often during lengthy scene changes. Curtis would have benefited from finding something more to do when he had his gun drawn and was being sung at. But a first-night performance is always a testing time and minor technical hitches with microphones and sound-levels couldn’t ruin a very good production.

Swanage MTC aimed high and made a great success of this lively show, full of energy and enthusiasm; the entire company threw themselves into it and shared with us their sense of fun. The audience were entirely impressed and left delighted and buoyed up by the simply joyous finale.

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