Sister Act

Image Source: ATG

Written By: Mark Armstrong

Format: Musical
Genre: Comedy
Date: October 10 2016
Location: Liverpool Empire Theatre, Liverpool, England

Based on the 1992 film, the musical version of Sister Act tells the same story as the movie, with only some minor changes at certain points. After Deloris Van Cartier (Alexandra Burke), a singer as part of an up-and-coming band, witnesses her former boyfriend and band mate Curtis (Aaron Lee Lambert) shoot a fellow band member to death in anger and frustration, Deloris confesses about the incident to the local police department. In order to protect her safety and identity, she is sent to the local church, with the idea of her simply hiding out there for a period of time. But her loud, boisterous and outspoken, yet largely positive, nature riles up Mother Superior (Karen Mann), whose quiet, conservative and traditional approach to the running of the church and the guidance of the nuns is a great contrast to the lifestyle of Deloris. Partly to protect her and partly in an attempt to try and change her ways, Mother Superior transforms Deloris into Sister Mary Clarence.

After a near-miss when Deloris/Clarence ventures to a local bar, with several nuns following her as back-up and with her arch-nemesis and co in attendance (she only avoids disaster when her identity is confused with that of a local drag queen), Mother Superior is furious, and feels that the only way to keep an eye on Deloris/Clarence is to take advantage of her musical skills and have her join the choir band with her fellow nuns. I should mention that the vocal skills of the nuns are like hearing cats screaming, or something akin to a bad X-Factor audition (sadly for the X-Factor hopefuls, the performers in this show are deliberately singing badly). That all changes when Deloris/Clarence joins them and, soon, they become a genuinely talented and exciting choir band, although Mother Superior is further ruffled by the fact that the band use not-so-religious dance moves and the use of funky instruments, which is far from the gentle, holy nature of regular choir music. Yet it brings in larger attendances for masses than ever before, so much so that they are set to perform in front of the Pope. However, Curtis and friends are edging ever closer to finding Deloris, due to her fame rising, and Mother Superior looks to seize any opportunity she can to remove Deloris/Clarence from the church, which helps to set up a climactic finale. Oh, and there's "Sweaty" Eddie (Jon Robyns), a local police officer who helps to protect Deloris, but who also has a secret to tell her, dating back to their days together in college.

As you may have gathered (which you definitely will have if you have seen the movie), the show is pure comedy. The story has the potential to be fairly blasphemous, although the message is made clear that if the unusual and contemporary version of church music results in more people coming along and being able to pray and stick to their religious values, then the alternative approach to the choir has to be to the benefit of the church. That aside, one should really enjoy this: it is a feel-good, intriguing, entertaining and largely easy-to-follow show.

The highlight of the show is undoubtedly the outstanding Alexandra Burke in the role of Deloris/Clarence: she is entirely believable and comfortable in the role of Deloris, understandable given her own real-life singing talents, and she transitions seamlessly into the role of Clarence when the more religious aspects of the character are brought to the forefront. She also has a flair for comedy timing, as evidenced by some humorous one-liners when speaking to Mother Superior. But it is definitely her singing performances which illustrate why she is perfect to play the central character here: an extremely talented performer who has taken to the theatre stage so naturally that she could succeed in virtually any role, Burke proved here and in her previous role as part of The Bodyguard that she has a very bright future in the world of theatre.

That being said, the supporting cast of nuns are also strong performers. For instance, Rosemary Ashe - who has a very loud-mouthed approach of her own - is effective as the previously tuneless Sister Mary Lazarus who suddenly "gets it" in regards to her pitch and tone during songs, as well as demonstrating her flair for the trumpet. Sarah Goggin is also very good in portraying the postulate Sister Mary Robert who is young and timid, but has a more outgoing side that her profession is hiding somewhat, which only comes out during performances alongside Deloris. The multitasking by performers to serve as both singers and musicians is also an interesting and welcome addition to the show's big musical performances, and there is further humour to be found by Curtis when she sings a love song that begins with him expressing his devotion to Deloris before detailing his methods by which he plans to kill her. And Mother Superior, Karen Mann, is effective as the keeper of past traditions, but only when it suits her, which leads to some funny moments when her own values are called into question.

