REVIEW
✭✭✭✭✭ 5/5
SISTER ACT
FROM FRIDAY 8 SEPTEMBER 2023
AT THE CLIFFS PAVILION, SOUTHEND
✭✭✭✭✭ 5/5
SISTER ACT
FROM FRIDAY 8 SEPTEMBER 2023
AT THE CLIFFS PAVILION, SOUTHEND
THE SISTERS HAVE ARRIVED AT SOUTHEND!
Photo Credit: KimTobinPhotography
Hallelujah and Praise the Lord, Sister Act the Musical is in town on the first leg of their current extended tour of the UK and Ireland, and they have brought with them a production of biblical proportions
Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent! Disguised as a nun and under the suspicious watch of Mother Superior (Lesley Joseph), Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.
The first thing to point out with this production is that the music from the show is not the same as in the film. While that may be disappointing for some, you really need to get over it and move on because the music for Sister Act the Musical has been composed by none other than the phenomenal musical maestro, Alan Menkin, with lyrics from the equally revered, Glenn Slater. Menkin, as most will recognise, has penned the music for classics such as Disney’s Beauty and the Beast, A Whole New World from Aladdin as well as stage shows, The Little Mermaid, Little Shop of Horrors and Newsies. There are hints of tunes from all of these blockbusters within the Sister Act score and accompanied with Slater’s lyrics really gives this musical some heartfelt power. Take Me to Heaven, Fabulous Baby!, The Life I Never Led and Raise Your Voice are just a handful of the fantastic score this show delivers.
The first thing to point out with this production is that the music from the show is not the same as in the film. While that may be disappointing for some, you really need to get over it and move on because the music for Sister Act the Musical has been composed by none other than the phenomenal musical maestro, Alan Menkin, with lyrics from the equally revered, Glenn Slater. Menkin, as most will recognise, has penned the music for classics such as Disney’s Beauty and the Beast, A Whole New World from Aladdin as well as stage shows, The Little Mermaid, Little Shop of Horrors and Newsies. There are hints of tunes from all of these blockbusters within the Sister Act score and accompanied with Slater’s lyrics really gives this musical some heartfelt power. Take Me to Heaven, Fabulous Baby!, The Life I Never Led and Raise Your Voice are just a handful of the fantastic score this show delivers.
Photo Credit: KimTobinPhotography
The second thing to note is that this production has been perfectly cast with every role being played, dare I say it, divinely. Top of the list in this category is Lesley Joseph who fits into the Mother Superior role with sheer perfection. With perfect comedy timing and a well timed look, she has the ability to give the audience lots of laughs as the strict, acerbic Mother Superior whose disapproval of having to put up Deloris in the nunnery is clearly evident. Not only can she turn out a knock out performance, she also has singing voice that is deeply resonant and can also dance her way through a routine with the younger members of the ensemble with ease. Never let your age hold you back. Lesley Joseph is an absolute role model for all septuagenarians across the nation with this triumphant performance.
Landi Oshinowo plays Deloris Van Cartier with plenty of hutzpah and is probably the closest to Whoopi Goldberg that I’ve seen in the role and she certainly can belt out those tunes like a true disco diva, not least when she is attempting to teach the nuns to sing under her disguise as Sister Mary Clarence.
Landi Oshinowo plays Deloris Van Cartier with plenty of hutzpah and is probably the closest to Whoopi Goldberg that I’ve seen in the role and she certainly can belt out those tunes like a true disco diva, not least when she is attempting to teach the nuns to sing under her disguise as Sister Mary Clarence.
Photo Credit: KimTobinPhotography
There are some fabulously colourful characters in this production and Ian Gareth-Jones as Curtis Jackson, Deloris’s married lover, alongside Bradley Judge as TJ, Callum Martin as Joey and Damian Buhagiar as Pablo, his sidekicks are just hilarious in their ridiculous escapades. They can also knock out a tune with some fabulous falsettos that would give Frankie Valli and the Four Seasons a run for their money. Played with total conviction, these guys are a joy to watch and add terrific comedy value to the show.
