Sister Act as presented by Castlebar Musical & Dramatic Society

Society Name: Castlebar Musical and Dramatic Society

Show Name: Sister Act

Adjudicator Date of Attendance: 29/03/2025

Brief Overview of Show and Evaluation of Front of House

Castlebar Musical and Dramatic Society’s production of Sister Act offered its audience an enjoyable and spirited evening of musical theatre. The show, based on the beloved 1992 film, is a joyful celebration of sisterhood, faith, and finding one's voice. The production made good use of the large stage space and featured strong performances, crisp musical direction, and a committed ensemble. It was clear from the outset that the society had poured considerable time, energy, and heart into this show.

Front of House operations were warm and efficient. Patrons were welcomed with enthusiasm and guided with clarity, contributing to a positive pre-show atmosphere. The overall mood in the theatre was one of excited anticipation. The venue itself, with its generous stage and technical capabilities, brought both opportunities and challenges, but the team handled these with admirable effort and professionalism.

Director – Direction and Production

Donna Ruane’s direction provided a steady and thoughtful framework for the production. This was a well-paced, cleanly executed staging that made room for humour, emotion, and character development. While it may not have taken major creative risks, it was nonetheless a successful, cohesive production. The storytelling was always clear, and characters were well defined, with some particularly touching moments, especially in the development of Deloris and the nuns’ growing relationship.

Blocking was effective and ensured visibility for all performers. The choice to not keep some moments more spatially intimate and bringing focus to centre stage could be explored even further. For instance, moments of isolation for characters like Mother Superior might benefit from being physically boxed in using lighting and staging to visually support their emotional journeys.

Scene transitions were handled with charm and wit, with some particularly amusing moments involving furniture being spirited offstage by cast members. These small, clever touches added personality to the production and kept energy levels high.

This was a director who clearly cared about telling the story with integrity, humour, and warmth. Future stagings could build on this solid foundation by leaning more into dynamic visual storytelling and symbolic use of space and light.

Musical Director – Direction and Orchestra

Deirdre Lee delivered a well-balanced and musically cohesive show. The band produced a solid, rich sound that filled the expansive auditorium with ease. Harmonies across the ensemble were particularly impressive, tight, well-rehearsed, and confidently delivered. Tempos felt just right, giving the production a brisk pace that allowed scenes to flow smoothly from one into the next. The music of Sister Act is inherently dynamic, moving between disco, gospel, and soul-inflected musical styles, and the orchestra navigated this landscape with ease.

While the musical direction didn’t feature standout flourishes, it also didn’t falter, this was a consistently strong and reliable musical foundation that supported both principals and ensemble with confidence. The musical director’s work was particularly noticeable in the group numbers, which were vibrant and energising, and never felt underpowered despite the scale of the space.

Choreographer – Choreography

Claudia O’Sullivan approached the choreography with style, clarity, and a deep understanding of the material. Sister Act isn’t a show known for big show-stopping dance numbers, but that didn’t stop this production from bringing energy and inventiveness to every routine. Movement was always well-placed, with careful attention paid to spacing and transitions. Formations were clever and purposeful, ensuring visual interest without overwhelming the storytelling.

The routines reflected the joyful gospel spirit of the piece, and the cast appeared confident and well-rehearsed. There was never a moment where the choreography felt forced or out of place, it always served the narrative and tone. While there’s room in future productions to introduce more complexity where cast abilities allow, the restraint shown here worked well within the style and needs of the show.

Leading Principles – Singing and Acting

Deloris Van Cartier – Lorna Dennehy: Lorna gave a thoroughly enjoyable and confident performance as Deloris. Her powerful vocals, combined with strong comic timing and commanding stage presence, anchored the show beautifully. She embodied Deloris’ sass, warmth, and eventual transformation with charm and authenticity. She handled both the showier numbers and the more heartfelt moments with equal strength. A standout performance.

Mother Superior – Vivienne Lee: Vivienne offered a solid interpretation of Mother Superior, though her characterisation didn’t quite reach the necessary gravitas or emotional authority. There was a sense of something held back, perhaps a more austere presence or sharper delivery would have brought the character into fuller relief. Vocally, the songs sat in an awkward register, which may have impacted overall impact. Still, her interactions with Deloris were thoughtful and sincere.

Sister Mary Patrick – Maria McNulty Hughes: Maria brought bright energy and commitment to the joyful Sister Mary Patrick. Her bubbly personality and enthusiasm were infectious. Vocally, she showed great enthusiasm, though the upper register could benefit from additional support and tuning. Nonetheless, she captured the spirit of the character well and was a consistent presence in ensemble moments.

