Sister Act as presented by Clane Musical & Dramatic Society

Society Name: Clane Musical & Dramatic Society

Show Name: Sister Act

Adjudicator Date of Attendance: 02/04/2025

Brief Overview of Show and Evaluation of Front of House

Clane Musical & Dramatic Society delivered a jubilant and vibrant production of Sister Act that was rich in heart, energy, and polish. This production sparkled with professionalism, precision, and personality from the opening bars to the triumphant finale. The musical, based on the beloved 1992 film, follows the story of Deloris Van Cartier, a lounge singer forced to hide in a convent, where she finds unexpected sisterhood and purpose. It’s a story that blends humour with heart, and this production handled that balance beautifully.

From the moment of arrival, the experience was warm and welcoming. Front of House operations were managed with great professionalism—patrons were greeted enthusiastically and directed smoothly. The atmosphere was celebratory, with an evident buzz of anticipation in the foyer. There was a tangible sense that this society took pride in their work both on and off the stage.

Director – Direction and Production

Jennifer O’Brien’s direction was nothing short of exceptional, quite simply, a triumph of direction. This was a production bursting with clarity, energy, and emotional depth. The storytelling was incredibly strong, and what elevated it even further was the attention paid to every character on stage, no moment was wasted, and no performer felt underused. It was clear that character development had been a priority, each character, whether principal or ensemble, felt thoughtfully considered and three-dimensional. Her touch could be seen in every carefully constructed moment, from the broad comedy to the tender emotional beats. It was a joy to watch the character arcs unfold, particularly in how the convent gradually embraced Deloris and evolved as a group.

The pacing throughout was expertly managed, moving the action forward with momentum while allowing space for reflective and emotional beats. Transitions between scenes were fluid, and moments of comedy were sharply timed. Even quieter moments-maintained energy and purpose, creating balance and contrast within the show’s rhythm. A stand-out aspect of the direction was the accent work—clear, consistent, and well maintained across the cast. Visual storytelling choices also supported characterisation well, such as how spaces were used to reflect inner states or group dynamics.

Jennifer demonstrated an instinctive understanding of tone, and that made all the difference in a piece that shifts between the absurd and the profound. The result was a production that kept the audience both laughing and emotionally engaged.

Musical Director – Direction and Orchestra

Gráinne Uí Luing’s musical direction was another standout strength, vibrant, era-appropriate, and deeply satisfying. The score of Sister Act is full of funky, 70s-inspired rhythms, gospel numbers, and rich harmonies, all handled with style and precision.

The sound was filled with that trademark 70s synth texture, giving the show an unmistakable sense of time and place. Tempos were well judged, and cues were confidently delivered. Particular praise must be given to the ensemble’s vocal unity—harmonies were not only accurate but emotionally charged. The chorus had clearly been well-coached, with diction, phrasing, and musicality all working in service of character and story. There was a glorious blend in the group numbers that never overpowered, even in the most spirited ensemble scenes.

Of note, the musical team were positioned behind the set, but this had no negative impact on the show. The sound was clear, balanced, and well-integrated into the action, speaking to strong communication between pit and stage. A truly accomplished musical direction that lifted every performance.

Choreographer – Choreography

Grace McGrath’s choreography was pitched beautifully. It struck that golden balance between being engaging, stylistically accurate, and within the capabilities of the performers. The result was a company who danced with confidence and purpose, fully in sync with the show’s infectious energy.

What impressed most was the clarity of the choreography. Every performer knew what they were doing, and the routines were executed with cleanliness and enthusiasm. Numbers such as “Take Me to Heaven” and “Raise Your Voice” were standout examples of how movement was used to elevate both narrative and musicality.

Each cast member had moments to shine, and it never felt like choreography was restricted to a few dancers. The ensemble was integrated wonderfully into the movement, creating a visual unity across the stage. This was choreography that enhanced the storytelling without ever overshadowing it—a sophisticated and thoughtful approach.

Leading Principals – Singing and Acting

Deloris Van Cartier – Emma Stack: Emma delivered a tour-de-force performance as Deloris. Her vocals were simply breathtaking, powerful, agile, and full of soul. She captured the character’s cheeky charm without veering into caricature, grounding Deloris in real emotional stakes. She handled the journey from nightclub diva to spiritual sisterhood with grace and power. “Sister Act” was particularly moving, showing a depth of emotion that resonated. Her comic timing, stage presence, and expressive face made her a joy to watch, and her emotional journey felt honest and moving. A knockout performance that anchored the entire show.

Mother Superior – Ellen Stapleton: Ellen gave a nuanced and sophisticated performance. Her comic timing was razor-sharp, an absolute masterclass, but she layered her character with subtle vulnerability. Her portrayal leaned into a more emotionally restrained figure, someone who smiles to mask her conflict, bringing great poignancy to scenes of internal struggle. Vocally, Ellen was controlled and expressive, handling her demanding range with skill.

Eddie Souther – Cian O’Dowd: Cian brought real warmth and sweetness to Eddie. His sincerity made him instantly endearing, and the chemistry with Deloris was charming and believable. His performance of “I Could Be That Guy” was filled with heart and vocal polish, showcasing smooth tone and solid control. His nervous energy and awkwardness were perfectly tuned to the role.

