The musical Sister Act opened at Melbourne’s Regent Theatre on Sunday, with plenty of laughs and absolute belter musical numbers – but lacked the magic of the original motion picture.
The musical is a lively adaptation of the beloved 1992 film starring Whoopi Goldberg. However it was slow to get going – it took until halfway through the first act to really pick up pace with an overall enjoyable but slightly uneven experience for the audience.
And if you were a fan of the songs from the movie, prepare to be disappointed: they do not feature at all in this musical adaption. Composer Alan Menken (known for Beauty and the Beast and The Little Mermaid) deliberately set them aside and set out to create a musical with brand new songs.
The music infuses the show with a 1970s disco and Motown vibe, which is catchy and engaging, but the melodies are not as memorable as one might hope for. Songs like “Take Me to Heaven” and “Raise Your Voice” do manage to inject a joyful energy, while others can feel repetitive, failing to leave a lasting impression.
In this current production, Casey Donovan takes on the role of Deloris Van Cartier, a sassy lounge singer who goes into hiding in a convent after witnessing a murder. Donovan’s strong stage presence and vocal chops are the heart of the production, and she brings humour and charisma to the role.
Donovan’s performance of songs like “Fabulous, Baby!” showcases her vocal strength and ability to light up the stage. Yet, while her comedic timing is solid, the depth and emotional nuance seen in Goldberg’s film portrayal sometimes feel lacking, leaving some scenes feeling superficial.
Genevieve Lemon plays the role of Mother Superior, a commanding and dryly witty counterpart to Donovan’s Deloris. The tension and eventual mutual respect between the two characters remain central to the narrative, though some of their exchanges lack the emotional weight of the film’s more tender moments.
Lemon brings dignity and a nuanced comedic sensibility to her role, balancing the humor with heartfelt moments. Her solo “Here Within These Walls” provides a rare, contemplative break in the otherwise frenetic pace.
The ensemble cast of nuns delivers delightful comic relief, with standout performances from ensemble members who bring warmth and charm to the convent scenes. The character of Sister Mary Robert, the shy postulant, undergoes a satisfying transformation, and her number “The Life I Never Led” is an emotional highlight, providing some much-needed vulnerability amidst the high-energy spectacle.
Visually, the show is a treat. The set design cleverly shifts between the gritty Philadelphia streets, glitzy club scenes, and the serene yet lively convent interiors. The costume design mixes traditional habits with dazzling 1970s-inspired outfits, creating eye-popping contrasts. The choreography is energetic and fun, though at times, it can feel overdone, contributing to a sense of sensory overload that detracts from more heartfelt moments.
Overall, Sister Act: The Musical offers an entertaining evening with vibrant performances and toe-tapping numbers, though it struggles to fully capture the charm and emotional depth of the original film.
For those who love disco and comedic musicals, it’s a fun outing, but it doesn’t quite elevate itself to divine comedy greatness. Fans should go in expecting a lighthearted, high-energy experience rather than a faithful recreation of the movie’s magic.
Sister Act: The Musical is playing at the Regent Theatre until 26 January 2025.
