Sister Act at Darlington Hippodrome this week proved to be just as energetic and uplifting as it was promised to be. The show is based on the 1992 film starring Whoopi Goldberg about an aspiring 1970s nightclub singer Deloris Van Cartier, played here by Landi Oshinowo to much laughter and applause.

Van Cartier takes refuge in a crumbling convent after witnessing a murder. Cloistered in the cloisters, and unwilling to repent her normal life, she invests her energy into the choir, giving succour to the sisters and putting the hood into sisterhood.

The convent is home to a quirky yet endearing group of nuns led by the strict but caring Mother Superior. Initially, at odds with her new lifestyle, Deloris soon finds herself at odds with the rigid rules of the convent, but her larger-than-life personality and passion for music gradually win over the sisters. When she takes over the struggling choir, she transforms the church into a vibrant community hub, bringing in more worshippers and catching the attention of the media – and the criminals she's hiding from.

The heart of Sister Act lies in its celebration of friendship, the power of music, and the discovery of self-worth. Deloris, played by a charismatic lead, evolves from a self-centered performer into a compassionate leader who inspires those around her. Her relationship with the initially skeptical but ultimately supportive Mother Superior adds depth to the narrative, as both women learn from each other and find common ground.

The musical score is a fusion of gospel, soul, and disco, featuring lively numbers that showcase the talents of the cast and evoke the energetic spirit of the 1970s. Songs like "Take me to heaven", "Fabulous, baby" and the anthemic "Raise your voice" are memorable highlights that drive the plot forward while inviting audiences to sing and dance along.

The production design transports audiences to both the glittering world of showbiz and the serene sanctuary of the convent, with sets and costumes that capture the contrasting atmospheres of these two worlds. The choreography blends energetic dance routines with the graceful movements of the nuns, creating visually stunning performances that enhance the storytelling.

At its core, Sister Act is a story about finding redemption and belonging in unexpected places. Through Deloris's journey, the musical explores themes of identity, community, and the transformative power of compassion. Whether you're a fan of the original film or discovering the story for the first time, Sister Act: The Musical promises an evening of entertainment that will leave you uplifted and singing long after the final curtain call. It's a testament to the enduring appeal of a story about second chances and the unexpected friendships that change our lives for the better.

Join Deloris and the sisters of the convent on a musical journey that celebrates the power of faith, the joy of music, and the strength found in embracing one's true self. Sister Act: The Musical is not just a musical – it's a joyful celebration of life, love, and the universal desire to find our place in the world.

Sister Act: A Look Inside The Production

When the musical version of Sister Act premiered on London’s West End in 2008, there was controversy over the fact that none of the songs from the 1992 film would appear. Of course, in retrospect, that concern was ridiculous. With a fabulous score by Alan Menken, and witty lyrics by Glenn Slater, the musical version of Sister Act has very quickly become much loved in its own right, spawning a Broadway run, West End revival, numerous amateur productions, and constant tours across the world.

Taking this strong material, this current UK tour presents a thoroughly entertaining and feel-good production that dazzles. Landi Oshinowo plays wannabe club singer Deloris Van Cartier, witness to a homicide by her gangster boyfriend and now under witness protection in a nunnery. Anyone unfamiliar with the plot of Sister Act, need know little more than that: this is a classic fish-out-of-water story, as Deloris’ brassy and unfiltered attitude clashes with that of the convent’s Mother Superior (Kate Powell) as she leads the nun choir on an unconventional route. The relationship between these two characters is key, and both are excellent. Oshinowo oozes confidence and charisma while delivering all of her songs with strong but controlled vocals. Her rendition of the titular song is extremely powerful and her characterisation perfectly balances the outer brashness with her inner vulnerability. Butting heads with Deloris is Kate Powell as Mother Superior. Powell was understudying Wendi Peters on this press night, and her first few scenes showed a modicum of nerves or uncertainty. However, this quickly dispersed and Powell more than ably dispelled any disappointment that the headline star was not in attendance with a perfectly pitched performance. In a role which is often played by a non-singer, Powell’s vocals beautifully bring to life her songs, as well as allowing for a more satisfying climax when the two sing together.

The rest of the cast easily manages to match this level of performance, with a major standout being Alfie Parker as nervous policeman “Steady” Eddie. Parker presents a master-class in physical comedy while also being believably sweet but awkward. His vocals make his few songs shine: his I Could Be That Guy is a show highlight. Another stand-out and also an understudy on press night was Corrine Priest as postulant Sister Mary Robert, delivering a stunning performance as the mousy girl who comes into her own thanks to the presence of Deloris. Priest’s vocals are also superb and she delivers The Life I Never Led to heart-breaking effect.

The other members of the convent are suitably quirky and funny, led as they are by Isabel Canning as the always-upbeat Sister Mary Patrick, and Julie Stark as the dour Sister Mary Lazarus. Meanwhile, the not particularly intimidating villains led by Ian Gareth-Jones as Curtis also provide a lot of levity, particularly when Callum Martin, Michalis Antoniou and Elliot Gooch (as Joey, Pablo and TJ) perform the bizarre Lady in the Long Black Dress.

The staging is simple with a fixed set that is adaptable enough to always suit the scene, complimented as it is by use of some beautifully crafted trucks and items of furniture. The lighting is excellent, highlighting the difference between the gloomy recesses of the church with the OTT nightclub scenes, and brilliantly always drawing the eye to the action.

Sister Act: A Triumph of Talent

The entire cast were incredible. Deloris, played by Landi Oshinowo, has an outstanding voice, full of power. Mother Superior, played by Kate Powell, a delightful voice reminding me of Julie Andrews. Sister Mary Roberts, played by Corrine Prest, gave a wonderful performance. Some of my favourite scenes were with TJ, Pablo and Joey, played by Elliot Gooch, Michalis Antoniou and Callum Martin, some excellent movement and comedic elements. Though my favourite had to be Eddie, played by Alfie Parker, an excellent character showing such a range of emotions and is hilarious during his number ‘I Could Be That Guy.’

Sister Act: A Show Not to Be Missed

Sister Act has quickly established itself as a musical theatre classic, and this production does nothing but cement that reputation. It’s a bright and breezy, funny and feel-good romp that is suitable for all ages and is guaranteed to slap a huge grin across your face. Go and book now, and pray to God that there are still tickets left.

Make sure you find time to grab a ticket this week for the inspirational, feel-good factor of the year.