Curtis Jackson – Sean Lennon: Sean’s Curtis was genuinely menacing, a character sometimes played for laughs, but here imbued with sinister charisma. He balanced a suave exterior with genuinely unsettling undertones, and “When I Find My Baby” was a chilling and memorable highlight. He owned the stage in every appearance, creating a credible and fearsome antagonist.

Sister Mary Robert – Sarah O’Flaherty: Sarah was utterly captivating as Mary Robert. Her journey from timid novitiate to empowered young woman was beautifully paced. “The Life I Never Led” was heartfelt and stunningly sung—a standout moment of the evening.

Sister Mary Patrick – Sarah McGauran: Sarah delivered a joyous, effervescent performance. Her bubbly presence lit up the stage, and she provided an excellent foil to the more reserved Mary Robert. She possessed a strong vocal command and brought great comedic energy to every scene.

Supporting Roles – Singing and Acting

Sister Mary Lazarus – Pauline Hoban: Pauline was riotously funny. She nailed the cantankerous charm of Lazarus and executed the shift into unlikely rap star with perfect comedic timing. Her vocals were brassy and full of character, and she clearly relished every moment.

Joey, TJ, Pablo – Art McGauran, Aaron Stone, Alan Maleady: An uproariously funny trio. Their number “Lady in a Long Black Dress” was hilariously staged and confidently performed. Each brought something distinct, be it sleaze, dimwittedness, or exaggerated charm, but together, they formed an unforgettable comedic unit.

Monsignor O’Hara – Rory Chadwick: Rory’s Monsignor was a delightful surprise. Often written as a subdued presence, his portrayal had energy and gusto, adding sparkle to scenes that could otherwise feel static. His enthusiasm brought welcome lightness to the convent environment.

Sister Mary Martin of Tours – Elaine Moore O’Donohoe: Elaine’s performance was a comedic gem. She stayed entirely in character throughout, whether centre stage or in the background. Her consistency and facial expressions drew frequent laughter and added lovely texture to every group scene.

Sister Mary Teresa – Sadie O’Reilly: Sadie was a standout among the ensemble. Her performance was packed with energy and character specificity. She formed effective partnerships onstage and contributed meaningfully to the group dynamics.

Michelle & Tina – Patricia Voon and Sinéad Byrne: This duo supported Deloris with confidence and flair. Their vocals were well matched, and their physicality in dance routines demonstrated real assurance. They brought a strong presence to the opening sequences and maintained great commitment throughout.

Chorus/Ensemble – Singing, Acting, and Choreography

The ensemble in this production was a true powerhouse. Each performer had a defined character, and they maintained these personas throughout, even in transitions and background moments. Their facial expressions were animated, their energy unwavering, and their cohesion impressive.

Vocally, the ensemble was a major asset to the production. Their harmonies were lush and beautifully balanced, especially in the larger group numbers. They moved as a unit, yet with individual flair, and executed choreography with confidence and joy. This was ensemble work of a very high standard.

Stage Management & Set Design

The set design was inventive and highly functional. The use of sliding doors, layered flats, and varied levels created a visually engaging experience that allowed for smooth scene changes. The backlit stained-glass window was a particularly beautiful feature, helping to evoke the sacred setting.

A minor visual suggestion would be to unify the backdrop stonework with the building’s physical stone elements would enhance continuity.

Stage management was generally strong, though there were moments where exits and prop removals felt slightly delayed or out of sequence. Reviewing the order of removals may improve flow in future performances.

Technical – Light and Sound

Lighting created some lovely stage pictures, and many cues were effectively chosen to complement mood and setting. However, a few live changes occurred mid-action that may have been better programmed out. Some transitions were sudden and slightly distracting. Adjusting cue timing could enhance fluidity.

Sound quality was excellent. Cues were tight and well timed. There was clear spatial awareness, particularly when transitioning from interior to exterior of the bar, or when TV audio effects were used. The mix between band and vocals was well judged, ensuring lyrics remained clear.

Visual – Costumes, Hair and Make-Up

Costuming was superb, particularly the groovy 70s menswear, which brought humour and flair. Thoughtful touches, such as the nuns’ wedding rings and coordinated sleepwear, showed detailed design thinking.

Hair and makeup choices were sensitive to period and character. The nuns appeared natural and unembellished, while the nightclub characters carried the glamour and polish of the disco era. Excellent visual cohesion throughout.

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

This was a truly memorable production from Clane Musical & Dramatic Society. Every department was working in harmony to deliver a joyful, funny, and emotionally resonant show. The cast were clearly well-rehearsed and directed with a deep understanding of character and narrative, resulting in a performance filled with authenticity and heart.

Future enhancements could include:

• Slight refinement of backstage and set change logistics for smoother flow.

• Minor adjustments to lighting cue execution to maintain scene immersion.

• Continued focus on the outstanding ensemble cohesion, which is a true hallmark of the society’s strength.

  
  

Overall, this was an exemplary community theatre production—bursting with talent, guided by thoughtful direction, and performed with true spirit.

Photos are by Aishling Conway, Conway photography.