Likewise, Alfie Parker, who plays Philadelphia cop, Eddie aka Steady Eddie, who as well as trying to protect Deloris, also has a serious crush on her. There is a terrific number where he gets his ‘Barry White’ on, that is definitely one to not take your eyes off for a second.
Watching the nuns, as Deloris begins to teach them how to sing, is just delightful. The moment they launch into song under Mother Superior’s pre-judgmental eye, is probably the funniest thing I’ve seen on stage all year. Each nun has her own unique personality and they work and sing together so well. The harmonies are just so goose-bumpingly good, you don’t want it to end. Isabel Canning as Sister Mary Patrick is so joyous to watch with her portrayal of infectious enthusiasm exuding throughout the whole of her performance. And kudos to Lori Haley Fox for some awesome rapping. Lizzie Bea also provides a stand out performance especially with that final note in The Life I Never Led vocal.
The whole show has production values that provide everything you would expect from a top West End musical; direction, choreography, set, costumes, lighting and sound are all spot on. The great thing about this show is that it has a storyline that is fun, exciting, emotional and hilarious and that also has the power to deliver a message of self discovery and friendship. It truly is joyful.
For a heavenly night out, let the cast of Sister Act the Musical take you to paradise at Southend’s Cliffs Pavilion all this week.
Review: Kim Tobin
Likewise, Alfie Parker, who plays Philadelphia cop, Eddie aka Steady Eddie, who as well as trying to protect Deloris, also has a serious crush on her. There is a terrific number where he gets his ‘Barry White’ on, that is definitely one to not take your eyes off for a second.
Watching the nuns, as Deloris begins to teach them how to sing, is just delightful. The moment they launch into song under Mother Superior’s pre-judgmental eye, is probably the funniest thing I’ve seen on stage all year. Each nun has her own unique personality and they work and sing together so well. The harmonies are just so goose-bumpingly good, you don’t want it to end. Isabel Canning as Sister Mary Patrick is so joyous to watch with her portrayal of infectious enthusiasm exuding throughout the whole of her performance. And kudos to Lori Haley Fox for some awesome rapping. Lizzie Bea also provides a stand out performance especially with that final note in The Life I Never Led vocal.
The whole show has production values that provide everything you would expect from a top West End musical; direction, choreography, set, costumes, lighting and sound are all spot on. The great thing about this show is that it has a storyline that is fun, exciting, emotional and hilarious and that also has the power to deliver a message of self discovery and friendship. It truly is joyful.
For a heavenly night out, let the cast of Sister Act the Musical take you to paradise at Southend’s Cliffs Pavilion all this week.
Review: Kim Tobin
SISTER AT THE MUSICAL
www.sisteractthemusical.co.uk
Friday 8 – Saturday 16 September 2023
CLIFFS PAVILION, SOUTHEND
www.southendtheatres.org.uk
On Sale Now
Starring Landi Oshinowo as Deloris Van Cartier, Lesley Joseph as Mother Superior and Lizzie Bea as Sister Mary Robert
www.sisteractthemusical.co.uk
Friday 8 – Saturday 16 September 2023
CLIFFS PAVILION, SOUTHEND
www.southendtheatres.org.uk
On Sale Now
Starring Landi Oshinowo as Deloris Van Cartier, Lesley Joseph as Mother Superior and Lizzie Bea as Sister Mary Robert
LESLEY JOSEPH INTERVIEW
Best known for playing larger-than-life Dorien Green in the classic sitcom Birds Of A Feather, Olivier-nominated actress Lesley Joseph has swapped the leopard print for a nun’s habit as ‘Mother Superior’ in the UK and Ireland tour of SISTER ACT, which comes to the Cliffs Pavilion from 8th to 16th September
Best known for playing larger-than-life Dorien Green in the classic sitcom Birds Of A Feather, Olivier-nominated actress Lesley Joseph has swapped the leopard print for a nun’s habit as ‘Mother Superior’ in the UK and Ireland tour of SISTER ACT, which comes to the Cliffs Pavilion from 8th to 16th September
You’re well known to many as Dorien Green from Birds of a Feather alongside your stage work, which includes an Olivier-nomination for Young Frankenstein. What are the key differences between the disciplines of stage and screen, and do you have a preference?
