Sister Act JR

Sister Act Jr.is based on the popular 1992 film of the same name with music by Alan Menken. Although it is a scaled down version of the Broadway show, it is an optimistic comedy with many of the well-known songs. Some of the junior versions of the well-known shows cut the dialogue and songs, because of their content, which affects the story but the truncation of the tale may have left less time to develop and establish certain characters within the show but in the case the main players worked extremely well.

The story revolves around Deloris Van Cartier who after she witnesses a murder is placed in a convent in protective custody. She finds the restrictive life difficult and clashes with the Mother Superior but using her singing talents inspires the choir. Their new found talent raises their profile with the community and unintentionally blows her cover. The gang gives chase but unexpectedly finds them up against Deloris and her newly found sisterhood.

The set and lighting were expertly created by Andy Martin and enhanced the production. The arched convent windows and cross added to the solemnity of the nun’s scenes and the red light at the beginning showed the nightclub life Deloris was used to. The additional items such as the confessional, pulpit, benches, desk etc added to the delivery of Deloris’ story. The props used by the cast during the show were used well by the members of your team. The radio mics and sound track were set at the correct level.

The costumes and hair for the dancers and ensemble in the disco were period and well-fitting and although the sequinned shorts looked great on Deloris, I did think tights with a sheer body would have been maybe more appropriate. It was great to see that time had been taken to find the period male suits and shirts. The nightdresses for the nuns were varied and although I understood the need to have them under their habits for speed the white under Deloris’ outfit was distracting. The clerical outfits for the nuns, Mother Superior, Monsignor O’Hara and the altar boy looked just right and the additional sparkles at the end added to the celebration.

Your choreographer had obviously researched period dances and the movement by the girls in the club and ensemble was ideal. The dances were all well-rehearsed and I enjoyed the fast-paced complex nun’s movement in ‘It’s Good to be a Nun’, ‘Take me to Heaven’ and ‘Raise your Voice’ 

The young lady playing Deloris did a brilliant job, she was convincing throughout. She gave a mature performance, danced well and both acted and sang with power and feeling.  Her interaction with the other cast members was superb and she was able to pull every comic moment out of the script. I especially enjoyed her cheeky interaction with Mother Superior in the confessional.

The backing diva singers in the club looked just right with their red dresses, gloves and bobbed hair. Their singing was tuneful and they moved well and spoke clearly.

Sometimes it is difficult for young men to convincingly portray gangsters but I felt yours did a grand job. Curtis was dangerous and mean a true bad guy who wasn’t going to let anyone get anything over on him. Your player gave a strong depiction of this character in fact he dispatched Ernie, who did a great prat fall when shot, early in the show. TJ Curtis’ nephew had good stage presence, sang well and strong comic timing. Pablo had fun with his accent and interacted well with the others and Joey delivered ‘Lady in the Long Black Dress’ with confidence beyond his years.

Then we have ‘Sweaty Eddie’ who has known Deloris since school. Your player convincingly depicted the policeman with the job of protecting the singer. He commanded the stage and interacted well with Deloris. He moved well and his performance of ‘I Could be that Guy’ with the unexpected backing singers was delivered with feeling. Lastly, we have the character of Cop which although a small part was well played by your performer.

Mother Superior is a difficult role for a young person but your actor played it with aplomb. Her church and sisters come before all else and her characterisation was inspired, she used her expressions and exasperation clearly and delivered her many one liners adeptly.  She sang well and ‘Here Within These Walls’ was beautifully delivered.  She always listened to the spiritual leader of the Queen of Angels Cathedral Monsignor O’Hara even if she didn’t agree with his decisions. Your actor obviously enjoyed his part and developed his character well; his accent was accurate throughout. He sang and danced with confidence.

The grumpy, controlling choir mistress Sister Mary Lazarus was well delivered by your actor. She created a great character and sang tunefully and moved well.

Sister Mary Patrick was always upbeat and enthusiastic and was portrayed convincingly by your player. Her singing and moving was on point.

The postulant Sister Mary Robert was depicted by your actor with confidence. She displayed the sensitive shy side of her character and how with Deloris’ assistance her belief in herself grew. She danced well and her delivery of ‘The Life I Never Led’ was outstanding.

Mary Martin-of-Tours, Mary Celeste, Mary Irene, Mary Stephen and Mary Theresa completed the named nuns. They all played a significant part in this production and had their moment in the spotlight.

As always, a company is not just the named members and your ensemble was excellent.  There were many high moments during this production especially all the upbeat nun’s numbers but I would like to mention the well-choreographed chase scene. Time had obviously been taken to ensure there were still times when intended reactions between characters were apparent. You could feel the tension with the culmination of the scene with the gun and the eventual unmasking of Eddie as hero.

Your production team created a feel-good show with a talented set of young people whose skills will I have no doubt be using their developing skills in further productions.

Many thanks for a warm welcome and wonderful evening’s entertainment.

Disclaimer 

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be affected by that knowledge. 

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre. 

 It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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