Few sights and sounds are more invigorating than those of a gospel choir in full voice and full swing — a fact that the musical Sister Act joyously celebrates.

The show is loosely based on the true story of Dolores Hart, who traded in a Hollywood screen career — playing opposite Elvis Presley among others — to become a nun in Connecticut. Once there, she revolutionised the convent’s arts programme.

First intended for Bette Midler, the role of Deloris (there’s been an adjustment to the real-life spelling) has become indissolubly linked with Whoopi Goldberg, who played her on screen. Now the nun’s habit has passed to Cynthia Erivo, who is quite simply sensational. “Oh my Gaard, someone’s shot the Smurf,” she cries as she unwraps a bright blue stole, a present from her employer, gangster-cum-club owner Curtis (Cavin Cornwall). Deloris falls out with Curtis big time, however, and flees to a convent with Curtis’s incompetent heavies (Gavin Alex, Tyrone Huntley and Daniel Stockton, a glorious comedy trio) in hot pursuit.

Once at the convent, Sister Mary Clarence (as Deloris has become) sets to work on the quite dreadful choir: it’s a credit to the show’s chorus that its members can sing so badly, not an easy thing to do when they’re actually first-rate performers. The convent’s “Alleluias” rapidly acquire a much more upbeat tempo, and courtesy of choreographer Anthony van Laast, sparkling dance routines are added too. But all is not entirely sweetness and light: looking on sourly is Denise Black’s Mother Superior. It’s the local Monsignor (Michael Starke) who first finds his feet tapping.

Alan Menken supplies a middle of the road score that incorporates gospel music (of course) and disco too. It fits the show very well. Opening with the upbeat Take Me to Heaven, numbers like It’s Good to Be a Nun (“We didn’t even mention/all the sexual abstention,” as Glenn Slater’s lyrics put it at one point), and Sunday Morning Fever sizzle off the stage, accompanied by a snappy pit band under musical director Mark Crossland.

Whoopi Goldberg remains involved as co-producer of the show, and perhaps it is she who has insisted on very high standards and production values. The set designs (Klara Zieglerova) are stunning, particularly the huge stained glass windows that change colour every few seconds. Singing and dancing are razor sharp, and comedy dialogue is delivered with flair. It’s not often that Oxford gets a musical this good.

Until Saturday. Tickets 0844 871 3020 or online at newtheatreoxford.org.uk.