SIster Act

Living in Stone and only a short distance from our county town, I have enjoyed many visits to the Gatehouse Theatre to see a wide and interesting variety of productions including straight plays, comedies and musicals on both the main stage and in the Met Studio. So in my recently appointed capacity as NODA West Midlands Regional Representative for Staffordshire and The Moorlands, I was very much looking forward to joining the audience to report on Musical Theatre Stafford’s latest production of ‘Sister Act’.

The original stage production of the show premiered at the Pasadena Playhouse in California in October 2006, breaking all box office records, and opened at the London Palladium in October 2010. Largely based on the 1992 film of the same name featuring original music by eight-time Oscar winner, Alan Menken, lyrics by Glenn Slater and starring Whoopi Goldberg, ‘Sister Act’ tells the story of aspiring disco diva Deloris Van Cartier in a stage show which follows a brilliant storyline penned by Cheri and Bill Steinkellner and contains a wealth of great musical numbers.

As an out of work lounge singer struggling to earn a living in 1970’s Philadelphia, Deloris Van Cartier witnesses a violent murder and, as a key witness, is placed into hiding in a local convent where the police feel sure she will be safe and not discovered by the villains responsible. Disguised as a nun, at first Deloris feels her new sequin-free lifestyle is dull and lacklustre and not made any easier by the rigid demands of the Mother Superior, but having heard the unmelodious tones of the convent choir, Deloris quickly sees an opportunity to brighten things up and uses her own musical talent to turn them into a remarkable singing group. But in bringing new life into the church and community, she blows her cover and it isn’t long before the gang gives chase, only to find them up against Deloris and the power and strength of her newly found sisterhood.

There is no overture to this show which started with a short impactive orchestral introduction as the main house tabs opened onto a sleazy night club scene with a black star cloth backing where Deloris (Kellymarie Matthews) was auditioning for her gangster friend, Curtis, with two lively disco numbers – ‘Take Me To Heaven’ and ‘Fabulous Baby’. Ably supported by backing singers Tina (Laura Riddell) and Michelle (Michelle Handley), the show wasted no time in getting off to a breathtaking pace accompanied by a hugely talented eleven-piece band under the masterly directorship of Liz Talbot.

For a production of such outstanding quality, it’s not really fair to single out any member of the company for particular praise. This said I must start by applauding Kellymarie Matthews in the leading role of Deloris for a performance you would be hard pressed to see in a professional theatre or even on a West End stage! She was simply superb and whether or not any member of the audience had come to see a Whoopi Goldberg inspired leading lady, they were certainly not going to be disappointed. Kellymarie’s dazzling stage presence, comic timing and breathtaking energy shone through in every aspect of her performance and with a voice of exceptional quality she stamped her mark on the show right from the very start and it never wavered for one second until the final curtain!

In complete contrast to Deloris, I simply loved the beautiful singing voice of Rachel Millar who instilled enormous grace and charm into the role of the Mother Superior whilst cleverly maintaining a simultaneous degree of authority. She commanded the stage every time  she appeared and her renditions of ‘Here Within These Walls’ and ‘I Haven’t Got A Prayer’ were superbly performed and a highlight of the evening. I also enjoyed how her kind heartedness and attitude towards Deloris visibly warmed as the stage action progressed throughout the evening.

‘Sweaty Eddie’, the nickname of Deloris’s old school friend and trustworthy police contact Eddie Souther, was played with great sensitivity by Dave Stephenson who was clearly still carrying a torch for Deloris. He did everything in his powers to help and protect her and acted and sang with great strength and feeling, especially in a very moving rendition of ‘I Could Be That Guy’. In some of his less serious and lighter moments, his whole demeanour cleverly changed as he displayed great fluidity in his dancing skills.