There aren't too many negatives to this show. It ran a little long for my liking, but not to a massive extent. I did find the tying up of the various story arcs (without spoiling the details) to be a little confusing, at least in the initial execution as opposed to the actual final outcomes. And at times the dialogue was slightly hard to hear, meaning that some key exchanges could be missed by those who were hard of hearing. Finally, there weren't any familiar songs which would be easily identified with the show, or at least the original movie. Otherwise, though, there isn't anything else in the way of potential improvements that I could suggest.

Elsewhere, the set designs are fabulous; not only does the church back-drop feel authentic, but there is attention to detail with the layout and the lighting of the setting, and certain aspects of the church walls play an unexpected role later on (one example being a secret cupboard for some, erm, refreshments for Mother Superior). The music and the use of discoballs during bar scenes, along with discoball-esque lighting of the audience during advanced dance routines, help to create an authentic 1970s disco vibe (the story is set place around Christmas/New Year's of 1977).

If you watched the movie and loved it, then you'll get a real kick out of this. Even if you haven't, though, Sister Act is a really entertaining, feel-good and fun slice of theatre, and the enjoyable story combined with the strong all-round performances, particularly from Alexandra Burke, make this one of the stronger shows of 2016.

Overall Rating: 8.5/10 - Excellent

The Bodyguard

Image Source: Liverpool
Empire Theatre

Written By: Mark Armstrong

Format: Romantic Thriller
Genre: Musical
Date: April 27 2016
Location: Liverpool Empire Theatre

The Bodyguard left a lasting impression within seconds of the show beginning.

Unlike most shows, which have a slow and gradual opening - the type where the audience knows "Oh, the show is about to start" - The Bodyguard quite literally kicks off with a bang. I won't spoil it too much for those who plan to see the show, but I will simply advise potential attendees to be on guard, as you may be in for a bit of a shock. I know I was because I was drinking water at the time and ... well, let's just say that there was a lot less water in the bottle after the show's opening moments!

I had to mention that because it was such a memorable way to begin proceedings. But don't think from this that the show was uneventful or that the show was about comedy. While it did have light moments, The Bodyguard was a thoroughly gripping show, and it played out like a true thriller on stage. As with the movie on which the show was based, The Bodyguard took viewers on a journey that had a clear destination, with twists and turns ensuring that the outcome would be unpredictable.

Alexandra Burke, who won The X Factor in 2008, is cast in a near-perfect role by playing Rachel Marron, an American superstar singer who has previously been nominated for two Academy Awards but is now looking to make it third time lucky at this year's Oscars. Her sister Nicky (played here by Rachel John) is also a very talented singer, but one who doesn't get anywhere near as much attention as the more famous Rachel. But while there is tension and jealousy between the sisters, the bigger concern is that Rachel is receiving death threats from a stalker, who has a relentless pursuit to kill the star performer. So, a bodyguard by the name of Frank Farmer (Stuart Reid) is hired to protect her at all costs.

Frank takes his bodyguard duties extremely seriously, which initially breeds resentment from some, especially Rachel. But after a close call at one of Rachel's performances where Frank comes to the rescue, she starts to trust her protector more, and they even begin to develop a relationship. Which is to the dismay of Nicky, who having already felt neglected due to Rachel's popularity, has also developed feelings for Frank after he watched her sing at a local bar.

As the tension between the sisters continues, the relationship between Rachel and Frank has ups and downs due to the increased concern about her safety. Meanwhile, her stalker (played by Matthew Stathers) continues threatening Rachel and gets closer and closer to achieving his twisted goal. I won't talk any further about the plot, as it would include some big spoilers, but needless to say the Academy Awards remain Rachel's target, but will she make it there? And if she does, will she survive through the ceremony? (I could include a joke here about the dullness of certain award ceremonies but I won't.) And how will those around her be affected by the series of events surrounding Rachel, her fame and her stalker?

