Oh happy day! Nuns of fun on the run in Sister Act
Casey Donovan leads a talented cast in the musical Sister Act – and while the stage show is a nod to the film, it’s also a whole new creation in itself.
Inspired by the 1992 film starring Whoopi Goldberg, the stage musical Sister Act, set in 1970s Philadelphia, is frothy, camp and fuelled by kookiness.
On opening night at QPAC’s Lyric Theatre, it was evident that there’s not much of a plot, but the narrative hook has immense appeal.
On Christmas eve, wannabe singer Deloris Van Cartier (Casey Donovan) happens to witness her married gangster boyfriend Curtis (Damien Bermingham) murder a suspected police informant. Fearing for her life, Deloris seeks witness protection, but to her and the Mother Superior’s (Genevieve Lemon) abject horror she is despatched to a dreary, down-at-heel convent by police lieutenant “Steady” Eddie Southern – charmingly portrayed by Raphael Wong. There she is awkwardly disguised as Sister Mary Clancy.
While the film soundtrack rocks gospel with the likes of Oh Happy Day and I Will Follow Him, the staged version has a shiny new set of soul and disco numbers by songwriter Alan Menken and lyricist Glenn Slater, who’s irreverent and at times outlandish lyrics pack a comedic punch.
Even so, the departure from the film’s gospel-powered score is dislocating initially. Just as well Menken’s track record as a songwriter is pure gold. He penned the hits for blockbusters such as The Little Mermaid, Beauty and the Beast and Aladdin. His ballads flesh out characterisations.
For instance, in Mother Superior’s poignant lament, I Haven’t Got a Prayer, Genevieve Lemon’s diction is excellent. The irreverent, lampooning lyrics blaze with clarity – “I’ve got disco piped into the cloister. Celibate nuns out there shaking their buns”.
Junior postulant Sister Mary Robert’s plaintive The Life I Never Led is greeted with heartening applause. The tight, seven-strong band with musical director Daniel Griffin scorching the keys captures an infectiously pulsing groove in delivering the upbeat playlist.
Standouts include It’s Good to Be a Nun, Sunday Morning Fever and Bless Our Show. The first choir sequence towards the end of the first act, Raise Your Voice, hits the spot and here, at last, the show ignites after the rather slow burn of the initial scenes.
Casey Donovan, who won TV’s Australian Idol 20 years ago, gives her all as Deloris – the floozy, potty-mouthed diva and the roguish fun nun she temporarily becomes. She commands the stage in a winning performance. Her singing has mettle and steel. She can belt, soar and throw the gentlest heart-piercing tone when it’s least expected. Donovan is a champion of music theatre.
Rhonda Burchmore is brilliant as Sister Mary Lazareth. She doesn’t overplay her hand but brings the house down in a hilarious hip-hop routine. Boyfriend Curtis’ trio of criminal sidekicks (played by Jordan Angelides, Tom Struik and James Bell) stoke the humour in When Can I Find My Baby with their ridiculous, flirty moves.
On balance, the dance impresses with a blend of funky chicken, bus stop, retro YMCA and Saturday Night Fever choreography. At times, though, the moves are repetitive – like the overused hip-grinding manoeuvre in the first act and routines that fail to fully exploit the dancers’ immense talent.
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The second act is a blast – classy and authentic with a rewarding spirit of sisterhood and solidarity, which builds into a stunning climax with eye-popping colour, dazzling nuns’ habits and an irresistible spirit of celebration.
Despite a few shortcomings, this is an enjoyable show, a blatant crowd pleaser with three strong female leads, a convincing ensemble of nuns, a toe-tapping score and some superbly directed moments – not to be spoiled by revealing them here.
Sister Act continues at the Lyric Theatre, QPAC, until March 15.