Review: SISTER ACT Is Heavenly at Riverside Center

Poised to take you to heaven with a song, a prayer and a tug at the heartstrings, SISTER ACT THE MUSICAL is a blessing that needs no disguise. Fredericksburg's Riverside Center Dinner Theatre is presenting the regional premiere of this London and Broadway hit adaptation of the Whoopi Goldberg starring film from the mid-1990s. Riverside audiences will be asking "Who needs Whoopi?" once they get a load of Felicia Curry as the disco-chanteuse who brings a little funk to the convent.

SISTER ACT at Riverside has first class production values, a winning cast, and the dinner theatre's first, live, out and proud fit band - all poised to lift your soul and your spirits. Full disclosure: Riverside has used live musicians plenty of times before, but often the band was hidden away or placed onstage. This time, the pit is right out front and, under the direction of Garrett Jones, they kick butt like an old-school nun.

The show itself is a cut-above most film-to-stage musical adaptations that I have seen, and like most of you, I have seen a lot of them in recent years. The collaborators, starting with Alan Menken and Glen Slater's score and lyrics, have improved upon the movie in several ways. The original score is easy on the ears, helps place the show in the revised setting of the mid-1970s with hints of disco, funk, R and B, and, of course, Broadway and gospel. The movie was set in San Francisco; the musical has been moved to the grittier milieu of South Philadelphia. The book-writers - Cheri and Bill Steinkeliner with a punch-up from Douglas Carter Beane - have also deepened the story and characters and even raised the stakes for the wanna-be disco singer Deloris van Cartier who wants to achieve Donna Summer-level stardom but must be placed under protection after witnessing her boyfriend murdering a snitch. Peppered with the nuns-versus-the-world jokes you would expect. Sure, some are groaners, but it's all in good fun.

If you have seen the 1992 movie, the story unfolds following the same template. Deloris (Felicia Curry) is placed at Queens of Angels Cathedral for her safety by her old high school crush, policeman Eddie Souther (Carl Williams). Deloris, street-wise and worldly, immediately clashes with the serious-minded and protective Mother Superior (Barbara Pinolini). Deloris brings a booster shot of energy and independence to the other members of the convent and takes the reins of the nun's choir, as Sister Mary Clarence.

Instead of adapted oldies like "My Guy" ("My God" with Whoopi and her sisters), Menken and Slater provide a rich, original score for the show, including the new, fancy numbers for the sisters who find their newfound soul. "Raise Your Voice," led by Curry, builds to a roof-raising crescendo thanks to the fantastic ensemble of nuns. Once Deloris/Mary Clarence's new and exciting choir takes off, they introduce the parish to "Sunday Morning Fever" in which even the Monsignor (Jason J. Michael) joins in.

The score is not just production numbers for the nuns, of course, and the other songs are peachy too. Curry wows with her introductory song "Fabulous, Baby!" setting up Deloris' quest for success and stardom, as well as her vulnerability. Curry had this audience member in the palm of her hand from start to finish and received an ovation by the end that proved I was not the only one. As her foil the Mother Superior, Barbara Pinolini provided a grounded performance and wry sense of humor that hid a big heart for both her nuns and her troublemaking visitor. It was fun watching Curry and Pinolini spar and to see their strained relationship develop as the show progressed.

As featured members of the expert group of nuns, the triumvirate of Mary Patrick, Mary Robert and Mary Lazarus were worth their weight in gold. Riverside veteran Kathy Halenda as Sister Mary Lazarus was the older, experienced nun, with the dry sense of humor and the subtlety of a rhino. As the wide-eyed, super enthusiastic Sister Mary Patrick, Leah Gesouras made every line and reaction an exclamation point. As the young postulant Sister Mary Robert, Kylie Arnold possessed a lovely voice and a provided a touching performance.

Rounding out the cast were the male members, each bringing something important to the mix. Sweet-natured Eddie, who still holds a candle for high school crush Deloris, was brought to life with charm by Carl Williams. His sweet tenor voice rang out in "I Could Be That Guy." By contrast, bass-baritone Brian Maurice Kinnard exuded the menace and arrogance of gangster Curtis and used his sonorous voice to great advantage in "When I Find My Baby," echoing a sadistic Barry White. Representing the Catholic Church and one of Sister Mary Clarence's biggest fans, Jason J. Michael as Monsignor O'Hara was like a ray of sunshine and very light on his feet when he joined the singing sisters in their production numbers.

Director and choreographer Patti d'Beck kept the production moving with style, aided by the effective scenic design by J.D. Marsden - which seamlessly moved from the mean streets of Philadelphia to the stately halls of the cathedral.

As I watched SISTER ACT at Riverside, which ends when Pope Paul VI makes a fictional visit to Philly to see Sister Mary Clarence and her girls, it was a week to the day of the Pope's visit to Philadelphia. On September 26, Pope Francis will attend the Festival of Families in Philadelphia, part of the World Meeting of Families gathering, where he will be entertained by comic Jim Gaffigan, tenor Andrea Boccelli and Aretha Franklin. It's too bad the cast of SISTER ACT can sneak in to raise their voices for the real Pontiff. I think he would approve.

Follow Jeffrey Walker on Twitter @jeffwalker66

SISTER ACT THE MUSICAL continues through November 8, 2015 at Riverside Center, 95 Riverside Parkway, Fredericksburg, VA 22406. For information or tickets, go to Riverside Center HERE or call (540) 370-4300.

PHOTO CREDIT: Riverside Center

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