From the opening words “oh, crap”, uttered by Sister Mary Lazarus, as played by the indomitable Rhonda Burchmore, we know Sister Act will be deliciously irreverent.
In fact, it is a buoyant hoot, with some extraordinary musical performances and no shortage of colour and glitter. The show looks and sounds fabulous.
What makes it so good is the spirit in which it takes shape.
There is the natural confidence about the talent and their mode of delivery, which is chock full of expression.
Photos by Daniel Boud
It often includes perfectly timed pregnant pauses, ahead of pithy one-liners that go down a treat.
Vocally, time and again, the solos hit the mark, while the full voiced chorus numbers are rousing.
Much credit here not only to goes to the star of the show, Casey Donovan et al, but to Alan Menkin and Glenn Slater.
They were responsible for the music and lyrics, respectively, with a book by Cheri and Bill Steinkellner, and additional material from Douglas Carter Beane.
It is based on the 1992 Whoopi Goldberg hit movie of the same name, which featured Maggie Smith and Harvey Keitel.
Sister Act, the musical, premiered in Pasadena in 2006, before making its West End debut in 2009 and opening on Broadway two years after that.
It concerns the fate and misfortune of Deloris Van Cartier (Donovan).
She is a wannabe singing star being held back by her no-good, married boyfriend Curtis Jackson (James Bryers).
He is a gangster and she witnesses him eliminating one of his henchmen for being a stool pigeon.
Suddenly, the showy entertainer’s life is in danger.
She seeks protection from the Philadelphia police, including desk chief and ex-schoolmate Eddie Souther (Raphael Wong), who had a crush on her.
Deloris is quickly ushered into the safe keeping of the Mother Superior (Genevieve Lemon) of an order of nuns not so lovingly called the Ladies of Perpetual Sorrow.
The pair immediately locks horns on the rules of engagement.
With support for the order dwindling, the nunnery faces imminent closure.
But all that changes after Deloris (in disguise as Sister Mary Clarence) takes charge of the previously out of tune choir.
Still, in so doing and in thereby lifting the profile of the church, she faces exposure to the nefarious Curtis Jackson and his cronies.
As previously suggested, Casey Donovan is dynamic and divine as Deloris. She struts about the stage as if she owns it in a breathtaking display of artistry and excellence. Her golden tonsils are astounding.
As Mother Superior, Genevieve Lemon is great at enacting indignation at the force of nature that has upended the strict disciplinary ethos by which the nuns live.
Huge crowd favourite Rhonda Burchmore has an enviable presence as the husky Sister Lazarus.
I can’t speak more highly of the work of Sophie Montague as Sister Mary Robert and Bianca Bruce as Sister Mary Patrick. Both shine and deliver big time whenever they are called upon to do so. What voices they have!
Raphael Wang’s swagger, awkwardness and goofy charm as policeman Souther is a sheer delight.
James Bryers has cartoon villain down pat as Curtis Jackson.
His gang members – TJ (James Bell), Joey (Tom Struik) and Pablo (Jordan Angelides) – steal the show with a superbly rendered tune early in Act II.
They and the whole ensemble do a wonderful job bringing to life a gloriously light and lively musical.
They are, of course, aided by the mastery of the orchestra, under musical director Daniel Griffin and sublime choreography from Alistair David.
Morgan Large deserves massive plaudits for exemplary set and costume design. In short, each scene is a statement of intent, often bold and brazen, with a rich and redolent tapestry.
Lighting design by Tim Mitchell and sound design by Tom Marshall add flourish and impact.
What an outstanding, faultless and joyous opening night Sister Act had.
This is a thoroughly enjoyable, uplifting production that puts a smile on your face.
It is playing at Regent Theatre until 26th January, 2025.
Comments