Reviews

Bringing a beloved film to the stage is always a challenge, but this production of Sister Act rises to the occasion with a fresh approach and a brand-new soundtrack. While audiences familiar with the movie might expect to hear the same tunes, the musical instead features original compositions by the legendary Alan Menken. Known for his work on Aladdin, Enchanted, and The Little Mermaid, Menken infuses this score with the infectious energy of 1970s motown, soul, and disco, creating a soundtrack that is vibrant and dynamic in its own right.

“Come You Spirits” co-producers Charles Mayer and Jo Bloom lead this production that concentrates on the romantic tragedy of Shakespeare’s play, touching only briefly on the political situation that took Antony backwards and forwards between Rome and Alexandria. This means that only fragments of the play are included – and though the acting is moving and the language beautifully spoken, it is only part of the play.

Mrs ‘Jackie’ Marvin (Emma Algeri) presents as a type of Head Mistress we recognise or remember.  Bumptious, self-assured, self-important, just a little authoritarian, boasting while humble…  ‘Call me Jackie…’  Jackie tells us that there will be a presentation on ‘leadership in education’ and that announcement is backed by a slick video presentation.  We’re off to a promising satiric start – except that Jackie seems to forget about ‘leadership’ very quickly and instead catalogues a somewhat dubious

It’s a sad time for political satire in Australia as the Wharf Revue team is presenting their final show ever (unless we can convince them to pull a Farnsie and treat us to a couple more farewell tours). They may be leaving us after 25 years of outstanding work lampooning the powerful and inept, but they’re doing it on a high note. The End Of Wharf As We Know It is a masterclass in caricature, with witty song lyrics, sharp dialogue, and fun dance sequences.