Sister Act

On the hottest night of the year, Sister Act The Musical opened to a packed house at Pontefract Town Hall, with an atmosphere buzzing with anticipation as intense as the summer heat outside. Directed by Andy Lunn, with choreography by Bev Maher and musical direction by Karen Harris, this high-energy production delivered big laughs, powerful vocals, and heartfelt moments, all wrapped in glitz, glamour, and gospel soul.

The show began in front of a plain black cloth, with added scenery and props cleverly used to suggest various locations. As the action transitioned into the convent setting, the audience was met with a visually striking church backdrop—complete with stained-glass effects and warm, atmospheric lighting that helped create a reverent yet inviting space. However, as the production used an open set throughout, some transitions between scenes—especially when taking place outside the church—were occasionally unclear. More distinct lighting cues or set dressing might have helped further establish location shifts.

The opening number, “Take Me to Heaven,” immediately set the tone. Deloris Van Cartier (Seonna Garnett), flanked by Tina (Sarah Clarkson) and Michelle (Eleanor Alduos), delivered a bold, confident performance full of energy and attitude. Garnett’s vocal power was undeniable and well-suited to the diva role; she lit up the stage with her charisma. There were moments when lines were rushed, causing some meaning and emotional nuance to be lost, but overall, her performance was a commanding anchor to the story.

Curtis (Michael Tattersall) and his gang—TJ (Liam Nichol), Joey (Phil Clarkson), and Pablo (Matt Gibb)—provided both menace and comic moments. Tattersall brought a slick confidence to the role, but the character could have been developed further to become progressively more sinister, heightening the danger for Deloris. Jordan Whipp gave a memorable cameo as Ernie, the ill-fated witness whose demise sets the story in motion.

Hero cop Eddie Souther (Toby Hall) was a standout, delivering a touching, well-sung performance. His solo “I Could Be That Guy” was a heartfelt, humorous highlight, demonstrating both vocal finesse and excellent comic timing.

The convent introduced a delightfully eccentric ensemble of nuns, each bringing something special to the sisterhood. Pam Robinson’s Mother Superior was beautifully restrained and layered, her number “Here Within These Walls” delivered with sincerity and vocal control. Alice Fearnley was infectiously joyful as Sister Mary Patrick, while Imogen Maher (Sister Mary Robert) impressed with her emotional vulnerability and clear, powerful vocals—particularly in the soaring “The Life I Never Led.”

Alex Bush played Sister Mary Lazarus with stern comedic flair, but a more defined transition from grumpy choirmistress to hip-hop convert could have enriched her journey.

 

 

One performance that added an unexpected layer of detail and delight came from Amy-Lewise Spurgeon Hill as Sister Mary-Martin of Tours. Her thick-rimmed glasses, quirky physicality, and subtle comedic choices—like licking cutlery during meals—gave her character a hilarious, scene-stealing eccentricity. These well-observed mannerisms gave her a distinct identity among the larger group and were clearly appreciated by the audience.

Sue Sheppard added warmth and gentle humour as Sister Mary Theresa, rounding out a strong and engaging chorus of nuns whose harmonies grew stronger with each number.

The Act 1 finale, “Take Me to Heaven (Reprise),” was jubilant and full of promise, as Deloris began to transform the choir from flat-toned followers into a spirited gospel ensemble. The blend of voices, bright costumes, and exuberant movement made for a strong end to the first half.

Act 2: More Glitter, More Soul

Act 2 upped the tempo, glitz, and emotional stakes. “Sunday Morning Fever” was a show-stopping number that showcased the choir in full swing, with choreography (by Bev Maher) full of clever flourishes and lively transitions. Deloris’s struggle between newfound friendship and the threat of discovery deepened, leading to emotionally charged scenes between her and Mother Superior, whose reprise of “I Haven’t Got a Prayer” was a touching reflection of conflict and compassion.

The comedy highlight of the second act—“Lady in the Long Black Dress”—was a riot of character and charm. TJ, Joey, and Pablo brought the house down with their cheesy, sleazy wooing tactics and tight trio work. The number was hilariously choreographed and perfectly timed, and all three actors threw themselves into it with brilliant comic energy, delivering a memorable and much-loved crowd-pleaser.

The titular “Sister Act” number was delivered with strength and conviction, symbolising Deloris’s transformation and the bond she’d built with the nuns. By the time the glittering finale “Spread the Love Around” hit, the audience was completely won over—cheering, clapping, and even dancing in their seats.

Huge congratulations to Encore Theatre Company for delivering such a joyful, high-quality, and uplifting production. You truly raised your voices and spread the love all around. Well Done!

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