Regular readers won’t be surprised to hear that Mrs Chrisparkle and I have never seen the original film of Sister Act but I always fancied seeing this show and wanted to catch it when it was at the Palladium, with Sheila Hancock as the Mother Superior. Alas it was not to be, but I jumped at the chance to see the current UK tour.
The story is pretty simple – showgirl Deloris sees gangster boyfriend murder a squealer so has to flee for safety. The softy police guy arranges for her to stay in the local convent, much to the disappointment of the rather staid Mother Superior but to the excitement of the nuns who learn amazing song and dance routines off her. As such their religious services gain massive popularity and thus Deloris’ cover is blown. The villains get close but it all ends with the suggestion of “happy ever after”.
With no pretensions to having a hidden message other than “evil is bad, good is great and isn’t it wonderful when we all get along”, this show is filled with feelgood fun-packed scenes and Mrs C and I sat through it beaming with pleasure. It looks smashing – lavish costumes, beautiful set, nicely lit; although some mischievous electricity gremlin turned up the house lights during a few scenes which felt odd. It’s got a nice big talented cast to use up the stage, and a superb twelve person orchestra which whacks out the jolly score superbly.
There were one or two slight issues that kept it in the realm of the 4* and not the 5* for me. For instance a couple of the numbers in the second half were over-amplified so that the lyrics were hard to follow; a shame, because the lyrics that we could decipher are really good. The nuns’ welcoming song “It’s Good to be a Nun” is very funny and the evil Curtis’ “When I Find My Baby” is nastily witty. Mind you, we both thought “Bless Our Show” strayed into the saccharine. That was the other slight problem; when the show gets a bit sentimental it loses some of its drive and punch, but that’s probably hard to avoid with the storyline as it is.
What you certainly can say is that there are some terrific performances. As Deloris, Cynthia Erivo has a great presence, looks gorgeous and has a superb voice. She performs with gusto and pizzazz throughout, whilst still retaining the occasionally vulnerable aspect of her character. She creates an immensely warm and likeable atmosphere on stage, and having only graduated from RADA in 2010, I’m sure she will have a very successful career.
Julie Atherton’s Sister Mary Robert, the rather timid postulant who gains confidence from her friendship with Deloris, has a belter of a beautiful clear voice which you could never predict from her diminutive appearance. Her character’s journey is very warmly told and Ms Atherton gives a super performance. Jacqueline Clarke, as Sister Mary Lazarus, has lost none of the cheeky charm she had as one of Dave Allen’s sketch partners back in the 1970s, and can use her relatively older age to great shock effect; like when she’s jazzing up some dance routines and dishing out some less than holy jokes in her no-nonsense manner. She was very funny and a huge hit with the audience.
Edward Baruwa plays Eddie Souther, the cop who rescues Deloris and hides her in the convent, and it’s probably the most realistic characterisation in the whole show. He’s a bit wet really, but struggles manfully with his wimpiness to great comic and emotional effect. His growing confidence with Deloris is a delight to watch and he has a brilliant routine – “I Could Be That Guy” – where he dreams of “coming on strong”, with his wonderful pastiche of slightly hamfisted 1970s soul performer. And with some very cleverly done changes of outfit – I saw how they did the first one but the second one was a big surprise! I really enjoyed his performance, and of course it’s very rewarding when his character saves the day at the end.
Straight out of pantomime, and absolutely excellent with it, is the evil Curtis played by Cavin Cornwall. Mr Cornwall has a magnificent voice and is convincingly nasty in his ruthlessness. He has scary authority on stage which provides a very funny juxtaposition with his ludicrous henchmen when they turn into backing singers and dancers – more entertaining performances from Gavin Alex, Tyrone Huntley and Daniel Stockton. Michael Starke’s Monsignor O’Hara is another very good performance, as he develops from being a rather starchy clergyman to a glitzy showbiz compère. I think his secret is that he gets just the right level of campness to the character so that it’s all the more believable.
Indeed the whole cast are excellent; I just have a slight quibble about Denise Black’s performance as the Mother Superior. She has a superb voice, and I loved her singing – she absolutely looks the part and gives a good combination of innate dignity and very human irritation when having to deal with Deloris. But I felt that she didn’t quite tweak all the humour or pathos out of the role. I’m sure she could have emphasised her withering looks or simply spoken the words in a more creative, slightly less pedestrian way.
Musically, the songs are bright and have good tunes but are strangely unmemorable. We enjoyed hearing them very much but when we left the theatre found we couldn’t bring any of them to mind – in fact we reached the car singing “You Can’t Stop The Beat” from Hairspray, very much in the same style as the Sister Act songs; but it’s not a good sign when you’re reminded of other shows. Mrs C in particular thought the only thing Sister Act lacked was a couple of strong numbers with really good hooks. On reflection, the lyrics are definitely more memorable than the tunes.
However, it really is an enormously entertaining show and a feast for the eyes, with some cracking performances, a very funny book and a great feel good factor. It received a very big reception from the audience and I’m sure this tour, which goes on till October, will continue to be very successful. I’d definitely recommend it.
2 thoughts on “Review – Sister Act, Milton Keynes Theatre, 21st June 2012”
Sadly, I never got to see the late Steve Alder in Jesus Christ Superstar but am told he was very good in the title role. Have always wanted to know – how was the singing? Did he attempt the famous high note during ‘Gethsemane’? Have always wanted to know as some of his contemporaries did – and a couple did not. Anyone out there who knows the answer, perhaps you would be kind enough to comment please?
I found him mesmerising, but as it’s so very long ago it’s hard to remember. I have a feeling he put everything into Gethsemane…