'Sister Act', King's Theatre, Glasgow, 12/9/12

Because I enjoyed it so much last time I decided to revisit this show when it showed up in Glasgow and to put it simply; I stand by everything I said in my first review of the show.
The production was the same, the cast was the same (with the exception of the actress playing 'Mary Robert' - this time I saw Julie Atherton whilst previously I saw her understudy Lucie-Mae Sumner - both were equally as brilliant in the role although, obviously, they each portrayed the role slightly differently) and as good as they all are I really do think that Cynthia Erivo is an outstanding talent.
On this second viewing I was able to appreciate more how witty the script really is and how wonderful a lot of the songs are. Indeed many are truly rousing!
In fact I'd go as far as to say that I enjoyed the show even more this time - it really is just so much fun that one cannot help but get swept up in rapturous enjoyment!

My only issue is that the follow spot operators needed more work and the sound balance needed some tweaking; the orchestra, especially the brass, was at times quite overpowering and drowned out the vocals.

But, anyway, go see it!

'Sister Act', Edinburgh Playhouse, 2/11/11

I was never really interested in dragging my arse to London to see the stage version of Sister Act despite my enjoyment of the film. I’d heard one or two of the songs and they were enjoyable enough. I was also aware (since the first production several years ago in America) that the plot (and period) had been changed but I simply wasn’t entranced enough to dig into my wallet to fork out for this show out of all the others that exist.

Natch the show announced its closing and then a tour was announced. Between these events the show moved to Broadway in a revised and re-directed version. It was this update that was to tour the UK and its coming close to me (and the nagging of a friend who did want to see it) was a more attractive option.

The show is as exuberant as the best and was a very enjoyable night out. The production may not have all the trappings of a West End or Broadway production but the slightly altered set was effective, evocative and serviced the show well. Likewise all the other elements - lighting, costume and sound – were quite excellent. As was the orchestra and the musical direction which truly brought the music to life creating a pounding disco atmosphere that had the audience in thrall together with the laugh out loud script which had the sell-out audience in stitches. That revised script also fleshed out characters from the film and altered the plot sufficiently to keep the basics of the film’s plot together with fresh material to engage the audience.

The cast were flawless and, though it’s not always nice to compare, I felt they outdid those that feature on the London cast recording. Certainly Deloris (Cynthia Erivo) packed a punch both vocally and in her comedic skills, not to mention her creating a character that was not a mere rehash of the Whoopi Goldberg film performance. Denise Black as the Mother Superior shone a different light onto the hardened character bringing a husky, bluesy vocal quality that I really liked.

The production received a very well deserved standing ovation and I wouldn’t be opposed to seeing the show again when it comes even closer to my current habitat.

To Tour or Not to Tour?

I was just perusing the theatre news for the UK when I noticed that the cast has been announced for the UK tour of 'Sister Act' the musical (it does not advise who will be directing or designing the show or whether it is a replication of the London or New York production) and it occurred to me that there are many actors who do not like to be in touring versions of a show, as if it might be seen to be beneath them.
Now I appreciate that some older actors may want to stick close to home as much as possible but I'm starting to think that the audience is picking up on the fact and that they are beginning to see touring versions as a lesser product.
Legally Blonde will also be touring and they've yet to announce their cast and I wonder what level of 'star casting' they will have (if any).
I am not saying that any show needs to have big names as I certainly believe that the show should be the star so long as it's written, produced and performed well then that's good enough for me. Of course, it's nice to see someone well known if you're a fan of that person, but it is not essential.
What I worry about is that some theatre goers are only attracted to the cast that may be performing and care very little about the show they intend to see. They may, of course, enjoy what they see but they would not have gone in the first place if not attracted by the cast. It is a trend I am not too enamoured of. Many West End shows now rely on the pull of 'star power' which is a shame as many of these are excellent show in their own right. Phantom' and 'Les Mis' (both long runners) are now exceptions rather than the rule, but continue their success due to their legacy and fandom that they've built up over the years
It is a shame that this trend has evolved and that more well know actors want the prestige of only working in the West End. Touring once was a way of spreading your name around the country, building up followers. Repertory was a means of learning the craft. These days, with television, reality shows and perhaps even drama schools there are different ways to make your name. And to this end the West End seems more appetising (and financially rewarding) and easier to achieve. Bit it has also created a snobbish attitude in some (not all) performers.
A Shame.