Sister Act
Music by Alan Menken, Lyrics by Glenn Slater
Book by Cheri Steinkellner and Bill Steinkellner
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
September 14, 2016
The Cast of Sister Act
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis
I think everyone immediately thinks of Whoopi Goldberg when they hear the title Sister Act. The 1992 film was a big hit, followed by a 1993 sequel and a subsequent musical adaptation in London and on Broadway, co-produced by Goldberg. The musical, however, has been substantially re-tooled to have a different setting and musical style than the film, and as the final production of STAGES St. Louis’s 2016 season, it’s not quite as memorable as the movie, but it’s still an entertaining show.
The writers were wise to re-tool the show, in sense. The story is so associated with Goldberg and her unique talents that adapting the show basically required making the central character Deloris Van Cartier (played here by Dan’yelle Williamson) more distinct from Goldberg’s characterization. The show has also been re-imagined and re-set so it now takes place in late 1970’s Philadelphia, casting Deloris as an aspiring disco diva instead of a Motown-inspired Reno lounge performer as in the film. The classic hits used in the film aren’t here either, replaced with new songs by Alan Menken (of Disney fame) and Glenn Slater. The style is a blend of disco and traditional musical theatre songs, with occasional elements of Gospel. The story is also made a little more personal, giving Deloris a backstory of having gone to high school with police officer Eddie Souther (Curtis Wiley), who arranges for Deloris to go into hiding at Queen of Angels convent after having witnessed her nightclub-promoter/crime boss boyfriend Curtis Jackson (Kent Overshown) committing a murder. The story then follows a similar pattern to the movie, as the newly christened “Sister Mary Clarence” struggles to adapt to her new environment at the convent, much to the consternation of the strict but caring Mother Superior (Corinne Melançon), and to the fascination of the other nuns who just want to make friends, including the ever-cheerful Sister Mary Patrick (Sarah Michelle Cuc), the shy novice Sister Mary Robert (Leah Berry), and the feisty Sister Mary Lazarus (Michele Burdette Elmore). Together, Deloris and the sisters embark on a journey that takes them, their choir, and the convent, to new levels of understanding and notoriety. The basic story of the film is followed, with some changes in the tone and a slightly modified conclusion.
The 1970’s setting works reasonably well, and the disco songs are catchy, particularly the group songs with the nuns such as “Raise Your Voice”, the reprise of Deloris’s original disco anthem “Take Me to Heaven”, and especially the joyous “Sunday Morning Fever”. For the most part, however, I preferred the songs in the film. The comedy elements of the show work well enough, with some of the jokes falling flat but most of them working. Curtis Jackson’s three henchmen, T.J. (Kevin Curtis), Pablo (Keith Boyer), and Joey (Myles McHale) are funny but a little overly silly, and Curtis is more of a one-dimensional villain, although Overshown makes the most of the role. Still, it’s a fun show, and Wiley’s Eddie is believably sympathetic and has good chemistry with Williamson’s Deloris. The real stars of the show, though, are of course Deloris and the nuns, and this production has cast them all extremely well.
Williamson brings a convincing mixture of toughness and vulnerability to the role of Deloris, and she has a great voice and strong stage presence. She carries off the songs very well, and her developing rapport with the sisters is affectingly believable. Melançon, as the Mother Superior, has just the right blend of authority and compassion, as well, and she has some excellent musical moments with “Here Within These Walls” and “I Haven’t Got a Prayer”. The main supporting nuns are all standouts, as well, with Cuc’s bubbly enthusiasm, Berry’s earnest sincerity, and Elmore’s snarky energy all contributing to the overall sense of camaraderie of the nuns, and the infectious energy of the show. Steve Isom is also memorable as the benevolent Monsignor O’Hara, who becomes an enthusiastic supporter of the Deloris and her “new” choir. The lead performers are also backed by a strong ensemble, filling out the bigger musical numbers with appropriate style and attitude.
The staging is strong, as well, with vibrant choreography by Stephen Bourneuf. James Wolk’s set is colorful and versatile, and Brad Musgrove’s costumes appropriately evoke the disco era, with just the right over-the-top glitter and glitz when it’s needed. Sean M. Savoie’s lighting also contributes to the overall disco mood of the piece, and the sense of fun is well achieved and maintained.
Ultimately, there really isn’t a whole lot of depth to this Sister Act. The story is a little contrived, but what’s there is a lot of fun. A show like this is more about the characters than the story, and the characters are cast well, led by the excellent Williamson and Melançon. It’s a big, bold, glittery disco tale of sisterhood in various forms, and it’s a fine conclusion to the season at STAGES.
Steve Isom, Corinne Melançon , Dan’yelle Williamson
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis
STAGES St. Louis’s production of Sister Act is running at the Robert G. Reim Theatre in Kirkwood until October 9, 2016.
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