Sister Act

Kirkham Grammar School is an impressive building, and the pupils are fortunate to have such a fine auditorium in which to perform. It is a venue that suits musical theatre well, and on this occasion, it housed a production that was clearly the result of commitment, teamwork and care. A nice touch on arrival was that staff and front of house all wore religious robes, which immediately gave the feeling that you were entering a religious establishment, very much in keeping with the story. Walking into the auditorium and seeing the band already in place and warming up is always a joy, and it added to the sense of occasion from the outset. What made this occasion notable was that Sister Act was the first musical performed at the school. Given that the school’s previous focus has been on classical music, this was an ambitious undertaking. Producer and Musical Director Michael Hodgkinson, Director Beth Leeming, Assistant Director Gill Latham and Co Producer and Assistant Musical Director Sam Walmsley are to be congratulated for bringing this production to life and for guiding a large company of young performers through the demands of the piece.

Sister Act, with music by Alan Menken, lyrics by Glenn Slater and book by Cheri Steinkellner and Bill Steinkellner, is based on the well known film and tells the story of Deloris Van Cartier, a nightclub singer who is placed in protective custody in a convent after witnessing a crime. Struggling at first to adapt to convent life, Deloris gradually forms bonds with the nuns and transforms their choir, bringing new energy and confidence to the community. At the same time, she must remain hidden from Curtis Jackson and his associates, who are searching for her. The show blends humour and warmth, while also celebrating friendship, courage and finding one’s place.

Beth Leeming’s vision for the production was clear and well executed, sticking to the original telling of the story, and it was well executed. There was no attempt to overcomplicate the piece and that allowed the strengths of the material to come through. The staging made creative use of the facilities, particularly the walkway in front of the band, which allowed cast members to move beyond the main stage and into the wider performance space. This helped create a stronger sense of connection with the audience. Pacing was good throughout, and transitions were especially strong. Too often, productions lose energy through lengthy blackouts and slow scene changes, but that did not happen here. Blackouts were kept to a minimum, and most transitions were managed while action continued, which helped maintain momentum and kept the storytelling flowing and gave the show a confidence and polish.

Alice Wright gave one of the evening’s strongest performances as Mother Superior.  It is a role that demands maturity, poise, and vocal assurance, particularly from a school-age performer, and Alice delivered all of these qualities with confidence. Her clear, controlled voice carried a classic tone that suited the character extremely well, while her composed stage presence provided a strong and effective contrast to the livelier and sassier Deloris. Charlie Rooney as “Sweaty Eddie” also impressed. Eddie is an easy role to underestimate, but it requires, comic timing and a genuine sense of heart in order to make the character more than simply awkward or earnest. Charlie gave a well judged performance and captured the character’s likeability very effectively. For a fourth year student, this was a confident portrayal of a role that needs both comic instinct and emotional honesty. Sophie Benson as Sister Mary Robert was another notable performance. This role depends on a performer being able to show a shy, quiet young woman gradually finding her voice and confidence, both literally and emotionally. That journey needs to feel believable for the character’s development to land, and Sophie managed that very well. The Life I Never Led is one of the most poignant moments in the show, and Sophie performed it with real sensitivity and understanding. The standout performance of the evening for me came from Mia Gisslow as Deloris Van Cartier. It is remarkable to think that she too is a fourth year student, as this is a very demanding role for any performer, let alone someone so young. Deloris requires not only strong acting ability and charisma, but also stamina, vocal power and versatility. The role carries much of the show, with a number of demanding songs that cover a wide range and require consistent energy and presence. Mia rose to that challenge admirably. Her vocals were exceptional for someone of her age, showing power, control and confidence throughout. She also had the stage presence needed to anchor the production. Deloris is such a pivotal role in Sister Act that if the performer gets it right, much else falls into place around her, and that was very much the case here. Mia’s performance gave the show drive, shape and spark, and it is all the more impressive that she then went on to sing an evening performance as well. The nuns worked very well together as a group, and that sense of ensemble was one of the strengths of the production. Darcie Daniels as Sister Mary Patrick, Sophie Noblett as Sister Mary Lazarus, Hannah Pilkington as Sister Mary Martin of Tours, Eve Sharkey as Sister Mary Theresa, Gabby Wise as Sister Mary Brigitta, Zea Trend as Sister Mary Cecilia, Raia Trend as Sister Mary Angelica and Tilly Musson as Sister Mary Catherine all contributed strongly. Although they were all dressed in habits, each performer still found ways to let individuality shine through, which is important in a show like this. Their interactions felt natural, and there was a strong sense of shared purpose and enjoyment in their scenes together.  Gracie-Mae Topping and Tilly Musson also doubled as Michelle and Tina, bringing energy, style and a lively sense of fun to the nightclub dancer roles. Among the male principals, Declan Calderbank as Monsignor O’Hara played the role very much for comedy, and this worked well. His performance was expressive and full of energy, with suitably broad gestures and a style that fitted the humour of the character. Isaac Wan as Curtis Jackson gave a solid performance in a role that needs menace and control while still fitting within the show’s heightened style. Harry Flomer as TJ, Tom Kidd as Joey and Jake Barber as Pablo worked well together and had good chemistry as Curtis’s sidekicks. Their scenes had shape and rhythm, and they operated as a believable trio.