As noted, the storytelling is paced just right, ensuring that we get enough bright moments (through singing performances) to counter the more sinister and sad events of the show. The production provides suspense not just through the story itself but through the use of thriller techniques like sudden appearances, scary close-ups and tense music, which combined with a giant screen which shows relevant images and footage at various points add a lot of value to the show.

All involved play their roles well, but particular praise must go to Stuart Reid for his outstanding portrayal of Frank Farmer. Whilst mostly a serious character, he also manages to find the balance between ultra-serious bodyguard and approachable friend and associate (to Rachel and her son Fletcher, played here by Josiah Choto) just right, making him a far more believable and likeable character. Whilst Rachel has her doubts, Frank is always shown to have the right intentions, and never makes suggestions to protect her which seem unreasonable. Even when his position is called into question by him getting closer with Rachel, we don't see too much whereby his character is dramatically altered, and he quickly takes a stand before too much damage is done. What's more, during one scene whereby Rachel convinces him to sing at a karaoke bar, he delivers a deliberately poor yet entirely believable and humorous performance, which is actually a difficult thing to pull off in a show that has a largely serious tone. When it comes to acting, Stuart is the star of the show.

When it comes to singing, however, Alexandra Burke truly shines as Rachel Marron. The opening scene is very X-Factor-esque, but from then on Alexandra truly becomes Rachel and perfectly steps into the shoes of the Oscar-nominated performer. Her acting is very good, but it's her singing which will blow audiences away, even for those who already know of her as a very talented singer. The show includes the famous numbers from the movie including I Have Nothing, Run To You and, of course, I Will Always Love You (which Alexandra performs spectacularly in the highlight of the evening), but the rest of the soundtrack in the theatre is largely based around the work of Whitney Houston, who played Rachel in the 1992 film. I'm Every Woman, I Wanna Dance With Somebody (repeated in a high-energy encore at the very end), Saving All My Love and Million Dollar Bill are amongst the tunes, and Burke does a tremendous job of, at these points, stepping into the shoes of Whitney Houston.

It should also be noted that, mirroring the story of the show, Rachel John is also a superb singer during the scenes when she gets to display her vocal range (particularly the slower and more emotional songs); anyone watching this will obviously be impressed by Alexandra, but Rachel John's singing will also leave a lasting impression and, in any other show (or possibly even this one), would be considered the best singer of the production. And Max Fletcher does a fantastic job during his less frequent scenes as Fletcher, Rachel's son, by simply being an innocent kid, at times oblivious but at other points keenly aware of the events surrounding his family. There are minor differences between the movie and the show besides its soundtrack, but I won't list them here as they include plot spoilers, and they should not affect your enjoyment of the show if you have also previously seen the film.

To conclude, I thought that The Bodyguard show was exceptional. The story is well-paced and told very clearly; every key performer plays their part very well, especially Stuart Reid as Frank Farmer; the tension and suspense is produced brilliantly (look at the intro for proof of that); and the singing is absolutely first-class. Whitney fans will particularly enjoy what at times feels like a tribute to her career, and those who watched the film may decide that this theatre incarnation is even superior to the movie. Definitely go and see The Bodyguard; it is one of the best shows that I have seen this year.

Overall Rating: 9/10 - Outstanding

Exciting star casting announced for Sister Act UK tour

Written By: Mark Armstrong

Provided By: Liverpool Empire Theatre

Alexandra Burke will be starring as ‘Deloris Van Cartier’ in the national tour of Curve’s all new production of the hit musical comedy Sister Act, directed and choreographed by Craig Revel Horwood with musical supervision and arrangements by Tony award-winning Sarah Travis. Sister Act will open at Curve on Saturday July 30 2016.

Sister Act is at the Liverpool Empire from October 10-15 2016.

Craig commented: "I am truly thrilled that Alexandra is going to be our leading lady in this all new production of Sister Act at Curve. Alexandra is such a fantastic singer and actress that I know she is going to be amazing. I couldn’t think of anyone better to play the role of the smart and funny Deloris."

