Theatre review: Refreshingly buoyant Nunsense is blessed with charm and skill
In the endearing new Metro Theatre production, a five-sister team of performers creates an exceptionally strong and funny ensemble
Metro Theatre’s Nunsense. Photo by Mark Halliday (Moonrider Productions)
Metro Theatre presents Nunsense to March 21
IN METRO THEATRE’S NEW rendition of a cherished staple of musical theatre, five nuns proclaim during the enthusiastic opening song-and-dance number that “Nunsense is habit-forming.”
More than 40 years after the play’s 1985 off-Broadway debut, the company’s production of Nunsense proves the point. The songs, humour, and endearing spirit continue to charm and uplift, and under the direction of Shel Piercy, this revival feels refreshingly buoyant rather than nostalgic.
The show soars on the exuberance of its five turbocharged sisters, Shelly Stewart Hunt’s feel-good choreography, Piercy’s deft comedic pacing, and Carlina Dykstra’s well-crafted musical direction. Backed by a terrific pit orchestra, Dan Goggin’s score lands with zesty punch and crisp clarity.
The storyline is completely ridiculous and that’s a huge part of the charm. With a book by Goggin (he did triple duty here—book, music, and lyrics), Nunsense follows five nuns whose fellow 52 sisters have succumbed to food poisoning. Lacking funds to bury them all, the surviving quintet have stored four of the dearly departed in the freezer. To raise money, they mount a variety show in a local Catholic school auditorium. But antics ensue, including personality clashes, unexpected timing from the board of health, and one sister accidentally getting high.
The stars of the show are five superbly talented triple-threat actors who shine with remarkable cohesion: Meghan Anderssen, Mary Cleaver, Paula Higgins, Jaclyn Sim, and Jennifer Suratos. Through larger-than-life characterizations, powerhouse vocals, and spirited dancing (a special shout-out to tap dynamo Anderssen), the cast delivers one of the strongest ensemble showcases seen on a Vancouver stage in recent seasons.
In addition to her phenomenal hoofing skills, Anderssen is a riot as Sister Mary Amnesia, whose literal memory loss is matched only by her delightfully off-kilter presence. Her “So You Want to Be a Nun” ventriloquist routine blends her great comedy skills with impressive puppetry. As the streetwise Sister Robert Anne from Brooklyn, Cleaver brings warmth and sincerity to “Growing Up Catholic”, grounding the comedy in something unexpectedly heartfelt—and nailing the Brooklyn accent along the way.
As Sister Mary Hubert, Higgins sings brilliantly (her riffs in “Holier Than Thou” are dynamite) and colours her performance with nuanced humour. Even when she’s not the focus, she delivers cheeky reactions that are fun to watch, without ever pulling focus. Sim brings sweet earnestness to Sister Mary Leo, the ballet-obsessed novice, adding lightness and charm.
As Mother Superior Mary Regina, Suratos anchors the production with confident authority and wisdom. She balances dignified leadership with bursts of zaniness—particularly in a wild Act 1 scene—and delivers stunning vocals in “Turn Up the Spotlight”, recounting her former life as a performer. A frequent standout in supporting roles in Metro Vancouver (including in last season’s 9 to 5 at Royal City Musical Theatre), Suratos here claims her well-earned centre stage moment. When she sings about turning up the spotlight, it feels richly deserved.
Hunt’s choreography energizes both storytelling and spectacle. The Act 1 finale, “Tackle That Temptation With a Time Step”, is a rousing, tightly executed tap number that leaves the audience buzzing. In “Just a Coupl’a Sisters,” Cleaver and Higgins channel vaudeville flair with hats and canes, while Cleaver’s “I Just Want to Be a Star” bursts with showgirl feathers and dazzle—aided by assistant stage manager and fly operator Hernán Adrianzén, who joins the fun as part of a recurring backstage gag.
Shel Piercy’s set cleverly blends church hall aesthetics with the pastel glow of a retro television variety special, enhanced by Jonathan Kim’s electrified lighting design. And with the implementation of Metro Theatre’s new sound system, sound designer Vinicius Costa expertly mixes the levels of the orchestra and singers, allowing us to appreciate the talents of all the artists.
While the show is over 40 years old, added references to, say, Taylor Swift and Ryan Reynolds, and modern mannerisms such as the sisters’ playful “Zing” moments, infuse freshness. Metro Theatre’s Nunsense is heartfelt and fun, delivering dynamite sisterhood power from its five stars. When the cast reprise “Nunsense Is Habit-Forming”, it’s easy to see why. If you’re looking to feed your habit, this joyful production delivers. 
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