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My introduction to this  story was via the 1992 film, starring Whoopi Goldberg  as  undercover nun Deloris, whose acting, comic and singing abilities defined the story. For this production Landi Oshinowo fills those FM boots.

The musical differs significantly from the film in narrative, script, characterisation, songs and score. Bafflingly,  “ I will follow him” is dropped, which is akin to dropping “Don’t Cry for me Argentina ” from “Evita”.

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On the night, the star of the show is  Alfie Parker as policeman Eddie Southern. His  vocals steal the show, and his comic stage presence lights up the evening. Sue Cleaver’s Mother Superior  is posh and restrained ( light years away from her Coronation St persona Eileen Grimshaw) and an effective foil for the effervescent  Oshinowo but this production is about the ensemble, not the leads, as Parker, and Elliot Gooch as TJ, demonstrated.

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The music is a curious affair. This is not a soul or gospel  show, nor is it  disco or funk, but an idiosyncratic hybrid in which each of those forms are referenced, laden by  in jokes, with Barry White and “funky weekend” amongst them. A live band in the pit, led by Tom Slade,  are punchy and loud with Johnny Mayer’s bass laying down some impressive funky rhythms.

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Numerous cameos entertain and impress from the ensemble. Julie Stark’s Sister Mary Lazarus is whacky, Isabel Canning’s Sister Mary Patrick is a strong comic turn and Eloise Runette Sister Mary Robert  who finds herself as the show evolves delivers a superb second half solo. The boys have their moment as the hoodlums with their singing trio in the second act.

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The stage set, by Morgan  Large is framed by a giant outer stained glass  clock face enabling scene changes to be established with props only, making it both imposing and extremely functional.

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I found the first act a little chaotic, but the second act came alive dramatically and musically, with Director Bill Buckhurst pulling out all the stops for a barnstorming finale which must have quadrupled the costume budget. There is a limit to what you can do with a troop of singing nuns in black habits,  and choreographer Alistair David combines eye catching routines, with sparkly costumes and a Studio 54 vibe  to provide a killer finish  which had a full house on its feet on an unseasonably wet and dank Monday evening opening night. The audience loved it, very much a case of “Sisters are doing it for themselves.”

My own view was that Sue Cleavers semi spoken songs (think Telly Savalas with “if”) were not good enough, and that Oshinowo did not have the commanding presence of a lead.

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Runs until Saturday 18^th may and continues on nationwide tour.