Alexandra added: "I’m over the moon to be given the opportunity to play the wonderful Deloris in Sister Act. It’s such an iconic role and a part I’ve always wanted to play. I love touring the UK and I’m thrilled to be working with Craig and his amazing creative team. I can’t wait to get started!"

Alexandra Burke can currently be seen starring as ‘Rachel Marron’ in the national tour of “The Bodyguard”, a part she also played in the West End. She originally rose to fame after winning the fifth series of The X Factor. Her debut number one single Hallelujah sold over one million copies in the UK, a first for a British female soloist. Burke’s first album, Overcome saw the release of her subsequent number one singles Bad Boys and Start Without You. In 2011 she embarked on her first solo tour and was invited by Beyoncé to support her I Am... Tour. Her second album, Heartbreak on Hold, was released in June 2012.

Based on the smash hit movie starring Whoopi Goldberg and Maggie Smith, Sister Act tells the hilarious story of Deloris Van Cartier, a 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, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

Sister Act features original music by the 8 time Oscar and Tony Award winner Alan Menken. Alan’s credits include the films and stage musicals of Disney’s “Beauty and the Beast”, “Aladdin”, “The Little Mermaid” and “Newsies” as well as “Tangled”, “Enchanted”, “The Hunchback of Notre Dame”, “Pocahontas” and “Hercules” on film.  His other credits include the film and stage production of “Little Shop of Horrors”.

This all-new production of Sister Act is directed and choreographed by Craig Revel Horwood with musical supervision and arrangements by Sarah Travis. Set and costume design is by Matthew Wright, with lighting design by Richard G Jones and sound design by Richard Brooker.

Craig Revel Horwood is probably best known as a judge on BBC One’s “Strictly Come Dancing”. As a director and choreographer his many credits include the recent all-star concert of Stephen Sondheim’s “Follies” at the Royal Albert Hall, “Sunset Boulevard” at the Comedy theatre in the West End, the national tours of “Fiddler on the Roof”, “Spend Spend Spend” and “Chess” (also Toronto) and “The Witches of Eastwick”, “Martin Guerre” and “Copacabana”, all at the Watermill Theatre. Craig also wrote and directed a brand new show, “Strictly Confidential” that toured the UK starring familiar faces from Strictly Come Dancing as well as the annual arena tours of “Strictly Come Dancing”. As a performer his West End Theatre credits include: 'Munkustrap' in “Cats” at the New London Theatre, “Miss Saigon” at the Theatre Royal, Drury Lane and ‘Harry’ in “Crazy for You” at the Prince Edward Theatre. Craig most recently starred as ‘Miss Hannigan’ in the national tour of “Annie”.

Sister Act has music by Alan Menken, lyrics by Glenn Slater, with a book by Cheri Steinkellner and Bill Steinkellner and additional book material by Douglas Carter Beane, based on the Touchstone Pictures Motion Picture “Sister Act” written by Jacob Howard.

Jamie Wilson Productions was formed in 2008 and has produced over 50 productions in the UK and internationally. These include Bruce Forsyth at the London Palladium, Robin Cousin’s Ice and most recently the critically acclaimed and box office hit Calamity Jane. As well as Sister Act, future productions include Tell Me on a Sunday with Jodie Prenger.

Curve is one of the UK’s leading producing theatres, achieving both audience and critical acclaim. Opened in 2008, Curve’s award-winning building offers a completely unique visitor experience. Led by Chief Executive Chris Stafford and Artistic Director Nikolai Foster, the theatre has become renowned for the quality of its home-grown musicals and drama productions with recent successes including Roald Dahl’s The Witches, Lionel Bart’s Oliver! Tennessee Williams A Streetcar Named Desire and Sue Townsend’s The Secret Diary of Adrian Mole The Musical.

To book tickets, visit http://www.atgtickets.com/shows/sister-act/liverpool-empire/.