Review: Sister Act - St. Mary’s Musical Society

Society name: St. Mary’s Musical Society

Show name: Sister Act

Adjudicator date of attendance: 21/04/2026

St. Mary’s Musical Society brought plenty of warmth, energy, and enthusiasm to their production of Sister Act, delivering an evening that was lively, entertaining, and clearly enjoyed by both performers and audience alike. This is a show that thrives on personality, pace, and ensemble spirit, and there was certainly no shortage of commitment from this company. From the opening moments, the audience were drawn into the world of the production, with the company creating an atmosphere that felt welcoming and full of heart throughout.

Director Emma Thornton demonstrated a clear understanding of the style and tone required for the piece. The production was visually engaging and energetic, with several strong creative choices helping to establish the show’s identity. One particularly effective decision came in the opening sequence, where Deloris’ nightclub performance was imagined on a larger scale with additional dancers. This immediately added excitement and momentum to a section of the show that can sometimes feel underpowered, grabbing the audience’s attention from the outset and establishing the heightened theatricality of the evening. The staging overall was well handled, with balanced stage pictures and effective use of the performance space. Sightlines were generally strong, and the production moved confidently through many of the larger ensemble scenes. The comedy of the piece was also embraced successfully, with several moments landing very well with the audience. At times the show occasionally stopped just short of fully pushing the humour and emotional depth as far as it could go. Some character relationships felt slightly surface level, and there were moments where greater dramatic investment would have strengthened the storytelling. Likewise, a handful of slower transitions interrupted the momentum of the production, slightly affecting the otherwise lively pace. Nevertheless, the show remained consistently enjoyable and demonstrated a great deal of care and creativity.

Musically, the production was in very safe hands under the direction of Dylan Browne. The band sounded cohesive and well-rehearsed throughout the evening, providing a good musical foundation for the cast. Tempos were well judged, and there was a pleasing drive to the score that suited the style and energy of the show. The harmonies, particularly among the nuns’ chorus numbers, were especially strong and added significantly to the warmth and joy of the production. There was clear evidence of careful musical preparation, and the ensemble blend was very pleasing throughout. The band supported the performers effectively, maintaining a good balance without overwhelming the vocals. One area that would benefit from slightly tighter coordination was the handling of scene change music, as there were occasions where the music concluded before transitions had fully finished, leaving brief pauses in momentum. Greater flexibility between the musical and stage management teams would help smooth these moments further. Overall, the musical standard was impressive and contributed greatly to the success of the evening.

Katie Duffy’s choreography added tremendous life and energy to the production. The movement throughout was entertaining, well-rehearsed, and suited to the upbeat nature of the show. The opening number in particular was vibrant and dynamic, making excellent use of the additional dancers to create a strong first impression. The choreography for the nuns was equally successful, with energetic routines and constantly changing formations helping to maintain visual interest throughout the production. Importantly, the choreography looked secure and confidently performed. The cast moved with strong awareness of spacing and timing, and there was a consistency across the ensemble that gave the larger musical numbers a polished feel. The joy with which the cast performed the choreography was infectious and added enormously to the atmosphere of the evening.

At the centre of the production, Deirdre Murphy delivered a strong and confident performance as Deloris Van Cartier. She captured the bold, brassy personality of the character effectively and brought commanding stage presence to the role. Vocally, this was a particularly impressive performance. Deloris is a demanding role requiring stamina, power, and versatility, and Deirdre handled the material with apparent ease. Her voice carried excellent strength and projection while still maintaining sensitivity in quieter moments. The transitions between belt and softer passages were smooth and controlled, demonstrating strong technical ability. While there was perhaps slightly less distinction than usual between the glamorous nightclub Deloris and the more reserved Sister Mary Clarence persona, both aspects of the character were still portrayed convincingly. Her charisma and confidence remained strong throughout, and she carried the central role capably from beginning to end.

Cora Doyle gave a very good performance as Mother Superior, capturing both the sternness and dry wit of the character effectively. Her facial reactions to Deloris’ antics created several enjoyable comic moments, often without needing to overplay them. “I Haven’t Got A Prayer” was both nicely sung and sensitively acted, and she established a believable relationship with Deloris that anchored many of the show’s key scenes.

