Sister Act Jr.

 

Burnley College Performance Theatre’s production of Sister Act Jr. radiated charm and spirit, inviting the audience into Deloris Van Cartier’s uplifting journey from nightclub singer to unlikely convent choir leader. The ensemble performed with energy and togetherness, with principal dancers that added sparkle and discipline to the larger moments. It is worth noting that, due to illness, several principal roles were covered at short notice; in fairness to all involved, those characters will be omitted from this report, though the company’s adaptability and professionalism in rising to the occasion deserves warm recognition.

The production was student‑led across every discipline, acting, staging, lighting, dance, and design, highlighting the breadth of talent and commitment among Burnley College’s budding artists. Directed and choreographed by Becks Granger, Jessica Foulds, Ruth Davies, Harriet Whittaker, Poppy Olah, Catherine Williamson, and Luke Whipp, in creative collaboration with the Year 2 cohort, the show reflected a genuine spirit of teamwork and emerging artistry. Scenes were slick and nicely paced, making full use of the playing arena. Rather than raising the stage behind curtains, the performers worked on the flat floor, this staging allowed the exit doors on either side to be cleverly incorporated into the choreography, at one memorable moment, wheelie bins were pushed through them as part of a routine, adding humour and surprise while demonstrating the students’ flair for resourceful stagecraft.

Projection was used to striking effect, adding depth and atmosphere to the storytelling. The imagery was consistently clear and focused, whether depicting the stained-glass windows of the church, Deloris’ cell and sleeping area, or the stonework so familiar in old ecclesiastical settings. Although there were a couple of minor technical hitches in the opening moments after the nightclub scene, these were swiftly resolved and the show quickly settled into a confident rhythm.

Sound design, overseen by Joss Owen, was particularly well‑judged: levels balanced so that the music complemented rather than overpowered the vocals, and the score flowed naturally in and out of dialogue, supporting the performers with sensitivity.

Lighting design by Mark Storton added a rich layer of atmosphere, shaping mood and place with precision. The nightclub scenes carried a suitably seedy edge, while the stained-glass projections were enhanced by bold, bright colours that lifted the stage into a vibrant palette. Particularly memorable was the use of blues and cyans during Eddie’s solo, which gave the moment a striking emotional quality. Spotlights were consistently tight and well‑timed, ensuring focus was drawn exactly where it needed to be.

The technical support was delivered by the BCUC Acting, Musical Theatre and Dance Theatre Student Team, Vincent Durbin‑Harper, Chloe Conway, Maxwell Hopkinson, Annaliese Robinson, and Reece Perry, whose work across projection, sound, and staging ensured the production ran smoothly.

Set design was inventive, with flat screens on wheels transformed into stained glass windows on one side and glittering silver curtains for the nightclub on the other. A raised platform at the rear of the stage created a focal area for the choir and Monsignor, while confessional boxes, the police station front desk, and seating for Curtis, complete with television, were brought on and off with efficiency, adding texture and variety to the visual world. Costumes added a nice visual lift to the production. Curtis’ gift of the bold blue fur coat to Deloris was a fun touch that helped set her apart. The nuns’ habits changed as the story progressed, gradually gaining more colour until the finale, when the entire convent appeared in sparkling white glitter costumes that gave the closing number extra impact. The Monsignor’s outfit looked particularly striking, adding a touch of grandeur to his role in the final scenes.

At the heart of the production was Sara Zahraoui as Deloris Van Cartier, whose confident singing, enthusiasm, and sharp attitude gave the show its spark. Her accent work added authenticity, and her stage presence lifted the ensemble around her.

Ruby Whittaker brought gravitas and warmth to Mother Superior. Her facial expressions conveyed subtle shifts in emotion, and her rendition of Here Within These Walls was beautifully sung, offering a moment of quiet reflection amidst the show’s energy.

Theo Alderson was engaging as Eddie Souther, the love‑lorn detective. His accent was clear, his characterisation expressive, and his performance of I Could Be That Guy, blended humour with heartfelt sincerity, making Eddie a sympathetic figure.

Maddison Pickles shone in two roles: as Sister Mary Patrick she delivered a fantastic, sustained note in the iconic choir scene, while as Tina, one of Deloris’ backing singers in the opening nightclub, she set a lively tone from the start.

Summer Stubbs as Sister Mary Robert, gave a vocally strong and emotionally resonant performance, particularly in The Life I Never Led. Her clear character arc, from restraint to self‑assurance, was compelling, and her voice carried both power and sensitivity.

Lily Taylor was wonderfully comical as Sister Mary Lazarus, embracing the eccentric nun’s wild side with glee. Her timing and physicality added humour and unpredictability.

Evie Parish brought gentle charm to Mary Martin‑of‑Tours, capturing her dreamy quality with subtle comic touches. She balanced individuality with ensemble work, ensuring the character was distinctive yet integrated.

Riley George entertained as Monsignor O’Hara, his Irish accent consistent and his comic timing spot‑on. A highlight was his deliberately bad attempt at singing, which delighted the audience and gave the Monsignor warmth and relatability.

Amy Smith was a delight as TJ, delivering Lady in the Long Black Dress with comic swagger and cheeky charm. Supporting roles added texture throughout: Poppy Mooney appeared as backing singer Ellie and later as Mary Irene; Kate Reynolds doubled as Michelle and a nun; whilst Kai Thompson played Ernie, Millie Foxcroft‑Holmes a police officer, Lexi Nizinkiewicz the newscaster and Heather Gilheaney an angry street person. These actors also became nuns as needed, bolstering the ensemble with energy. The dancers, eight in total, looked fantastic, moving with precision and flair. They joined seamlessly with the actors not individually mentioned, enriching every ensemble number with rhythm and spectacle. Their contribution ensured the big musical moments felt full and celebratory, embodying the spirit of the production.

This production of Sister Act Jr. offered a clear showcase of emerging talent, with young performers stepping confidently into the demands of musical theatre. From strong vocal performances and expressive characterisation to inventive staging and technical support, the cast and crew showed skills that suggest real potential as they continue to develop within the genre. I would like to thank everyone at Burnley College performance Theatre for their kind invitation, with special thanks to the front of house team for their warm hospitality throughout the evening. I look forward to many more productions from them in the future.

 

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