If you asked me why I came into the business, it would be because I love theatre. I went to drama school in the 60s, and it was a very different world then. I grew up doing theatre and started first when I was seven. Theatre was always what I was destined to do and then gradually television took over. ‘Birds of a Feather’ came along in 1989 and has never been off since! I love television, I love the opportunities television brings, but if I had to choose it would be theatre because I love the connection with the audience. With television can always do it again, whereas with theatre it’s a question of doing it that night and that’s your one chance.
I think theatre is where my heart is. I love the atmosphere and the family you build. I love to stand in the wings and watch other people work. I also love what theatre can do to an audience. Live theatre can change people’s lives.
Sister Act is a much-loved movie as well as a musical. Were you aware of the show before joining?
I saw Craig Revel Horwood’s Sister Act revival with Alexandra Burke, so I was very aware of the show before I joined. The musical doesn’t have the music from the film, but it’s Alan Menken’s music - who is a genius. He’s been to see our show twice and loved it! I think people love the production because of the great music, and it’s very much an audience show. You leave feeling so uplifted. We were playing in London to 3,000 people per night, with every show packed full of people waving their arms in the air at the end and just having a fantastic time.
Can you briefly summarise the plot (without spoilers), and tell us about your character, Mother Superior?
Well, Deloris Van Cartier witnesses her boyfriend shoot someone and gets put into hiding in a convent. Mother Superior who runs the convent is a very religious person, and suddenly into her world comes this woman who is a singer, who wears short skirts, who’s full of bling and very over the top. It’s about how these two worlds combine and ultimately rub off on each other.
Mother Superior is quite strict and holy. She provides the juxtaposition of strict religious beliefs against this entirely over the top being, which is Deloris Van Cartier. You need the two extremes to rub up against one another, and quite a lot of sparks fly.
You appeared on ‘Pilgrimage: The Road to Rome’ and met the Pope, what was that like and were there any elements of that experience that you’ve drawn on when playing Mother Superior?
Funnily enough whenever I’m in the show I do always think of this moment. I had half an hour with the Pope and I blessed him and made him laugh, and he gave me a medal to celebrate his six years in the papacy. I’ve always had a spirituality about me. I love going in churches. Whenever I go into a church I will always light a candle for both of my parents and Linda Robson’s mum, and say a quiet prayer. That’s a spiritual thing more than an actual religious thing. I always find churches very healing in a way. It’s a place to sit, contemplate and meditate, and you can come out feeling a slightly better person.
Sister Act features a fantastic score by the multi award-winning Alan Menken (Beauty and the Beast, The Little Mermaid). How would you describe the soundtrack, and do you have a favourite number to perform and/or watch?
I think the soundtrack is amazing. I must say, the audience responses so far have made me feel like we’re doing a pop concert. My favourite song is one that Mother Superior has called ‘Here Within These Walls’ where she describes what life is like in the convent, and how the outside world is full of sin, but inside you find God and you find yourself. It’s a beautiful number, but probably the most serious number in the show to an extent. The other number I love is when Deloris first takes over the choir and she teaches them to sing and brings out their voices. It’s called ‘Raise Your Voice’. The audience just go wild. Up until then you’ve only heard the nuns sing very badly. It stops the show!
What do you hope audiences take away from this new production?
I think audiences will take away a reinvigorated love for live theatre. It’s a production that also says something about community, and that’s one thing that the lockdown showed us was important – caring about your neighbours, caring about your friends, and helping those in need.
It’s an absolutely joyous musical! To see the audiences at the end, where they stand waving their arms and singing along, they rediscover the joy of theatre.
Is there a piece of advice you’ve received or that you would pass on to anyone hoping to go into the creative industry?
I don’t know if you remember a man called Quentin Crisp, he was very flamboyant and wonderful, and way before his time. He was avantgarde and he was an amazing character. He always used to call me ‘Miss Joseph’. His piece of advice was, ‘Miss Joseph, believe in fate, but lean forward where fate can see you’. I think that’s one of the best pieces of advice I could give to anybody.
