SISTER ACT

Blackout Theatre Company

Guest Reviewer: Libby Choy

A joyful mix of powerhouse vocals and laugh-out-loud moments

One of my fondest childhood memories is watching Sister Act with my family, with Whoopi Goldberg’s comedic brilliance firmly etched in my mind. Blackout Theatre Company’s stage adaptation captures that nostalgia beautifully while adding a fresh, groovy twist that makes the story feel vibrant and new again.

Set to a disco-gospel score, this version shifts the setting from the original 1990s film to a lively 1970s Philadelphia. From the opening moments, the audience is transported to 1977, complete with sequins, hot pants and go-go boots. Katie Griffiths’ costume and make-up design perfectly captures the era and creates a playful, high-energy atmosphere.

Directed by Dennis Clements, the production honours the iconic moments of the original while introducing a contemporary theatrical flair. Musically, under the direction of Dr Angel Wong and Leo Tarbox, the harmonies are tight, the vocals are polished and the blend of disco rhythm with gospel soul gives the show an infectious energy.

At the centre of the narrative is Deloris Van Cartier, played by Angelique Elchaar. Her performance as the flamboyant lounge singer is full of charisma, humour and vocal strength. She brings both power and warmth, capturing Deloris’ bold personality while showing her growth throughout the story. Her voice is impressively strong and assured, effortlessly hitting commanding notes that fill the theatre, and she is, quite simply, “fabulous, baby”.

Comedy runs strongly throughout the production. The gangsters, led by Christopher Melotti’s  delightfully slimy Curtis, strike an entertaining balance between threat and humour. Curtis’ solo, When I Find My Baby, establishes a clever blend of violence and romance, leaning into an exaggerated crooner style that is both menacing and absurdly funny. His entourage, played by Nathaniel Lawson (TJ), Dylan Boniface (Joey) and Nirthanan Krishnan (Pablo), continue this through quick-witted and physically humorous moments that keep the audience engaged. Their trio number, Lady in the Long Black Dress, playfully sees them attempt to seduce the audience with exaggerated charm, smooth harmonies, and over-the-top choreography with skilful comic timing that keeps the audience in stitches.

Inside the Queen of Angels Church, the humour shines, driven by Tracy Payne as Mother Superior (alternate). Every raised eyebrow, calculated pause and subtle expression lands perfectly, drawing consistent laughter from the audience. Her performance balances acerbic wit with underlying warmth, revealing the complexity of a character caught between duty and doubt. Vocally, she impresses in

I Haven’t Got a Prayer, revealing emotional depth and control. Rather than being overshadowed, Payne’s poised performance provides a compelling contrast to Deloris, anchoring the production with confidence, heart and a quietly powerful sense of transformation.

The supporting nuns are equally engaging. Cassidy Donovan’s Sister Mary Robert brings a gentle presence that grows into a powerful vocal performance in The Life I Never Led. Renee Bechara as Sister Mary Patrick adds warmth and enthusiasm, while Rachel Besley’s Sister Mary Lazarus delivers memorable physical comedy, full of kooky, exaggerated, and deliciously cringe moments that have the audience laughing while making her a standout crowd favourite.

Andrew Topinio’s Sweaty Eddie provides a charming subplot. His transformation from awkward police officer to confident performer is both humorous and endearing, adding another layer to the story’s

theme of self-discovery.

The ensemble musical numbers are a standout feature. The choir performances are rich and uplifting, with songs such as Take Me to Heaven and Raise Your Voice showcasing strong ensemble work and impressively tight harmonies. Each number offers a contagious level of energy and enthusiasm, a credit to the choreography of Lauren MacKinnon who cleverly captures the nuance of each character and context, whether it be nuns, showgirls or gangsters.

The staging is simple yet effective with artful projections that smoothly guide the transitions between nightclub and convent settings. As the show progresses, the costumes evolve into more vibrant and sparkling designs, becoming a visual highlight that enhances the storytelling and transformation on stage.

The final act builds a satisfying mix of suspense and comedy. The nuns take control in an energetic and playful ending, delivering humour and justice in equal measure. The sequence in which the nuns chase down Curtis’s gang plays like a Benny Hill meets Pink Panther montage, full of fast-paced, chaotic, and hilariously timed moments that bring the show to a truly entertaining close.

A highlight of the evening is the audience response. Laughter, cheers and spontaneous singing create an electric atmosphere that enhances the entire experience and speaks to the production’s ability to connect.

Ultimately, Sister Act is a celebration of friendship, identity and self-expression. Blackout Theatre Company has delivered a production that is vocally impressive, joyfully funny and genuinely uplifting. It is a performance that leaves the audience smiling long after the curtain falls.

 Performance Dates: June 5th - 14th 2026

 Pioneer Theatre, Castle Hill

 Photography - Maria Gorelik Light Up Photography

 Tickets: https://www.trybooking.com/DIQVN