While there are many ‘disco musicals’ touring the country that feature licensed music, Sister Act the Musical is a true disco musical bringing original songs, disco beats, good vibes, upbeat tunes and more to audiences alongside a cast of genuinely talented Australian actors. The result? My planning to book another performance before I had even left the theatre! Making its Australian premiere in Sydney and Melbourne last year, Crossroads Live has continued the national Australian tour of Sister Act the Musical by kicking off its Brisbane season at the Queensland Performing Arts Centre (QPAC) Lyric Theatre, which it will call home for the next month. While the foundations are certainly there, how does this Australian tour of an adaptation of an early-90s classic hold up? Read on to find out!
The narrative of Sister Act the Musical takes a familiar tale from its theatrical origins – a lounge singer (Deloris) who, after witnessing a crime undertaken by their married mobster boyfriend, is thrust into the unlikely world of a convent. The different worlds of a flashy nightclub performer and the nuns of a quiet convent collide, setting the stage for heartfelt transformation, comedic chaos and memorable moments – both uplifting and over-the-top – where seemingly tone-deaf choral singers find their unique styles and groove in late-1970s Philadelphia. The result is something which, despite featuring a completely different soundtrack, is authentic to its source material, but through the novelty of taking place on-stage, shines in its own right. The storyline does lean on a thin thread — it occasionally feels like the narrative is rushing through, leaving you wishing for a more fully developed third act. However, it is propelled by its quirky characters and riotous humour rather than a tightly wound plot. This adaptation doesn’t dwell on its varying subplots, instead favouring a trail of vibrant musical numbers and narrative-driven scenes that hone in on the transformation on the characters.
In terms of delivery, the show finds its strength in the infectious enthusiasm of its cast. The narrative is communicated through well-timed reprises and well choreographed sequences which balance the key emotional moments with liberal amounts of fun. Although the story does occasionally feel like a collection of loosely connected vignettes with time jumps and incomplete story strands, the production’s lively pace and engagement between characters ensure the overall experience remains heartfelt and entertaining.
The music in Sister Act the Musical is fresh, giving the musical its own style, rather than following many music-oriented film-to-musical adaptations which attempt to shoehorn in as much of the original score as possible. Instead of relying on the original’s music, this production boasts an original score crafted by Alan Menken – renowned for his iconic work on Broadway and work on iconic Disney classics such as Aladdin, The Little Mermaid, and Beauty and the Beast among others. Menken’s compositions infuse the show with a blend of disco, soul, and Motown-inspired rhythms. Each song feels tailor-made for the story and relates well to the type of character and actor filling each role. Ultimately, it can be seen as a celebration of the exuberance of the disco era while adding fresh layers of emotional depth and comedy to the narrative.
The original score not only elevates the overall production but also offers a treasure trove of highlight numbers that keep the energy soaring. For instance, I Could Be That Guy is a completely out-there and entertaining song that injects unexpected humour, while When I Find My Baby and Here Within These Walls are arguably a bit more subdued yet delight with their witty, well-crafted lyrics. Then there’s the powerhouse suite of tracks which is pretty much anything featuring Deloris such as Sister Act, Take Me to Heaven, Sunday Morning Fever, and Raise Your Voice — with each delivering a unique blend of show-stopping energy and emotional resonance. Every song featuring Deloris exudes her, and in turn, Casey Donovan’s, signature charisma, making her moments on stage particularly memorable and highlighting musical’s spirited celebration of transformation and joy.
The choreography in Sister Act the Musical bursts with the era’s signature disco flair, balancing vibrant group numbers with comedic touches. Retro-inspired moves with some modern flair helps transport the audience back to the late 1970s, while cleverly reflecting each character’s evolution. The nuns, initially reserved in their rigid roles, loosen up over time as Deloris’s influence encourages them to embrace the music and style. Meanwhile, the gangster trio injects hilarity into their scenes with slapstick movements and synchronized antics, adding a dash of cartoonish fun to the choreography. This fusion of disco grooves, comedic flourishes, and tight ensemble work keeps the show’s energy at a constant high. In turn, it ensures every musical number and every cast member delivers both flair and joy.
