TO?borrow a thought from Jane Austen, it?is a truth universally acknowledged that some performers will forever be associated with certain roles - Julie Andrews will always be Maria, Doris Day, even at 90 will always be a virgin and Whoopi Goldberg will always be Deloris Van Cartier the lounge singer who becomes a nun in the hit film Sister Act, something which can prove something of a challenge for anyone staging the musical version of the early 90s blockbuster.

To step into such a glittering habit would be daunting for even the most seasoned of performers, with the entire show resting largely on one pair of shoulders - to hand that responsibility to a 19 year-old shows a lot of courage...and maybe a touch of divine inspiration.

It was a step which AAODS boldly took when giving the role of Deloris to the albeit tried and tested Alys Le Moignan - they need not have worried.

From her first appearance Alys commanded the stage, full of sass and spirit and with a voice and presence which would make her the envy of many more season actors.

After ten minutes I thought, ‘she’s quite good’...after twenty I was thinking ‘Whoopi who?’.

From the beginning of the show to its last note this talented performer held the audience in her thrall - there’s a lot you can learn about being on stage, but the bottom line is that if you haven’t got that extra something you won’t go far.

In 26 years or so of doing this job I’ve only seen it twice at most...I’m glad I’ve now made it a hat-trick.

Of course the downside of having an outstanding lead, is that the rest of the cast are at risk of being left standing...fortunately Alys was backed by probably the strongest AAODS cast I’ve seen in years, with not a weak link among the convent crew.

As the Mother Superior Cecilia Bawler excelled, with her impeccable comic timing and wry looks pitched perfectly in every scene whether dealing with the exuberant Deloris or the enthusiastic Monsignor O’Hara - again beautifully played by Tobi Edwards.

As Sister Mary Patrick, Chelsea Viveash was again pitch perfect, with an uncanny depiction of the excitable nun created by Kathy Najimy in the original film.

Molly Brickley Clark also impressed as the retiring postulant Sister Mary Robert with her Act II number The Life I Never Led drawing cheers of approval from the appreciative audience.

Great support also came from not only the strong chorus each of whom had a defined character, but the ‘bit part players’ like Jane Griffiths and Brenda Maloney, whose beautifully timed asides were a delight

For me however the unexpected star of the evening was company stalwart Jill Murray who unfettered by the chairman’s chains was allowed to step into the limelight as the grumpy Sister Mary Lazarus with tremendous effect.

From her sarcastic asides to her gangsta rapping - I’ve no idea if that what she did I’m just trying to show that like her I can still get down with the kidz - she was a delight, shamelessly stealing every scene and playing every line for maximum laughs.

With such a magnificent cast on the distaff side, it was never going to be easy for the men and if I have to be honest there was a certain weakness when it came to both heroes and villains.

That said, Patrick Callaghan worked well as the love-sick cop Eddie whose Act II fantasy number I Could Be That Guy was beautifully staged and clever.

The trio of Daniel Morgan, Luke Williams and Mike Davies also worked well together, playing for laughs and demonstrating the art of seduction perfectly in Lady in the Long Black Dress.

Stephen Hopkins as Curtis may not always have been quite sinister enough to be believable as the cold blooded killer, but in fairness his one big number was performed off-staged and marred by a fairly major scene change taking place on stage so he was fighting the tide.

In defence of the poor men, Sister Act is not exactly a vehicle for them...does anyone really remember Harvey Keitel being in the film?

This was never going to be an easy show to stage - recreating a film is littered with pitfalls not least the many and varied settings, which range from a police station to a bar, and of course the magnificent church and convent.

With a huge set needed to depict this the company’s technical team were fully stretched but handled the epic scene changes with apparent ease - although the audience did hold its collective breath as a large piece of fence began its seemingly inexorable journey towards the orchestra pit at one stage on opening night!

Such are the delights of live theatre and all praise must go to the creative team behind the show led by Rob Jenkins and Sarah Fowler for having the confidence and skill to bring this most challenging of productions to the limited stage of the Borough Theatre.

In all, with its stirring chorus numbers, its impressive solo performances and its slick and polished finish this was one of the best AAODS shows I have seen for many years.

For those who haven’t yet got a ticket you are sadly out of luck because the run is pretty much sold out. For those of you who have, you are in for a treat because - Praise the Lord - AAODS?is back!