Centrestage Productions Youth Theatre [CPYT] 
The Point, Eastleigh
Mark Ponsford 
31 July 2024
Having been invited at fairly short notice to review this production, I was delighted to accept. CPYT have given us some mightily impressive treats, not least their spectacular (in every sense) Les Misérables in February of this year, and I was very eager this evening to see their take on Sister Act, the well-established (and well loved) musicalisation of the 1992 film. To go from the sweeping emotion of Les Misérables to a full-on musical comedy is a considerable leap (which is no bad thing whichever way you choose to look at it), and the ongoing popularity of Sister Act The Musical is undeniable – it pops in and out of the West End with joyous abandon, and has also become a popular choice for amateur societies. It’s not hard to see why. Part comedy, part thriller, part full-on romp, it boasts a fast-moving and involving plot, a cast of strongly drawn characters, an upbeat and tuneful score, and arguably the most irresistible group of nuns in the Business. Get Thee to The Point this week, and you’ll see what I mean!
… and I really would recommend a visit to The Point, where the show is now up and running until Saturday, not least because it’s a high-spirited treat for all the family at the start of the Summer Holidays, and it’s showing off some first-rate young talent. For those unfamiliar with the plot, I won’t give any undue “spoilers”, except to say that two very contrasting worlds are soon to collide… and it’s going to be a collision worth waiting for! When singer Deloris Van Cartier, through no fault of her own, suddenly finds herself in the wrong place at the wrong time, it’s not long before her circumstances change in a way that’s going to change the lives of everyone around her.
CPYT’s Sister Act has again been blessed (no pun intended) with the strong team responsible for so many past productions. Under Mike Mullen’s Direction, the Co-Musical Direction of Ian Partridge and Rachael Thorpe (leading yet another terrific Band), and Co-Choreographers Summer Hughes and Ashley Mullen, this young and gifted company have again blossomed, and the results are both impressive and thoroughly delightful. Played out on a handsome set (and with well-drilled scene changes), complimented by excellent lighting and sound, the hard work and level of commitment from everyone on the stage is palpable, and only adds to the overall level of enjoyment. Leading the acting company, Alana Tonks has the requisite level of sass for Deloris, which she balances with a touch more sweetness and vulnerability than we usually see in the character, and it turns out to be a good combination which works well. Her Face Off moments with the formidable Mother Superior are always fun to watch, and Alicia Lambert’s performance cleverly balances authority with a warm gravitas, along with excellent vocals (her rendition of the lovely song ‘Here Within These Walls’ is captivating) and a fine comic awareness.
The comedy element of the show is well served throughout, not least by Ella Friel’s delightful Sister Mary Lazarus – again, no spoilers, but just you wait – and the equally appealing Sister Mary Patrick of Molly Swan, together with Emma Hatherell’s Sister Mary Theresa, and Faye Sherman’s Sister Mary Martin (an ingenious “in-joke” for anyone In The Know!). There’s also a truly hilarious performance of ‘Lady In The Long Black Dress’, courtesy of Ffionn Lloyd, Seth Clarke and Aaron Axtell – they brought the house down on opening night, and quite rightly so. Further sure comedic touches are provided by Will Vokes as Monsignor O’Hara. Among a principal line-up full of first-class performances, also worthy of mention is Alex Butson, who brings some genuine menace to the role of Curtis, Emily Babey as Sister Mary Robert (who comes beautifully “into her own” in act two), and Alfie Flynn as Eddie – it’s good to see that he’s still referred to as “Sweaty Eddie”, as opposed to the milder “Steady Eddie”, as in the more recent professional productions, for reasons I can’t fathom. Alfie delivers a completely thought-through performance, and not until I read the programme properly later did I realise that this is the same young performer who led last February’s Les Misérables as Jean Valjean. If this isn’t a display of genuinely versatile talent, then I’d like to know what is. The supporting Male and Female Ensembles do a sterling job, not least with regard to some nicely detailed individual performances throughout.
It’s hard not to sit through much of the show with a big goofy grin, not least in the rousing (and rousingly delivered) Ensemble and Company numbers. ‘Raise Your Voice’ (which also serves as a crucial plot development), ‘Take Me To Heaven’ (the vocal entrance of the Nuns is hilarious), the spirit-lifting ‘Sunday Morning Fever’, and the joyful, climactic ‘Spread The Love Around’ are Musical Comedy at its happiest, and in this day and age, let’s be thankful for it. When Deloris sings, towards the end of the show, “I’m part of one terrific Sister Act”, she ain’t kidding. The show runs through until Saturday, and, not unlike the title of one of its numbers, it’s Fabulous, Baby.
