Sister Act

If you did not get chance to see Clitheroe Parish Church Amateur Operatic & Dramatic Society’s production of Sister Act, then you missed a treat. This production was an extravaganza from start to finish. The story of a second-rate singer, who after witnessing her gangster boyfriend murder one of his cronies, is placed in a convent by the police, for her protection.

Director Damian Marsh created a slick, funny, visually astounding show. His casting was faultless, with truly spectacular singing, strong performances, and amazing costumes. Damian used the entire stage, the main backdrop being the inside of a church, with steps either side leading to a balcony. The use of curtains, lighting, and props turned the church into a nightclub, a seedy bar, the city streets and even the nuns’ dormitory, to mention just a few of the changes. The backdrop blended seamlessly into each scene. Set in front of the main curtain, either side of the stage, we saw a police station and the living room of a small apartment. These were used as focal points for specific scenes whilst covering scene changes. Stage Manager, Ian Rimmer and his team were silent and unobtrusive, stealthily changing scenes, whilst the eye was drawn elsewhere.

Choreographer, Catherine Cox, worked her cast hard. Routines were energetic and co-ordinated. No errant limbs spoiling the effect, the cast remained focused and together throughout. Using the full stage, including the steps and balcony, routines were high energy and colourful, the whole cast smiling throughout. The two invisible costume changes, on stage, during Eddie’s song and dance, were so unexpected, that the audience were left open-mouthed wondering how it had happened. The routine with Joey, TJ and Pablo had the audience crying with laughter. The trio oozed a tongue in cheek sexiness, delivered via saucy well practiced moves. When the entire cast came on to dance in the finale, the energy was electric.

Musical Director, Chris Andrews, and his orchestra, to my ear, sounded good. The music complimenting rather than taking over, singing and dialogue could be heard easily throughout. There are some big tunes in this show and Chris navigated them with ease. Chorus Master, David Hulme, brought out the best in his singers, solos and harmonies were at times hair raising they sounded so good. Sound, run by John Ormerod, was faultless, no mic dropouts, no feedback, and no side stage sound pick-ups, which, with so many cast members on and off stage constantly, is no easy task.

Lighting Director, Paddy Keane, and his team, were kept on their toes as each scene played out. The lighting creating ambience for seedy bars and dark streets one minute, then bright church halls the next. Spotlighting the front side stage areas whenever in use, drawing the eye until scene changes had occurred without the audience even realising. With no noticeable faults, the lighting looked great, especially when the cast changed into sequined costumes, the colours visibly popped.

Taking on the leading role of the loudmouthed nightclub singer, Deloris Van Cartier was Jade Brett. From the very opening number, Jade was a powerhouse of sound. Not only was she wise cracking and ballsy, but she also had a fabulous singing voice. Strong and confident, Jade owned the stage. She was energetic, and vivacious, whilst doing some serious vocal gymnastics. A truly memorable performance form Jade.

Kelly Steed played the Mother Superior. Kelly had a rich singing voice, which fit perfectly with this role. Her solos were full of passion and emotion, they were beautifully sung. Her comic timing was perfect, her pursed lips and disapproval of Deloris evident from their first encounter. I really enjoyed Kelly’s performance, deliberately intimidating, warming as the show progressed, where she discovered the folly of her own pride. Kelly gave a powerful performance.

The role of Eddie, the police officer hiding Deloris, was played by David Hulme. Secretly in love with Deloris, Eddie had to try to keep Deloris from being discovered, whilst fighting his own demons. David played this role with integrity, his performance complex and endearing. His solo song, ‘I Could Be That Guy’ was just lovely, his singing voice strong and melodic at first, then spicing up as he changed costumes mid dance routine, only to revert to melodic, with a second costume change as the song finished. David had the audience rooting for him from the onset.

Fiona Stewart played Sister Mary Robert, the shy novitiate. Fiona’s performance was amazing, her song, ‘The Life I Never Had,’ built in power as it progressed, just as we saw her character doing throughout the show. I honestly could not fault her performance.

Nikkie Bithell played Sister Mary Patrick. The ever-bubbly Sister was Nikkie’s first principal role, and she managed it beautifully. Witty and never missing a beat, she hit some purposefully hair-raising notes much to the merriment of the audience.

Kate Walker played Sister Mary Lazarus. I loved this characterisation. Sister Mary Lazarus was the grumpy old head of the truly terrible church choir. Kate played this role to perfection, and as her character developed, she became the ‘street’ element of the choir with some great costumes and well-timed comedy.

Matt Haworth played Curtis, the gangster, ex-boyfriend of Deloris. Suave on the outside, twisted on the inside, Curtis would kill Deloris in a heartbeat, if he could only find her. Matt deftly portrayed this darkly comical character. His song, ‘When I find My Baby,’ where he crooned about the many ways in which he would dispatch of Deloris, had the audience in stitches. Joining Matt, in Curtis’ goon squad, were Daryl Dewhurst, playing Joey, Robert Crane playing TJ and Steve Potts playing Pablo. This trio really were quite absurd, but wonderfully so. They sang harmonies that were deliberately high, emphasizing their ridiculous nature. Even though, bad guys, they were likeable, the audience laughing aloud at their antics. Each had their own specific character, Dumb, Dumber, and Italian and I thought worked a treat. Steve Potts’ Italian accent deliberately hammed up into total gibberish was sublime.

Kris Wlodarczyk played Monsignor O’Hara. His portrayal had me in mind of a Father Ted character. With his calm, soothing Irish accent hiding a fearsome wit, Kris played this role to perfection.

Sister Mary Martin-of-Tours was played by Leslie Howarth. Often falling asleep on the other nuns and then bursting to life to shout random scripture. Leslie played this role to its fullest extent creating some wonderful little comic moments.

Catherine Whitham played the oldest member of the cast, Sister Mary Theresa. Catherine pottered on with her walking stick and had some great well timed one liners, before bursting to life and making the audience chuckle non-stop.

I wish I could name everyone as it was very much a team effort. The chorus and additional dancers/nuns all worked tirelessly to create a fantastic show. The whole production was a spectacle, the costumes from Charades Theatrical Costume Hire, under the guidance of Jean Pells and her team looked stunning. As the show progressed, we were treated to increasingly flamboyant costumes until finally the nuns and co were head to toe sequins. Earning the cast and crew the ovation they received from the audience.

I would like to thank CPCAODS for inviting me to their show. Thank you for the welcome it was a pleasure to be asked to present the long service awards during the interval, I look forward to seeing you all again at your next production.

 

 

 

 

 

 

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