The Australian cast of Sister Act the Musical brings a blend of star power, nuance and a medley of distinct personas to the stage. Casey Donovan is undeniably at the heart of the performance, with her vocal prowess and stage presence commanding attention. However, while her performance is undeniably captivating, there’s a sense that she occasionally channels a version of herself rather than fully immersing herself in the role popularised by Whoopie Goldberg and her style in the 90s. This is not necessarily a critique, but more a highlight that her acting style is naturally aligned with the character of Deloris, compared to others in the principal cast and ensemble who are more “out there”.
Genevieve Lemon, in the role of Mother Superior, delivers a performance that is both authoritative and warmly human, managing to ground the production with her nuanced portrayal. Rhonda Burchmore, as Sister Mary Lazarus, brings a refreshing mix of wit and energy that lights up her scenes with a healthy dose of rapping… which she has quite the knack for. Raphael Wong shines as Eddie Souther, blending charm and subtle humour to create a quirky character that I would have liked to see more from, although his performance of I Could Be That Guy is easily the song that stuck with me the most during the performance. Sophie Montague also deserves special mention for her portrayal of Sister Mary Robert, where her vocal moments and evolving character bring genuine emotional depth. Additionally, Damien Bermingham, stepping in on opening night in place of Adam Murphy as Curtis Jackson, offered a commendable performance, with the trio of Jordan Angelides, Tom Struik, and James Bell as Curtis’ lackeys providing an extra sprinkling of comedic relief and over-the-top accents from the era.
My first impression when walking into the Lyric Theatre was… “Disco Balls… Nice!”. Genuinely, having not one, not two but five disco balls spread throughout the theatre, complemented with some pre-show 70s music, was the perfect way to get audiences hyped for the musical before it commenced. The set design and lighting for Sister Act the Musical were versatile, and at its core is based on concentric arches serving as both a forced perspective device, focusing audience attention on a section of the stage which implies much grander environments, and digital screens which were effectively utilised with a range of patterns. In one scene the screens could glow in a spectrum of purples and blues against a darker backdrop, reflecting a locale more reminiscent of a traditional cathedral, while the other could have vibrant flashing rainbow lights of a setting or song perhaps not often found in a church with nuns. The combination of geometric arches, bold backlighting, and disco balls creates a dynamic visual contrast—one that underscores the clash (and eventual harmony) of a convent’s reverence with the glitz and glamour of the 1970s.
In the end, Sister Act the Musical is a heavenly blend of disco, soul, and irreverent charm that transforms an ordinary night at the theatre into a full-blown celebration of transformation and unity. It’s a show that may not preach heavily from the pulpit, but sure us all clapping and swaying in the pews… uh… stalls. With every glittering note from Casey Donovan, every sassy rap from Rhonda Burchmore, and every exuberant step of the cast, the production invites you to leave your troubles at the door and join a joyful, unorthodox congregation. So, if you’re ready to get your groove on and experience a divine dose of fun, then consider this your call to get to the QPAC Lyric Theatre, and get ready to praise differently.
Final Score for Sister Act the Musical
We would like to acknowledge that review tickets were provided to us for the opening night performance by Crossroads Live Australia and the Brisbane publicity team at Cinnamon Watson Publicity.
Sister Act the Musical is currently being performed at the Queensland Performing Arts Centre (QPAC) Lyric Theatre until Saturday 15 March 2025, where it will then be heading for subsequent tour legs at the Adelaide Festival Theatre in March 2025 and the Perth Crown Theatre in April 2025 – both for four weeks only. Ticket sales for all remaining legs are now on-sale, with information for each venue available via the official Sister Act the Musical website.
