Review: Sister Act - St. Michael's Theatre MS

Society name: St. Michael’s Theatre Musical Society

Show name: Sister Act

Date of attendance: 19^th November 2025

There are few modern musicals with a feel-good factor as great as ‘Sister Act’. With its energy, comedy and 1970s Motown-inspired score, there is always great potential for an uplifting, entertaining spectacle. It’s a perfect show for musical societies with a large female ensemble and it gives opportunities to shine to a wide range of ages. St. Michael’s Theatre Musical Society, New Ross, embraced the joy with great enthusiasm and charm. For the most part, the evening delivered, with some very strong performances, a really tight orchestra and a wonderfully energised ensemble. There were several shortcomings in lighting and stage management which, I felt, hampered the overall look and flow of the production. These did not eclipse the cast’s obvious talent or the heart of the show. However, they did, on occasion, take away from the storytelling. Nonetheless, enthusiasm and talent compensated greatly, ensuring that the audience was still treated to a very enjoyable night of theatre from a dedicated, hard-working cast.

Front of house at St. Michael’s Theatre was busy and efficient. ‘Religious personnel’ kept a close eye on proceedings as the audience entered and used their influence well, in selling programmes and, no doubt, a raffle ticket or two. Front of house volunteers did very well, setting a warm, welcoming tone and ensuring that things moved along as the foyer filled up in the minutes before curtain up. The live front of house announcements were great fun, priming us for what lay ahead, with the “Amen!” call and response getting the audience well warmed up. 

Kevin Kennedy’s direction was generally strong. There were many comedic highlights and a good understanding of the show’s heart. There was good work with principals and some fine ensemble work, particularly from the nuns’ chorus members who were always engaged and full of purpose. There was clever use of the downstage left and right apron areas, which allowed for scene changes on the mainstage while action continued. Fluidity between scenes was problematic at times, as was the overall lighting design. It’s a briskly paced show and transitions need to flow as seamlessly as possible to maintain the required energy and momentum. As well as directing the show, the talented Mr. Kennedy was also a valuable orchestra member. I would suggest that, had he been out front observing the show, he would have been better poised to notice the elements which needed attention and could have made the necessary tweaks to elevate this from a good production to a very good production. 

Musical direction by Philip Kennedy was very solid throughout. Mr Kennedy had assembled a fine orchestra, providing us with a polished sound that was faithful to the show’s 1970s Motown feel. There was impressive balance within the orchestra and an excellent stage/pit blend, which ensured that singers were always heard, without ever being overwhelmed by the bigger, ‘brassier’ arrangements. Mr. Kennedy’s work with the ensemble was excellent. The nuns’ choral moments, in particular, were absolute showstoppers, with superb harmonisation, dynamics and balance. The Latin chorus, leading into ‘Take Me To Heaven’ was beautifully atmospheric and the bigger dance routines never lost vocal accuracy, despite the very energetic choreography. Solo singing was very strong across the board and the orchestra’s accompaniment was sensitive, when required. 

Claire Kickham’s choreography was very well rehearsed and suited the cast’s level perfectly. Creating movement for a large, mixed ability ensemble, which looks synchronised and impressive, is a real skill and Ms. Kickham did exactly that, without ever losing the sense of fun which is at the heart of the show. The nuns, in particular, were very well drilled, from the simplest of gestures to the full-on production numbers. Unfortunately, I felt that many of the bigger production numbers suffered from what was, in my opinion, weak lighting design which didn’t complement the cast’s onstage energy. Ms. Kickham did a really good job and, with stronger lighting, her work would have been elevated even higher.

Michaela White delivered a commanding performance as ‘nun on the run’, Deloris Van Cartier. Ms. White had great charisma and a sense of fun which endeared her to the audience throughout. From the opening scene, we knew that Deloris was more than comfortable in the spotlight. She was confident and brash, yet never appeared arrogant. Ms. White gave her character the necessary relatability, which ensured that the audience was rooting for her from the outset. Vocally, Ms. White was perfectly cast. She had great tone and a most impressive belt which soared, even against the fullest of orchestral accompaniment. It’s a demanding sing for Deloris but Ms. White made it appear effortless. Her vocal consistency in dance numbers was excellent and her softer moments demonstrated some lovely colour and control. A ‘fabulous’ performance overall.

