Sister Act

Sister Act   Ashbeian Musical Theatre Group    February 2024

The show

Since emerging professionally as a stage musical in 2006, Sister Act has become popular with amateur companies. Full of interesting characters, lively music, plenty of comedy and capable of staging without unaffordable set budgets, it is understandably attractive to societies looking for enjoyable shows with box-office appeal.

But, of course, to get its full potential, and send audiences home happy, it has to be done well.

AMTG did it well!

Staging & orchestration

The limitations of a school stage didn’t limit this production. Scenes were cleverly depicted by projection onto large screens at the rear of the set. Lighting – individual ‘spots’ in particular – was effective and atmospheric, and the minimal use of stage furniture avoided distraction. Sound was sensitive and clear. Despite a company of almost 30 performers, with most of them on stage much of the time, the stage never looked crowded

Congratulations to Technical Team Griff Owen (Sound) and Ethan Hambleton (Lighting) and their Stage Crew for keeping things running smoothly throughout the production.

The Production

The development and presentation of the show was in the hands of Director & Choreographer Nic Conn and Musical Director Catherine Matthews, the team that presented AMTG’s Home Again last year. The society wisely kept with the winning formula. The avoidance of overcrowding and the smooth movement – again, often involving several cast – showed the director’s choreographic skills, as did the dance numbers which were nicely presented. Music (more than 20 numbers) was well-performed and the band’s backing enhanced the liveliness and fun of the whole show.

The show

The show opens with a song & dance number from nightclub singer Deloris and her dancers. This got things off to an entertaining start, before a dramatic scene gave us the main theme of the show – Deloris witnessing the killing of a gang member and taking refuge in a convent, for protection. After that it was fun and music all the way as the story developed.

In the central role of Deloris, Menna Harley excelled. She sang, danced and acted the part with assurance, and convincingly portrayed the seedy entertainer, out of her ‘comfort zone’ in a struggling convent, becoming sympathetic to her surroundings and their situation while at the same time conscious of her own predicament.

As Deloris’s partner, mob chief Curtis, Chris Head gave us the right balance of comedic villainy, ably supported by gang members Tom Longland, Jed Osborne-Smyth, Steve Cox and Ian Wilkinson, as they conspired crazily to ‘spring’ Deloris from her safe haven among the large company of Nuns.

In finding the refuge, Deloris was helped by old school friend and admirer, now policeman, Eddie whose lifetime affection for the singer was rewarded in the show’s conclusion. Eddie was played by Tom Coleman with warmth and humour, and his main song I could be that Guy, with onstage costume changes, was entertainingly performed.

It was good to see a couple of young performers, Ryan Coleman and Warren Harrison, in presumably early stage appearances for them both, as support cops and, in another scene, news reporters. They both performed with an enthusiasm that will stand them in good stead if they decide to make the stage a long-term hobby.

At the Convent, we learned from Monsignor O’Hara (Keith Reynolds) that the host Church was running out of funds and was likely to be closed down, together with the Convent. This naturally distressed the Mother Superior, strongly portrayed by Karen Jamieson, who throughout the production played this dominant role with dignity and sensitivity.

Keith, as the Monsignor, provided a good light-comedy support to Karen and effectively produced humour from the contrasting priorities of his financial and religious responsibilities.

Of course, the Nuns are an important feature of Sister Act. Their opening offering, It’s Good to be a Nun, was the first ensemble number in the show, providing an excellent example of what this society can produce when a talented cast combines with a rousing musical number.

Besides the excellent Mother Superior and her lovely reflective song I Haven’t Got a Prayer, the Nuns featured some other nice performances. In particular, Katy Roberts as young postulant Sister Mary Robert was a delight; her solo number The Life I Never Led showed her character and her fine singing voice to impressive effect. Katy was well supported by excellent comedy performances from fellow nuns Sisters Mary Lazarus (Lily Walker) and Mary Patrick (Abby Betteridge).

This production held the attention throughout, the musical numbers performed entertainingly and to great effect. Personally, I could have done without the ‘audience interaction’ in the final big number, which I thought a bit panto-ish and a distraction from the excellent performance taking place on stage. But perhaps that’s nitpicking. It doesn’t alter my view that this was a thoroughly enjoyable show.

Space prevents listing every cast member; suffice to say that all played their part in making this a successful, accomplished and entertaining production. Unfortunately, I didn’t get an opportunity to meet with any of the company during or after the show. I realise how busy they all were. If we had spoken, I’d have told them what I’m sure they know - that this society has strength in depth and a mission to entertain. My wife and I look forward to AMTG’s production of Nine to Five in the Spring.

Colin Blackler

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.