Sister Act, Kristian Thomas Collective Review
Written by Emmie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
The Society of London Theatre recently reported in its Spending Review 2025 that theatre is integral to local communities and that serious investment in the arts has significantly declined over the past 14 years. With West End ticket costs soaring to an average price of £57.31 before factoring in travel and food expenses, there has never been a more vital time to explore what is happening in your local theatre. There is a fantastic wealth of talent scattered among local communities. One prime example of West End-quality productions on your doorstep is the Kristian Thomas Collective, which has driven its mission of staying fresh in a modern performing arts world since 2016. Also, a lot of the individuals you see in these productions work a 9-5 alongside an 8-show week, professionals!
This spring, they’re launching their season with Sister Act, the musical they were supposed to present in 2020 but were halted by the pandemic. Inspired by the beloved 1992 film, Sister Act originally premiered in Pasadena, California in 2006, before making its West End debut in 2009. The show has seen a resurgence in popularity thanks to the 2022 UK tour and a celebrated West End revival in 2024. It follows Deloris Van Cartier, a disco diva who seeks refuge in a convent after witnessing a crime. She disguises herself as a nun and shakes up the quiet convent life, helping the struggling choir to find its voice. With a musical packed with original music by Alan Menken, Sister Act is a gorgeous production that celebrates sisterhood and self-discovery - the perfect show for such a collective to take on, if you ask me.
Produced by the talented trio Kristian Cunningham, Alysha Gomes, and Katie Lawson, this captivating presentation of the beloved musical is a true tour-de-force—a dazzling showcase of creativity, passion, and performance excellence that breathes new life into what has become a classic with audiences. From the moment the curtain goes up, the creative team have curated a piece of work that fizzes with life - from the tight-knit choreography, the performances from the leading cast, Stephen Greatorex’s lighting design perfectly accompanies the tone of the show. This is supported by the brilliant set from Proscenium Set Ltd, Backdrop Hire, and Roydon Charlesworth, which have enabled this collective’s productions to be elevated from previous years.
Disco diva Deloris Van Cartier is brought to life by Tiffany Jackson, who, despite revealing in the programme that it's been 20 years since she last stepped on stage, performs with such confidence and life you'd never guess she'd been away. Jackson makes Deloris completely her own despite big names like Beverly Knight and Alexandra Burke previously undertaking the role. Her rendition of ‘Sister Act’ was a particular highlight of the night for me.
Jackson is gloriously supported by a powerhouse choir of nuns, who are nothing short of divine. Sister Act leans heavily on this spirited sisterhood to propel the story forward, and not a single beat is missed. Each woman commands the spotlight in her own right, delivering larger-than-life performances that dazzle, delight, and make the convent chorus utterly unforgettable. Some of the standouts in this production include Amy Wicks’ infectious personality as Mary Patrick and Helen Perry’s perfect portrayal of Sister Mary Robert. Perry is no stranger to nailing a show’s big number (she portrayed Eva Peron in their production of Evita in 2019), but I think her rendition of ‘The Life I Never Led’ is a prime example of just how incredibly talented this woman is. She navigated her character’s journey so perfectly and with a lot of heart behind every breath.
There were notably great performances from Curtis Jackson (Joe Millward) and his trio of henchmen, Joy (Ben Alexander), TJ (David Page) and Pablo (Steve Mura). Together they brought a riotous mix of charm, chaos and comedic timing - especially with their collective rendition of ‘Lady in the Long Black Dress’ which was met with uproarious applause from a hugely passionate audience who jumped on any opportunity to support this entire company. Eddie Souther, played by Mark Coffy-Bainbridge, was one of the surprise performances for me. He captivated the audience throughout, but probably most obviously with his solo number, which was one of the strongest renditions I’ve seen from this production throughout the years. Adela Green is a force as the stiff-upper-lipped Mother Superior. Green is great to watch, especially as we, as an audience, begin to see beneath her hard exterior through this storyline.
If you're unfamiliar with the Kristian Thomas Collective, take it from someone who has supported their work for over 6 years—their productions are known to sell out, and Sister Act is no exception. This electrifying performance didn’t just meet expectations, it soared past them. From start to finish, it was a roof-raising triumph that left the audience buzzing, proving once again why the Collective has built such a loyal and enthusiastic following. Marvellous work - here’s to the next one!
★★★★★