Adam Lynch delivered one of the standout performances of the evening as Eddie Souther. He captured the awkward sweetness and sincerity of the character beautifully, creating a performance that was immediately likeable. His interactions with Deloris felt warm and genuine, and his gentle comic timing suited the role perfectly. Vocally, Adam possesses a lovely mellow tone with both smoothness and strength, and “I Could Be That Guy” was performed with charm, sincerity, and excellent vocal control.

Sean Flanagan brought strong stage presence to the role of Curtis Jackson, successfully creating a believable and threatening antagonist. His gravelly vocal quality suited the role extremely well, and his performance of “When I Find My Baby” was particularly effective. His confident physicality and strong accent work added greatly to the characterisation.

Among the supporting cast, Niamh Costello gave a lovely performance as Sister Mary Robert, capturing the character’s innocence and emotional journey with warmth and sincerity. “The Life I Never Led” was especially impressive, with the difficult vocal transitions handled confidently and smoothly. Katie Crosby brought tremendous energy to Sister Mary Patrick, creating a bubbly and joyful character who contributed strongly to the ensemble dynamic. Aoife Hoey was very funny as Sister Mary Lazarus, making excellent use of facial expressions and comic timing, while her rap section was clearly enjoyed by the audience. Albha Walsh Subiran’s Sister Mary Martin of Tours perhaps could have leaned further into the eccentricity often associated with the role, particularly during off-script moments, but she nevertheless remained a strong and committed member of the ensemble. Louise Veale added warmth and energy as Sister Mary Theresa, contributing positively to the overall atmosphere among the nuns.

Tony Byrne gave a calm and reassuring performance as Monsignor O’Hara, with particularly good interactions alongside Mother Superior. His voicing of the Irish priest occasionally felt slightly stylised, but the performance remained engaging overall.

Patrick Mullaney, Adam Pentony, and Ciaran Dunne worked well together as TJ, Joey, and Pablo, bringing strong energy and enjoyable comic chemistry to their scenes. There is room to push the absurdity of these characters even further, but the trio remained entertaining throughout. Ciaran in particular would benefit from lifting his eyeline more consistently to better connect with the audience and project energy outward.

Ri Fox and Meaghan Ebbs contributed strongly as Michelle and Tina, both bringing excellent vocals and convincing accents to the nightclub scene, while Caoilin Fitzsimons handled his multiple featured roles with versatility and strong character differentiation.

The ensemble as a whole were one of the greatest strengths of the production. They brought huge enthusiasm, warmth, and commitment to the stage throughout the evening, creating the sense of joy and togetherness that is so essential to Sister Act. Vocally they sounded excellent, with strong harmonies and a pleasing overall blend, while the choreography was performed with confidence and genuine enjoyment. Their energy never dipped, and their connection with one another translated strongly to the audience.

Visually, the production was very successful. The set design made excellent use of the performance space, creating multiple entrances and exits that kept the staging dynamic and interesting. The upper platform added useful variety to the stage pictures, while the sliding stage elements were well executed and finished to a strong standard. There was a clear attention to detail throughout the design. Stage management under Brian O’Neill was generally solid, though some larger scene transitions involving furniture and moving set pieces would benefit from tighter efficiency and coordination. Smoother transitions would help maintain the overall pace and momentum more consistently throughout the show.

The technical elements of the production were very effective overall. Lighting was particularly strong, with excellent use of colour and some striking stage pictures, especially during the opening sequence and “I Could Be That Guy.” Sound quality was also very good, with strong balance between orchestra and performers, clear harmonies, and no noticeable missed cues.

Costumes suited the production well, particularly the vibrant opening number’s look and the sparkly scapulars worn by the nuns. The men’s costumes were well fitted and period appropriate. Some of the wimples would benefit from slightly neater dressing and fitting, but overall, the visual presentation was polished and effective. Hair and make-up were also well handled and complemented the production nicely.

Front of house also contributed positively to the overall experience, helping create a pleasant and organised atmosphere before curtain up. Productions such as this thrive when audiences feel welcomed from the moment they arrive, and there was a clear sense of pride and hospitality surrounding the event as a whole.

Overall, St. Mary’s Musical Society delivered a thoroughly enjoyable production of Sister Act filled with enthusiasm, warmth, and strong ensemble spirit. The choreography, musical preparation, and committed performances combined to create an entertaining evening that was clearly appreciated by the audience. While there are areas that could be further refined, particularly in maintaining momentum through transitions and deepening certain character relationships, there was an enormous amount to admire in this production. Most importantly, the company succeeded in capturing the joy, heart, and uplifting spirit that make Sister Act such a beloved musical.