Karen Mann, Alexandra Burke and Jon Robyns in Sister Act at the Milton Keynes Theatre and Touring
Sister Act continues at the Milton Keynes Theatre until 1 October and then tours until 27 August 2017.
Star rating: three stars ★ ★ ★ ✩ ✩
While it’s a long time since I settled down on a Saturday evening to watch X Factor, I do remember watching Alexandra Burke’s ‘journey’ to victory in 2008.
Even back then, after a fabulous performance of ‘Candyman’, Burke demonstrated a versatility that hinted at a career beyond the recording studio.
Now, following up from her success both in the West End and touring productions of The Bodyguard, she is back on the road in another role which turns out to be perfect for her personality and talent – Deloris Van Cartier in the national tour of Curve’s all-new production of Sister Act (based on the hit 1992 movie starring Whoopi Goldberg).
Sister Act is a mixed bag of a show, it’s heart is very much in the right place, but the book drags a bit and there are only a handful – at most – of memorable songs (it’s hard to get Alan Menken and Glenn Slater’s ‘Fabulous, Baby!’ and ‘Sister Act’ out of your head). However, with the right staging and an outstanding ensemble, it can be a thoroughly entertaining romp – and that is just what this turns out to be.
There are always a few limitations placed on a touring production of a musical, but director and choreographer Craig Revel Horwood ensures the audience is unlikely to feel shortchanged. Indeed, for the most part he strikes just the right balance between the campness of disco, the irresistible rhythm of soul music and the inspiration of gospel – all played out in 1970s Philadelphia.
Perhaps it is not surprising that some of best numbers come when the all-attitude Deloris finally gets the opportunity to lead the choir based at the convent where she is hiding from her gangster boyfriend (a velvet-voiced but slightly sinister Aaron Lee Lambert). It’s a joy seeing the likes of mousey Sister Mary Robert (an excellent Sarah Goggin), Susannah Van Den Berg’s ever-optimistic Sister Mary Patrick and the force of nature that is Sister Mary Lazarus (Rosemary Ashe) relish the freedom brought on by the music.
Revel Horwood’s sharp, energetic dance routines and Sarah Travis’ musical supervision/arrangements have their part to play as well of course.
The power of music, not only to put more bums on church pews, but also to bring people together from different backgrounds, to nurture unlikely friendships, is underlined in this production by the way several of the performers also play instruments.
Occasionally it is a little gimmicky, but on the whole the approach brings added colour to the proceedings, and humour too – not least in the scene when policeman Eddie, surrounded by a homeless chorus, dreams of being the kind of guy Deloris could fall in love with. In this role, Jon Robyns is incredibly charming and owns the stage every time he appears, which isn’t often enough.
Robyns is not the only one who builds a convincing chemistry with Burke’s nightclub singer/pretend nun. As Mother Superior, Karen Mann is excellent as she does her best to resist the change brought on by Deloris’ presence, only to be ultimately impressed by the visitor’s spirit and loyalty.
Amidst all these talented artists, including a fine ensemble, Burke proves herself a genuine triple threat: vocals capable of power and sensitivity, on-track dance moves, a knack for comedic dialogue, and no-let-up in onstage energy. She is the real deal.
Lisa Martland
Readers may also be interested in:
Interview – Jon Robyns
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