Review: The Muny's SISTER ACT is Fabulous Baby!

The Muny premiere of SISTER ACT opened this week in Forest Park. This production is the unexpected surprise of the Muny season and one of the best productions of a stellar summer at the Muny. It is a fun and joyful romp that will put a smile on your face that won’t fade until long after you’ve left the theater. The post-show buzz generated by the audience as they were walking down the Muny concourse to their cars was seismic. Without a doubt, this finale to the Muny’s exceptional 105th season is a rousing, crowd pleasing success.

SISTER ACT, with music by Alan Menken and lyrics by Glenn Slater, is based on the smash-hit Whoopi Goldberg film about a hard-edged, foul mouthed but likable lounge singer who witnesses a murder and is hidden in a convent to protect her from the mob responsible for the hit. Menken and Slater have created a jubilant original score that compliments the familiar story and significantly increases the comedic value of this story. Slater’s witty lyrics are charming and funny. Menken is a visionary composer who created a unique musical style for each of the characters that is reminiscent of all the great disco and soul artists of the 1970’s, including Gloria Gaynor, The Spinners, The O’ Jays, Luther Vandross, and Barry White, with a special nod to the Bee Gees with ‘Sunday Morning Fever.’  

The Muny has delivered a big, bold, over-the-top production of delightful disco divinity that exceeds every expectation. Credit Director and Choreographer Dennis Jones for his directorial vision and collaboration with the entire production team. He, and The Muny’s casting partners at The Telsey Office, have assembled a phenomenal cast with loads of talent, who supply big laughs, and deliver exceptional vocal performances while executing on Jones’ spirited choreography. The acting is superb. Every member of this onstage company performs at their highest level. The orchestrations are first rate. The choreography is amusing and animated. The scenic design is grandiose. The interior of the gothic church on the large Muny turntable is cathedral-like. Huge accolades to the Muny’s costume shop and costume designer Leon Dobkowski. The vintage 1970s costumes are flashy, colorful eye candy. The flow of Dobkowski’s costumes enhanced every movement of the energetic choreography. Shelby Leonard’s dazzling lighting design rivaled the glittery costumes and created a lighthearted and carnivalesque mood. Everything about this Muny production is miraculous.

The onstage chemistry among this cast must be a result of divine intervention. Seeing a production where every member of the cast has a genuine and truthful rapport with the other actors in the company is theater heaven. This grand cast is led by the lustrous Bryonha Marie as Deloris Van Cartier. When she is on stage, she sparkles brighter than any jewel in a Cartier boutique. Her characterization is spot-on, with impeccable comedic timing and splendid vocals. Her lovable Deloris is rough around the edges with a kind and generous heart. Her scenes with Mamie Parris (Mother Superior) are authentic and charismatic. Parris’ portrayal of Mother Superior is magnificent. She exhibits solemn reverence and strong consternation about the risks of Deloris’ presence. The mutual respect and the honest concern that develops between these two characters creates real, tear inducing emotion.

The show’s two leading men, James T. Lane (Eddie) and Alan H. Green (Curtis) also deliver exceptional comedic performances. Lane shines in his first act musical moment with ‘I Could Be That Guy.’ He is undeniably charming singing the upbeat ballad with his towering tenor through a ten-thousand-kilowatt smile coupled with Deney Terrio dance moves. Green plays Deloris’ married crime thug boyfriend. His tongue-in-cheek delivery of the threatening and hilarious ‘When I Find My Baby’ with his henchmen Rob Colletti (Joey), Brandon Espinoza (Pablo), and Darron Hayes (TJ), is priceless. Their intricate O’ Jays  choreography add to the satirical tone of the song. Colletti, Espinoza and Hayes’ second act ‘Lady in the Long Black Dress’ pulls some of the biggest laughs of the evening. Watching these three buffoons pontificate about how they might charm their way into the convent with suggestive innuendo was laughable.

The essence of SISTER ACT comes from the glorious group of nuns that make up the choir at the Philadelphia church where Deloris is hiding. Every individual member of this chorus has magnetic stage presence and adds to the robust chemistry of this company of actors. Meredith Aleigha Wells (Mary Robert), Katy Geraghty (Mary Patrick), Madeleine Doherty (Mary Lazarus), Rebecca Young (Mary Martin-of-Tours), Michelle Burdette Elmore (Mary Theresa) all deliver amusing comedic performances. Geraghty and Wells each have standout moments among the women. Geraghty’s boisterous portrayal of Mary Patrick is campy fun. Wells’ Mary Robert is the young postulate who finds her voice through her friendship with Deloris. She disappears into the character and shows exceptional character arc in a featured role. Her performance of ‘The Life I Never Led’ is a beautiful anthem. The featured players are joined by members of the ensemble for the big chorus numbers led by Deloris as Sister Mary Clarence. ‘Its Good to Be a Nun,’ ‘Raise Your Voice,’ ‘Take Me to Heaven,’ ‘Sunday Morning Fever,’ ‘Spread You Love Around’ and the ‘Finale’ are all resounding examples of how well-produced and exceptionally performed musical comedy can lift your spirits high.

The Muny’s SISTER ACT is sensational. The cast is heaven sent. Get thee to the Muny and enjoy this religious experience that will take you to heaven. It would be a sin to miss it. SISTER ACT runs through August 20th. Click the link below to purchase tickets.

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