Sandra Marvin in Sister Act at Curve Leicester and Touring. Picture: Manuel Harlan
Sister Act continues at Curve Leicester until 29 October 2022, then tours until 27 January 2023.
Star rating: five stars ★ ★ ★ ★ ★
The legacy of musicals adapted from beloved non-musical films doesn’t have the best track record. Among the absolute triumphs (Legally Blonde, Priscilla, Kinky Boots), there is a far longer list of misfires, where the addition of songs to such well-known material has added nothing, and raises the question as to why the creatives thought it was such a good idea.
Fortunately, when the Sister Act musical came along in 2006, it fully earned itself a place on the list of triumphs. Taking the story from the 1992 movie and adding the talents of legendary composer Alan Menken and lyricist Glenn Slater, the show was a hit on the West End, Broadway, and on tour in the UK. A new production has been entertaining the country since June, and is currently in residence at Leicester’s Curve.
On Christmas Eve in Philadelphia in the late 1970s, wannabe superstar Deloris Van Cartier (Sandra Marvin) witnesses a murder by her married lover Curtis (Jeremy Secomb), and is sent into hiding by the police. Figuring Curtis would never think to look for Deloris in a convent, police chief Eddie (Graham MacDuff) sends Deloris to blend in with some local nuns, under the watch of their Mother Superior (Lesley Joseph).
Soon realising Deloris lacks most of the qualities required to blend into their lifestyle, Mother Superior assigns Deloris to join the convent choir, where she soon achieves amazing results leading the group. But with Curtis trying to track her down, Deloris’ thirst for stardom and rising media attention may bring around her end rather than the fame she longs for.
Sister Act may not be particularly deep or profound, but it wears its heart on its sleeve with such uplifting joy that it delivers exactly what musical theatre should. The book (by Bill and Cheri Steinkellner, with additional material by Douglas Carter Beane) is pacy and funny, keeping a smile on your face while making you care about these characters.
Menken and Slater’s score remains a fun fusion of disco, Motown and gospel. Although it’s seen some reworking since its inception, this is mostly for the better, removing ‘Do the Sacred Mass’ which added little to the plot and also giving ‘I Could Be That Guy’ a funkier disco section which works really well. The decision to replace ‘How I Got the Calling’ with ‘It’s Good To Be a Nun’ is still a strange one, since the former was the funnier song and also gave Sister Mary Robert a backstory to explain her search for purpose.
Also opening the show, ‘Take Me to Heaven’ has been shortened, making its reprise at the end of Act I a little less effective. But overall it’s a great score, upbeat and joyful, and defies its original criticism of using original material rather than the songs from the original film.
Directed by Bill Buckhurst, this production of Sister Act feels big, proud of itself and wanting to shine like the glitterball that hangs at the top of the stage. It’s unashamedly fun, snappily paced and with a great sense of movement and flow throughout. The sets and costumes by Morgan Large are particularly impressive, with the characters looking fabulously retro and convent scenes looking especially beautiful, enhanced further by Tim Mitchell’s lighting design. It has felt that touring productions have been somewhat “stripped back” in the post-Covid world, but that’s certainly not the case here, with some of the best production values in recent months on display.
Energy levels are high throughout, with the cast really selling the material well. Choreography by Alistair David is fun and suitably “disco”, perhaps not quite as wacky as previous productions and losing a little of the inbuilt comedy of dancing nuns, but still entertaining.
The show is led brilliantly by its trio of fantastic character actresses. Lesley Joseph, fresh from playing Sister Mary Lazarus in the recent London production, is upgraded here to Mother Superior, and does a fine job. She’s a gifted comedic actress with an acerbic wit which she uses to full effect, and though she’s far from the greatest singer, she makes her two solos work.
As Sister Mary Robert, Lizzie Bea creates perhaps the most likeable version of the character to date, hugely endearing and really delivery the nun’s journey. Fans of her big voice will also be delighted with her showstopping rendition of ‘The Life I Never Led’, with a final belting note that will make the hearts of ballad-lovers soar.
Sandra Marvin makes for a fantastically entertaining Deloris, with her sass levels only equalled by her vocals, which are outstanding. When she stands there singing “Look at me/Can’t you see/I’m fabulous baby…” it’s not just lyrics, it’s a war-cry from a talented powerhouse owning a role, and she shines.
Other standouts are Catherine Millsom as Sister Mary Patrick, who radiates sunshine-levels of warmth and positivity while also sounding brilliant, and Bradley Judge as TJ, making a relatively small role into a memorable one and showing off an impressively versatile voice which deserves to make him a leading man at some point.
Sister Act sets out to give its audiences a good time, and delivers it in spades. When those singing sisters hit their stride, the show delivers a feelgood factor that few shows reach, and its finale has you smiling from ear to ear as you walk out. It really is a “joyful noise”, and this heavenly show provides one hell of a good night out.
Rob Bartley