Sister Act

Sister Act, RoseWood Theatre Company

The Masque Theatre, Kettering, July 2025

“There are no words” is said with feeling, early in Sister Act, by the Mother Superior to describe her Convent Choir, politely avoiding mention of the choir’s vocal limitations. At the end of the final performance of Market Harborough-based RoseWood’s production, I had no difficulty at all in finding words. ‘Polished’, ‘entertaining’, ‘enthusiastic’ and ‘feel-good’ are just a few.

The show

Sister Act, with interesting characters, a good story, enjoyable music, uncomplicated staging and audience appeal is popular with adult societies. This was the first time I had come across a youth group production of the show, so attended with particular interest. Would a 50-strong cast comprising mostly junior players with a few young adults be able to convey the storyline, the characterisations, the comedy, the music and the spectacle while at the same time holding the audience’s attention?

Without a doubt – YES!

Staging & orchestration

The college-based Masque theatre stage comfortably accommodated the large cast. While at times virtually all performers were on stage, it rarely looked crowded. This was due to maximum use of floorspace, with scenery limited to a few reversible flats, demonstrating how scenes can be effectively depicted without bulky scenery or complex technology. Discreet and reasonably quick scene changes kept the show moving.

Congratulations to Stage Manager Amelia Khan and her team, Jack Benstead (Sound) and Sam Henderson Woodford and Craig Mulligan  (Set Design & Build), together with the theatre’s sound & lighting support, for the effective staging which contributed to the show’s pace and spectacle. Sound was balanced and sympathetic to the performers’ voices. The lighting, while relatively uncomplicated, was for the purposes of this show perfectly effective.

The production

The drive behind this show was provided by Annie Woodford and Alice Benstead, who founded the RoseWood Theatre Company in 2023. This production led by director Annie brought together a talented principal line-up, and an enthusiastic supporting cast ranging from only 5 years of age. The cast commitment reflected Annie’s skilled direction, enhanced by some inspired individual and ensemble movement devised and delivered by Choreographer Alice. This talented pair, together with Musical Director Sam Knight, Assistant Director Gareth Bradwick, Assistant Choreographer Ella Matthews and Dance Captain Kara Hail achieved an overall musical and dramatic spectacle.

To keep a large and unusually young supporting company focused on individual performance and collective spectacle was a major achievement. The result combined the polish of thorough preparation with youthful exuberance, without losing focus on their performances.

Particular congratulations to Annie and Alice for the vision to attempt this production, and to them and MD Sam for pulling it off so successfully.

The show

Sister Act opens with a song & dance number from nightclub singer Deloris and her attractive dancers Tina (Hope McGill) and Michelle (Betsy-Rose Somerville). This got things off happily, until Deloris witnesses a homicide and with the help of her old schoolfriend Eddie finds safety in a local convent.

Jessica Deacon was at home in the central role of Deloris. Performing the part with assurance, she gave us the seedy nightclub singer, out of place in her convent refuge but eventually becoming accepted by the nuns, having used her musical skills to rescue their vocally-challenged choir (incidentally, I don’t recall ever seeing a choir sing so badly, so well!). While very effective as singer and dancer, for me the highlight of Jessica’s performance was her comedy – her subtle but effective comedic facial expressions and physical timing gave this character an entertaining dimension.

Freddie Woodford, as mob chief Curtis, gave the necessary balance of comic villainy, together with his gangster mob performed by young players Logan Hawkey, William McMillan, Zachary Coleman (great Americo-Italian accent), Jacob Harris (also appearing as an elderly Monsignor O’Hara), Toby Harris and Willem Hughes, all crazily conspiring to ‘spring’ Deloris from her Convent home. Their comic number When I Find My Baby, with boss Curtis, was slick and well-presented.

In finding the refuge, Deloris was helped by old admirer policeman Eddie, played by Harley Connolly with a good balance of affection and humour. His performance of the song I could be that Guy demonstrated a fine voice, and an impressive vocal range.

The Nuns are obviously a central feature of this show. Their rousing opening number, It’s Good to be a Nun provided a lively introduction to the show’s large chorus line.

At the Convent, we learned from Monsignor O’Hara (Jacob Harris) that they were in financial trouble and scheduled for closure. This naturally distressed the Mother Superior, a very strong performance from Lottie Hanson, who throughout the production delivered this key role with sensitivity and light-comedy dignity. Her lovely song I Haven’t Got A Prayer was reflectively and subtly performed.

Jacob, as the Monsignor and playing a part many years older than the actor’s age, supported the Mother Superior and, showing impressive dancing skills, was effectively rejuvenated by the Convent’s updated approach to church music.

Alongside Lottie’s excellent Mother Superior, we enjoyed strong performances from other convent members. Mia Stone was delightful as postulant Sister Mary Robert. She conveyed her personal dilemma on committing to life as a nun in a well-delivered, nicely sung and movingly acted Act 2 solo The Life I Never Led. Mia was well supported by accomplished performances from fellow nuns Sister Mary Lazarus (Claire Dawson) and Sister Mary Patrick (Aria Smith).

This production held the attention throughout, the musical numbers performed entertainingly and to great effect. To see the stage filled with well-costumed nuns, age 5 and upwards, was a visual treat, as was the sight of the nuns in their night-time attire, all wearing odd, and very colourful socks – an amusing touch. Such attention to small details was an underlying feature of the show’s success.

Costumes, identified in the simple programme as the responsibility of Rebecca Cripps, were faultless – this was a well-costumed show, with everyone attractively and appropriately dressed.

Space prevents listing every cast member; suffice to say that all played their part in making this an entertaining and thoroughly enjoyable production.

My takeaway memory – the sight of young people enjoying performing in a successful stage musical.

My wife and I appreciated the welcome before the show, and we’re grateful to Annie and Alice for taking the time to see us afterwards. We look forward to meeting you again, and to future RoseWood productions.

Colin Blackler

Noda                                                                                                                                                   July 2025

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© NODA CIO. All rights reserved.