Sister Act as presented by Coolmine Musical Society

Coolmine Musical Society 

Sister Act 

Wednesday 13th November 2024 

What is it about musicals featuring nuns that always raises a smile? From ‘The Sound of Music’ to ‘Nunsense,’ you can be sure that shenanigans are always afoot when a convent follows an overture. ‘Sister Act’ is no different and the absolute highlight of Coolmine Musical Society’s production was its wonderful ensemble of black and white-clad sisters embracing such shenanigans with gleeful abandon, singing and dancing up a storm as they brought their talented production team’s vision to life on the Draíocht stage. 

There is always a unique buzz and sense of occasion in the Draíocht foyer before a show. There was no exception on the night I attended and society stalwarts were on hand to make sure that everything flowed well and was organised to perfection. 

Director E.J. Reilly brought a lot of experience to bear on this very entertaining show. There was a strong emphasis on the comic possibilities. Such was the enthusiasm of the audience, that there was a number of times when cast needed to hold for laughter so that subsequent lines could be heard. The visual elements of the show could not have been in better hands and there was great work with the superbly committed ensemble, giving so many talented people a chance to shine. There was good pace throughout the show and characterisation was strong. The fast-moving, hilarious chase scene was very cleverly moved, incorporating the six upstage doors into the brilliantly timed, frenetic action. An impressive job on a mammoth show. 

Nicole McDonald’s choreography was so cleverly in tune with the tone of the show. From the precision moves of Deloris and her backup girls in the opening scene, to some hilariously creative freestyle moves in the convent, Ms. McDonald not only devised some excellent numbers but she also allowed her to cast the freedom to make them ‘real.’ Nuns balanced precision with arthritic hips and grace with dodgy knees as they infused character into every number. 

Caitríona Ní Threasaigh did a wonderful job as MD. Having her orchestra split between two separate locations couldn’t have been too much fun. This was as good a group of musicians as anyone could hope for and they really brought the ‘fabulous’ Alan Menken score to life. Principal singing was strong and the bigger ensemble numbers were just powerful, with perfectly balanced harmonies and excellent dynamics. Offstage vocals were excellent, especially in ‘Here Within These Walls’ and ‘I Could Be That Guy.’ 

Bronwyn Andrews was a really impressive Deloris Van Cartier. Ms. Andrews gave a standout performance as the conflicted ‘nun on the run,’ with a most polished, nuanced portrayal, commanding the stage. She was feisty, funny, and full of charm as she rejuvenated the Queen of Angels choristers, transforming them into a musical force to be reckoned with. Her wonderfully full and soaring voice was a delight; at its very best in the brilliantly sung ‘Raise Your Voice.’ But it was the gorgeous tone, tenderness and sincerity of ‘Sister Act’ which stole the show for me. 

Séamus Sullivan gave us a cartoonish portrayal of ‘sweaty’ Eddie Southern with a strong focus on physical comedy which really worked. Mr. Sullivan’s timing was very good and he balanced this comic business well with the more sensitive elements of Eddie’s character. He had a great rapport with Ms. Andrews throughout. Mr. Sullivan relished every second of the hilarious ‘I Could Be That Guy,’ embracing the silliness and committing fully to the randomness of Eddie’s fantasy only to be jolted back to reality with a bang. 

Kathy Kelly was excellent in the role of Deloris’ adversary, Mother Superior. Ms. Kelly’s wimpled visage could portray a myriad, effortless emotions with ease, ranging from the disapproving to the exasperated, to the more sensitive and softer side of the convent’s formidable leader. What a magnificent voice she had too, with ‘Haven’t Got a Prayer’ being one of the highlights of what was a very strong show musically. 

Sister Mary Robert, the nervous postulant who finds her voice, was played with great skill by the very talented Nicole Lamb. Ms. Lamb was completely immersed in the role, with great thought behind every action and reaction. She was funny and endearing and the audience loved her coming of age as Deloris helped her find her mojo. ‘The Life I Never Led’ was exceptional, not just for Ms. Lamb’s wonderful vocals, but for her instinctive and heartfelt connection with the lyrics in what was a tour de force performance. 

Jenny Seery had a great joie de vivre in what was a very funny, energetic, and perky portrayal of Sister Mary Patrick, a larger-than-life member of the Queen of Angels community. Ms. Seery had a “powerful instrument” and she wasn’t afraid to use it! Facial expressions and comic interactions were quite hilarious, especially in Act 1, and vocals were very strong in all numbers. She had some wonderful comedy moments and worked really well with Ms. Lamb. 

There were moments when Sharon McNamara threatened to steal the show as the wise cracking, gloriously grumpy Sister Mary Lazarus. Ms. McNamara’s performance was hilarious, as she went from disgruntled choir leader to fully invested rapper with arthritic ease. It was a superbly judged portrayal with excellent comic timing, stage presence and an aging physicality that was beautifully consistent. 

Monsignor O’Hara was played with a very ‘oirish’ charm by Michael Goulding, who clearly enjoyed every minute on stage and made the most of every comic opportunity with what is quite an underwritten role. Mr. Goulding played for laughs and the audience duly responded. He worked very well with Ms. Kelly and his excitement at the prospect of a Papal visit to Queen of Angels was palpable. I loved his quirky enjoyment of ‘Take Me To Heaven’ as he boogied away, lost in the moment. A fun-filled, endearing performance! 

Eddie Brady’s Curtis was despicable and threatening, as all good villains should be. Mr. Brady gave us a very laid-back, menacing delivery, leaving us in no doubt but that this gangster was unhinged, violent and a far cry from being the sharpest knife in the drawer. Mr. Brady gave an effortless vocal performance and was particularly impressive during the fun filled ‘When I Find My Baby,’ his beautifully rich singing voice at complete odds with the sentiment of the song and the assorted weaponry on display. 

