Sister Act

Sister Act needs little introduction and was an excellent choice for GTG’s return to the Ben Travers Theatre.  Set in 1977 and based on the hugely popular 1992 hit film, it’s the story of a nightclub singer, Deloris van Cartier, who witnesses her boyfriend Curtis murder one of his henchmen.  Realising her life is in danger, she flees to a police station and confides in police sergeant Eddie Souther, known as “Sweaty Eddie”, who had a crush on Deloris when they were at school.  He decides she must go into witness protection before the trial and arranges for her to shelter in a convent where he feels she will be safe and Curtis will never find her.  What follows is a joyous romp through convent life under the disapproving mantle of the horrified Mother Superior while Deloris transforms the nuns from a bunch of tuneless, although enthusiastic, singers into a successful folk choir, while leading some of them astray in the local nightspot – which proves her undoing as she is recognised by Curtis’s three good-for-nothing henchmen.  In the end the nuns take Deloris to their hearts and even Mother Superior is won over.  Deloris returns to lead the nuns in a concert in front of the Pope, no less, while Curtis no doubt gets his just deserts.

It was a welcome return to the Ben Travers Theatre at Charterhouse which had been unavailable for some years due to extensive building work.  The auditorium itself was little changed, with a generous stage, but I understand the seating was being replaced the following week.  The entrance and bar area was much improved, light and airy with an expanse of French windows looking out over an extensive lawn.  Front of House staff were friendly and helpful, clearly enjoying their new surroundings.

The set was very simple with a number of flats moved on and off silently, changing the scenes – the yard, police station, convent, dining room, nightclub, bedroom.  There wasn’t a need for elaborate scenery as the chorus of nuns more than made up for any perceived lack of visual aids to the scenes. The success of good lighting is that it isn’t obvious and doesn’t distract from the performance.  In this case the lighting was atmospheric and discreet, subtly changing through the various scenes and locations.  A glitter-ball always adds to the atmosphere and was very effectively used. In a show where the majority of the action takes place in a convent, nuns’ costumes play a large part!  Starting with the simple every-day habits familiar to us all, the variety of glamorous and glitzy additions added welcome sparkle and the nuns thoroughly enjoyed their new look while showing off their talents in front of the congregation and the Pope. 

Having been educated entirely by nuns in three different convents, all very happily I have to say, it would have been a very different experience if they were anything like the troupe of nuns we followed here!  Their progression from devout and obedient sisters to successful and individual performers was well rehearsed and skilful, under the expert choreography of Alison Chapman.  They all displayed individual characteristics with some wonderful facial expressions.  I was particularly struck by Sister Mary Theresa (Madeleine Gibb), crouching over her walking stick and displaying her bad temper and disapproval at every turn, but exhibiting a neat turn of foot in the group dances.

Steven Bean’s musical direction of the 10-strong orchestra - I hesitate to call them a band - situated invisibly as he was above the performers, was perfectly pitched, never overpowering the singers and adding a professional touch to the show.

From the start Stephanie Mottershead as Deloris Van Cartier gave an energetic and enthusiastic performance, brazen and forceful to start with, gradually developing as a thoughtful and loyal friend who endeared herself not only to her fellow Sisters but also to the Mother Superior, Mandy Ellis, who made the best of the comedy in her role, offering up frequent prayers to God to help rid her of Deloris.  Her long-suffering attempts to have Deloris removed were gradually worn down and she eventually came round to accepting her for what she was and seeing her as an asset to the Convent, encouraged by the evergreen David Dray as Monsignor O’Hara.  His gentle Irish accent contrasted well with Deloris’s brash tones.

David Okten’s Curtis was suitably menacing and authoritative, bullying his three bumbling sidekicks who were an entertaining team, chasing Deloris back and forth incompetently while aimlessly firing pistols. Their foray into the convent dressed as nuns to abduct Deloris was hilarious.

The singing was a very high standard.  Stephanie Mottershead – Deloris – was superb and held the show together, gradually endearing herself to her fellow nuns.  The scene in her bedroom where they all descend on her in their modest nightwear trying to persuade her to stay and asking for her blessing was quite moving.  Kate Scott as Sister Mary Robert gave an endearing performance as the shy postulant who was transformed into a surprisingly bold character and revealed a remarkably strong singer, especially apparent in The Life I Never Led. And Daniel Bundy as “Sweaty Eddie” Souther, the police officer, gave a versatile performance, starting with a lack of self-confidence and eventually winning over Deloris.  His song I Could Be That Guy was particularly compelling.

The nuns are chased all over the convent in a scene worthy of pantomime and eventually overpower the three henchman who come to capture Deloris, overwhelming each of them in turn and despatching them one by one in wheelchairs.

Congratulations to director Keith Thomas who expertly brought together a large cast of diverse characters, forming them into an enthusiastic and cohesive team, bringing out the best in everyone to produce an amusing, polished, memorable and thoroughly enjoyable show.  Godalming Theatre Group never disappoint and this was up there with the best of them.

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