Sister Act at the Nottingham Theatre Royal delivers an evening brimming with vibrant energy and standout performances that make for an unforgettable experience. The stage adaptation of the beloved 1992 film shines thanks to its incredibly talented cast, who inject charisma and heart into every scene. From the excellent characterisation of the lead actors to the dynamic ensemble numbers, the show is a testament to the performers’ dedication and skill. While the production encounters a few technical missteps, the sheer talent on display ensures a thoroughly entertaining night out.
The first act unfolds at a steady, engaging pace, as we are introduced to Deloris Van Cartier, the larger-than-life lounge singer hiding out in a convent after witnessing a murder. The ensemble does a fine job of establishing the musical’s tone and pace, punctuated by some energetic group numbers that keep the audience engaged. However, the second act begins to lose momentum. With an overabundance of ballads and reprises, it feels drawn out, meandering towards an ending that rushes by far too quickly. The tonal shift in the finale feels abrupt, almost out of sync with the more light-hearted moments that precede it, leaving the audience with a somewhat anticlimactic close.
Bill Buckhurst’s direction, while solid in some areas, occasionally feels lacking, especially in scenes that should sizzle with tension or wit. Alistair David’s choreography, while spirited in the ensemble pieces, struggles during solo numbers. One particularly uncomfortable moment comes during Curtis’ song “When I Find My Baby.” With lyrics that paint a disturbingly dark picture, the number is presented with a vague attempt at humour but ends up falling flat due to a lack of energy on stage. The staging is rather static, leaving the song feeling awkward and monotonous, never quite finding the right balance between dark comedy and menace.
Visually, the production could have benefitted from more cohesive lighting design. Tim Mitchell’s lighting does a fine job illuminating the central action, but often leaves characters in shadow during key moments when they step forward. At times, it seemed as though the lighting simply couldn’t keep up with the actors’ movements, resulting in unintentional dips into darkness that detract from the otherwise lively action.
Despite these issues, the music—composed by the legendary Alan Menken with lyrics by Glenn Slater—remains one of the show’s undeniable strengths. The score cleverly reimagines the iconic music from the film, delivering a series of memorable numbers that showcase the cast’s vocal prowess. Menken’s work imbues the production with energy and joy, making it impossible not to tap along to the catchy tunes.
However, while the musical numbers excel, the book by Cheri and Bill Steinkellner feels uneven. The writers attempt to expand upon the film’s original plot, but some new elements, such as the pantomime-like slapstick moments, feel out of place. The darker undertones of the story aren’t given the weight they deserve, which unfortunately leaves the production feeling tonally inconsistent at times.
That said, the show’s greatest triumph is its cast. The onstage talent breathes life into the characters, grounding even the more absurd moments in believable and delightful performances. Eloise Runnette as Sister Mary Robert is a true standout. Her performance is captivating to watch, particularly through her impeccable characterisation during choreographed ensemble numbers. She brings a delightful awkwardness and energy to the role, blending shy innocence with bursts of excitable enthusiasm. Her vocal performance is equally impressive, with each note delivered with exceptional precision and passion.
Landi Oshinowo, in the role of Deloris Van Cartier, oozes star power. Her charisma and vocal ability shine throughout, perfectly capturing the lovable diva’s essence. Opposite her, Wendi Peters as Mother Superior is a force of nature. Peters’ comedic timing is impeccable, but it’s her powerful vocals, particularly in the solo “I Haven’t Got a Prayer,” that leave a lasting impression.
Julie Stark’s Sister Mary Lazarus is a joy to watch, with her raspy voice and kooky character bringing plenty of laughs. Isabel Canning’s Sister Mary Patrick also delivers a wonderfully memorable performance, drawing just enough from Kathy Najimy’s iconic portrayal in the original film to feel nostalgic while also making the character her own.
Overall, Sister Act at the Nottingham Theatre Royal is a lively and entertaining show, bolstered by its exceptional cast and the infectious energy of Menken’s score. While it suffers from some pacing issues and uneven direction, it remains an enjoyable, feel-good experience that delivers on the musical’s central message of sisterhood and finding joy in unexpected places. Despite its flaws, it’s a show worth seeing for the performances alone.
Sister Act is playing at Nottingham Theatre Royal until the 21st September where it will continue its UK tour.
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