As an NSTA ambassador, I had the distinct pleasure of attending the Wellington School production of Sister Act on Wednesday 3rd December 2025. Under the expert guidance of Director Claire Davies, Musical Director Gareth Dayus-Jones and Choreographer Dean Brammall, this production was a joyous celebration of harmony, character and collective brilliance.
Sister Act follows Deloris Van Cartier, a lounge singer who is placed in protective custody in a convent after witnessing a crime. While initially at odds with the quiet life of the nuns, her musical talent revitalises the convent choir and transforms the community, leading to moments of humour, warmth and personal revelation.
Upon entering the venue, the audience was welcomed by nuns greeting them with warm blessings, which immediately immersed everyone within the story. Live gospel music added a sense of authenticity and gentle anticipation. The stage was bathed in soft blue lighting that highlighted a well-crafted set, offering a serene yet intriguing backdrop. As audience members took their seats, characters were already onstage, quietly playing cards in character, reinforcing a sense of realism and cohesion before the performance had even begun. The opening number set an impressively high standard. Confident choreography, delivered with clarity and energy, created a dynamic introduction. Backing singers matched the principal performers with strong synchronisation and purposeful movement. The opening acted as a signal of the cast’s commitment to precision, ensemble unity and sharp storytelling.
The leading performances were exceptionally strong, each bringing individuality, nuance and emotional truth to their roles. Amy’s portrayal of Deloris was spectacular; confident choreography, precise inflection, and controlled softness in her vocal expression were evident from the outset. She balanced diva-like strutting and sharp sarcasm with genuine vulnerability, creating a layered and engaging character. Her comedic timing was superb. Moments such as her exaggerated frustration at giving up cigarettes and swearing, or her slow, wide-eyed stare of disbelief at the choir’s early attempts, demonstrated a deep understanding of physical comedy.
As Mother Superior, Bea brought a commanding presence and thoughtful comedic touches to the production. Her gestures were powerfully punctuated, and her moments of exasperation were delivered with a blend of restraint and exaggeration that maintained both dignity and humour.
Thea’s interpretation of Sister Mary Robert offered a touching and heartfelt portrayal. With soft expressions, worried eyes, and a tendency to make herself physically smaller, she embodied innocence and uncertainty with sincerity. Her transformation during “Raise Your Voice” was beautifully realised. As her posture lifted and her movements flowed with growing confidence, the audience could see the character blossom. Her depiction of “The Life I Never Led” showcased clear and beautifully articulated vocals, with expressive phrasing that highlighted the emotional core of the role. Her portrayal was both gentle and captivating, embodying the character’s journey with clarity and grace.
The supporting cast were no less impressive. Daisy’s depiction of Sister Mary Lazarus provided a highly original and consistently entertaining performance. Her grumpy, entrenched mannerisms were clearly defined through enclosed body language, a harsh tone and tightly furrowed brows. She delivered the word “gender” with unforgettable punch and sass, capturing one of the evening’s most memorable comedic moments. Her transition into rapping and twerking was an inspired choice, executed with sharp, jerky movements and electrifying energy while maintaining character integrity. Shifting quickly back to her usual stern demeanour, she displayed excellent physical control and creativity.
Oliver as Curtis Jackson delivered a chilling and authoritative performance, marked by a gruff voice, menacing laugh and unwavering commitment to his role. His eventual capture, complete with dramatic resistance, contributed significantly to the intensity of the climax. His trio, TJ, Pablo and Joey – played by Joseph, Barnaby and Gus – were consistently engaging. Their clichéd choreography, exaggerated movements, and playful physical humour created moments of genuine delight and contributed greatly to the show’s buoyant tone. In “Find That Girl”, their seamless switch from backing dancers to over-the-top mimed attacks was both surprising and skilfully executed.
The ensemble was a central force in the success of the production and they excelled in multi-rolling. Their collective timing, energy and character work demonstrated an impressive level of cohesion. The comedic handling of Ernie’s death, complete with exaggerated reactions and neatly coordinated sidestepping of Curtis, displayed their shared awareness and comedic instinct. Subtle, slow movements by those portraying homeless characters during “Sweaty Eddie” deepened the emotional atmosphere and evoked sympathy from the audience. Each performer remained fully in character throughout, ensuring the stage was always alive with credible action and detail.
The choreography was purposeful, polished and engaging. Musical numbers were performed with confidence, clear enunciation and strong ensemble unity. Harmonies were notably beautiful, capturing the choral purity essential to the world of Sister Act. Musical direction ensured that every number was delivered with both emotional weight and technical assurance.
The final chase sequence was a highlight as the ensemble’s energy spilled engagingly into the audience, creating a sense of immediacy and spontaneity, a wonderful moment of controlled chaos. Despite the frantic pace, they maintained narrative clarity and delivered comedic beats with precision.
Sister Act was far more than a school musical. It was a vibrant showcase of talent, discipline and teamwork. Every performer, from lead to ensemble, contributed meaningfully to the production’s power and polish. The result was an uplifting, heartfelt and memorable experience that demonstrated the transformative impact of collaborative theatre. Absolutely divine!
National School Theatre Awards
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