REVIEW: Sister Act (Ford’s Theatre)
Alright, since I wasn’t into musicals in 2011, can someone tell me if Sutton Foster really was that good in Anything Goes? Enough to beat out Patina Miller’s starring role in Sister Act?
Sixteen (!) years after its premiere and fourteen after its goose-egg showing at that years’ Tonys, I disappointingly don’t see it discussed much in Broadway circles. For me, it’s arguably one of my favorites, and so I’m happy to see Ford’s put it on for its spring musical; the second Menken musical in a row, in fact, following last years’ Little Shop.
Book/Music
Alan Menken is obviously a legend of the genre; and call this take hot, but his score for Sister Act alongside Glenn Slater’s smart lyrics is probably my favorite.
Yes, against The Little Mermaid, Little Shop, Beauty and the Beast, and yes, even Newsies.
The era-embracing mix of 70’s analog earworms is a musical triumph. With filthy basslines and immaculate, ABBA-like disco-pop melodies (Act II opener “Sunday Morning Fever”); crooning, soul-tinged villain songs with gruesome storytelling (“When I Find My Baby”); and joyful, gospely ensemble numbers (“Raise Your Voice”), the Menken-Slater songs are devilishly catchy and effusive.
But what about the story underneath? I’ve heard of the 1992 Whoopi film this was adapted from, but have never seen it. In this, Deloris Van Cartier is a Philadelphian showgirl who dreams of a chance at stardom via her big break at her boyfriend Curtis’ nightclub. When she witnesses his involvement in a murder, she’s forced to enter witness protection at a convent to take up a new identity as Sister Mary Clarence. The church is nearly insolvent as is, and Deloris instantly conflicts with the ambient piety and rigidness of the Mother Superior; but it’s here, via music, that she is able to bond with her fellow nuns. I personally love when concepts draw from polar opposites, and especially when they do it well. The saint-sinner dynamic is no stranger to musical theatre, but Cheri and Bill Steinkellner’s book sits down and rocks its own boat with its neon-tinged, cigarette-scented modernity. But even though it overall is rather solid with enjoyably unique characters, it’s not perfect. One shortcoming is its thinness of the fellow sisters, however; Mother Superior is established as a dutiful foil to Deloris, but the others are only given a shred of this development. (Did we need the “I Love Women” song from Curtis’ goons?)
Perhaps I’m just a critic, but even with those qualms, it’s hard not to bop along with all the beats anyway. The ensemble’s takes on these songs are just too infectious. 9/10
Acting
I know a lot of people were worried when the previously-announced Awa Sal Secka was revealed to not be taking up the habit as Deloris, but that’s the beauty of the DMV: there’s more talent where that came from. Nia Savoy-Dock is a superb Deloris, bringing the swagger that the role needs with her own bouncy skills. Particularly, much of her cadence and mannerisms evoked a Megan Thee Stallion demeanor, a hugely welcome take on the role. Her fellow nuns, ever the supporting cast, were joys as well: Sherri Edelen’s Mother Superior, Kanysha Williams’ Sister Mary Robert, and Caitlin Brooke’s Sister Mary Patrick all are creatively delivered and powerfully sung. And though I would have loved to see Trenton McKenzie Beavers as TJ, one of Curtis’ henchmen, I did find humor in Troy Hopper. Of the men, Curtis himself was well done by a brutishly jolly Derrick D. Truby, Jr., and this show’s Mr. Cellophane (“Sweaty Eddie”) is bashful and earnest from Joe Mallon. 10/10
Production
You gotta get baroque with it with you try to pull off a show like this, man.
Good news: Jeff Calhoun nails it! The production feels inconsistent to start, with a high-schoolish rendition of a nightclub and comparably unimpressive costumes, but this quickly evolves into real-deal opulence that more than makes up for its slow start. In fact, Ivania Stack’s costumes only get better by the second, especially the rune’d-out habits that the troupe dons as they blow up. Doubly impressive is Paige Hathaway’s versatile set, on which Calhoun operates a ton of joyful movement with ritzy ensemble pieces. Additionally, Hathaway utilizes multifunctional panels and archways to paint all sorts of environs, from a police station to a church and everywhere in-between (Max Doolittle’s stained-glass backdrop is gorgeous, also, and the way it utilizes color in tandem was excellent). 9/10
Viz
Bright iconography with popping, sparkly text? A fabulous Savoy-Dock in habit and snarky sunglasses? Bejeweled stained glass backdrop? Marketing done to a T. And a big, glittery stage, literally plastered with a title marquee to greet the audience? Bingo. Ford’s will make sure you know what you’re getting into, whether you’ve seen the film or not; so help them God. 9/10
Verdict
Sister Act is a revelation of joyful noise, with a stellar lead performance to coalesce all the elements of a powerful production. 37/40
