DIRECTOR and producer Tony Jay operates at a high standard and expects the same of his cast, crew and musicians – and we were not disappointed at this characteristically energetic show.

Most people know this story following universal acclaim of the 1992 film starring Whoopi Goldberg as a club singer who has been put under protective custody in a San Francisco convent of Poor Clares and has to pretend to be a nun when a mob boss puts her on his hit list.

It is a heartening and classic tear-jerker with a happy ending – just perfect for a night at the theatre.

All participants in this production were extremely strong in their own characters, all coming together to form a fast flowing and seamless production which was always going to be a favourite with the audience.

Some may have thought it a risk to cast main character Laura Woodall as Deloris Van Cartier, being so young and relatively inexperienced at such a lead role, but any misgivings will have melted away from curtain up as she held the show together.

Confidence is a characteristic required in this part, and Laura showed this in bucketfuls.

Much experienced Eleanor Peberdy was absolutely stunning as the traumatised Mother Superior.

She showed genuine humility throughout in a versatile and extremely believable role in having to try and control the wayward ways of Deloris.

Next to be commended is definitely Elizabeth Bird as the somewhat whacky Sister Mary Lazarus.

Not only does she possess an accomplished singing voice, but her approach was funny and thoroughly entertaining.

All the ruffians in the shape of John Reeves as Curtis, Matthew Bridgewater as Joey, Xavier Reeves as TJ and Ryan Allen as Pablo were an absolute hoot and certainly made for the parts they played, adding that all-important male ingredient to an otherwise female dominated cast.

Paul Mitchell as love-struck and unfortunate officer of the law Lt Eddie Souther proved his versatility too, while Lucy Traves put on a thoroughly delightful performance as the young and rather unsure Sister Mary Robert.

Sam Smith (Monsignor) was assured and humorous in his role as priest at Poor Clares, while Emma Sansom, again in her debut at ROS as Sister Mary Patrick, came into her own as part of the delightful It’s Good To Be A Nun.

As usual with Redditch Operatic Society (ROS), music is at the heart of everything they do (sounds obvious really) but those poor unfortunate souls sat under the stage (the orchestra) are always the unsung heroes of these shows, but steered by musical director Joe George were skilful and certainly punch way above their weight for such a small band.

I can’t believe another excellent show has come and will have gone by the end of the week, but ROS will have chalked up the latest in a string of triumphs by the end of it all, so well done to all involved.

Andrew Powell