Review: Sister Act
By Alex Roy
The time has come: my final ever DST review! As a Theology MA student, there could scarcely have been a more fitting production on which to close this chapter than DULOG’s Sister Act, this production managed by Lucy Smith and Leyla Aysan, and produced by Zaynah Saiyed (assisted by Aaliyah Angir). Bursting with joy, it was a powerful reminder of the calibre of talent that continues to permeate Durham’s theatre scene. Better still, it brought DULOG audiences somewhere new, transforming the intimate Collingwood Arts Centre into a glittering convent unlike any I had seen before.
Based on the beloved 1992 film, Sister Act follows nightclub singer Deloris Van Cartier, who, after witnessing a murder committed by her gangster boyfriend Curtis, is placed into witness protection in the last place she could possibly imagine: a convent. What follows is a riotous collision of worlds as Deloris turns a struggling choir into a musical sensation, changing both herself and the sisters around her in the process.
The production’s greatest triumph lay in the assured direction of Michael Nevin
The production’s greatest triumph lay in the assured direction of Michael Nevin, assisted by Julia Panova and Joe Wilson. Every movement, interaction, noise and mannerism had been meticulously crafted to foreground the comedy of the piece, and it proved precisely the right tonal choice. The ensemble, in particular, demonstrated remarkable comic precision. Charlie McKie’s TJ led the charge with infectious energy, while Midun Odunaiya’s work in the opening scenes, punctuated by a perfectly timed squeak, had the audience in hysterics. Yet it was the more inventive comedic moments that truly demonstrated the strength of Nevin’s vision. During ‘Lady in the Long Black Dress’, the decision to spotlight individual audience members was a stroke of genius, turning a simple musical number into one of the evening’s most memorable sequences.
The script itself lends generously to humour, peppered with wonderfully layered theological jokes concerning the Book of Revelation and the liberality of Protestantism. However, it was Nevin’s character direction that ensured the company of nuns never became repetitive. Each sister felt hilariously distinct, embracing an exaggerated physicality and individuality that set them apart from one another. Molly Winchurst’s wonderfully distant sister contrasted brilliantly with Beth Dench’s eccentric Mary Lazarus, which in turn differed entirely from Yasmine Berrada’s unwaveringly committed sister. It was mesmerising to watch.
This production extended far beyond its comedic façade, however, boasting some genuinely innovative design choices. Collingwood Arts Centre is typically a venue for smaller-scale productions, making the decision to stage a full DULOG musical there all the more exciting. Special credit must go to Tom Haigh for overseeing the impressive get-in of such expansive rigs, which was easily the most ambitious design I have seen in the venue.
The smaller scenic elements were manoeuvred seamlessly by a stage management team led by Cameron Howe
Under the clever design of Josie Coyle, assisted by Katherine Pringle, the stage was split into two distinct halves, separated by a sheer black curtain. Upstage, three beautifully painted stained-glass-effect windows framed the space, subtly visible even when concealed. Stage right boasted an elevated platform, further deepening the visual landscape and ensuring the space never felt restrictive. The smaller scenic elements were manoeuvred seamlessly by a stage management team led by Cameron Howe, assisted by Thea Jupe, Aoife Bowles and Martha Warde. Their work was characterised by an effortless professionalism that allowed the production to flow with remarkable slickness.
The lighting design of Zac Jackson, assisted by Kai Doak, worked in perfect tandem with the set to breathe life into these varied spaces. Careful illumination of the raised platform, alongside LED panels framing the stage, allowed the tonal demands of the piece to be met with precision. One particularly beautiful touch saw a crucifix imprinted onto the LED panel in a warm yellow glow, a detail that demonstrated the extraordinary care that had gone into fleshing out this world.
The band, co-musically directed by Cameron Davies and Jeremy Aikins and assisted by Will Andrews, faced the unusual challenge of performing from a separate room outside the theatre. It was an additional hurdle for all involved, but one that was overcome magnificently. Alan Menken’s vibrant score sounded sensational throughout, with the sound design of Oliver Fitzgerald and Aniket Garg ensuring that the band and performers remained beautifully balanced.
There were occasional issues with microphone crackling, momentarily interrupting the flow of the production. Yet, given the challenge of miking such a substantial ensemble within an intimate venue, these issues felt understandable and, if anything, highlighted the professionalism of the company, who never once allowed technical difficulties to derail the momentum.
It almost goes without saying that the cast as a whole performed astonishingly. Leading the company as Deloris Van Cartier, Lara Sowande was vocally sensational. An absolute force, she commanded the room with ease, her sass, confidence and unwavering commitment making for a joyous central performance. The future of DST undoubtedly remains in safe hands with performers of her calibre. Opposite her, Damola Amusa’s Curtis was suitably threatening, his villainous machinations both believable and genuinely potent. It was refreshing to see Amusa tackle a role of such seriousness, once again proving himself to be a hugely versatile performer.
His entourage, consisting of Joe Butler-Smith, Charlie McKie and Midun Odunaiya, delivered some of the evening’s most memorable moments, showcasing not only superb comic timing but also some of the finest choreography from co-choreographers Connie Richardson and Jobe Hart. As Eddie, Christian Timothy provided a welcome tenderness amidst the chaos, his earnestness and sincerity offering a heartfelt contrast to the production’s larger personalities. Clara Suss-Francksen’s Mother Superior grounded the production with astonishing vocal consistency and emotional stability. Opposite her, Max Hildred’s Monsignor O’Hara proved a delightful foil, bridging the worlds of the sisters and providing some of the evening’s warmest moments.
Beth Dench’s Mary Lazarus embraced every ounce of the role’s eccentricity, executing Richardson and Hart’s choreography with infectious energy
Beth Dench’s Mary Lazarus embraced every ounce of the role’s eccentricity, executing Richardson and Hart’s choreography with infectious energy and razor-sharp precision. Yet it was Mathilda Ketterer’s Mary Robert who stole the audience’s hearts above all else. Her initial timidity was beautifully understated, allowing her journey towards confidence to unfold naturally and never once feel forced. Her performance of ‘The Life I Never Led’ was utterly mesmerising. Ketterer is an absolute force to be reckoned with, embodying all it means to be a triple threat and more.
The costume design was equally deserving of praise. The sisters’ habits looked superb, and the cast deserved immense credit for performing in such hefty costumes amidst soaring summer temperatures. Particularly ingenious was Eddie’s tear-away police costume, facilitating one of the evening’s dream-like sequences to jaw-dropping effect. Meanwhile, the addition of glittering panels to the sisters’ costumes, alongside the use of shimmering silver fabric to create the illusion of entirely transformed habits, demonstrated remarkable creativity. Rather than replicating larger professional productions, this team adapted and innovated, producing something entirely their own.
The aforementioned choreography of Connie Richardson and Jobe Hart was undoubtedly among my favourite elements of the production. Simple in conception yet deeply effective in execution, it prioritised clarity and precision, allowing the comedy to emerge through subtle gestures and movements performed in perfect unison. It was some of the finest choreography the DST scene has produced, excelling equally in the smaller ensemble numbers, such as ‘Take Me to Heaven’, and the full-company spectaculars. Demonstrating remarkable versatility and a profound understanding of both the material and the unique demands of the space, Richardson and Hart crafted movement that felt entirely at home within this production. It was, quite simply, genius.
What a show with which to conclude my reviewing journey at Palatinate. Polished and bursting with heart, Sister Act felt like the perfect farewell to summer term and a perfect celebration of both DST past, as well as that to come.
Image credit – Zaynah Saiyed, for DULOG via @dulogtheatre on Instagram.
