Sister Act

I experienced a wonderfully warm welcome when I attended Newcastle Junior Glees production of Sister Act the Musical at Annesley Hall, in the beautiful town of Newcastle. Sister Act holds a very special place in my heart, and the Junior Glees certainly didn’t disappoint, delighting both myself and their sold-out audiences over the past two weeks. With a membership of around 100 talented young performers, I had the pleasure of watching Ensemble 2, who danced and sang their hearts out in this joyous and energetic production.

Brian Mullan’s direction was perfectly pitched to suit this young cast. The production presented a toned-down version of the original script that was both age-appropriate and sensitive to the talents of the performers. Casting was excellent, and it was evident that the young cast felt confident and comfortable in their roles. The production ensured that everyone had their moment to shine, allowing each performer to showcase their strengths on stage.

Although the stage at Annesley Hall is modest in size, minimalist staging, simple direction, and clever use of furniture, much of it on wheels, meant the excellent stage management team worked quickly and efficiently, ensuring there was always space for everyone. The lighting was a particular highlight, with some beautiful atmospheric states that enhanced the mood of each scene, while sound was generally secure and effective.

Costumes and wigs were satisfactory overall. With such a large junior cast to dress, budget constraints are understandable, though I would have loved to see Deloris in the iconic white sequin gown she references at the start of the show, the one “Donna Summer wore” traditionally reserved for the finale.

The cast performed confidently to backing tracks, and the musical direction by Courtney Burns-Gillen was clearly well taught, with performers appearing assured and comfortable throughout.

Choreography by Gordon Donaldson was simple yet effective, pitched perfectly for all ages and abilities. There were some lovely patterns, including a Busby Berkeley–style line, alongside all the disco moves we expect from this musical.

Ebony Keaveney, performing as Deloris Van Cartier, delivered a truly outstanding performance. Her natural stage presence is remarkable for someone so young, and her energy never wavered as she commanded the stage with confidence from start to finish. With excellent comedic timing, strong vocals, and impressive dance ability, Ebony was a captivating performer and an absolute joy to watch.

Scott Hanna playing the role of Eddie Souther captured the nervous underdog policeman with ease, his moment to shine in “I could be that guy” was a complete triumph. A lovely performance.

As Mother Superior, Rebekah O’Brien offered a composed and assured portrayal, bringing both authority and warmth to the role. Her scenes with Deloris were particularly engaging, combining sharp humour with genuine moments of affection.

Martha Pryce gave a charming and heartfelt performance as Sr Mary Robert, beautifully capturing the character’s gentle, shy nature. Watching her confidence grow throughout the production was a delight. Her rendition of “The Life I Never Led” was particularly moving, showcasing her lovely voice.

Aaron Mullan fully embraced the larger-than-life personality of Curtis, bringing charisma, confidence, and just the right touch of menace to the stage. He was ably supported by his three gang members: TJ, played by Leah Roe; Joey, played by Jessica Waddell; and Pablo, played by Rebecca Barbour. Together, they provided lively humour as they navigated keeping their demanding boss happy. I would have loved to see them perform “Lady in the Long Black Dress,” a number that traditionally brings the house down.

Parisa Susay-Quinn as Sr Mary Patrick, was perfectly in character throughout, capturing the nun’s joyful and relentlessly optimistic nature. Emily Nicholls, as Sr Mary Lazarus, provided a delightful contrast, delivering the character’s trademark sarcasm and dry humour with excellent comic timing. Both performers were well cast and showed a strong understanding of their roles, bringing the characters to life with confidence and personality.

Robert Walker delivered a warm and endearing performance as Monsignor O’Hara. Watching his confidence grow as he settled into the role was a pleasure, and the contrast between his delight in the convent’s singing nuns and Mother Superior’s frustration created several amusing moments.

Erin Connelly, as Sr Mary Theresa, was an absolute crowd favourite. Armed with her trusty Zimmer frame and perfectly timed one-liners. Erinn Donnelly, as Sr Mary Martin of Tours, was equally delightful, portraying the absent-minded dreamer with charm and innocence.

A few smaller but important roles—including Michelle, Tina, Ernie, the Taxi Driver, Waitress, and News Reporter—were all well cast and convincingly performed by members of the wider ensemble. Each performer brought energy and commitment to their moments on stage.

In conclusion, this cast was simply fantastic. I particularly enjoyed the scenes set in the Church of the Queen of Angels, which sparkled with energy and joy. Every young performer threw themselves wholeheartedly into the production. Watching these talented youngsters perform was a genuine thrill, their dedication and energy were central to the show’s outstanding success. If this production is anything to go by, the future of amateur theatre in the area is in very safe hands. Thank you for inviting me and I look forward with great anticipation to seeing what Newcastle Junior Glees perform next.

The views in this report are solely of the author.

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