BATS members have faced a tough time preparing for their upcoming performance of Sister Act at The Haymarket theatre, with Covid “severely impacting” rehearsals according to chairman of the amateur theatrical society, Ian Moseley.
However, you would never know this from the incredible performance the hugely talented cast put on. Despite more than two thirds of the cast ill and in isolation for two weeks during March, the team has worked hard to pull together and perfect the production which is set to uplift and delight audiences from May 17 to 21.
It is the second time BATS has staged Sister Act, after wowing audiences back in 2015. The society decided to revisit the successful show as members “find our feet again post lockdowns”, said Ian. Based on the book by Cheri and Bill Steinkellner with music by Alan Menken and lyrics by Glenn Slater, the story is perhaps a familiar one to many who remember the 1992 film starring Whoopi Goldberg.
It follows nightclub singer Deloris Van Cartier (Kirsty Kingham) who is witness to a fatal shooting carried out by her on-off boyfriend Curtis (Paul Morris).
Forced to go into hiding undercover in a convent, Deloris finds friendship and support from the group of nuns. Kirsty Kingham embraced her inner-diva to play a convincing Deloris, adopting her feistiness and sassiness with ease as she strutted across the stage in confidence and belted out the musical numbers with power and emotion. No one will leave questioning her star quality after her rendition of Fabulous, Baby!
However, it is not just the lead roles who shine, with many of the supporting characters also standing out and impressing with their physicality and vocal performances.
The group musical numbers dotted throughout are a joy to watch, expertly choreographed by Louise Travis who is also director. Uplifting, joyous and wildly funny, it’s impossible not to tap your foot along and have a little boogie in your seat when the nuns sing, dance and rap together.
This is juxtaposed with the emotional ballads, including Mother Superior’s (Sally Manning) Here Within These Walls, which feels almost ethereal performed against the beautifully lit chapel set complete with stunning stained-glass windows.
Morris gives a powerful performance as Curtis singing When I Find My Baby and Eddie Southern (Ian Moseley) evokes sympathy in I Could Be That Guy.
The first act finishes on a high with Deloris and the nuns belting out the upbeat Take Me to Heaven.
If the first act was all about Deloris, the second act shines a light on some outstanding performances from several individuals, including Rhianon Mone who plays Sister Mary Robert. Watching her transform from a shy, timid, gentle young girl to a confident, determined and fiercely loyal friend to Deloris, she delivers an incredible rendition of The Life I Never Led.
Perhaps the highlight of the second act (arguably the entire show) was the hilarious performance from trio Bryn Hughes (Pablo), James Young (TJ) and Richard Bond (Joey) who thoroughly entertain in Lady in the Long Black Dress, made extra comical with the super-high-pitched Bee Gees style singing. James Young says he has worked on his physicality for the show and this is evident as his comical timing, expressions and body language bring the character to life.
There is a dramatic climax as the nuns unite in sisterly solidarity to protect Deloris, before ending on a high with the upbeat Raise Your Voice, complete with a particularly impressive dance move performed by one of the nuns which is sure to have the audience laughing out loud.
This feel-good, uplifting show is a real triumph and not to be missed. Or, in the words of Deloris, 'Fabulous, Baby'!
Emily Roberts
Elf - The Musical Review, November 2021, Deputy Mayor, Basingstoke and Deane Borough Council
The performance was anything but Amateur from the minute the curtain went up before a packed house. From the outset we were treated to a polished, professional standard evenings’ entertainment that would rival anything to be seen on a London stage.
The impact of the ‘Elves’ performing at the start of the show set the standard with an innovative display that really captured the audience and set the jolly mood that continued all the way to the final curtain call. The story line was probably very familiar to many of the audience, but it was the delivery of this performance with all the clever innuendos of today’s world that set the cheerful atmosphere we all needed after long months of restrictions.
The quality of the direction and choreography by Louise Travis was first rate and together with an enthusiastic and talented cast they really delivered an excellent show. It was only afterward we were told that the two principals on the night were, in fact, the understudies to the main cast members, but you never would have realised. The professionalism of the cast as a team was also evident when Buddy the Elf lost his ‘voice’ when his headset mic failed, and the smooth way he slipped off-stage to resolve the problem was unnoticed by the audience.
A most enjoyable and entertaining evening with plenty of laughs. Well done and thank you BATS!
