Sister Act

"Sister Act: The Musical" is an uplifting adaptation of the 1992 film that starred Whoopi Goldberg. The storyline follows Deloris Van Cartier, a lounge singer who witnesses a crime and is subsequently placed under protective custody in a convent. While initially clashing with the rigid lifestyle of the nuns, Deloris eventually finds her calling as the choir director, transforming the lackluster choir into a vibrant ensemble, while also finding her own redemption and purpose.

Tackling the central role of Deloris Van Cartier was Charlotte Akister. Her vocal prowess in numbers like "Raise Your Voice" and "Sister Act" was excellent. It's a daunting task to step into shoes made famous by the likes of Whoopi Goldberg, but Charlotte made the role her own, while ably aided in the nightclub numbers by Leigh Coggins and Ashleigh Hartin, her two backing singers.

Mother Superior, played by Victoria Muir, was the perfect foil to Deloris. Her stoic demeanor, juxtaposed with moments of vulnerability, was beautifully portrayed. Her rendition of "Haven't Got a Prayer" was heartfelt, capturing the character's internal conflicts and aspirations.

Supporting roles, like the naive Sister Mary Robert, portrayed by Melissa Newlove, and the comical Sister Mary Patrick, played by Holly Brown, added depth and humor to the storyline. Their growth as characters, influenced by Deloris, was evident and a joy to watch.

The ensemble of nuns deserves special recognition. Their transformation from a discordant group to a harmonious choir was both comedic and heartwarming. Ensemble numbers like "Take Me to Heaven" showcased their collective talent, and their chemistry was palpable.

The ever dependable James Shields comfortably played the role of “Sweaty Eddie”, coming into his own in the thoroughly enjoyable “I could be that guy”. 

Matthew Boardman as the menacing “Curtis” did a super job. For me, he brought out the sinister nature of the character well, and I enjoyed his interpretation. 

The other characters in the show were nicely played including the hoodlums in the “I could be that guy” number.

On the technical side, the set was effectively versatile, shifting seamlessly between the glitz of a nightclub and the sanctity of a church. The occasional prolonged scene changes were minor hiccups in an otherwise smoothly executed production.

Choreography, crafted by Holly Brown, was energetic and suited the narrative perfectly. Numbers like "Sunday Morning Fever" had the audience tapping their feet and highlighted the delightful blend of religious solemnity and disco flair.  The dance during “I could be that guy”, was beautifully performed, but I felt it distracted from the storyline.  The men in this scene are telling a story and it is a key comedic moment for them.  I felt it took away from that.

Musical direction by Anna Scott was great - you could tell a lot of hard work had gone into the harmonies, notably in “I could be that guy”, where the men had clearly been worked hard under Anna's firm hand. The challenge of blending diverse musical styles, from gospel to disco, was met with finesse, creating a harmonious soundscape that resonated with the audience.

Produced and Directed by Suzanne Ward and Kevin Ward , this rendition of "Sister Act: The Musical" was a testament to the power of community, music, and self-belief. They should be pleased with the commitment given by the cast. 

Thanks to LADOS for your invitation.

 

© NODA CIO. All rights reserved.