Timmy Moloney’s portrayal of Eddie Souther was one of the highlights of the evening, for me. Mr. Moloney embraced Eddie’s awkwardness with a light comic touch that was so sincere and he never crossed the line into caricature. He had a wonderful physicality that communicated Eddie’s lack of confidence and this was consistently maintained throughout. Vocally, Mr. Moloney was very strong. But it wasn’t just his voice and musicality that impressed when singing. His emotional connection with the lyrics in ‘I Could Be That Guy’ breathed life into the number that I haven’t experienced before. From his initial self-doubt, to his bold confidence and back again, it was a very clever interpretation full of humour and heart. Overall, a textbook example of how restraint and intelligent acting can elevate a supporting role into a memorable performance.

Eryn Buckley gave a truly wonderful vocal performance as the convent’s postulant, Sr. Mary Robert. ‘The Life I Never Led’ was beautifully sung and quite flawless. Her exquisite control, excellent phrasing and effortless delivery were well deserved of the extended applause from an audience which knew they had just heard something deeply moving and quite special. I felt that additional work could have been done with the director to push the character’s initial shyness and social anxiety even more. These characteristics were certainly there but, I felt, they needed some fine-tuning to really capture the shift from timidity to self-belief, which was there musically but needed more focus emotionally and physically, in my opinion. 

Joanne McCabe was a strong Sr. Mary Patrick full of joy, energy and enthusiasm. She captured the character’s boundless enthusiasm very well, fully committing to the childlike delight that we expect from the role. Comic timing was sharp and her expressive, wide-eyed reactions were suitably animated and funny. Ms. McCabe was well able for the role’s vocal requirements, always maintaining character when singing. 

Julie Kinsella was an outstanding Sr. Mary Lazarus, the convent’s dry-witted choir conductor. This was a very funny performance indeed. Ms. Kinsella got every last morsel out of the script, with unhurried delivery which allowed the humour to land and breathe, to hilarious effect. Her vocal performance was equally strong, especially her rapping, which was delivered with great confidence and comic flair. 

Teresa Buckley had exceptional stage presence as the authoritative Mother Superior. From her first appearance, her stillness and control were striking. Her ability to tell a story, whether through script or song, was highly impressive. Her scenes with Deloris were particularly strong, as we were so aware of her struggle to balance tradition with the changing environment around her. Ms. Buckley’s emotional range, from sheer frustration with Deloris to genuine warmth and care, was wonderful. ‘I Haven’t Got A Prayer’ was a masterclass in storytelling and inner conflict. 

Peter O’Connor was a warm Monsignor O’Hara with a nicely understated authority. He avoided caricature with his naturalistic delivery, steering clear of the temptation to overplay. This provided a fine contrast to Mother Superior and ensured that his comic impact in the wonderful ‘Sunday Morning Fever’ was even stronger. His spoken delivery in this number was clear and very funny. He had a light comic touch, at his best in the very humorous confessional scene. A thoughtful, well-judged performance.

Jamie Lyster had a tuneful voice in the role of the villainous Curtis Jackson. He made the most of his vocal opportunities and he was generally secure in those, apart from a momentary struggle with the melody In ‘When I Find My Baby’. More attention to the character’s menacing side could have transformed Mr. Lyster’s performance. It felt like all of the skills were there but the necessary tension wasn’t always apparent. It was a very competent portrayal but not quite the frightening presence that the narrative might suggest.

Mr. Lyster was supported by a superbly colourful trio of henchmen. James Dobbs brought great energy to the role of Pablo, with his exaggerated physicality and hilarious facial expressions. Vocally, he blended well whilst always maintaining consistency of character and a focus on the comedic intent. Keith Flanagan was a very funny TJ, with excellent comic timing and expression. Every reaction landed thanks to Mr. Flanagan’s strength as a comedian. He combined his excellent comic instincts with a most impressive singing performance and he was a fine mover too. Jonathan Kelly was equally strong as a threatening, but very humorous, Joey. Mr. Kelly used his excellent stage presence and understanding of the show’s comedic tone to give a performance which complemented the dynamic portrayals of his fellow henchmen. He, too, had a great range of well-timed facial expressions and he was clearly comfortable with physical comedy. He sang well and was very comfortable with harmony. 

There was great support from Norma Doyle as Sr. Mary Martin of Tours and Joan Deegan as Sr. Mary Theresa. Úna Hayden and Claire Kickham, as Tina and Michelle, were vocally secure and moved very well in their opening nightclub scene. However, I felt that they needed to work more on their characterisations to bring some larger-than-life showbiz pizazz and flamboyance to their roles as seasoned nightclub performers. Greater projection of confidence and more exaggerated performance levels during those opening sequences, would have added greatly to their portrayals. 

