Review: SISTER ACT at Seacoast Repertory Theatre

From Disco Diva to Divine Inspiration: Sister Act Delights

The Seacoast Rep’s season opener of “Sister Act” is a joyous explosion of glitter, gospel, and loads of fun with a convent full of nuns.

It is strangely magical that audiences love shows that take playful jabs at nuns. Remember “Late Night Catechism,” a nostalgic visit with a substitute teacher in a parish catechism class that’s highly interactive. And Christoper Durang wrote a scathing satire “Sister Mary Ignatius Explains It All for You” where a nun explains the basic tenets of Catholicism to the audience only to be interrupted by her former students who have clearly not led a holy life.

And audiences might remember the “grandmother” of all nunnery-based shows, “Nunsense” and an array of sequels with irreverent musical revues with nuns reflecting on their lives in song and dance while raising a bit of hell.

“Sister Act” continues the tradition of the nunnery genre with a spirited production. Based on the beloved 1992 film of the same name, the “Sister Act” stage show is a fabulous adaptation with more interesting character development and original music by Alan Menken and lyrics by Glenn Slater. (You’ll recognize Menken from “Beauty and the Beast,” “The Little Mermaid,” “Little Shop of Horrors” and more in Broadway hits.)  

Deloris Van Cartier (a radiant Alexandra Mullaney),  a 1970s disco diva on the cusp of self-proclaimed stardom, has her career highjacked as she witnesses her Philadelphia mobster boyfriend, Curtis (Justin D. Davis) committing a murder. When she confesses to the police, they must find a safe place for her in witness protection.

Everything goes a bit crazy when she finds herself seeking refuge in a convent, now disguised as Sister Mary Clarence, thanks to the charmingly awkward and teddy bear loveable Officer Eddie Southern, (Kai Clifton) and the well-meaning Monsignor (David N. Durham). Mother Superior, in all her traditionally Catholic glory, (Kate Sheridan) reluctantly agrees to take her in, believing Deloris is a nun from "a more progressive order."  The clash of cultures is instant comedy gold. Deloris, a whirlwind of street smarts and sass, struggles to adapt to the quiet, disciplined life of the convent, while the nuns are intrigued by their not so traditional new member.

The magic of the show takes place when Deloris, with her musical performing background, takes charge of the convent choir transforming them from an off- key timid choir to a gospel infused and disco delightful powerhouse.

The show gives Mother Superior a much bigger role than the movie, and Sheridan delights in every minute of it. From her contemplative numbers, "Here Within These Walls," and I Haven’t Got a Prayer,”  to her powerful vocals in “Sister Act” and “Spread the Love Around,” Sheridan is the perfect spiritual leader trying to make sense of the new sister.  

There's a wonderful performance by Mary Mahoney as the shy Sister Mary Robert.  From a timid novitiate, who can hardly make eye contact with anyone, she makes a stunning transformation that is nothing short of spectacular. Her vocals hit the rafters when she comes alive in “Raise Your Voice” and she’s amazing in a show stopping number, “The Life I Never Led” where she professes her newly found independence. Mahoney’s performance is wonderful.

Clifton, too, makes a transformation from an inept cop to a slick performing Barry White want to be in the number “I Could Be that Guy,” confessing his long-time high school crush on Deloris. His sultry voice and quick costume change makes for a memorable number.

There’s a quadruple abundance of talent in Kevin Mahaney as Joey, Remani Lizana as TJ, Robert Fabricio Armstrong as Pablo and Justin D. Davis as Curtis. These mobsters sing and dance like the Commodores and provide some great comic moments.

Other standouts include Megan Paluzzi as the high strung Sister Mary Patrick, and Jennifer Bubriski as the abrupt Sister Mary Lazarus.

The supporting nunnery team is perfectly cast. Thanks to the Rep for bringing in some experienced talents to make their debut performances on the Portsmouth stage. New cast members add a rich texture of talent to the show.

Words can hardly describe how perfect Mullaney is in the lead role. While she’s outstanding in whatever role she takes on, she is absolutely brilliant as Deloris with every line, vocal, and nuance she creates. She has a remarkable ability to connect with an audience backed up with a stage presence and powerful vocals that resonate through the theater.

Under direction and choreography by artistic director Alyssa Dumas, the show is a lively and well-paced production. Dumas is a genius for engaging choreography, and she knows how to set up musical numbers that dazzle.

The set by Dave Walters is reverently stunning with stain glass windows that bedeck the convent but never take focus when the action turns to other venues depicted on the set.

Costume designer, Thomas Gluodenis, makes the 1970s come alive with Donna Summer sequins, gangsters that could be fashion plates in a disco, and nunnery garb that brings back memories, and possibly nightmares, of Catholic schools of years ago.  

Music direction by William Asher, is as powerful as ever soaring through ballads and disco hits.

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