BWW Reviews: Heavenly Goofy SISTER ACT National Tour Charms Hollywood

As musical theater history has shown us time and again, singing-and-dancing nuns are, most of the time, a reliable source of engaging entertainment. And when comedy is added to the mix... well, then, you've got yourselves one hell of a---oops, excuse me---one heck of a great show.

Thankfully---and, frankly, to my pleasant surprise---that is exactly what you get with the charmingly goofy SISTER ACT - THE MUSICAL, the nun-tastic stage adaptation of the hit 1992 motion picture of the same name.

Heavily retooled from its 2006 Out-of-Town premiere at the Pasadena Playhouse and its eventual 2009 London debut, the Tony-nominated musical comedy's North American first national tour continues a three-week engagement at Hollywood's Pantages Theatre through July 28 (the tour is also scheduled for stops in nearby San Diego, July 30 - August 4 and Orange County, August 6-18).

Admittedly, going into the show, I had little-to-no expectations with the musical that's based on one of the most beloved comedic movies from my youth, which was directed by Emile Ardolino and starred Whoopi Goldberg, Maggie Smith and Kathy Najimy. (Fun personal fact: the finalé scenes of the movie's sequel were filmed at my college alma mater, Chapman University in Orange, California).

While some die-hard purists of the film will probably gripe at the myriad of drastic changes that have been applied to the stage version---including, and perhaps not limited to, the fact that the clever re-lyricized "church" songs from the movie have been thrown out in favor of all-original songs courtesy of composer Alan Menken and lyricist Glenn Slater---many, as I did almost immediately, will likely embrace the groovy, heightened attitude of this new Jerry Zaks-directed musical theater incarnation.

Undeniably delightful and down-right hilarious for much of its running time, SISTER ACT - THE MUSICAL deviates quite a lot stylistically from the movie, though it retains the basic tenets of the original story, which finds club singer Deloris Van Cartier (here played by the terrific Ta'Rea Campbell) witnessing her mob boss boyfriend (the stellar Kingsley Leggs) murder a traitorous minion, forcing her to enter witness protection within a convent run by a strict Mother Superior (the regal Hollis Resnik). And like most fish-out-of-water stories, Deloris' uneasy adjustment to her new environment disguised as "Sister Mary Clarence"---and her interactions with the convent's chaste inhabitants---are mined for comedic gold.

Featuring a book by Cheri and Bill Steinkellner and with lots of additional help from playwright/screenwriter Douglas Carter Beane---whose proven track record includes The Little Dog Laughed, Xanadu - The Musical, and The Nance---this new stage version has plenty of adorkable moments of pure, ecstatic joy and feels, yes, much more spunky than its celluloid origins. Simply put, the show has become so aww-shucks amusing that it actually transcends its own squareness and has morphed into a hip, cool little show, thanks in most part to one major tweak.

In one of the bravest---and, ultimately, smartest---moves the stage version decided to embark on that departs significantly from the hit film, SISTER ACT - THE MUSICAL drops itself in the late 70's, in an era of sex-ified disco grooves and tight-tailored poly-blend leisure suits. This little change did big things: not only does the revitalized time setting create a cheekier surface to the show thanks to the era's funk-soul-and-gospel soundtrack, all the characters themselves feel bolder and saucier---perhaps a byproduct of the very kitsch nature of the decade.

This new timeline certainly gives rise to a more brassy Deloris, full of verve and sassy comebacks, and, here, plays better in contrast to the very stern Mother Superior. Armed with a mutinous amount of attitude, spunk, and self-confidence, much of the hilarity is seen when Deloris---with flair and sexuality oozing out of every pore---interacts with her fellow nuns, all of whom (as they did in the movie) each possess distinct personalities of varying comic possibilities.

But unlike Goldberg's original take on Dolores---which pretty much had the character merely reacting in bemusement to all the lunacy around her---this stage version's disco dynamo is truly a diva in all senses of the word, and is just as overtly loony and over-the-top as the curious nuns around her. And when Deloris finally tasks herself to make-over the struggling church's choir---endangering her required anonymity in the process---you can't help but see that the joy and gladness surrounding the show is wonderfully palpable (though, at times, the over-enthusiastic choir screeches its heavenly songbook. Don't worry, ladies, the Lord can hear you).

Even the character of Eddie from the film has been promoted to full-fledged supporting character complete with a fleshed-out backstory that crosses with Deloris' past. Here nicknamed "Sweaty Eddie" (played by the very funny E. Clayton Cornelious), the bumbling detective with a crush on Deloris wows with "I Could Be That Guy," a musical highlight that is a cross between a Barry White ballad and a funky Teddy Pendergrass seduction song. The result is one hilarious and eye-popping moment that you'll surely talk about.

