Book by Cheri Steinkellner and Bill Steinkellner

Music by Alan Menken

Lyrics by Glenn Slater

Directed by Bill Buckhurst

Tickets from £28.50

Oh, happy days – church is in session, and the Festival Theatre rings out with the bells of Sister Act, the musical adaptation of the hugely popular Whoopi Goldberg film. The divine musical comedy that finds a down-on-her-luck bar singer and dancer dons a habit to escape a violent criminal has been a firm fan-favourite of musical theatre fans for over a decade. Armed with humour, choreography, a superb cast of returning and bright new stars, and a few rosaries for good measure, the prayer for a feel-good and thrillingly talented night out has been answered for audiences in Scotland.  

Deloris Van Cartier only wants the simple things in life: a record deal, fame, and a white fur coat which doesn’t belong to her lover’s wife. But while dumping a hand-me-down blue, not white, fur in the dumpster out the back of Curtis Jackson’s nightclub – her entire world is shattered when she witnesses the gangster killing of an informant by Curtis and his cronies. Luckily, the finest of the boys in blue Eddie is a school friend of Deloris’, and he knows precisely where to hide her.

The Olivier Award-nominated show sticks by the letter for the film’s beats, but the musical infusion stands apart from the film’s jukebox nature – with an array of original, seventies inspired score from Disney legend Alan Menken (Beauty & The Beast) and lyrics by Glenn Slater. Fusing a seventies-inspired vibe with a gospel element of the Mother Superior and the sisters, Sister Act achieves a blissfully enjoyable score that is as warming as it is grooving.

Donning their Disco boots once more the spectacular Landi Oshinowo is back amongst the sisters, this time leading the choir as Deloris. Taking to the character with a punch of energy with a delicacy that retains the heart of the show. Oshinowo manages to strike a balance at not robbing too much attention while commanding the stage. Everyone benefits from sharing a scene with the lead. It takes a while to hear the titular song performed by Oshinowo, but throughout the show hints at the power behind the vocals are peppered in the gospel choir moments and more erratically charged moments. Their chemistry with the entire cast is electric to watch, drawing out the pep and vim from the more reserved Sister Mary Roberts (captured tremendously by Lizzie Bea) or the down-on-his-luck, scene-stealing, Aldie Parker as police officer Eddie.

To have even half the energy of Lesley Joseph would be a godsend to anyone even half the performer’s age. Who turns in as tight and measured control of Alistair David’s choreography as the rest of the cast (though to be frank, the winner is Parker’s swinging hips for I Could Be That Guy). Joseph doesn’t only bring their trademark comedic timing and expressions – the slightest wink or twitch spotted in the dress circle, but they capture as intense and sincere the heart of the performance as Oshinowo’s Deloris. A woman who feels the encroaching tide of change coming into her home, crumbling the walls of her faith, her performance of Here Within These Walls may not be the biggest crowd-pleaser in terms of pace or choreography, but is a striking stand-out in class, elegance, and true showmanship as Joseph gives it their all under the gorgeous stained-glass aesthetic of Tim Mitchell’s lighting.

Though plagued with a few opening night jitters, Mitchell’s lighting takes centre-stage for the productions’ visuals – rings of stained-glass arching over a relatively simplistically staging from Morgan Large’s set dressings. A few church pews, dumpsters and tables aid in shifting locations, but otherwise the stage is spacious, allowing the personality and creative choices of the music to have the audience focus. Colour is the heavenly addition which catapults many of the numbers into visual displays which dip into extravagance and turn anyone into a believer of a good time, especially when paired with Large’s creative costumes for one of the most intensively enjoyable finales, bar nun.

Villainy still worms its way even into the house of the lord, though Ian Gareth-Jones’ Curtis has a less sinister presence than that of the cinematic counterpart, the role is still carried with a vicious edge. Rounding out the more comedic moments, Bradley Judge, Damian Buhagiar, and Callum Martin take great glee in flinging themselves around the stage as Curtis’ lackeys TJ, Pablo, and Joey. But they’re no match for the sisters of The Holy Order of the Little Sisters of Our Mother of Perpetual Faith, especially the (oddly violent and perplexingly brutal) techniques of Lori-Haley Fox’s Sister Mary Lazarus and Isabel Canning’s bouncing Sister Mary Patrick.

Under the expert command of the superbly well-structured musical direction from Neil MacDonald (featuring a cameo from his Holiness no less), the live orchestra carries a rhythm of life and fulfilment long after the curtain falls. Say amen for a near-perfect ten for ten; Currently nominated as one of the TOPTEN in the London Lifestyle Awards (winner announced at the end of the month), Sister Act is the biggest celebration in Edinburgh right now – and you’re all welcome into the convent. Vivacious, pleasing, and with a heart bursting with musical joy, the only sin which can be committed this week is not grabbing a ticket.