Musical review: Sister Act
Casey Donovan and a fully sequined cast of singing nuns reinvent the Whoopi Goldberg classic in a show full of musical triumphs and spiritual epiphanies.
Sister Act: The Divine Musical Comedy might be inspired by the 90s comedy classic, but with Australia’s own Casey Donovan bringing Whoopi Goldberg’s iconic character Deloris Van Cartier to the stage this production doesn’t need to rely on movie nostalgia.
We meet Deloris in 1970s Philadelphia, an aspiring singer desperate to be discovered — until she’s forced into hiding after witnessing her married, mobster boyfriend (played by Adam Murphy) commit a murder. She lies low at Our Lady of the Perpetual Sorrow, a struggling catholic church that is home to a gaggle of nuns, taking the name Sister Mary Clarence as she begins to transform its pitchy church choir into a musical sensation.
As the leading lady Donovan is spectacular. Her Deloris has soul, sass, depth and warmth, and the audience cannot take their eyes off her. She completely owns the stage with a presence and vocal power that is nothing short of astounding. What gives Sister Act its real shine, however — apart from the disco balls — is the collaboration across the ensemble.
There are some big names and big talents within the convent’s ranks, but they complement rather than outshine each other, their unique energies and characters blessing every song and dance move. Act One’s climax is a sensational display of group vocal talent as the nuns discover their collective voice under the guidance of Sister Mary Clarence. The song, ‘Take Me to Heaven’, leaves the audience with goosebumps. The music, by Alan Menken, and lyrics, by Glenn Slater, are soulful, joyful triumphs.
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Rhonda Burchmore’s turn as Sister Mary Lazarus Bergman sees her musical talent equalled by her comedic skill — best demonstrated when she breaks out into a version of ‘Rapper’s Delight’. Genevieve Lemon wins over the hearts of the audience with a brilliant portrayal of the harsh, straight-laced Mother Superior, while Sophie Montague and Bianca Bruce combine sincerity and high-energy as Deloris’ confidants Sister Mary Robert and Sister Mary Patrick.
The crew of bumbling mobsters, made up of Jordan Angelides, Tom Struik and James Bell, make for a memorable comedy trio, and their songs ‘When I Find My Baby’ and ‘Lady In The Long Black Dress’ are two highlights of the show. The loveable cop Steady Eddie, played by Raphael Wong, is also a crowd favourite.
Under the direction of Bill Buckhurst, and with choreography from Alistair David, the staging and movement, especially in combat scenes, is thrilling, fast-paced and adds a layer of physical comedy to the piece. Set and costume designer Morgan Large does an exquisite job in bringing the world of Sister Act to life. From the seamless transitions between a gothic cathedral and a police station, to a street chase with a pedicab, audiences are fully immersed. Accompanied by considered and creative lighting from Tim Mitchell and sound design from Tom Marshall, for the two and a half hour run time the Festival Theatre feels like 1970s Philadelphia.
Building towards a climax featuring fully sequined habits in every colour of the rainbow, the nuns create a sea of inclusivity, and a camp celebration of pride, diversity and everything it is to be human. Sister Act: The Divine Musical Comedy is not preachy, but it could be considered a spiritual awakening, one that takes us to a version of heaven riddled with epiphanies about the power of music, spirituality, humanity and the common ground that connects us.
Sister Act continues at the Festival Theatre until April 19