*** Once you accept that `Nunsense' is just that -- a musical play whose far-fetched plot indeed reaches nunsensical proportions -- you can settle back and enjoy its dippy brand of exuberance.

This is made easier by a talented cast who not only sing well, but also deliver the predictable nunly puns with an air of innocent panache.

Sophisticated it is not, but then, Dan Goggin's smash hit which is now running in several countries, has never pretended to be anything but a zany bit of fun, entertaining in a mindless sort of way, and thus eminently suitable for cocktail or dinner theatre.

This is the fourth production in a quartet of shows directed by Patricia Pogson for the Jabulani Repertory Company at the Princess Hotel. Once again, she brings her customary zest, employed on this occasion to remarkable effect in gaining the wholehearted commitment of her cast. As it turns out, that quality is especially vital in this play, as the audience is asked to virtually suspend belief as it is plunged into the unlikely tale that unfolds.

This centres around an order of New Jersey-based nuns now drastically depleted by the death of most of them by poisoned vichyssoise (or as one of them puts it, "56 sisters face down in the soup''). In a concerted effort to raise funds to pay for the burial of the remaining four who are at present reposing in the kitchen freezer, those surviving nuns who luckily passed up on the soup in favour of a bingo game, decide to mount a talent show.

So, hey presto, we have the shamelessly contrived format of a musical play which more closely resembles a revue. Now that the cast has had a chance to settle into their roles, with firstnight nerves and the technical hiccups of opening night successfully overcome, it works rather well. This has undoubtedly been assisted by Mr. Goggin's visit to Bermuda to view and further tighten up the overall production last month.

Ms Pogson and producer Dusty Hind have again come up with a wonderful cast, all of whom reveal fine singing voices as well as that essential gift, a natural sense of comedic timing.

In order to create, and indeed maintain, the illusion of an informal amateur talent show, the cast wanders amongst the audience for a little repartee and the odd Catholic-stereotype joke or two to set the mood for the nuns' `big night'.

Predictably, again, it transpires that the five nuns have either forsaken or had a yen for the bright lights of showbizz which, of course, offers a convenient explanation for their undeniable talent in things theatrical and, possibly, their apparent affinity with what might be seen as the seamier side of life.

Even the Mother Superior started off as a tightrope walker; the massive self-confidence surely required for such a constantly precarious livelihood is put to good use as leader of what proves to be a fairly unruly flock. Connie Dey is well cast in this role: exasperated, yet unfailingly good-humoured and apparently not overly bothered by the restrictions of her calling. This role, which calls for some vigorous singing, a kick-line chorus and even a spot of tap dancing, reveals the enormous versatility of this actress who is as comfortable in all of this as she is with Shakespeare and Tennessee Williams.

Denise Whitter who, incredibly, only began her acting career four years ago, scores another hit (she is also wowing audiences in Jabulani's `One Mo' Time') with her appearance in this show as Sister Mary Hubert, Mistress of Novices.

Her best number comes at the very end, when she leads the cast in the finale, a rousing and elatedly phrased gospel number, `Holier Than Thou'.

Dee Martin reveals that she has inherited not a little of her obvious talent from her mother who sang with the Metropolitan Opera; there is the same rich volume in a voice that moves effortlessly from low to upper register and, in this case, accompanied with a delicious sense of comedy which she plays to the hilt as Sister Robert Anne, formerly from the seedier side of Brooklyn.

As a former nnightclub performer, Dee Martin brings a genuinely professional touch, rather in the Ethel Merman manner, to every number. As the `understudy' who longs for her moment in the spotlight, she seizes every opportunity to display her gifts. This reaches a climax in her solo `I just wanna be a star' which, on Saturday, had the audience cheering.

There is a sparkling performance, too, from 18-year old Khalilah Smith who first caused a ripple in Bermuda's theatre circles with her appearances in Patricia Pogson's `Ain't Misbehavin'' and `Coloured Girls'. The impressive quality of her soprano singing voice was confirmed when she appeared as the slave girl in `The King and I'. In `One Mo' Time' and, now, `Nunsense', there is ample confirmation of a most promising talent.

She takes on the role of the novice who harbours a dream of becoming a dancer (convent rules notwithstanding). Two of the highlights include Morning in the Convent and, yes, The Dying Nun Ballet.

Sister Mary Amnesia, so named since a crucifix fell on her head and wiped out her memory, is played by Fran Tucker. Speaking in a fey Southern voice that virtually coos with her mischievous double entendres, she understandably drives her sisters to the edge of unholy exasperation. This role is well conceived, and she sweeps the audience along in a quite excruciating quiz session.

Solo and ensemble vocal numbers have been meticulously rehearsed by musical director Andrew Chamberlain and this cast produces a consistently good sound.

Once again, Suzette Harvey is the choreographer and she, too, adds more credits to a steadily promising career with this production.

PATRICIA CALNAN IT'S ALL NUNSENSE! -- The cast of Jabulani Repertory Company's production of `Nunsense' (back row) Connie Dey, Denise Whitter and (front row) Dee Martin, Khalilah Smith and Fran Tucker.