The set, hired from Proscenium Ltd, was effective. It was adaptable, visually appealing and supported the storytelling well as the action moved between the convent, the bar and the other locations required by the script. The lighting design by Dan Creasy for Congo Design was excellent and complemented the set beautifully. Sister Act can be a tricky show to light because of the shifts in setting and tone, and because the lighting needs to help define location without slowing the pace of the action. That was handled very well here. In fact, the combination of set and lighting was among the strongest I have seen in an amateur production, creating a polished and professional visual impression. Costumes, hired from UK Productions Ltd, were also very successful. They looked good, suited the period and style of the show, and helped define the characters clearly. The contrast between convent life and Deloris’s world was well supported through costume, and the overall effect added to the quality of the production.

The band, consisting of Nicola Stevens, Claire Shipway, Nikki Greig, John Squires-Evans, Martin Scragg, Nick Powlesland, Brent Forbes, Ed Rugman, Harry Spencer, George Godbold, Brendan Needham and Ellis Hollows, and conducted by Michael Hodgkinson, provided strong musical support throughout. It was impressive to see George Godbold and Ellis Hollows, both Upper Sixth students, included in the band. Given the school’s stronger background in classical music than in musical theatre, this contribution was an important part of the evening’s success. Michael Hodgkinson clearly worked hard to bring this production to life at the students’ request, and his work on their vocals and technique was evident. He deserves great credit for preparing the company musically for a show that places considerable demands on its performers.

Choreography by student choreographers Darcie Daniels and Eve Darwen was another strength. The numbers were well staged, suited the abilities of the cast and helped create energy and variety across the performance. With 18 principals and an ensemble of 33, there was a large company to manage, and the stage pictures were full without becoming overcrowded. A word should also be said for the technical and backstage support. Sound Design by Ashley Swain for AST Live and Stage Management by Helen Holmes and Helen Shuttleworth, assisted by staff and pupil volunteers, were clearly vital to the smooth running of such a large scale production. Hair and Make Up by Katie Allday also contributed to the overall finish of the piece. At times, there were some inconsistencies in vocal clarity, with some performers coming across more clearly than others. This occasionally affected how fully some of the dialogue and humour carried to the audience. The material was being played well, so this felt more like an issue of sound balance at this matinee performance rather than delivery.

The audience was engaged throughout and clearly enjoyed the performance. A particularly enjoyable touch came at the end of the show, when the Pope was wheeled around the auditorium in a grand chair, “sprinkling” holy water on the audience. This was funny, unexpected and a very good way to end the evening on a high note. Overall, this was a very successful production and an impressive achievement, particularly given that it was the first musical staged by the school. It was encouraging to see such a large cast of young people so engaged, committed and clearly enjoying themselves. Youth theatre develops confidence, discipline, teamwork, communication and resilience, and productions like this show just how valuable that experience can be. Kirkham Grammar School has every reason to be proud of what was achieved here. The pupils, staff and creative team combined to create a production full of energy and heart, and if this first venture into musical theatre is anything to go by, it is a direction well worth continuing.

 

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