Review: UCF's THE DIVINE SISTER is Delightfully Unholy Comedy

While it has been nearly 20 years since I was a Catholic school student, I have to admit that I don't quite remember it being much like St. Veronica's in Theatre UCF's production of Charles Busch's bawdy comedy THE DIVINE SISTER. Directed by UCF Associate Professor Kate Ingram, the play runs through October 3rd in the campus' Black Box Theatre. The 2010 Off-Broadway comedy lampoons Hollywood's obsession with nuns, riffing on THE SOUND OF MUSIC, THE BELLS OF ST. MARY, AGNES OF GOD, and more; Busch even mixes in his take on the recent surge in Catholic mythology fiction, a la THE DAVINCI CODE. While the humor might be something that would normally get your hand smacked with a ruler, the show does have an ultimately sweet, faith-affirming message; despite the sacreligious and sophomoric humor that, if you suffer Catholic guilt, will likely have you running for the confessional booth.

The premise is simple and familiar, despite Busch's farcical approach; the convent and elementary school at St. Veronica's is in disrepair, and the parish doesn't have the money to renovate. So, the ever industrious Mother Superior, played by Kody Grassett, and the school's sexually-repressed wrestling coach, Sister Acacius (Brianna Joseph), make it their mission to raise the funds. Their task is made more difficult by a young postulant named Agnes (Alexandra Voelmle), who claims to hear heavenly voices and see the faces of saints in the most unsanitary of places. The convent has also recently welcomed a new, disturbingly harsh, nun from Germany, Sister Walburga (the always fantastic Ashley Turner). The sisters' efforts take them to the home of the decidedly un-Catholic, but very wealthy, Mrs. Levinson (Madelyn James), whose house guest Jeremy (Mike Nilsson) is in town to acquire the film rights of Agnes' miraculous tale, and just might have a secret connection to Mother Superior.

Grassett, a male MFA candidate, plays the Reverend Mother in drag, as Busch did in the original production. While I am not sure that the device adds much to the narrative, it does provide the opportunity for a few extra innuendos. Grassett brings a certain gravitas to the role that all Mothers Superior need, while never taking the character too seriously. Despite the silliness that the role demands, Grassett possess the dual-nature that all nuns stereotypically have; compassionate and comforting on one side, and iron-fisted and terrifying on the other. Fortunately, in both circumstances, Grassett's Mother Superior is delightfully entertaining.

While Grassett is clearly the ensemble's leader, the other denizens of St. Veronica's are just as enjoyable. If you were to spend the entire show focusing just on Joseph's facial expressions (complete with real-world, cartoon bulging eyes), you would feel as if the entire evening was well spent. Turner, who was the heart and soul of last spring's NINE, gets the opportunity to display her considerable comedic chops in a rather unsaintly role.

For the majority of the show, Voelmle's Agnes is the most recognizable as a traditional nun; a sweet-voiced, doe-eyed young girl, who sees the best in everything, even urine-stained underpants. As we get to see more of Agnes though, Voelmle has more and more opportunities to hilariously expand on the traditional characterization, and she seizes each and every one. James (who was fantastic in January's phenomenal production of ARCADIA) plays both Levinson and a confused student named Timothy, both of which allow her to milk considerable laughs.

The only sub-par performance is that of Nilsson, a second year MFA candidate. While his portrayals of both Jeremy and Father Venerius had moments of humor, his marble-mouthed delivery fluctuated between difficult to understand and unintelligible. Therefore, much of the roles' impacts were lost.

Despite all of the charm and talent in the show, portions of THE DIVINE SISTER are a bit labored, relying on a smattering of jokes peppered scarcely amongst detailed exposition. This was also evident in a handful of scenes that seem to have lost their focus and clarity, slowing down the otherwise laugh-a-minute pace.

While Hollywood movies serve as the inspiration for much of the play's conceit, the Catholic Church itself often takes the brunt of Busch's most pointed jokes. The Church's traditional intolerance and conservatism are the butt of many jokes, unfortunately, they are told more for cheap laughs, than anything approaching more intelligent satire.

Bert Scott nicely repurposes the castle set from THE UNDERSTUDY, with which THE DIVINE SISTER is running in semi-rep, into a decrepit Pittsburgh-area convent. Katie Leonard's costumes and Emily O'Sullivan's lighting also add a tremendous amount to the production.

So, if and it has been a while since you last went to mass, you better visit Mother Superior and ask for absolution at UCF's THE DIVINE SISTER through October 3rd. You can get your tickets to this, and every Theatre UCF show, by visiting their website, or by calling (407) 823-1500

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Did you feel like you needed to go to confession after seeing THE DIVINE SISTER? Let me know what you thought in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter using the buttons below. You can also chat with me about the show on Twitter @BWWMatt. If you want to follow along with my "366 in 366" articles, you can check out #BWW366in366 on Twitter.

Photo Credit:
1) Alexandra Voelmle and Kody Grassett: Tony Firriolo | Theatre UCF
2) Kody Grassett and Brianna Joseph: Tony Firriolo | Theatre UCF
3) Madelyn James: Tony Firriolo | Theatre UCF

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