Councillor Paul Miller (Deputy Mayor) and Mrs Sandra Miller (Deputy Mayoress)
Basingstoke and Deane Borough Council
Elf - The Musical Review, November 2021, Jane Lewis
What a wonderful start to the Christmas season! Every single member of the cast gave a high-energy and excellent performance.
The costumes and choreography were inspired and overall created a wonderful production. Christmas hats off to the cast and crew! A fabulous cameo performance from the hot dog vendor can’t go unmentioned!
The audience thoroughly enjoyed every single minute and f anyone was wavering in their belief of Santa before the show, they were completely SparkleJollyTwinkleJingley when the left!
Jane Lewis
9 to 5 the Musical Review, November 2019 - National Operatic and Dramatic Association (NODA)
9 to 5, music and lyrics by Dolly Parton, book by Patricia Resnick tells the story what happens when the tables are turned on a sexist, egotistical, hypocritical boss (who’s also a bigot) as three female office workers who are underpaid and undervalued, unite to get revenge. It’s full, friendship, love and bubbling performances, fantastic songs and sparkling performances. From the first few bars of the familiar opening song – 9 to 5 of the title – we know we’re in for an evening of high energy entertainment.
The production: The period feel of a 1980s office was beautifully recreated throughout the evening. There were some lovely performances – particularly from the three women battling to come out on top: Nicola Morrin (as Violet), Millie Clucas (Doralee), Laura Burrell as Judy and Stephen Westwood as Hart, their boss. Sally Manning as devoted secretary and office spy, Roz almost stole the show. The entire cast performed with supreme confidence and professionalism. The choreography by Nick Brannam who also directed, was imaginative and well executed. The songs were performed with warmth, precision and joyful emotion. Although the subject of the show had serious undertones, there was a feel-good approach to it and it was delivered with first class performances, enthusiasm and panache we have come to expect from BATS’ productions.
Millie Clucas as Doralee and Stephen Westwood as Franklin Hart Jr.
Costumes: The costumes were in keeping with period and narrative. There was great attention to detail and the dream sequence outfits were custom-made and of the highest quality. The hair styles complemented the 80s outfits.
Lighting and sound: The lighting was good although I struggle to understand why, on occasion, there was a smoky effect. The sound was generally good but once or twice dipped and made it difficult to understand some characters, especially when dialogue delivery was fast and heavily accented.
Scenery: The stage design was well conceived and of high quality. The backdrops largely pastel in colour and 80s style were very effective as was Hart’s office and the typing pool was realistically recreated. The Xerox machine and car – used for Hart’s kidnap – deserves special mention.
Chris Horton
National Operatic and Dramatic Association (NODA) South East Region, District 14 Representative
9 to 5 the Musical Review, Nov 2019 - Basingstoke Gazette
From the moment Dolly Parton's iconic song '9 to5' came on at the Haymarket the audience was fixed on Basingstoke Amateur Theatrical Society’s (BATS) production.
Based on the film of the same name, the musical sees three-woman Violet, Doralee and Judy are pushed to boiling point by their sexist and egotistical boss.
From the off the show was fast paced, full of laughs and a lot of innuendo.
Nicola Morrin, was a dominant presence on the stage as Violet Newstead, with Laura Burrell acting as her perfect foil as the at time naive Judy Bernly.
Millie Clucas as Doralee
However, it was Millie Clucas giving her best Dolly Parton impression as Doralee Rhodes, who every time you heard that Southern twang you could be convinced you were no longer in Basingstoke.
As the performance develops, we see how the friendship between this somewhat unlikely trio unfolds before our eyes as they have to deal with being women in a men's world.
Stephen Westwood looked like he was having a bit too much fun in the role of sleazy boss Franklin Hart Jnr., but the best laughs were kept for Sally Manning's interpretation of brown-noser, Roz Keith.
As have become accustom with the many BATS productions I have attended, the choreography and set design is always something to behold, and even if there was a slight technical snag, it didn’t detract from the story.
Throughout the three leading ladies were completely captivating and each one let their characters personality shine through.
In a time when there are still ongoing fights for equal rights for women, it is a little bit jarring to think that the type of behaviour displayed in 9 to 5 for a long time was the norm.
That being said, BATS tackle the subject sensitively, if not with their own trademark brand of humour sprinkled throughout.
Despite minor technical difficulties BATS once again showed their quality in the performance and the depth of talent they have at their disposal.
Tim Birkbeck