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Following four students in their final year at convent school, this musical explores what life was like for Irish individuals living in 1960s London, encompassing both liberating experiences and frustrating challenges.Summary
Rating
Good
It’s 1967 and Bernie (Heather Gourdie) has flown from Dublin to London to attend St Anne’s, a strict convent school. She has been forgotten by her father, who has seemingly moved on, with a new wife and baby back in Ireland.
He never writes letters to her, but Bernie is immediately welcomed and warmly received by the girls in her dorm; Caragh (Michaela Murphy), Eliza (Angel Lema) and Mary (Juliette Artigala). Sorrel Jordan plays several minor characters, including Sarah, a pious student, and a nun whose kindness is evident when she supports Bernie.
Throughout the show, we are introduced to each of their stories, yet frustratingly they aren’t developed to the extent one might expect, especially Bernie’s, which sadly involves “having tea” frequently with a priest who works at the school. The separate plot lines feel incomplete and subsequently the lack of conclusion is unsatisfying.
Issues of faith, sexuality and the struggles of Irish immigration are delved into, and through enchanting melodies, the storyline slowly progresses. The music by Finola Southgate combines folk and rock music, but some songs are reminiscent of hymns and are hypnotic to hear. One song in particular, ‘Vines’, is exceptional and I was pleased to find it on Spotify.
The talented actor-muso cast play multiple instruments; including keys, guitar, bass and violin. Jordan, who plays the drums, carries the songs forward with rhythmic beats. It’s also great fun when the cast play their instruments together, with Murphy and Gourdie sharing the keyboard, and Lema and Artigala sharing the bass guitar.
The Other Palace Studio is fairly small and with five people on stage (including their instruments) and two long benches, it felt cramped at times. The benches were moved around for different scenes, and they cleverly resembled pews, beds and desks.
There are few props on stage and the cast use instruments to symbolise magazines and Bibles, which feels unnecessary. Utilising the instruments like this didn’t enhance the scenes and it would have been clearer and simpler to use an actual magazine or Bible.
The lighting (designed by Oliver McNally) features soft blues, pinks and purples, reminiscent of the colours on the bisexual flag. This subtly references the conflict that Mary and Eliza feel surrounding their religion and sexuality. When more serious moments occur, spotlights are used to heighten the sense of urgency and danger.
We’ll Have Nun of It is an enjoyable production, though it could benefit from a more focused direction and concise duration. The singing is fantastic and the cast excel when they are harmonising together. With the melodies resonating with the audience, you gain a deeper and nuanced understanding of 1960s history.
Book and Directed by: Rosie Dart
Music, Lyrics and Book by: Finola Southgate
Produced by: Fran Davies-Cáceres and Rosie Dart
Musical Direction by: Rosie Weston
Lighting Design by: Oliver McNally
We’ll Have Nun of It plays at The Other Palace until 10 March. Further information and bookings can be found here.