Ensemble performances were strong throughout. From the police station to the bar, the eclectic mix of characters was always in keeping with the comic tone of the show. They always moved with purpose and had a clear understanding of the narrative, adding depth to the production with each appearance. The nuns’ ensemble was superb. They demonstrated great unity and infectious energy, which was most uplifting. Their rich harmonies, strong movement and boundless enthusiasm, elevated the show with every appearance. 

The set design suited the St. Michael’s stage quite well. The stone-effect side flats suggested an ecclesiastical environment which was sometimes set against a black backdrop. This backdrop was a star cloth which was used at various key points. It caused quite a few issues for the stage crew, as it didn’t always fly in to floor level and occasionally got caught when flying in and out. It also needed to be stretched as it bunched and its unsightly folds were highly visible when lit. The large, gothic, stained glass windows, downstage left and right, were very striking, especially when lit from behind. A glitter curtain was used to great effect, infusing the glitzier numbers with energy and glamour. 

The nature of live theatre is that things can go wrong. As much as we strive for perfection, there will always be something that doesn’t quite go to plan. On the night that I attended, it appeared that the stage crew, led by stage manager Lizzy Heffernan, didn’t have their best night. I’m very conscious that, had I been at another performance, I may have witnessed something very different. That is the nature of the technical side of what we do. Communication between stage management and the lighting operator seemed inconsistent. Multiple scenes began with crew members still onstage when lights came up, pulling us out of the story. The star cloth was not properly rigged, leaving a visible gap along the bottom centre at times. A potentially dangerous incident with the door truck in Act 2, as it visibly wobbled and came close to toppling over, suggested insufficient rehearsal time with crew. With tighter coordination, additional rehearsal time for crew and better cueing, a lot of these issues could be resolved for future productions.

Lighting was, unfortunately, a weak link in this production. I felt that many other strong aspects of the show were let down by the lack of the bold, colourful, dynamic lighting design that is expected when producing a vibrant, energetic show like ‘Sister Act’. Many of the nuns’ big ensemble numbers, where bright colours and dramatic cue changes would have enhanced the energetic choreography, were lit in basic washes that had no sense of the energy or dynamism that is required. There were many missed opportunities for using lighting to enhance the storytelling. Had the lighting design matched the music, choreography and set, this production would have had a much stronger impact overall.

Sound design was very strong, with suitable levels of amplification and a very good balance between vocals and band. Dialogue was clear and rarely overshadowed by underscoring. Cueing was very well handled throughout, demonstrating a comfort and familiarity with the show. Ensemble balance during full-cast numbers was excellent, with superb harmonies uplifting all of those scenes. ‘Raise Your Voice’ and ‘Take Me to Heaven’ were wonderful in this regard and this was all the more impressive given the amount of bodies on stage. A superb job all round.

The props team did good work, with thoughtful attention to detail throughout. The convent items, such as hymnals, statues and wooden bowls were authentic. The police station was well-dressed and random items like the shopping trolley, the retro TV set and the street lamp all helped to add depth to the show’s world.

There was strong attention to the period in costuming. The 1970s styling was very impressive and appropriately over the top. TJ’s brown suit, Deloris’s leopard print dress and Curtis’s red suit all ticked the loud and gaudy box perfectly. The nuns’ habits looked very well and the tabards for their transformation moments were excellent, adding great visual excitement to those moments. Eddie’s wonderful costume reveal was perfectly achieved and was one of the comedic highlights of the show. Time does pass between Act 1 and Act 2 and that needed to be considered in creating the costume plot, as some main characters wore the same ‘daywear’ throughout the show. ‘Spread the Love Around’ looked fabulous (baby!) with its visually stunning silver and white theme.

Hair and makeup were generally good. Deloris’s wig was delightfully dramatic, perfect for her character. Her makeup was consistently strong throughout. However, I felt that several of the nuns were overly made up for the convent setting. This did not take away from their performances but it did affect the authenticity of the storytelling somewhat. Tina and Michelle’s identical red wigs, whilst visually striking, felt odd, and I thought that more distinctiveness would have been appropriate. Pablo’s enormous moustache and sideburns were hilarious. His look may have bordered on caricature but, given the tone of the show, it really worked. Overall, good work in creating an authentic 1970s look. 

This was a most enjoyable production overall. The energy, enthusiasm and spirited choreography suggested an evident love for the material. The cast worked hard, putting their hearts and souls into every moment. There were some excellent, truly memorable principal performances. However, I did feel that the show was prevented from reaching its full potential due to stage management and lighting issues. All of that said, there was much heart and humour in the production, which carried us along on a wave of joy. Full credit to the very committed cast who ensured that the audience left laughing and singing.

Pat McElwain

Sullivan Adjudicator 2025/2026