Review: SISTER ACT at Ford's Theatre

We live in a moment in the history of the American theatre where well-executed, original intellectual properties on stage are hard to come by. Even harder still is the elusive triumvirate of a show being original, critically acclaimed, and commercially viable. Hamilton comes to mind in more recent memory, but the list outside of this is short.

This has created a sort of golden age (or dark age, depending on your feelings) for recycled intellectual property. Many theatre fans, like me, have bemoaned the seemingly endless supply of stage productions based on popular TV shows, Gregory Maguire novels, films, and other entries into the cultural zeitgeist. Usually lacking any kind of truth or originality, I am the first to admit that I usually enter these shows with a healthy degree of skepticism. Every now and then, however, one of these recycled properties surprises, delights, and is…dare I say…good. Sister Act is the latter.

With a funny and heartfelt book by Cheri and Bill Steinkellner, lyrics by Glenn Slater, and music by certified hitmaker of stage and screen, Alan Menken, Sister Act hits all the right notes. It strikes the delicate balance of being familiar but still somehow fresh. It’s not just a carbon copy hoping to capture at least some of the overwhelming success of its source material – not surprising considering the writing team. And while the film uses pop hits and contemporary spins on traditional church hymns, rejoice and be glad as this is an original score by Slater and Menken. It doesn’t hurt that Ford’s Theatre has assembled a first-rate cast and creative time to execute the material beautifully, either. 

Sister Act is, of course, the stage adaptation of the 1992 smash-fit film of the same name starring Whoopi Goldberg. There are a few minor tweaks that book writers Cheri and Bill Steinkellner introduced for the adaptation – the most notable being the shift of the story’s location from the West Coast to Philadelphia. Additionally, the stage adaptation turns back the clock from the film and sets the story in the late 1970s during the height of the disco era. It’s a tweak that allows for more audacious costumes and hair stylings, but fans of the film surely will still recognize the piece’s bones that they’ve come to know and love through the years.

As is the case with the film, the stage musical centers on a lounge singer named Deloris Van Cartier (Nia Savoy-Dock) who witnesses a murder committed by her mob boss boyfriend, Curtis Jackson (Derrick D. Truby Jr.). After fleeing in the chaotic aftermath, she is placed in witness protection by the Philadelphia police, a unit under the command of Deloris’s old schoolmate and friend, Eddie Souther (Joe Mallon). Eddie, looking to outsmart Curtis and his thugs, hides Deloris in an unusual safe harbor – a convent.

An undeniable fish out of water, Deloris is forced to adapt to the ways of the nuns and learn to live with life’s simple, more modest pleasures. Early wake-up calls, ample time for meditation and devotion, and abstinence from booze and sins of the flesh are all major adjustments for Deloris. However, Deloris quickly finds an outlet that speaks to her soul – music. It’s here where Deloris finds her place in the convent and a connection with her sisters. Finding the church’s music program less than appealing, Deloris transforms the convent into one of lively and spirited song all in praise of the Lord. Once stale and boring, the church suddenly radiates with contemporary spins on classic hymns. More importantly, the pews are packed to capacity including the long-closed balcony seating, which is suddenly full of people.

This renaissance isn’t met without its obstacles, though. Besides an attempt to keep a low profile and off Curtis’s radar, Deloris butts heads with Mother Superior (Sherri L. Edelen), a traditionalist yearning for a return to the dearth-like chants and stale musical arrangements of before. As the drama unfolds, the two realize they must find common ground for Deloris, and the convent, to survive.

Fans of the film are aware of how the story goes from here, but it’s safe to say the adage, “crime doesn’t pay,” is true here. Curtis and his gang of thugs do not go down without a fight, but after a lengthy search for Deloris, they are ultimately no match for the nuns. Some might say the convent had a higher power on their side, but who’s to say?

With Ford’s production, the material truly shines. Led by Nia Savoy-Dock’s powerhouse turn as Deloris, it is difficult to find a weak link among this standout company of performers. Savoy-Dock’s energy is tremendous and infectious, and this brings a certain swagger and confidence to Deloris that works. Though she isn’t as strong in the script’s more intimate and reflective moments, her dynamic vocals and commanding presence more than make-up for these minor criticisms.

