Review: SISTER ACT at TPAC'S James K Polk Theater

I try not to have high expectations whenever I’m seeing a live show, but I know I could never expect less from Nashville Repertory Theatre. Even if the stage caught on fire and someone died, I would still find it impressive. Ever since I saw their production of Ragtime back in 2021, their shows have blown me away. In fact, one of my writing examples that I sent in while applying for BWW Nashville was an amateur review that I posted on Instagram for their 2024 production of Indecent. They were nice enough to share ‌it on their Instagram stories (under my previous username), and it is still my favorite production of theirs. With that being said, I always look forward to their next show. After reviewing their previous production of Fat Ham, I was pumped for Sister Act. Running at TPAC’s James K. Polk Theatre April 10-19, this musical is based on the Whoopi Goldberg movie of the same name. After accidentally witnessing a murder, an inspiring singer named Deloris is forced to disguise herself as a nun and hide out in a convent. Unsurprisingly, her not-so-modest lifestyle immediately clashes with Mother Superior. That doesn’t stop her from bonding with her fellow sisters and getting them out of their shells. With praise-worthy performances and heavenly spectacles, Sister Act will leave you feeling blessed.

Before I officially begin, I would like to add a disclaimer and state that I have never seen the movie version of Sister Act. I was initially going to watch it prior to the performance, but I didn’t have time, and I decided to go in as cold as possible. With that being said, I’m reviewing this show as an average theatre-goer rather than a cinephile who also goes to the theatre. Besides, you don’t always have to check out the source material prior to viewing an adaptation. How many of you have read the 1910 novel on which The Phantom of the Opera was based? How many of you even knew that it was based on a book and not the 1925 silent movie? How many of you even knew that any of the movie adaptations existed before the musical hit West End and Broadway? Exactly. As long as the show itself is worth checking out, audiences don’t have to be familiar with the source material. 

One of the things that I always look forward to when seeing a Nashville Rep show is the set design. When it comes to the shows produced at the James K. Polk Theatre in particular, Sister Act might just have my favorite set design that I’ve seen in person so far. I don’t even know where to begin. Before the show even begins, I’m in awe of Gary C. Hoff’s scenic design. The archways and stained-glass windows of the church are already enough for me to write home about, but then there’s the complexity of the moving sets. I won’t spill too much for those who haven’t seen the show yet, but the set is certainly full of surprises. Adding to the spectacle is Joshua Legate’s lighting design. The lighting for the church in particular took my breath away. I never expect less from the costume design for Nashville Rep’s shows, and Melissa K. Durmon’s designs are no exception. She also designed the hair and makeup, and she deserves all the awards for her work on the show. The costumes in the final scene had me smiling so hard that my face hurt. My, those were lovely. I would also like to give a shout-out to MZ Theatrical and Mark Zuckerman for the sound design. Flowers are well-deserved for choreographer Joi Ware, whose work I had previously reviewed in Street Theatre Company’s We Are The Tigers. I was wondering why the choreography was so good, and now I know why. 

Other than the right music and a good budget, a musical needs the right cast to pull it all off. You could write a musical that only consists of the same chords on repeat with lyrics about allergies, and it could make a ton of money if you have the right cast to sell it. Thankfully, Nashville Rep always has the right performers on deck. Everyone in the show brings 110 percent into the project. Before I focus on everyone else, I’d like to show some love to swings O’Neal Black and Aleia Eagleton, the latter of whom is also the Dance Captain. Swings help save the show, so show them some respect. With that being said, everyone was phenomenal. I don’t know who performed in drag in a couple of scenes, but he was fabulous. Every single nun brought charm to the show, and I just wanted to join them in a group hug. In terms of my favorite supporting performance, I’ll have to go with Deiondre Teagle as TJ. He plays the nephew of Deloris’s dangerous ex-lover Curtis, and he had me giggling anytime he was onstage. Even though he was my favorite, that doesn’t mean that the other supporting cast members didn’t impress me. I’m no stranger to Justin Marriel Boyd’s talents, having seen him in Ragtime all the way back in 2021. He was so lovable and loyal as Eddie, a police officer who assists Deloris and who may or may not have feelings for her. No notes. Despite playing one of the last people you’d want to meet in a dark alleyway, Jermaine L. Pearson is entertaining as Curtis. Honestly, the only person who could rival him in a scene is Deiondre Teagle’s TJ. Finally, in terms of supporting performances, I have to shine a spotlight on Shelby Talbert as Sister Mary Robert. Where do I even begin? Her performance as a shy young woman who slowly comes out of her shell and wants more out of life was amazing. I especially couldn’t get enough of her vocals. Everyone in the crowd couldn’t hold in their approval, and I think her solos received some of the biggest reactions. Bravo.

After spending so much time with the supporting cast, I needed a separate paragraph for the leads. Honestly, I don’t know for certain if Katie Bruno’s Sister Mary Patrick counts as a lead role, but she’s literally on the poster. I think that counts. Besides, how could I not spend more time commenting on Bruno’s performance? She’s so funny and warm as the nun who is willing to go along with Deloris’s antics. It’s no wonder she’s on the poster; she nearly steals the show from the two leads. Nearly. Don’t worry, ladies. I’m getting to you now. Megan Murphy Chambers. How do I even begin to explain Megan Murphy Chambers? I think it’s safe to say she’s practically a theatre legend in Nashville, ‌so why wouldn’t she be playing a role originated by Dame Maggie Smith in the movie? If you’ve somehow never seen this woman perform live, you're required to do so. Like, now. You could give her a Tony just for singing “Happy Birthday”. Even when playing a no-nonsense nun, she possesses all the pizzazz of a Broadway diva. And speaking of talented women named Megan (no matter how they spell it), Meggan Utech shines as Deloris. This wasn’t my first time seeing Utech onstage, but it was my first time seeing her in a lead role. She nails every note, and she had me in stitches with her comedic chops. How would I describe her performance? Fabulous, baby.