Midway through the second part of Sister Act: A Divine Musical Comedy, the story lands on three henchmen who plan to steal back the protagonist by seducing a group of cloistered nuns who are keeping her safe.
The trio break out into the song “Lady in the Long Black Dress,” with lyrics that lay out their plot to woo the sisters using sexual innuendo, suggestive actions and blasphemous wordplay.
It was impossible not to feel uneasy during this number, and it wasn’t just because five or so habited religious sisters were sitting three rows down from me.
The stage adaptation of the popular 1992 film starring Whoopi Goldberg, now playing at Sydney’s Capitol Theatre, leaves behind the film’s iconic soundtrack—don’t expect to sing along to “Hail, Holy Queen” or “Salve Regina”—and even elements of the plot.
It instead opts for cliched counter-Catholic commentary over the warm and positive story that delivered Goldberg one of the most memorable smash hits of the 90s.
This stage adaptation follows nightclub singer Deloris Van Cartier, played by singer Casey Donovan, as she takes refuge in a crumbling convent after witnessing her gangster boyfriend Curtis commit a murder.
Forced to pretend to be a nun from Las Vegas, Deloris and the sisters begin to learn from one another and eventually the lounge singer introduces the convent’s choir to Rock ‘n Roll.
The choir’s growing notoriety quickly garners the attention of both the visiting pope and Deloris’ murderous boyfriend.
On the surface it may seem like a synopsis for the film itself, but where this production differs is in the story’s central message.
What gave the movie its charm was how, despite her initial prejudices, Deloris learns to be a more selfless, moral, confident and creative person by sharing in the life of the convent.
The sisters’ exposure to Deloris in turn opens them up to new ways of evangelisation and draws them closer to their community, which consequently saves their church.
But in the stage production, Deloris is a liberating presence for repressed nuns who lament a life lost within the convent walls.
The character of Sr Mary Robert—the young, shy blonde nun from the film—instead of finding confidence within herself and from her vocation, sings her regret and repression in “The Life I Never Led.”
This musical number ends with her declaring that she won’t remain “dead” to these experiences and alludes to a decision to leave her vocation, which she eventually threatens to do with a number of other sisters.
Songs like “Sister Act” and “Spread the Love Around” do attempt to bring the focus back to a positive relationship between the sisters.
But these tracks only serve as a brief reprieve for the ears, which are otherwise battered by the production’s progressive propaganda.
Casey Donovan nevertheless puts in a powerful performance as Deloris, showcasing her formidable skills as a stage actor and singer of soul.
Changing the setting from 90’s Nevada to 70’s Philadelphia worked in her favour, as the production traded hymns for disco.
But swapping out what made the film so beloved—its musical repertoire—was definitely felt by the audience, with some grumbling and voicing their displeasure at being denied a sing-a-long with their favourites.
Questionable lyrics and storyline aside, the sets and production values were slick, and the cast performed amazingly well—with credit given to newcomer Sophie Montague as Sr Mary Robert, and Genevieve Lemon as the Mother Superior.
But ultimately it lacks the songs, style and heart of the beloved original, which had genuine affection for nuns and the religious life. More ideological and less charming, Sister Act trades the worse for the better, making for an experience more forgettable than divine.
Following the Sydney season which ends 26 October 2024, Sister Act: A Divine Musical Comedy will play at the Regent Theatre, Melbourne from 3 November 2024, Lyric Theatre – QPAC, Brisbane from 8 February 2025, Festival Theatre – Adelaide Festival Centre from March 2025 and Crown Theatre Perth from April 2025.