Sister Act

 Curve, Leicester

17^th October, 2022

“I got bikers and addicts and punks in the pews”

1977, Philadelphia. Most of the city’s churches have been converted into nightclubs, theatres or other places of debauchery(!). The church of Our Lady in Perpetual Sorrow is also on its last legs: pews are empty, collection plates are being stolen, and its superfluity of tone-deaf nuns could soon lose their home. Into this comes Deloris Van Cartier (an impeccable Sandra Marvin), a whirlwind of big hair, sequin dresses and unruliness forced to take refuge at the convent after witnessing a mob murder. Although the conflict at the heart of Sister Act, based on the 1992 movie starring Whoopi Goldberg (who is co-producing this production), is probably well known by now, it is a delicious concept that seems to have always been destined for the stage. This Curve co-production of Alan Menken’s and Glenn Slater’s 2009 musical has arrived in Leicester after a summer run at London’s Eventim Apollo.

Whereas the movie is set in 90s San Francisco, moving the musical to 1970s Philadelphia works really well. It’s a time where the city was facing waves of depopulation, high crime rates and drug problems alongside a thriving funk and disco music scene. It’s a perfect backdrop, then, for a world of seediness, crime and the transformative powers of music. Menken captures the influential Philly Soul sound in standout songs such as “Fabulous, Baby!" and “Raise Your Voice” along with plenty of songs more in keeping with the ‘traditional’ musical theatre style for which he’s perhaps well-known. It’s not his most memorable of scores, but there are a lot of songs which establish and advance character. Slater’s lyrics help achieve this wonderfully. I particularly liked “The Life I Never Led” in which Sister Mary Roberts (Lizzie Bea blowing the roof off with her vocals) realises her confidence and self-worth that Deloris has helped her find. Like all good culture clash comedies, the characters all gain something from each other. Deloris is more than just a backroom singer and the nuns are more than just their habits. There’s also a strong subplot involving one of Deloris’ old flames, the police officer Eddie Souther. Graham MacDuff has a great number with multiple quick changes in which he transforms from slightly incompetent steady Eddie to a disco diva! I’m also pleased that “Haven't Got a Prayer” has been kept in the show (written for the Broadway production in 2011), in which Lesley Joseph’s tight-lipped Mother Superior wrestles with her faith due to her growing frustration with Deloris.

Cheri and Bill Steinkellner’s book with additional material by Douglas Carter-Beane moves the story along nicely and has some funny one-liners: at one point Deloris is shocked at Mary Roberts’ claim she’s a postulant, exclaiming ‘I ain’t never never sunk that low!’ In other parts, it has a more difficult job to balance the frothy comedy with the darker parts of the story. The gangsters, for instance, are reduced to stereotypes. That being said, there’s a delicious number where Jeremy Secomb’s nightclub owner/mob boss Curtis Jackson vows to find Deloris. The menacing lyrics such as ‘And when I find that girl/ I'm gonna kill that girl!/ I'm gonna wham! Bam! Blam!/ And drill that girl!’ are nicely juxtaposed against the grinning mobster backing dancers. It’s a fun moment which, like the musical as a whole, embraces the escapism of musical theatre.

Sister Act plays at Leicester’ Curve until 29^th October as part of a UK tour. For further information, please visit https://www.sisteractthemusical.co.uk/uk-tour/

Sandra Marvin as Deloris Van Cartier. Credit: Manuel Harlan

Bugsy Malone

 Curve, Leicester

4^th October, 2022

“You’re gonna be remembered for the things that you say and do”

Sean Holmes’ 2015 Lyric Hammersmith production of Alan Parker’s Bugsy Malone, based on his 1976 film, has been triumphantly remounted for a UK tour. Set during the Prohibition era, two rival gangsters, Fat Sam and Dandy Dan, along with their cronies wreak havoc across the speakeasies and dives of underworld New York. As in the film, the lead characters are all impressively played by child actors to help create a pastiche of black and white mobster movies. Machine guns and knives are swapped out for splurge guns and custard pies; get away vehicles are now pedal cars; and caricatures of gangsters become lovable rogues.

Much as the film was born out of Parker’s love of gangster movies, the same sense of boundless joy comes over the footlights in Holmes’ staging. Paul Williams’ memorable songs are all performed with glee and are skilfully brought to life by the ensemble in Drew McOnie’s choreography. McOnie demonstrates why he’s one of the leading choreographers of his generation, injecting pizzazz into the big numbers particularly “We Could Have Been Anything” and “So You Wanna Be A Boxer”. Jon Bausor’s designs are in keeping with the film and further romanticise the setting as well as reimagining them for a theatrical context. The audience enters to a backstage area of a theatre, a black wall and fire escape dominating the stage. Onto this comes the low tables and brightly lit cocktail bars of Fat Sam’s speakeasy, the world of showgirls, and a race to get the best splurge guns.

The ensemble cast are all having a blast with their finest Noo Yoiker accents. At this performance, Charlie Burns has the audience where he wants them as Fat Sam, lording over his own scene changes and complaining at his sidekick Knuckles for cracking his knuckles. Rayhaan Kufuor-Gray is his equal as rival mob boss Dandy Dan. And Ellis Sutherland as caretaker Fizzy gets one of the biggest cheers of the night for his rendition of “Tomorrow” as he, with a mop in his hand, longs for the life he could have had as a dancer.

The plot for Bugsy isn’t its strongest and this can sometimes make the musical come across as quite sketchy but this is not to detract from the fun that’s had on stage and in the audience. And whilst the final scene understandably doesn’t get as messy as the same sequence in the film, there are plenty of moments of pure elation here.

Bugsy Malone plays at Leicester’s Curve until 9^th October and is then touring until February 2023, including a London run at Alexandra Palace Theatre from 3^rd December until 15^th January. For more information please visit Bugsy Malone: The Musical – The classic musical live on stage! (bugsymalonethemusical.com)

The ensemble of Bugsy Malone. Credit: Johan Persson