Performance Run: Mon 12 - Sat 17 September 2016

Performance Reviewed: Mon 12 September (Press Night)

A potential pitfall for any lengthy tour, no matter how vibrant and upbeat a show it may be, no matter how solid the source material or catchy the tunes, is that it’s not completely unknown for a late-in-the-tour lag or apathy to set in; the initial spark and shine understandably dulling somewhat as the lines, numbers and steps become part of the day to day routine.

Thankfully, not only is there no trace of that happening with this latest touring production of Sister Act, but there’s actually been a marked improvement from when reviewed earlier in it’s run. The performances seem fuller, the choreography and on-stage energy slicker, and lead Alexandra Burke is in far stronger voice than her already-impressive vocals in Birmingham back in September. Considering it was already a fabulous, infectious and characterful four-star production, seeing the show ‘raise its voice’ even higher is a real thrill, and makes for an even more joyful noise!

And after all, Sister Act is not by any measure a particularly old musical. In fact, after it’s initial 18 month run in the West End beginning in 2009, it has only had a single professional UK Tour prior to this one. It’s refreshing, then, to see Craig Revel Horwood and the new stewards of Deloris and the gang lending the show such a distinctive new look and feel. From the imposing and surprisingly versatile staging, completely new choreography (courtesy, naturally, of Horwood) through to a hearty actor/muso infusion, there is no resting on laurels or rehashing what has come before here; this is an all-new take on Sister Act that feels fresh and distinctive in a way which few touring productions manage to accomplish.

For the most part, it is a rousing success. Matthew Wright’s set design (which seems particularly well suited to the Grand) impresses from the off, perfectly malleable from a dingy bar or nightclub, with Richard G Jones’ vibrant, transformative lighting equally top dollar. We are introduced, as per the 1992 Whoopi Goldberg original, to singer Deloris Van Cartier (Alexandra Burke) as she attempts to impress her married lover, pimp-cum-gangster Curtis (Aaron Lee Lambert), to feature her in one of his shows. Events take a turn for the worse when she witnesses Curtis and his minions murder a police informant, at which point she is hurried away to the protection of a local convent, much to the dismay of its Mother Superior (Karen Mann).

In terms of both spectacle and entertainment, it is here where the show really finds its wings (or receives it’s calling) - lashings of fish-out-of-water comedy and spirited anarchy as the brash, sassy and abrasive Deloris attempts to fit in with the strictly Mother Superior’s ways and befriends the lovable gang of Nuns under her leadership. It’s also where the staging really comes alive - as mentioned, Wright’s set practically offers a fully fledged church interior to play with which makes for an evocative and authentic presence throughout, though it is a shame the built-in clerestory isn’t put to use more than just occasionally housing extra musicians and ensemble throughout. 

Sister Act is an irrepressibly fun slice of musical theatre - the character work and comedy on-point throughout thanks to Cheri and Bill Steinkellner’s witty, sharp book and Alan Menken and Glenn Slater’s fantastic music, which is positively bursting with characterful wordplay and knowing references. With song titles including the likes of ‘Sunday Morning Fever’, ‘Take Me to Heaven’ and ‘Lady in the Long Black Dress’, you know you’re in good ecclesiastical company. And it’s all given a very welcome disco slant, too, with the entire piece transplanted from the early 90’s as per the film to the funky 70’s.

With previous ownership of the role in the hands of musical theatre heavyweights such as Patina Miller and Cynthia Erivo, Alexandra Burke had a big habit to fill stepping into the role of Deloris. Burke does a brilliant, spirited job, ratcheting up the sass and energy of the character, whilst her dance training is in full show during the big choral numbers but also the countless idiosyncratic leaps, bops and dainty side steps she does throughout.

Her relative acting inexperience occasionally bubbles to the surface as some lines of dialogue are hushed or rushed, but generally she gives a fun, wilful and funny performance, aided immensely by the innate humour of the book she is working with. Vocally, as mentioned, Burke has stepped up her game notably from earlier in the run, delivering knockout renditions of practically all of her character’s big numbers - of which there are numerous. Her rousing, powerhouse takes on the likes of ‘Raise Your Voice’ and ‘Sister Act’ in particularly genuinely elicited chills.

Amongst the rest of the cast, the ever-reliable Karen Mann continues to prove why she is arguably the best Mother Superior yet, whilst Sarah Goggin, Susannah Van Den Berg (who also starred alongside Mann in a recent tour of Fiddler on the Roof) and Liz Kitchen are tremendous fun as the core trio of nuns - Sisters Mary Robert, Patrick and Lazarus respectively. Goggin gets some powerhouse singing in Act II, whilst Van Den Berg channels her inner Kathy Najimy in true, lovable style, and Kitchen raps her way through ‘Sunday Morning Fever’ in hilarious style. Joe Vetch replaces Jon Robyns as ‘sweaty’ Eddie, giving a likeable turn as the hapless cop attempting to help Deloris, and also showcasing some smooth vocals in ‘I Could Be That Guy’.

Aaron Lee Lambert offers a slightly more cartoonish Curtis than has perhaps come in the past, but his three cohorts Joey, TJ and Pablo continue to steal scenes from under his nose. As cited back in Birmingham, Sandy Grigelis as young TJ further cements himself as a talent to watch; hugely characterful, quirky and endearing, whilst also disappearing into the ensemble as one of the animated Nuns when the bigger numbers require.

The team behind this new tour of Sister Act clearly set out to present their own individual take on the show, and it’s a big, vibrant, vivacious treat of a production which still leans on the strengths of its book and score. It still has some of the same shortcomings found earlier in the run, though - Horwood has a tendency in places to over-complicate things, with some of the numbers feeling a trifle cluttered or over-produced. In the titular song, Burke meanders around on stage between her friends where a stripped back, simpler staging has registered far stronger in previous productions. Similarly, ‘I Could Be That Guy’ is overly busied, bizarrely, with a rather ill-judged gaggle of drunken homeless people from the offset.

It’s a shame, as for the most part, Horwood’s choreography is as vigorous and vibrant as to be expected, and he was clearly keen to infuse as much character and vibrancy into each beat of the show, but in places his direction seems to be trying to outdo the score, which is a shame as some of Slater’s fantastic, funny lyrics get lost in the mayhem.

Overall though, this remains a fantastic, laugh-out-loud and admirably individual take on an inherently terrific show. It has feel-good to spare, sumptuous production values, a winning score and book, and a great cast who take you to church - and the dance floor - with style and aplomb. If it occasionally becomes a little too cluttered or overcooked for it’s own good, then the next big laugh or big number won’t be far off.

And with this current touring production not only showing no signs of slowing down, but rather going from strength to strength, Burke and her nuns are the perfect soul sisters to give you an hilarious, almost sinfully good night at the theatre.

Fill the pews and banish your blues, Sister Act is FABULOUS, baby.

RATING - ★★★★★

Tickets: 01902 429 212  / Official Website: click