Review: Circle Players' SISTER ACT, THE MUSICAL

LaToya Gardner adds yet another theatrical conquest to her already impressive resume: Sister Mary Clarence/Deloris Van Cartier in Sister Act, the musical theater version of the Whoopi Goldberg film that has delighted audiences since its debut in 1992, inspiring one sequel (with maybe another on the way) in the process.

Now onstage at Tennessee State University's Performing Arts Center as Circle Players' first show of 2016, Sister Act, The Musical, isn't quite as delightful - nor was it as successful in its relatively recent Broadway run - as the movie upon which it is based, but when Gardner and her Sisters take the stage, you can be certain they will sing and dance their ways into your heart, providing the perfect way for audiences to keep warm amid winter's chill.

Directed by Circle veteran Tim Larson (he's also president of the community theater's board of directors), Sister Act is entertaining and fun, although the overall production lacks the polish usually associated with Larson's shows produced in collaboration with his longtime producers LaTonya Turner and L.B. Gaiters. Part of that is due to the subject matter: over the years, we've come to expect "big and epic" to be the watchwords of the Tim Team's shows, thanks to Ragtime and Titanic (the two shows most easily recalled from the busy trio), and while Sister Act is a lot of things, epic isn't one of them.

But when Sister Act is firing on all cylinders - particularly when Gardner and her gang of nuns are presented in a big, splashy production number - it cannot help but bowl you over with the best of Alan Menken's score, which is obviously influenced by Philadelphia Soul of the 1970s, providing the time and place for the script crafted by Cheri Steinkellner and Bill Steinkellner (of TV's Cheers fame), augmented by the biting wit of Douglas Carter Beane's additional book material.

The book's flaws notwithstanding, Larson, Gardner and their company cohorts seize every opportunity - and then some - to create a believable and accessible story that will leave you completely satisfied in the way that good musical theater is sure to do. Director Larson keeps the action moving along at a good clip, despite scene transitions that sometime drag, but he's done an exceptional job of casting the show, particularly in regard to his leading lady and the two women who show off their mettle in their scenes with Gardner.

Gardner, who's played Celie in The Color Purple and the title role in Aida - both for Circle Players - plays Deloris, the wannabe singing star (who dreams of becoming another Donna Summer, clad in a white sequined gown and fox fur), with immense charm and complete focus, commanding the stage effortlessly with her stunning performance. Mary Corby is terrific as the Mother Superior, playing her as a flesh-and-blood character instead of as some wildly conceived caricature (as is often the case in regard to musical theater mothers superior), and Rae Robeson very nearly stops the show as novitiate Mary Robert, showing off her maturity as a performer (she's practically grown up on Nashville stages), delivering her musical numbers like the seasoned professional she has become. The three women lead the cast with stylish aplomb, with elan and a refreshingly understated sense of self-confidence.

The leading trio is given ample - and we daresay divine - support by a cadre of favorite Nashville actresses who bring the nuns of The Queen of Angels Church to life with good-natured humor, superb stage presence and a no-holds-barred sense of carefree abandon. They skirt a very fine line of over-the-to comedy and restrained effervescence - but, somehow, no matter how close they come to that line, nary a one of the la-la sisterhood steps over it. Rather, they create characters who are strongly delineated and individual, even while dressed in habits that would render them all as one.

Abbie Mummert's glowingly gorgeous smile sets her Mary Patrick apart from the others, while Taylor Simon displays a far-ranging comedic sense that keep her from becoming cartoonish as Mary Lazarus. Amber Boyer is wonderful as the aging Mary Theresa and Adele Akin, as Mary Martin-of-Tours, displays her expected and exceptional good timing. Taylor Tracey and Sydney Hooper do double-duty as Deloris' backup singers/dancers, while employing much versatility to assume the roles of Mary Jospehat and Mary Persico.

The remainder of the sisterhood - Katie Bruno, Jamila Hunter, Anna Kaelini, Elizabeth Turner, Ashley Morrison, Erica Patterson, Melinda Paul, Sarah Shepherd, Susan Walsworth and Tamera Young - are just as impressive as the principals in this well-cast musical diversion.

The men fare less well in Sister Act, due to the one-dimensional characters created by the writers (and, let's face it, the show's not called Brother Act, which leaves one to deduce they weren't given as much time and/or thought by the writers), but they still acquit themselves well. Ron Veasey, particularly, cast as Monsignor O'Hara gives a confident performance, while Isiah Tatum makes for an intimidating Curtis, Deloris' dirty, rotten and married boyfriend. He's backed up by the tremendously talented Brian Best, Joshua Andrew Hosale, Leon Blandon and Jarvis Bynum as his quartet of henchmen. Stewart Romeo is good as Deloris' high school chum grown up to become a rather hapless cop who, despite his shortcomings, manages to keep her alive even while she's making TV appearances in advance of the Pope's visit to Philly.

John Kennerly's music direction ensures the show's score is performed with joyous energy by his capable ensemble of players, and Tosha Pendergrast choreographs the production with the skilled eye and confidence of an artist who clearly knows what she's doing, even if she was born long after disco died.

Jim Manning provides the perfect backdrop to the show's action with his well-conceived set design, which is lit by Cathy Matthews' sharply focused design, which lends color and drama to the festivities.

• Sister Act, The Musical. Music by Alan Menken. Lyrics by Glenn Slater. Book by Cheri Steinkellner and Bill Steinkellner. Additional book material by Douglas Carter Beans. Based on the Touchstone Pictures' Motion Picture Sister Act, written by Joseph Howard. Directed by Tim Larson. Music direction by John Kennerly. Choreography by Tosha Pendergrast. Presented by Circle Players and TSU Theater Program at TSU Performing Arts Center, through January 31. For tickets and further details, go to www.CirclePlayers.net or call (615) 332-7529. Running time: 2 hours, 40 minutes (with a 15-minute intermission).

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