By Ian Diddams
Photos by Gail Foster
In 1971 Ken Russell enchanted film audiences with “The Devils”, which incorporated nuns in the story – somewhat controversially. This was six years after Julie Andrews, aided and abetted by yet more nuns, thwarted the Nazis in “The Sound of Music”. By 1980 nuns had become less controversial, less politically motivated, as instead the object of scorn and fear by “The Blues Brothers”. So, by the time 1992 rolled around, nuns were old hat in the film industry and especially the musical genre. Nothing was left to use them for, surely. Enter Whoopi Goldberg, stage left in 1992, and “Sister Act” with a general plotline of “how do you solve a problem like Deloris?”
In the intervening decades the film was transferred to a stage musical in the West End then to Broadway, and subsequently via the auspices of community theatre groups to a stage somewhere very near you. The basic plotline is simple enough – naughty wannabe girl singer hanging with a hood witnesses a murder, goes on the run, hides in a convent, transforms its choir and the convent’s financial future, is discovered by ex-boyfriend, and is protected by the sisters before being saved by her teenage admirer now a policeman. Who overcomes his fear of guns by shooting said gangster boyfriend – how very P.C.!
The whole show of course is strung along by those foot tapping songs by Menken and Slater providing opportunities for vast quantities of choreography by nuns. And its these scenes of twenty-one nuns (I counted them all out, and I counted them all back) cavorting joyfully across St. Augustine’s Catholic College’s stage (where else better for a musical set in a convent? Unless maybe in a convent I suppose…) that will linger in the mind’s eye for a while yet to come.
This is Trowbridge Musical Theatre’s second nun based show in just over a year now, following on from thwarting Austrian Nazis in 2023. Perhaps it is becoming a habit for them? There would be nun better to do so let’s face it. (*Ahem* – less puns please – Ed.) Sarah Davies makes her directorial debut and her touch is seen throughout the show with little, perfect moments. Choreography by Anna Mazan in true “Sister Act” style fills the stage with synchronised movements throughout the show, no better personified by the nuns’ ensemble’s activity … the stage isn’t the largest and there’s a LOT of nuns strutting their wimples but a blend of sways, grinds and hand jive leaves at times a breathtaking display before your eyes.
This is a large cast and so “I haven’t got a prayer” of covering everybody – but rest assured though that EVERYBODY was “Fabulous baby!”
Frankie Walker leads from the front as Deloris Van Cartier (“You know, like Cartiers”). Her stage presence is immense, and she captures the initial sassy character of Deloris that shifts to a later caring communal love to perfection. Tim Hobbs wades in as the grand master of chaos and nastiness as Curtis, with his unlikely trio of useless henchmen – well done with the Spanish Paul West! – including the irrepressible TJ played by Noah Heard with the slickest of moves on the dance floor.
Eddie was wonderfully portrayed by Davey Evans compete (of course) with sweaty armpits and – with some help naturally – a stunning double clothes rip change. The three “Sisters of Mercy” – Marys Robert, Patrick and Lazurus – were more than ably carried by respectively Carisma Dolphin, Daisy Woodruffe and Dani Fuke. Carisma’s vocals more than rose to the occasion, soaring over the band, while Daisy’s portrayal of the goofy nun was slapstick at its finest, and full kudos goes to Dani’s comedic timing and delivery as the straight-laced but wonderfully sardonic ex choir leader. Finally in this mini round-up is last but by no means least, the show’s Mother Superior Michelle Hole. Clear as a bell and with wonderful projection, her every line and note were delivered perfectly. A truly bravissimo performance.
Now – no musical is complete without its ensemble, its chorus. And what a chorus! If anything, and if this is not an unfair thing to say in a community theatre review, they collectively stole the show. Take a bow all twenty nuns for your rousing singing, harmonies, choreography akin to the red arrows at times, hand jive, swaying and a swinging and a grinding. As well as tiny cameos amongst it all, including (my favourite) an homage to the Dance of the Cygnets from Swan Lake at one stage (and hats off to choreographer Anna too of course!). And a special mention is needed for all of the cast that had multiple costume changes in the show stretching between a nun, fantasy dancer, bar patron, street singer, hooker and goodness knows what else in their blur of appearances. You all made it look as if you were indeed finding it “Good to be a Nun”!
The set was simple but well presented, with effective use of corners for office scenes etc. No musical of course is possible without its band and the ten piece orchestra led by Musical Director Helen Heaton with a GREAT horn section delivered all the right notes AND in the right order 😊
There is one real star of the show not mentioned yet. Top music, top singing, top performances, top choreography all lead to a top show but there was one thing that really set this entire thing off brilliantly. By far and away the dazzling STAR of the show were the costumes, so take a bow Sandra Tucker, Karen Grant, Kirstie Blackwall and Sarah Davies.
“Sister Act” by Trowbridge Muciscal theatre is showing at St. Augustine’s, Trowbridge nightly from May 29th to Saturday 1st June at 7.30pm plus a Saturday matinee at 2.30pm.
So “Spread The Love around”, grab a friend or ten and get thee to the show – tickets available from the Ticket Source box office.
No recorders were harmed in the making of this production.
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