A Comic Romp with ‘Heaven Sent’ Ensemble Cast
Ex-Coronation Street star Wendi Peters as Mother Superior is the perfect foil for glittering nightclub singer Deloris Van Cartier in Bill Buckhurst’s production of Sister Act at the Royal & Derngate.
Her face is a perfect picture of disapproval, grimacing from the moment Deloris Van Cartier, played by a radiant Landi Oshinowo, steps into the convent to hide from her murderous boyfriend.
Peters’ performance as Mother Superior required ‘no words’ to express her displeasure; her expressions said it all. She seemed to have the ability to hold the audience’s focus just from her facial expressions.
Under the direction of Bill Buckhurst, Sister Act becomes a spangly comic romp with a “heaven-sent” vocal ensemble.
The musical revolves around Deloris Van Cartier, a nightclub singer who goes into hiding after witnessing her mobster boyfriend commit a murder. She finds refuge in a convent where she transforms a group of effervescent but musically challenged nuns, teaching them to sing in harmony and inspiring them to follow their dreams and value friendship.
Landi Oshinowo does not disappoint as Deloris. Her voice is sensational, full of soul and power, and the nuns’ vocals, too, blossom beautifully under Deloris’ skillful tutelage. Particularly noteworthy is Eloise Runnette as Sister Mary Robert, whose exceptional vocal range is matched by her comic expressions, revealing her surprise at her own fantastic delivery. Wendi Peters also shines vocally, especially in her solo numbers.
Bill Buckhurst’s production is solid, featuring fun set-pieces, notably Alfie Parker’s quick-change act in “I Could Be That Guy,” which is both eye-catching and humorous as he portrays policeman, Eddie southern, who dreams of fame. Mencken’s exuberant, often genuinely funny songs, set in 1970s Philadelphia (as opposed to the film’s 1990s San Francisco), add a lively dimension to the musical.
While the first half of the show is a solid comic caper, some of the comedy in the second half feels a bit dated. The scene where the nuns flee from danger misses the comedic mark. However, the day is saved by Morgan Large’s beautiful and intelligent set design. And Tim Mitchell’s lighting, streaming in from wispy incense and through the central gorgeous recreated stained glass window, creates an ethereal atmosphere.
While the script leans heavily into musical ensembles in the second half, which delights much of the audience, it could benefit from a bit more comedic and character depth.
Overall, energetic, camp, and heart-warming, the show delivers a strong musical set, but didn’t quite send me to heaven.