Review: Sister Act (Grand Theatre, Leeds)

Craig Revel Horwood‘s new production of Sister Act began with a triumphant run at its home theatre, the Curve, Leicester. Now it has started what is certain to be an equally triumphant UK tour at the Grand Theatre, Leeds.

Sister Act, based on the film starring Whoopi Goldberg, starts with a clever idea. Deloris Van Cartier, a lounge singer on Philadelphia’s soul scene, witnesses a murder committed by Curtis, the club owner/mobster for whom she is auditioning professionally and personally. When she becomes the police’s prime witness, she also becomes Curtis’ prime target. So the police find her refuge in a convent. The plot is slight, but there are all sorts of nice strands to follow, some obvious, some less so: the clash between worlds, the love that develops between Deloris and the nuns, the sudden improvement in the choir, the publicity that it attracts – dangerous for Deloris!

Revel Horwood’s production has many strengths, notably the performance of Alexandra Burke as Deloris. Very much the star turn, she also somehow succeeds in being an ensemble player. As expected, she delivers the soul ballads with power and conviction and belts out the brassy put-downs, as well as convincing in the more natural dialogue passages, with a sly wit and knowing irony.

That sense of irony enlivens Cheri Steinkellner and Bill Steinkellner’s book, which otherwise can be predictable, if entertaining, and this production has a sharp ear for it. Tim Maxwell-Clarke, as the wise monsignor seeking funds for the cash-strapped convent, and Karen Mann, the Mother Superior trying to get God to explain what He’s up to, are both wryly excellent. Both, of course, inevitably respond to the new world that’s coming and end up on saxophone and trumpet respectively in Deloris’ soul band.

Sarah Travis’ arrangement of Alan Menken’s music benefits from a bigger sound than is common in touring musicals these days. Most of the actors provide on-stage accompaniment, but there’s also a punchy pit quartet, to go with 14 actor-musicians. And that’s another strength, generous casting, 19 in all.

Revel Horwood’s choreography alternately amuses and dazzles, but he also proves very adept at character direction. The nuns are sharply characterised: Susannah Van Den Berg goes entertainingly over the top as the accordion-toting Sister Mary Patrick, Rosemary Ashe’s initially severe choir-mistress is perfectly pitched and Sarah Goggin charms as the timid novice who finds a purpose and a big voice. As Curtis, Aaron Lee Lambert has the right nonchalant menace and the voice for his big song. As does Jon Robyns, Eddie the romantic cop, who mines his inner Elvis in the company of a chorus of down and outs.

Maybe Sister Act is 10 minutes too long – the pace drops a little halfway through the second half – but that’s forgotten in the glorious, apparently unstoppable finale.

Sister Act runs at Leeds Grand until 27 August before continuing its UK tour.