And in a beguilingly unexpected twist, the three bumbling henchman that work for Deloris' mob boyfriend---Spanish-speaking Pablo (Ernie Pruneda), hulking yet sensitive thug Joey (Todd A. Horman), and dim-witted nephew TJ (scene-stealer Charles Barksdale)---form one incredible doo-wop group that rivals the harmonies of The Four Tops... and do it quite amusingly.

These enhancements (along with Anthony Van Laast's choreography, Klara Zieglerova's sets, and Lez Brotherson's costumes) are not only funnier for the show overall, but they also give it much more heart. And though the show's comedic devices are noticeably amped up---taking full advantage of the parody possibilities brought forth by the 70's and what a rousing Broadway showtune-style production number can explode---they never dive totally into complete buffoonery or go too out there or feel cloying. Everyone---and I mean everyone---is so gosh darn adorable that even Deloris' gangster beau Curtis Jackson (who murders a character not even ten minutes into the musical) seems like a smirking teddy bear... well, granted, a smirking teddy bear that sings while he shoots you to death.

The joyful noise these winsome characters spew exude such comic commitment that it's really hard not to like this show, despite a few minor flaws here and there (i.e., the ho-hum opener; the awkward transitions into some scenes; the inaccuracies of certain references that didn't occur or exist in the 70's). And while I do miss the cheeky "covers" and "mash-ups" that were signatures of the film, the new set of original Menken/Slater tunes are excellent and are inoffensively hummable. I especially appreciate Menken dropping in subtle musical signposts from the era's musical genres with tongue firmly ensconced in cheek. The conventions of 70's rock-and-soul (Barry White lows, Bee Gees highs, Curtis Mayfield attitude) creep in and nicely marinates with the show's nostalgic brand of comedy.

Ultimately, though, this show is only as good as the people who perform it, and for SISTER ACT's national tour, the ensemble is a genuine pleasure to watch---and to gladly laugh at. Campbell is a diva lover's dream, especially when belting the be-jesus out of her rafter-reaching solos (with or without mile-high hair and mile-high "f--k me" boots). As Mother Superior, Ms. Resnik is the perfect counterpoint to Campbell's showy personality, and gives authentic anguish to her musical pleas. As the trio of featured sisters, Lael Van Keuren (shy Sister Mary Robert), Florrie Bagel (the extra-bubbly Sister Mary Patrick), and Diane J. Findlay (the cantankerous-but-spunky Sister Mary Lazarus) all give honorable recreations of their movie doppelgängers. As "Sweaty" Eddie, Cornelious is a barrel of laughs with every awkward appearance, and so is the darling Barksdale (as Curtis' plump nephew TJ), even though, at times, some of the jokes and gags at his expense may seem a bit mean-spirited. And, I must admit, I truly enjoyed listening to Leggs speak and sing as Curtis, the gangster blessed with a smoother-than-silk baritone (Leggs originated the role in the Broadway company as well).

Without a doubt, this crackerjack ensemble is brimming with infectious joy. When the entire chorus sings they literally shake the house (including the giant Mary figure behind them). Talk about letting the spirit move you!

I have no qualms in saying what a good time SISTER ACT is to behold. While certainly not the smart, witty comedic triumph that is THE BOOK OF MORMON, this smile-inducing all-singing, all-strutting comical treat about faith, friendship, and honest self-expression turned out to be an unexpected gem of a show. More than anything, the show's charms will bless your spirits with glee and will restore your faith in the power of praise music. Amen.

Follow this reviewer on Twitter: @cre8ivemlq

Photos by Joan Marcus, courtesy of the Pantages Theatre. From top: Deloris (Ta'Rea Campbell) glams it up; Mother Superior (Hollis Resnik) squares off with Deloris; Sister Mary Robert (Lael Van Keuren, center) breaks out of her shell; funny hoodlums TJ (Charles Barksdale), Pablo (Ernie Pruneda), Curtis (Kingsley Leggs), and Joey (Todd A. Horman) hunt for Deloris.

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Performances of SISTER ACT - THE MUSICAL at the Pantages Theatre continue through July 28 and are scheduled Tuesday through Friday at 8 pm, Saturdays at 2 pm and 8 pm, and Sundays at 1pm and 6:30pm.

Tickets can be purchased online at HollywoodPantages.com, by phone at 1-800-982-ARTS(2787) or in person at the Pantages box office (opens daily at 10am) and all Ticketmaster outlets. The Pantages Theatre is located at 6233 Hollywood Boulevard, just east of Vine Street.

For more information, please visit HollywoodPantages.com.

The musical also performs at the San Diego Civic Theatre, July 30 - August 4, then at Segerstrom Center for the Arts in Costa Mesa, August 6-18.

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