If you asked me why I came into the business, it would be because I love theatre. I went to drama school in the 60s, and it was a very different world then. I grew up doing theatre and started first when I was seven. Theatre was always what I was destined to do and then gradually television took over. ‘Birds of a Feather’ came along in 1989 and has never been off since! I love television, I love the opportunities television brings, but if I had to choose it would be theatre because I love the connection with the audience. With television can always do it again, whereas with theatre it’s a question of doing it that night and that’s your one chance.
I think theatre is where my heart is. I love the atmosphere and the family you build. I love to stand in the wings and watch other people work. I also love what theatre can do to an audience. Live theatre can change people’s lives.
Sister Act is a much-loved movie as well as a musical. Were you aware of the show before joining?
I saw Craig Revel Horwood’s Sister Act revival with Alexandra Burke, so I was very aware of the show before I joined. The musical doesn’t have the music from the film, but it’s Alan Menken’s music - who is a genius. He’s been to see our show twice and loved it! I think people love the production because of the great music, and it’s very much an audience show. You leave feeling so uplifted. We were playing in London to 3,000 people per night, with every show packed full of people waving their arms in the air at the end and just having a fantastic time.
Can you briefly summarise the plot (without spoilers), and tell us about your character, Mother Superior?
Well, Deloris Van Cartier witnesses her boyfriend shoot someone and gets put into hiding in a convent. Mother Superior who runs the convent is a very religious person, and suddenly into her world comes this woman who is a singer, who wears short skirts, who’s full of bling and very over the top. It’s about how these two worlds combine and ultimately rub off on each other.
Mother Superior is quite strict and holy. She provides the juxtaposition of strict religious beliefs against this entirely over the top being, which is Deloris Van Cartier. You need the two extremes to rub up against one another, and quite a lot of sparks fly.
You appeared on ‘Pilgrimage: The Road to Rome’ and met the Pope, what was that like and were there any elements of that experience that you’ve drawn on when playing Mother Superior?
Funnily enough whenever I’m in the show I do always think of this moment. I had half an hour with the Pope and I blessed him and made him laugh, and he gave me a medal to celebrate his six years in the papacy. I’ve always had a spirituality about me. I love going in churches. Whenever I go into a church I will always light a candle for both of my parents and Linda Robson’s mum, and say a quiet prayer. That’s a spiritual thing more than an actual religious thing. I always find churches very healing in a way. It’s a place to sit, contemplate and meditate, and you can come out feeling a slightly better person.
Sister Act features a fantastic score by the multi award-winning Alan Menken (Beauty and the Beast, The Little Mermaid). How would you describe the soundtrack, and do you have a favourite number to perform and/or watch?
I think the soundtrack is amazing. I must say, the audience responses so far have made me feel like we’re doing a pop concert. My favourite song is one that Mother Superior has called ‘Here Within These Walls’ where she describes what life is like in the convent, and how the outside world is full of sin, but inside you find God and you find yourself. It’s a beautiful number, but probably the most serious number in the show to an extent. The other number I love is when Deloris first takes over the choir and she teaches them to sing and brings out their voices. It’s called ‘Raise Your Voice’. The audience just go wild. Up until then you’ve only heard the nuns sing very badly. It stops the show!
What do you hope audiences take away from this new production?
I think audiences will take away a reinvigorated love for live theatre. It’s a production that also says something about community, and that’s one thing that the lockdown showed us was important – caring about your neighbours, caring about your friends, and helping those in need.
It’s an absolutely joyous musical! To see the audiences at the end, where they stand waving their arms and singing along, they rediscover the joy of theatre.
Is there a piece of advice you’ve received or that you would pass on to anyone hoping to go into the creative industry?
I don’t know if you remember a man called Quentin Crisp, he was very flamboyant and wonderful, and way before his time. He was avantgarde and he was an amazing character. He always used to call me ‘Miss Joseph’. His piece of advice was, ‘Miss Joseph, believe in fate, but lean forward where fate can see you’. I think that’s one of the best pieces of advice I could give to anybody.