Forego the life of sin, get back in the habit and prepare to raise your voice! A divine musical sent from above, Sister Act has debuted on Australian shores in all its award-winning holiness. On the grungy streets of Philadelphia, Deloris (Casey Donovan), an aspiring singer, becomes witness to a murder and is forced into witness protection. As there’s no protection quite like the Lord’s, she’s sent to a convent of nuns where she leaves behind her material world, but inspires with her voice.
Sister Act is a musical that, in theory, lends itself to the ‘jukebox musical’ structure very well – it would be easy to get the party started with choral renditions of iconic 70s hits. However when you have legendary composer Alan Menken at your disposal, it’s a no-brainer that you make full use of his heavenly talent and craft a Motown-inspired original soundtrack that brings the house down. From flashy upbeat jams like “Take Me to Heaven” to emotion-heavy ballads like “The Life I Never Led“, Menken has fleshed out this musical with certified hits that should be staples in everyone’s musical playlists. There’s a few notes that even evoke a similar aura to his The Little Mermaid music – a delight for fans of his discography.
Reprises are a core part of a musical’s journey, and Sister Act makes use of them beautifully well to showcase the immense growth in its characters over the course of the story. It’s never just a “remember this song you liked, well here it is again” moment – the lyrics take on new meaning with the enlightenment many of characters experience, and the delivery of the performers really helps emphasise that fact.
While this smash-hit musical hinges on filling the theatre with joy and laughter, it doesn’t forget to weave a great deal of heart and soul into its story. While wonderfully quirky and laden with comedic hijinks, the characters feel authentic, and it’s blissfully easy to get behind and root for not only Deloris, but many of the nun characters. Each of the speaking nun roles have a unique trait that makes them memorable and easily discernible amongst the sea of habits. They each exhibit an element of growth that sees them come out of their shell and embrace who they truly are, while at the same time not casting aside their devotion to the church. It adds layers to the production that only enhance the experience.
There’s few powerhouse talents who can lift an entire production with their presence alone, and Casey Donovan is one of them. She is a force of nature on the stage, showcasing her breathtaking vocal range and ability to effortlessly shift octaves mid-song. She has such an electric, charismatic presence in the role of Deloris that it’s impossible to take your eyes off her – she nails every single musical sequence and even hits the emotional beats with ease, cementing herself as a true legend of the stage. Not only does she knock her leading performance out of the park, but she charges up everyone around her, elevating their respective performances and forming a stellar ensemble. I can’t sing Donovan’s praises enough, but there’s a lineup of other impactful performances to get to.
In the role of the humble, adorable, bumbling police officer Eddie “Steady Eddie” Souther is Raphael Wong. Talk about being perfectly cast for a role. Wong does an incredible job at portraying Steady Eddie’s reserved demeanour, while appropriately displaying his drive and wholesome, well-meaning attitude. As he shuffles his way through his big musical moments, he immediately gets the audience on the side of his character with a combination of awkward yet hilarious beats and that classic good-guy persona. While that’s a perfectly-cast role, the weakest link is the casting of Deloris’ gangster boyfriend Curtis Jackson, played here by James Bryers. He does a decent job, but in a show where everyone else is stellar and he’s a couple of levels below, it stands out. It’s not so much his fault, but more the fact that he’s miscast – for comparison, the film’s counterpart is played by Harvey Keitel, who gives off much more of a gangster vibe as opposed to a lackey.
Of the nun roles, there are a number of standouts. The decades of experience that Genevieve Lemon and Rhonda Burchmore, as Mother Superior and Sister Mary Lazarus, bring to the production is priceless. Lemon is exceptional when it comes to playing the hardened, authoritative Mother Superior, never breaking character and even weaving in hilarious bits of levity. There’s even one moment she cleverly, in-character, retorts to a keen whistler in the audience, showcasing her impressive improvisation prowess. Burchmore also has a strong stage presence, garnering huge laughs and rounds of applause whenever she flaunts her big, vibrant personality and belts out her incredible vocals.
Likewise, Sophie Montague as the young, timid Sister Mary Robert and Bianca Bruce as the boisterous, always-lovely Sister Mary Patrick consistently light up the stage with their presence. Montague is given a few huge musical moments that enhance the emotional weight of the narrative, and she delivers flawlessly, causing the audience to erupt with cheer when she hits those glass-shattering highs. Bruce is one of the biggest avenues for comedic relief, always lifting the energy in the room with her comedic timing and stunning musical contributions.
The set design and staging, helmed by Morgan Large, is another area where the production excels. From a police station to a bar and even the innards of a church, every location is wonderfully represented with minimal on-stage props and backdrops. Every time a new element is dropped from the ceiling it adds a sense of joy and grandeur to an already visually impressive production. The simple application of disco balls through the theatre, and the way the lighting bounces off them is another alluring quality that makes the musical so enjoyable.
If it’s a night of holy entertainment you’re looking for, join Deloris for a trip to the convent that will alter the trajectory of your life… or just provide you a few hours of blissful joy and laughter. Alan Menken’s soul- and disco-fuelled soundtrack is packed with hit after hit, getting the feet tapping and head bouncing through the entire production. With powerful performances aplenty, show-stopping numbers from Casey Donovan, Genevieve Lemon and Sophie Montague, and a host of delightful choreography to go along with it, Sister Act is the type of musical you see again and again.
FOUR AND A HALF STARS (OUT OF FIVE)
Sister Act is now playing at the Regent Theatre in Melbourne through to January 26th, 2024. The sermon then moves to Brisbane, Adelaide and Perth through 2025. For more information and to purchase tickets, head HERE.
Reviewer attended on Friday November 8th, 2024
Photo credit: Daniel Boud