Mr. Brady’s henchmen, all equally inept (character-wise!), were a perfectly chosen trio of shady gangsters.

Rory Dignam was a very funny Joey, strutting the stage with macho bravado and a comedic flair that had the audience in the palm of his hand. He looked great with his very 70s wig and moustache and his singing was very strong in ‘Lady in the Long Black Dress’.

Daire Kelly as Pablo was an inspired bit of casting. I mean, it’s not every talented triple threat who rocks up to audition with perfect Spanish too! Mr. Kelly’s performance was full of fun and he took every opportunity he could to wring everything out of the role. His vocal chops were quite evident too, especially in his delicious falsetto during ‘Lady in the Long Black Dress.’

Taylor Hynes gave a quite extraordinary performance as TJ. His flamboyant take on the character was hilarious. We knew from the start that this colourful gangster could only have made it in because of Uncle Curtis. His presence was exceptionally good and his dancing was wonderful. But it was his incredible vocal in ‘Lady in the Long Black Dress’ that really stole the show. An outstanding job! 

Mike O’Brien was a strong Ernie but his performance was far too fleeting as his untimely demise set the whirlwind narrative of the show in motion. He provided great posthumous support as an ensemble member for the rest of the evening. 

Aoife Parkes and Eva Kelly provided super dramatic and vocal support for Ms. Andrews in the opening scenes, as back-up dancers Tina and Michelle. Harmonies were on point and their movement was so well synchronised. Both also shone in the ensemble scenes. 

Kathryn Gibbons was very funny as the aged Sister Mary Theresa, enjoying her every geriatric gyration with glee. And what a funny ‘debut’ we had from Liz Cass, playing Sister Mary Martin of Tours with her hilariously consistent vacant stare. Yes, the lights were on but there definitely wasn’t anyone home. 

Gerry McCann’s unexpected appearance as His Holiness brought me right back to Ballybrit Racecourse in 1979. The drummer kissing his ring was a nice touch. 

‘Sister Act’ is nothing without a motley crew, talented ensemble. Coolmine MS had an exceptional bunch of nuns, altar boys, dancing law-enforcement and inebriated barflies who breathed great life into every scene. Of course, the nuns were quite brilliant, committed to every scene, executing every dance routine with precision and hitting us with walls of harmonious sound that were quite euphoric at times. Take a bow all. 

Gerry McCann was stage manager and had his work cut out with what can only be described as a monster of a set. His sizeable crew was very efficient and organised, managing the many changes of location very well, considering the size of the trucks and the flying requirements. A few minor ‘second night syndrome’ glitches did not take away from the flow and continuity of what can be a challenging show to keep moving. Overall, a really tight and efficient job with a huge beast of a set. 

The hired set was visually stunning and its sheer size was immense. From the enormous Last Supper ‘tapestry’ to the imposing statue of the Queen of Angels herself, everything was on a huge scale. The sliding convent walls provided good cover for the many scene changes necessary for this episodic show. Eddie’s police station was very well dressed, with excellent attention to the tiniest detail, right down to the well-chosen wanted posters of some very dodgy looking fugitives. The confessional was a stunning piece in its own right and the enormous stained-glass windows were superbly authentic as well as providing great opportunities for the lighting department. Unfortunately, the set did provide challenges for the crew in places when movement of trucks behind the sliding walls was far too noisy. 

Props were well chosen and authentic to the era. The assorted weaponry used during ‘When I Find My Baby’ added a fun, tongue-in-cheek element to the number. I loved the zimmerframes, festooned with fairy lights and the wooden bowls did not look out of place in the convent. One small thing was that I felt the Mother Superior’s desk was in need of more dressing. Documentation, letters, pens etc. might have added something. 

Lighting was very strong throughout the show adding great depth and atmosphere to the wonderful set. There was great use of gobos, casting atmospheric shadow on the set and floor as needed. This was particularly striking in the convent scenes. The disco ball, pouring its glittery magic into the audience, was a nice effect. The backlit stained-glass windows looked stunning. The use of moving lights and plenty of colour added so much to the nuns’ large production numbers. There were some lovely states achieved in the brilliantly performed ‘I Could Be That Guy’ as Eddie dreamed of what might be. 

Sound was generally very good. Balance between pit and stage was excellent and there was a glorious choral sound, both onstage and from the offstage singers when needed. Dialogue was crisp and clear, and I was very impressed with how clear all underscored dialogue was. Sound effects were generally well-chosen, although I did think that the two gunshot levels needed attention. 

Costumes were very well coordinated. The 1970s have a lot to answer for when it comes to crimes against fashion and many of those misdemeanours made their way onto the Draíocht stage. Deloris’ pre-habit attire was suitably flamboyant and I loved the gangsters’ daywear which was so authentic to the era. The nuns were fabulously turned out at every stage of their fashion journey, especially their colourful finale costumes. The prison uniforms for Curtis and co. were great fun and the dancing police ladies looked great as they supported Eddie.

Eddie’s discoloured armpits were a ‘nice’ touch and his multi-layered, quick-change costumes worked very well without being overly bulky and flagging the gag. Deloris’ FM boots were perfectly chosen. 

Hair and makeup were in very capable hands. The hirsute gangsters’ looks screamed 1970s and Deloris’ wig was suitably large and flamboyant. Tina and Michelle were superbly turned out and Monsignor O’Hara’s wig looked like a bad toupée but it worked! 

Coolmine Musical Society did a super job with this highly entertaining show, high in production values and full of fun and energy. A very strong cast and production team invested everything they had to offer, to the delight of their hugely appreciative audience. And how fabulous it was! 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Photos kindly shared by the Society - taken by Rob Kennedy