‘Sister Act’ review
‘delightfully camp [and] a true delight’
DULOG's Sister Act, produced by Zaynah Saiyed (assisted by Aaliyah Angir), is a fantastic way to spend a summer’s evening during the last week of term. The musical, based on Whoopi Goldberg's hit film of the same name, is delightfully camp, combining gospel elements with more traditional musical theatre elements set against a backdrop of Deloris, a woman thrust into witness protection.
First, enormous praise must be given to the musical direction team of Jeremy Aikens and Cameron Davies, assisted by Will Andrews. The harmonies in songs such as 'Raise Your Voice', as well as the balance between moving solos and immense ensemble numbers, are where this show shone. The musical team demonstrated an impressive understanding of gospel music that was evident throughout the show and ultimately made the production.
The band consisting of Tom Kerley (Keys 1), Ben Priest (Keys 2), Euan Bennett (Guitar), Nathaniel Paterson (Bass), Sammy Cormack-Repath (Trumpet 1), Josh Coutler (Trumpet 2), Lucy Denton (Drums), Ikenna Eze (Trombone), Megan Winter (Flute 1), Polly Armold (Flute 2), Freya Lockeretz (Alto Sax and Clarinet) and Ben Jalihal (Alto Sax and Clarinet) were virtually flawless. They performed in a room opposite the theatre, which presented a further challenge, yet did not hinder the quality of their performances one bit.
This could not have been achieved without the sound team, headed by Oliver Fitzgerald as both Sound Designer and Sound 1, Aniket Garg (Sound 2), and Gemma Christie (Sound 2). Moments of note included the use of echoes when Deloris first entered the church and the controlled balance of sound during large ensemble numbers.
Lara Sowande as Deloris was incredible. She started off the show as a version of Deloris that yearned for the spotlight, but as the musical unfolded, Deloris’ attitude changed as she became more understanding and accepting of the way of the nuns. This character development was acted beautifully throughout by Sowande, and her vocals at times filled the entire room. She should be incredibly proud of her performance.
The nuns were undoubtedly my favourite part of the musical, with each one demonstrating a unique personality. Clara Suss-Francksen's Mother Superior was fantastic; she commanded the stage every time she stepped onto it and provided a character that walked the line between authority and villainy, whilst never crossing into the latter. Her songs had the entire audience transfixed.
Fran Fitton as Sister Mary Patrick and Beth Dench as Sister Mary Lazarus provided another take on nuns, each delivering fantastic comedic performances. Fitton played an enthusiastic young nun and shone in vocal numbers with the use of her impressive upper range. Dench, on the other hand, played an older Mary Lazarus who was set in her ways but eventually loosened up; her commitment to the character and great stage presence absolutely made the choral scenes - her appearance in the bin during ‘I Could Be That Guy’ was hilarious.
The ensemble of Sophia Marrows, Naima Rayman, Yasmine Berrada, Molly Winchurst, Izzy Macintosh, and Anna Pile was superb. They played a multitude of roles and embodied each with passion. The standout for me was Sister Mary Roberts, played by Mathilda Ketterer, who was perfectly cast in the role. Her performance was phenomenal, from her acting to her singing, where she showed the power of her voice.
Christian Timothy's Sweaty Eddie was fabulous (baby!); his comedic timing was evident throughout his performance. This contrasted wonderfully with Damola Amusa's mobster villain, Curtis. Amusa's performance as a villain was brilliant, and he shone in 'When I Find My Baby', in which he delivered a song that contrasted its cheery tune with less cheery lyrics. He was flanked by the comedy trio of Joe Butler-Smith (Joey), Charlie McKie (TJ), and Midun Odunaiya (Pablo), who had the audience in fits of laughter every time they entered the stage. Butler-Smith specifically was amazing in 'Lady in the Long Black Dress'. The trio, along with Tom Carroll (Ensemble), also played a range of furniture from a bed to tables, which was a stroke of genius by the directing team. Too, Max Hildred as Monsignor O'Hara captured the entire audience during 'Spread the Love Around'.
Connie Richardson’s and Jobe Hart’s choreography worked well with the comedic nature of the musical; I only wish there was more of it in some songs. The parts that were choreographed had a unique flair and greatly enhanced the show.
The production team, led by Production Managers Lucy Smith and Leyla Aysan, had an immense task on their hands but executed it well. The stage crew, led by Cameron Howe (assisted by Martha Warde, Aoife Bowles, and Anna Devonshire), carried out several impressive scene changes, switching from club to station to convent quickly and efficiently.
The part of tech that stood out to me the most, however, was the lighting designed by Zac Jackson (assisted and operated by Kai Doak), which utilised several different types of lights, creating a visually appealing show. The lighting for me made the entire show, underscoring the music and acting, and was a testament to the skill and quality of Durham technicians. All of this was coordinated perfectly by the Deputy Stage Manager, Thea Jupe. The set, designed by Josie Coyle and Katherine Pringle, was also gorgeous - I particularly enjoyed how it interacted with the cast and developed as the musical progressed.
The show was a true delight; while there were some minor slips, Director Michael Nevin, assisted by Julia Panova and Joe Wilson, should be incredibly proud of the show they put together. It was fun, comedic, and I will be recommending it to everyone.
By Charlotte Blair.