Music by Alan Menken

Lyrics by Glenn Slater

Book by Cheri Steinkellner & Bill Steinkellner

Directed by Bill Buckhurst

Review by Annie Aslett

Tickets from £13.00

Walk into the King’s Theatre, and you’ll be greeted by disco balls glinting off the walls and disco fever in the air as the audience waits for curtain-up on Sister Act, the ‘divine musical comedy’ touring the country, directed by Bill Buckhurst. Starring West End powerhouse Landi Oshinowo as Deloris Van Cartier, the role originated by Whoopi Goldberg in the 1992 movie, and I’m A Celebrity alum and queen of Corrie, Sue Cleaver, Sister Act has had no difficulty getting audiences through its doors. The award-winning movie was adapted into its stage-musical form in 2006, with songs by Alan Menken and Glenn Slater, and the musical has seen global success in the intervening years, with a new star-studded cast currently staging the show in London’s West End. 

This touring production packs a punch in entertainment value, nailing the musical and emotional notes that make this show so beloved. Key to its success is Morgan Large’s set and costume designs, helped along by Tim Mitchell’s lighting design. The ethereal lighting, playing off clouds of wispy incense lit by the jewel tones of stained glass, creates the perfect Catholicism-but-make-it-showbiz atmosphere. Large has so many iconic looks to work with, from 70s gangster suits to nuns’ habits and police uniforms; the bedazzled versions for the final number are electrifyingly brilliant. The marriage of direction and costume is rarely so well-pitched as during Sister Act’s final bow when Deloris comes out in the outfit she has been dreaming about throughout the show, provoking a huge cheer and a final punch of emotion right before the curtain drops. 

The musical follows much the same story as the original movie and sees Deloris Van Cartier, an aspiring singer who witnesses her gangster boyfriend murder an informant, being hidden at the Our Lady of Perpetual Sorrow church amongst a sisterhood of well-meaning but sheltered nuns. Oshinowo brings effortless vocals and tongue-in-cheek charm to the role, at her best when pitted against Cleaver as the formidably dour Mother Superior. The verbal sparring between the two includes some of the show’s funniest lines, with Cleaver delivering a masterclass in deadpan humour. An actress first and foremost, Cleaver is clever not to go toe-to-toe with Oshinowo when singing, instead opting to speak most of her lyrics, which saves their final duet from an awkward mismatch in abilities. 

The Sister Act cast is at its best when working together, with songs such as ‘It’s Good to Be a Nun’ showcasing the incredible comic work of the nuns in the ensemble. Julie Stark is magnificent as Sister Mary Lazarus, consistently getting some of Sister Act’s biggest laughs. The performers have worked hard under excellent direction by Buckhurst, as each nun is embodying their character and squeezing every ounce of comedy from every scene; another masterclass here, this time in background acting, exemplified by Esme Laudat of the ensemble. ‘Raise Your Voice’ sees Deloris take the lead as choir director, whipping the out-of-tune women into shape. 

Symbolically, just as Deloris shows her less-experienced sisters the path to musical greatness, Oshinowo is the West End veteran and guiding light of a truly fabulous ensemble cast of future stars. Isabel Canning is infectious as the bubbly Sister Mary Patrick, combining impeccable character acting with a glorious singing voice that begs for a West End stage. Sister Mary Robert, a key role as the painfully shy, young postulant who is inspired by Deloris to break out of her shell, is played by Eloise Runnette in her professional debut. One would be hard-pressed to find a more impressive debut, as Runnette excels not only in bringing bucketloads of comedy to the role, with her baleful, doe-eyed expression and fully committed physicality but also provides the standout vocal performance of the night, with some truly impressive notes made all the more monumental coming from such an initially-timid character. 

Another hugely successful turn comes from Alfie Parker in the role of Eddie Souther, the cop with a crush on our leading lady. Parker oozes comedy from every pore and steals the show with his flamboyant physicality that has the audience in hysterics. The combination of Parker, Alistair David’s funk-filled choreography and the aforementioned talents of costume designer Morgan Large, make ‘I Could Be That Guy’ the unequivocal highlight of the first half. 

Unfortunately, a couple of phrases in the script take one out of the inclusive, warm tone that the show exudes. The musical adaptation, both in the UK and across the pond, has thankfully undergone various rewrites over the years, with some less-than-PC references to race, gender and sexuality being removed. Plot or script-wise, the film and musical make little reference to Deloris’ race, which is as Whoopi Goldberg and the filmmakers intended: the role of Deloris was originally offered to Bette Midler, who turned it down, leading to Whoopi’s casting. The story goes that Whoopi signed on upon the condition that the script underwent no rewrites on account of her race. In this production, a crude reference to Deloris’ race, and Mother Superior bandying about the word ‘transvestite’ feel out of touch and bizarrely out of place in this light-hearted and welcoming show. A fun-filled musical romp, this show is not trying to take a stance on important social issues, nor should it have to; more inclusive language would smooth over these clumsy and unnecessary lines. 

As movie-to-musical adaptations go, Sister Act is up there with the best, promising a truly enjoyable night at the theatre. At its heart, the show is about courage, friendship and how music can bring people together – you’re sure to leave the theatre with a smile on your face. Don’t miss it at the King’s Theatre from the 29th April to the 4th May. 

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