Sister Mary Robert – Caoimhe Halligan: Caoimhe gave a sweet, earnest performance. Her gentle portrayal built well towards her character’s emotional and vocal breakthrough. While her rendition of “The Life I Never Led” was heartfelt, it could benefit from further technical vocal development, particularly at the break between registers. With some targeted vocal coaching, her belt and head voice transitions could be made smoother and more confident.

Sister Mary Lazarus – Aoife Halligan: Aoife brought humour and zest to the role of Sister Mary Lazarus. Her timing was strong and her delivery full of attitude. While she may have seemed a bit young for the "cranky elder nun" stereotype, she handled the role with confidence and flair. Her presence added welcome comedic moments to the show.

Curtis – Matthew Largent: Curtis was played with commitment and a strong tenor voice by Matthew. The performance sometimes leaned a bit too much into caricature, and the genuine menace needed to make him a true threat never quite landed. A more grounded, intimidating approach would help sharpen the contrast between his world and Deloris’ newfound sisterhood. Vocally, he performed his number with polish.

Eddie – Eamonn McNicholas: Eamonn delivered one of the most charming performances of the evening. As the gentle and awkward Eddie, he showed excellent comedic instincts and warmth. His number was a highlight, and his ability to transition from confident performer to self-effacing underdog was wonderfully done. A lovely performance that endeared him to the audience.

Supporting Roles – Singing and Acting

Monsignor O’Hara – Eamon Smith: An interesting choice of “Irish” accent, but Eamon’s performance was full of energy and authority. He navigated his scenes with clarity and delivered a believable leadership presence.

TJ, Joey, Pablo – Enda Mulchrone, Ethan McNea, Brendan Mullins: A hilarious trio with great chemistry. Each performer brought their own flair to their character, and together they were truly delightful. Their number was one of the comic highlights of the production, tight, well-rehearsed, and full of character.

Michelle / Sister Mary Martin of Tours - Katya Harrison: An energetic and vocally strong performance. The character switch between Michelle and the nun was executed well, with good distinction and timing.

Tina – Kara Gibbons Murray: A competent performance with a strong vocal ability, but there was a noticeable gap in confidence and energy compared to her counterpart. With more experience, Kara will grow in presence and performance strength.

Ernie – Damien Fee: A lovely comic performance. This small role was played with spot-on timing and physical humour, offering one of those brief but memorable moments of levity.

Sister Mary Teresa – Katie Loftus: Katie added strong character energy to the featured nuns. Her engagement and enthusiasm were clear and helped support the ensemble scenes with subtle but effective contributions.

Chorus/Ensemble – Singing, Acting, and Choreography

The ensemble in Sister Act was one of the show’s great strengths. Their vocal work was exceptionally strong, with clear harmonies and good diction. Movement was crisp, transitions smooth, and their collective energy palpable. There was a great sense of camaraderie, particularly important in a show like this where “sisterhood” is central. The ensemble delivered both humour and heart, and their commitment was evident throughout. A well-coordinated, joyful chorus who added tremendous value.

Stage Management & Set Design

The set design made good use of the large stage, though at times the space felt a bit underused or too open. The static stone wall backdrop was effective, but the raised side sections could have been employed more dynamically. Projections were used well, though there was one notable mismatch in Eddie’s apartment where the scene was set in the bedroom, but the backdrop was a living room.

Overall, stage management ensured a well-run show, and the team deserves credit for maintaining pace and flow across a technically demanding production. Scene changes were generally smooth, though a few moments felt slightly slow, or could have used better coordination.

Technical – Lighting and Sound

Lighting was a mixed element of this production. While some scenes had lovely stage pictures, there were notable dark spots in front-of-house areas that affected visibility. There also appeared to be interference from the line array speakers, creating shadows at the DSR and DSL entrances. Some better cross-focus or repositioning of the speakers could help.

Sound was mostly very good, if perhaps a touch too loud, but the mix was balanced and clear. Cues were well executed, and there was strong balance between vocals and band.

Visual – Costumes, Hair and Make-Up

Costumes were a visual delight, particularly Deloris’ wardrobe, which sparkled and shone just as it should. The nuns’ habits were appropriately styled and visually cohesive. The male costumes, including the gangsters, were well chosen and added to the 70s vibe. Eddie’s quick changes were particularly impressive and slickly handled. Hair and makeup were subtle but suitable, though mostly hidden under habits.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

This was a vibrant and heartfelt production, led by a committed team who clearly understood and respected the spirit of Sister Act. There were many lovely performances, strong vocals, and confident staging choices. While not groundbreaking in its interpretation, it was thoroughly entertaining and showcased the society’s talents well.

For future productions, opportunities include deepening character arcs, especially for key roles like Mother Superior and Curtis, and exploring more ambitious staging and lighting choices to enhance mood and theme. With some fine-tuning of technical elements and vocal support for developing performers, Castlebar MDS has the potential to elevate already solid work to something truly special.