While Savoy-Dock tackles the show’s leading role, she is complimented by a stellar cast of performers. Derrick D. Truby Jr.’s turn as the nefarious Curtis Jackson, a stark contrast to his recent Ford’s Theatre performance as Seymour Krelborn in Little Shop of Horrors, fits like a glove. His warm baritone notes that would make Barry White jealous during “When I Find My Baby” almost make you forget he’s supposed to be the bad guy. Not to mention he’s backed up by a trio of bumbling thugs that inspire more laughs than fear – Curtis’s nephew TJ (Trenton McKenzie Beavers), Joey (Jimmy Mavrikes), and Pablo (Dylan Arredondo).

Thankfully, the three get a chance to show off their ample comedic chops on their own in the hilarious yet off-color “Lady in the Long Black Dress.” All three create individual and unique characters that are as strong on their own as they are together. While the three are brimming with talent, it’s Arredondo’s somewhat-bilingual Pablo that delivers the standout performance among the trio. Arredondo continues to impress DC audiences with his remarkable versatility, and it’s a treat to watch his talent continue to grow and develop.

In the convent, there’s also no shortage of dynamic and impressive performances. As Mother Superior, Sherri L. Edelen is a perfect foil for Deloris’s growing popularity among the sisters. Her Act II song, the introspective “I Haven’t Got a Prayer,” fully rounds out her character, and Edelen seizes the opportunity to show the depth of Mother Superior’s internal struggle. Though his appearances are brief, Lawrence Redmond as Monsignor O’Hara is a wonderful comedic counter to Edelen’s seriousness.

Luckily, the brilliant performances don’t stop there. It’s difficult to single out just one performance from this outstanding ensemble of singing nuns, but Kanysha Williams as Sister Mary Robert has an argument to be just that. Introverted and shy when Deloris arrives, Williams does a magnificent job with Sister Mary Robert’s journey to come out of her shell and blossom. Her Act II performance of “The Life I Never Led” is without a doubt one of the show’s highlights, and Williams received one of the evening’s most well-deserved ovations as a result. This should not take away from the side-splitting performance of Debbie Mobley as Sister Mary Lazarus, though, which takes advantage of every comedic opportunity.

No summary of the show’s many wonderful performances would be complete without mentioning Joe Mallon’s turn as “Sweaty” Eddie Souther. It would be tempting to lazily lean into the “lovable loser” archetype that the role seems to require at first glance, but Mallon finds depth and honesty that the audience can’t help but embrace. He’s terrific in Act I’s “I Could Be That Guy,” and Ivania Stack’s costume design and on-stage magic during the number rivals Frozen's Elsa during her iconic Disney anthem.

The stellar performances are just one piece of Ford’s well-done production. Paige Hathaway’s versatile set is impressive and works despite its wide variety of locales. Whether the inside of a church, a seedy nightclub, or a bad guy hideaway, it’s all cohesive and functional. The stained-glass backdrop, in particular, is beautifully colorful and drops you right into the world of the convent. Kelley Jordan’s hair and make-up design nail the 70s setting of the stage adaptation, and fans of the bell-bottom pants and leisure suits will enjoy what they see.

As both director and choreographer, Broadway veteran Jeff Calhoun hits all the right notes in this production. He’s gotten the most out of his talented cast and pulls forward the show’s enormous heart and brilliant comedy with expertise.

Ford Theatre’s production of Sister Act is one of the more polished and enjoyable musicals I’ve had the pleasure of seeing in the DMV this season. Brimming with talent and standout performances, it’s worth the price of admission just to hear the soaring vocals and harmonies alone. Fortunately, a powerhouse ensemble is matched by stellar technical elements, and the production is a delight to watch as a result. Not all musicals adapted from well-known films are created equal, and Ford’s latest production proves this in spades.

Besides the aforementioned artists, the creative team also includes Max Doolittle (Lighting Design), David Budries (Sound Designer), Kim Scharnberg (Orchestrator), Rachel Hirshorn-Johnston (Dialects and Voice Director), Craig A. Horness (Production Stage Manager), Taryn Friend & Genevieve Dornemann (Assistant Stage Managers), Kristin Fox-Siegmund (Deputy Director and Director of Programming), and William Yanesh (Music Director).

Fortunately for DC audiences, there are plenty of opportunities to catch this production as the show runs from now until May 17. Sister Act runs approximately 2 hours and 15 mins with one, 15-minute intermission.

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