As the ruthless gangster and club owner, Rob Mincher cleverly displayed a cunning and sinister nature in the role of Curtis Jackson who, despite being married, was still dating Deloris and sang passionately about his affection for her in a powerful rendition of ‘When I Find My Baby’ accompanied by his three sidekicks. Having started up in bad company,  Joey (Jono Down), TJ (Henry Whittaker) and Pablo (Christoper Pendleton), turned out to be really nice guys who worked brilliantly together as a comedy threesome. In particular, ‘Lady in the Long Black Dress’ which featured all three of them, was very slickly performed with terrific vocals and some incredibly clever and amusing choreography in which I did spot the occasional ‘shadows step’!

I lost count of the number of nuns on stage who all performed brilliantly, and whilst there are too many to list by name in my report, there are several I must mention …

As Sister Mary Patrick, Helen-Siân Tisdale gave a wonderfully hilarious performance, her infectious personality and bubbly nature shining through with every word and step.

Another fine and polished portrayal came from Tracey Brough-Chesters as the bespectacled Sister Mary Lazarus who, as the nun’s choir mistress and piano accompanist, was at first a little reluctant to accept Deloris’s help in improving the choir’s pretty tuneless singing but eventually accepted the improvements that were forthcoming to give the choir a huge new style and ‘buzz’!

Helene Sandy as Sister Mary Martin of Tours and Carole Langford as Sister Mary Theresa both displayed a wonderful stage presence and as the young postulant nun, Sister Mary Robert, Hannah Pendleton gave the most charming and beautiful performance. Initially the shy and innocent young woman who had only chosen this new vocation and path in life because she had nothing else to do, she visibly grew in strength and character as the story progressed. Her rendition of ‘The Life I Never Led’ was a real tear-jerker, dazzlingly performed with a huge vocal climax and most certainly another clear highlight of the evening!

I must also mention David Elliott-Hancock who had us all greatly entertained as the excitable Catholic priest, Monsignor O’Hara with his highly believable Irish accent and willingness to join in the fun as the show progressed.

As always in a production of this magnitude, the principal characters were ably portrayed by members of the ensemble in the smaller cameo roles and not forgetting the Fantasy Dancers, headed by Dance Captain Amy Sanders, in their sparkling gold dresses who also performed brilliantly.

The stage settings for this production were very effective and managed with great skill and efficiency by a stage crew headed by Mike Hartley, assisted by Jess Kendall. Appropriate furniture and reversible trucks were used in the early scenes to complement the stage action and after the original black star cloth had been raised, we were greeted with the most magnificent convent building complete with pillars, stained glass windows and a balcony. This remained in place for the rest of the show with further items of furniture being brought onto the stage to enhance the various scenes including Mother Superior’s office, the convent dining room, dormitory and confessional.

Apart from the nun’s various habits, the huge variety of costumes used in this production were all imaginatively designed and added a perfect blend of image and colour to each of the characters, especially in the finale. The sight of Deloris and the sisters in their pyjamas in the convent dormitory scene I’m sure brought a smile to many audience faces.

We were even greeted by his Holiness, The Pope, courtesy of Liz Talbot briefly rising from the orchestra pit to face the audience complete with mitre!

The stage lighting was exceptionally well designed and operated by the Gatehouse’s very own Ben Ford. The sound too was of exceptional quality with a perfect balance struck between the band and onstage performers. There were many radio sets in use and not one missed cue largely thanks to the operation and infinite control by Five Towns Theatre.

But, as always, my final comments, and probably the most important, must go to Director, Jess Smith whose skill and creative genius had honed every aspect of this wonderful production to the very highest of theatrical standards. To Musical Director, Liz Talbot, for the brilliant direction of all the musical numbers and the accompaniment of her magnificent band of musicians, and to Suzie Kemp for the spectacular and breathtaking choreography, very clearly some of the best I’ve seen.

Thank you so much for inviting me to see ‘Sister Act’. I’m already looking forward to visiting you all again for ‘Come From Away’ in October.

Chris C Bell
Regional Representative
NODA West Midlands District 3

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