This story was originally published by ArtsATL.
No one is ever going to mistake the musical “Sister Act” for a groundbreaking production, but, in the right hands, it can be a lot of fun. As the final offering of Aurora Theatre’s 28th season, it’s crowd-pleasing entertainment that does exactly what it sets out to do.
Running through June 23 at the Lawrenceville Arts Center, “Sister Act” benefits tremendously from director Justin Anderson, Aurora’s former associate artistic director, and some ringers in the cast.
The musical is based on the 1992 Whoopi Goldberg film, where Deloris Van Cartier (Jasmine Renee Ellis) is a nightclub singer who works in a Philadelphia bar operated by her gangster boyfriend, Curtis (Marcus Hopkins-Turner). When she learns that Curtis will not be connecting her to a record producer as she had hoped, she decides to dump him. Heading to his office, she accidentally witnesses a murder committed by Curtis’ crew.
Credit: Photo by Kevin Harry
Credit: Photo by Kevin Harry
Soon, the cops want to put her in a witness protection program, but she instead winds up in The Holy Order of the Little Sisters of Our Mother of Perpetual Faith, where theoretically no one will find out where she is. At least that is the plan.
Inside the convent, Deloris pretends to be a nun but has a hard time getting used to the life. She and the Mother Superior (Shelly McCook) don’t see eye to eye, but, as Deloris starts to bond with the other women, the Mother Superior agrees to let her lead the choir, which is not known for creating beautiful music.
“Sister Act” ran at the Alliance Theatre in early 2007 — with a cast that included Dawnn Lewis and a pre-”Fun Home” Beth Malone — for its second staging before getting a revamp, heading to London’s West End and then landing on Broadway in 2011. It played on the West End this year as well.
The book by Cheri and Bill Steinkellner, given some tweaks by Douglas Carter Beane, is not radically different from the film, which may please many. There are few new dimensions, and some supporting characters are a bit thin. Some jokes, too, have cobwebs on them, and I could have done without the vigilante nuns’ kick-butt closing moments, as the sisters protect themselves from Curtis’ crew.
Yet despite its silliness, the music by Alan Menken and lyrics by Glenn Slater are a big plus. The score has a solid mixture of disco, gospel and Motown songs, and several numbers are energetically staged.
“Raise Your Voice” is probably the show’s signature number, initially following the trials and tribulations of the chorus as Deloris struggles to turn them into a unit and later serving as a rowdy, strobe-lighted finale. Deloris’ “Take Me to Heaven” and Curtis’ “When I Find My Baby” also are standouts.
Credit: Photo by Kevin Harry
Credit: Photo by Kevin Harry
Ellis makes a captivating center. The actress is initially a little forced but settles into a groove as Deloris, and her voice is exceptionally suited to the material. McCook, not seen as often as she should be on Atlanta stages, is a grand Mother Superior, a little jealous of the bond the women form with Deloris. She balances her patented comical flair with her own numbers, including the solo “I Haven’t Got a Prayer.”
The rest of the convent sisters include Brianne Knights, Charlene Hong White, Jill Hames and Kathy Kuczka, and they are collectively a joyous, in-sync ensemble.
The scene stealer here is Isa Martinez as Sister Mary Robert. Her “The Life I Never Led” is a knockout, poignant number where Mary laments the barriers she has put on herself and that she never went after what she wants. It’s beautiful work.
The choreography by Pytron Parker and music direction by Ann-Carol Pence also are noteworthy. Yet this wouldn’t work without a strong director. For a while, Anderson directed all over town, staging both dramas and musicals, then took a break. Now he is back, and he’s in his comfort zone here. His take of “Sister Act” has an energy and likability that overcomes its too-familiar moments and weaker elements.
I saw this production the afternoon after seeing the Alliance Theatre’s “The Preacher’s Wife” and enjoyed it a lot more. I also couldn’t help but notice the similarities — history at the Alliance, spirituality angles and both being based on popular films. But while “The Preacher’s Wife” is brand-spanking new in its journey, “Sister Act” has had the luxury of some tweaks here and there and is now leaner and more confident than I remembered from 17 years ago. It’s not a musical that is done with much regularity these days, but I’m glad it has not disappeared altogether. This version closes Aurora’s season on a positive note.
THEATER REVIEW
“Sister Act”
Through June 23 at Aurora Theatre. 8 p.m. Thursdays-Fridays, 2:30 and 8 p.m. Saturdays, 2:30 p.m. Sundays. $16-$74. Lawrenceville Arts Center, 128 E. Pike St., Lawrenceville. 678-226-6222, auroratheatre.com.
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Jim Farmer is the recipient of the 2022 National Arts and Entertainment Journalism Award for Best Theatre Feature and a nominee for Online Journalist of the Year. A member of five national critics’ organizations, he covers theater and film for ArtsATL. A graduate of the University of Georgia, he has written about the arts for 30-plus years. Jim is the festival director of Out on Film, Atlanta’s LGBTQ film festival, and lives in Avondale Estates with his husband, Craig, and dog, Douglas.
Credit: ArtsATL
Credit: ArtsATL
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