Sister Act Brings Soulful Fun to Orpheum.

In the beginning, Touchstone released a 1992 comedy starring Whoopi Goldberg. And Touchstone saw the profits and they were good . And Touchstone said, "Let there be a sequel," and there was a sequel. And Touchstone called the sequel "Back in the Habit" . . . and so on.

Now, twenty-one years later, the tale of Deloris Van Cartier, aspiring diva thrust into a convent for witness protection has come to the Memphis Orpheum. And this touring cast performs a water-to-wine-level miracle resurrecting a predictable, middle-of-the-road story into a delightfully entertaining show.

The spoken dialogue remains sitcom-level, while Glenn Slater's lyrics are masterfully clever. Alan Menken's energetic tunes, arranged by Doug Besterman, capture the 1978 disco vibe. I believe every musical ought to have one cornerstone song--a musical equivalent to Hamlet's soliloquey. I can't tell whether Menken neglected to write one, or thought he wrote one but didn't. Still, the singers and orchestra are superb.

The first couple of scenes felt slow and deliberate, a bit like riding an old time roller coaster up that first big hill. Once characters were introduced and the improbable premise set, we were off, gaining momentum at every pivotal point. What made the production work so well was that instead of being trapped inside the confines of a hackneyed script, the actors embraced the absurdity and went to town with the farce. Their characterizations were fresh, their timing impeccable, and their unscriptable stage "business" consistently hilarious. Nothing they did felt calculated or "canned." They exuded genuine warmth, ease and respect for the audience. I couldn't help but imagine Director Jerry Zaks at the helm during rehearsals watching his actors find new ways to crack each other up every day. This touring company has that kind of vibe.

Irreverent? Wonderfully!
Tasteless? Never!

Ta'Rea Campbell is naturally possessed of the soulful voice and sinful curves required to play Deloris Van Cartier, but it's the intangible nuances that really make her performance sing. Melvin Abston plays her vengeful, ruthless ex-lover, Curtis Jackson. I loved his seventies machismo, but wouldn't have minded a little more cold-blooded killer intensity.

Hapless Deloris goes from being dominated by Curtis Jackson to being under the thumb of Mother Superior, played in grand style by stately songtstress Lynne Wintersteller. Her two solos, "Here Within These Walls" and "Haven't Got a Prayer" are a beautiful contrast to the upbeat numbers that make up the majority of the show. Wintersteller inhabits the role so naturally it's hard to believe she isn't a nun. Her stern, self-satisfied character was balanced by warm, magnanimous Monsignor O'Hara played by a charming Richard Pruitt.

Chester Gregory brought down the house as Eddie, Deloris underdog high school classmate turned cop. His Walter Mittyeque number, "I Could Be That Guy" which includes a mind boggling quick change into an iconic white disco suit reminiscent of John Travolta, (made complete by his sudden ability to dance) is an all-out showstopper.

Other wonderful characters are timid postulate, Mary Robert played with spot-on conviction by Ashley Moniz, hilariously eccentric Sister Mary Patrick played by Florrie Bagel, and henchmen Joey, Tad Wilson, Pablo, Ernie Pruneda and T.J. Charles Barksdale. Their over-the-top rendition of "Lady in the Long Black Dress" must be seen to be believed.

The ensemble is good through and through--particularly when you consider that the women are all wearing identical habits with no distinguishing hair or makeup, yet each holds her own and is anything but interchangeable.

Scenic designer Klara Zieglerova's artistic church set makes a beautiful transformation from daunting to dazzling as the sister's act gains momentum, and I loved and admired the thoughtful lighting Natasha Katz imbued on every scene.

Even in a heavenly farce, the devil is in the details. In this case, my rigorous "white glove scrutiny" could only turn up two minor points: 1.) Early on, Curtis gives Deloris a blue fur coat, and there's a punchline about somebody "skinning a smurf." Cute, but The Smurfs were unheard of in America in 1978. Their television debute happened in 1981. That sort of clinker hits a pop culturally attuned ear the way a dischord hits a musically attuned one. In the disco era, blue-furred characters lived on Sesame Street and their names were Cookie Monster and Grover.

2.) December 3rd's performance, Angie Marie Smith played ancient Sister Mary Theresa. She's young and pretty, yet wore no stage makeup to add years. Morevover, playing "old" presents a young actor with a kinesthetic challenge. Smith was comedic enough, but instead of seeing a stiff, frail body trying to be supple and strong. (Which is what "old" is), I saw a strong, supple body trying to be stiff and frail. Getting this right is comparable to proper vocal placement--a focused, inside-out exercise, until something suddenly "clicks."

All in all, if you're looking for a tasteful, upbeat, all-ages holiday season show, look no further. You'll love this cast and the wonderful energy they bring to the stage as Sunday mass escalates into an over-the-top floorshow.

Sister Act plays through December 8th, 2013. Ticket are on sale now and available for purchase online at the official Orpheum Theatre website, The Orpheum Box Office (901) 525 - 3000), the ticket counter at The Booksellers at Laurelwood, and all Ticketmaster centers (901) 743-ARTS).

Photo by Joan Marcus