SISTER ACT - Theatre Review (UK Tour)

Performance Reviewed: Mon 12 September (Press Night)

Sister Act is not by any measure a particularly old musical. In fact, after it’s initial 18 month run in the West End beginning in 2009, it has only had a single professional UK Tour prior to this one. It’s refreshing, then, to see Craig Revel Horwood and the new stewards of Deloris and the gang lending the show such a distinctive new look and feel. From the imposing and surprisingly versatile staging, completely new choreography (courtesy, naturally, of Horwood) through to touches such as practically every principle cast member outside of its lead swinging an instrument around on stage at one point or another, there is no resting on laurels or rehashing what has come before here; this is an all-new take on Sister Act that feels fresh and distinctive in a way which few touring productions manage to accomplish.

For the most part, it is a rousing success. Matthew Wright’s set design impresses from the off, perfectly malleable from a dingy bar or nightclub, with Richard G Jones’ vibrant, transformative lighting equally top dollar. We are introduced, as per the 1992 Whoopi Goldberg original, to singer Deloris Van Cartier (Alexandra Burke) as she attempts to impress her married lover, pimp-cum-gangster Curtis (Aaron Lee Lambert), to feature her in one of his shows. Events take a turn for the worse when she witnesses Curtis and his minions murder a police informant, at which point she is hurried away to the protect of a local convent, much to the dismay of its Mother Superior (Karen Mann).

In terms of both spectacle and entertainment, it is here where the show really finds its wings (or receives it’s calling) - lashings of fish-out-of-water comedy and spirited anarchy as the brash, sassy and abrasive Deloris attempts to fit in with the strict Mother Superior’s ways and the lovable gang of Nuns under her leadership. It’s also where the staging really comes alive - as mentioned, Wright’s set practically offers a fully fledged church interior to play with which makes for an evocative and authentic presence throughout, though it is a shame the built-in clerestory isn’t put to use more than just mostly housing extra musicians and ensemble throughout. 

Sister Act is an irrepressibly fun slice of musical theatre - the character work and comedy on-point throughout thanks to Cheri and Bill Steinkellner’s witty, sharp book and Alan Menken and Glenn Slater’s fantastic music, which is positively bursting with characterful wordplay and knowing references. With song titles including the likes of ‘Sunday Morning Fever’, ‘Take Me to Heaven’ and ‘Lady in the Long Black Dress’, you know you’re in good ecclesiastical company. And it’s all given a very welcome disco slant, too, with the entire piece transplanted from the early 90’s as per the film to the funky 70’s.

With previous ownership of the role in the hands of musical theatre heavyweights such as Patina Miller and Cynthia Erivo, Alexandra Burke had a big habit to fill stepping into the role of Deloris. Burke does a brilliant, spirited job, ratcheting up the sass and energy of the character, whilst her dance training is in full show during the big choral numbers but also the countless idiosyncratic leaps, bops and dainty side steps she does throughout. Her relative acting inexperience occasionally bubbles to the surface as some lines of dialogue are hushed or rushed, but generally she gives a fun, wilful and funny performance, aided immensely by the innate humour of the book she is working with. Vocally, some of the lower register remains slightly out of comfort, but Burke is a belter through and through, and when the score gives her the opportunity to let rip, she tears through the auditorium with soul and undeniable power.

Amongst the rest of the cast, the ever-reliable Karen Mann is possibly the best Mother Superior yet, whilst Sarah Goggin, Susannah Van Den Berg (who also starred alongside Mann in a recent tour of Fiddler on the Roof) and Rosemary Ashe are tremendous fun as the core trio of nuns - Sisters Mary Robert, Patrick and Lazarus respectively. Goggin gets some powerhouse singing in Act II, whilst Van Den Berg channels her inner Kathy Najimy in true, lovable style, and Ashe raps her way through ‘Sunday Morning Fever’ in hilarious style. Jon Robyns is delightful as ‘sweaty’ Eddie, the former schoolmate and now police officer who helps hide and protect Deloris, offering up some beautiful vocals during ‘I Could Be That Guy’. 

Aaron Lee Lambert offers a slightly more cartoonish Curtis than has perhaps come in the past, but his three cohorts Joey, TJ and Pablo are winningly inept and clownish. Particular praise to Sandy Grigelis as young TJ, who is in fine voice but also puts in a charming, funny turn as the psychotic gangsters quirky, giggly nephew, whilst also moulding into the ensemble as a swinging, singing Nun. 

The team behind this new tour of Sister Act clearly set out to present their own individual take on the show, and it’s a big, vibrant, vivacious treat of a production which still leans on the strengths of its book and score. It isn’t all a success, though - Horwood has a tendency in places to over-complicate things, and some of the numbers feel a trifle cluttered or over-produced. In the titular ‘Sister Act’, Burke meanders around on stage between her newfound kin that she is singing about, whereas, in truth, the song tells us all that in and of itself and has registered far stronger in the past as a solo-in-the-spotlight moment. ‘I Could Be That Guy’ is overly busied with a gaggle of homeless people at the outset, whilst ‘When I Find My Baby’ descends into something of a chaotic mess of characters rolling around amongst one another. It’s a shame, as for the most part, Horwood’s choreography is as vigorous and vibrant as to be expected, but in places his direction seems to be trying to outdo the score, which is a great shame as some of Slater’s fantastic, funny lyrics get lost in the mayhem.

Overall though, this remains a fantastic, laugh-out-loud and admirably individual take on an inherently terrific show. It has feel-good to spare, sumptuous production values, a winning score and book, and a great cast who take you to church - and the dance floor - with style and aplomb. If it occasionally becomes a little too cluttered or overcooked for it’s own good, then the next big laugh or big number won’t be far off, and Burke and her nuns are the perfect soul sisters to give you an hilarious, must-see night out at the theatre that dazzles with funky moves, lots of laughs and plenty of joyful noise.

RATING - ★★★★
 

Tickets: 0844 871 3011  / Official Website: click