These nuns are getting into the habit of fighting crime, and my god, is this musical great. Nuns Of Fury follows a trio of crime-fighting nuns, devoted to Christ and justice in equal measures. Joined by their boss Mother Superior, and the comedic Father Q, who supplies both high tech weaponry and repentance, the nuns fight two criminals, attempting to frame them for their past heists. The nuns must also work together to discover who has hired the petty criminals, and why they want to see the order destroyed.
The musical is laugh aloud funny showcasing a cast highly skilled in both physical and quick word humour. The numerous puns and allusions to Catholicism within the play, especially when contrasted to the nuns’ secret- agent skills, were consistently met with peals of laughter. For more intricate jokes referencing more unknown catholic practises or fun facts, the narrator- taking the form or the Voice of God- proved that explaining the joke can, when done well, make the joke even funnier.
While all the cast had incredible comedic chemistry together, the mastermind villain and bumbling sidekick duo presented by Luke Richards and Josh Hawley (respectively) was and absolute highlight. Their relationship felt reminiscent of old cartoonish villains that perfectly complemented the hilarity of the Nuns of Fury trio. Similarly, Emily Millington someone’s characterisation of mother superior showed a delightful range of skill to create a character with such comedic prowess and emotional range, unfurling delicately as the play developed. And for such a comedically self-aware character, the vocals displayed during her solo songs were both breathtaking and heartbreaking all at the same time.
Yet despite the outrageous comedy of the piece, the shows emotional nuances cannot be overlooked. Amidst the slow-motion gun fights and karate chops, Nuns of Fury showcases a deep emotional journey within each character. Not only must they fight for the good of the order, but the individual nuns also all fight their own internal battles with imposter syndrome, sexual shame, and a sense of belonging that, despite the tone of the rest of the show, never once felt over the top or out of place. The songs within the musical, while all unique and catchy, all have underlying themes of friendship and acceptance, even in spite of mistakes.
Despite a wonderfully visual production, there remained a few minor issues with sound and lighting cues that sometimes meant the cast onstage could not be seen or heard for a moment. Rather than detracting from the play’s effectiveness and immersion, the actors successfully adapted quickly and with great humour, which brought the audience in on the joke and once again sought to break the fourth wall with expert improvised comedy. While the ending may have you feeling slightly confused with some unanswered questions, more importantly, leaving Nuns of Fury will leave you feeling lighter, with a face that hurts from smiling and a stomach aching from unending laughter.
Reviewer: Amelia Phillpotts
Reviewed: 18th July 2024
North West End UK Rating: