Stage Review - Sister Act (Taproot Theatre)

Stage Review - Sister Act
Presented By: Taproot Theatre - Seattle, WA
Show Run: June 10 - August 10, 2024
Date Reviewed: Friday, July 12, 2024 (Opening Night)
Reviewed By: Greg Heilman

There are certain shows that I attend when my first thought after the curtain drops is that “this production and this theatre just get it”. What I mean by that is, some productions don’t just know the limitations of the particular space they’re being presented at, and work within them, they also take advantage of the space, using every angle and aspect to deliver an experience that can only be considered unique to the theatre it’s being presented at. There are also plenty of shows that don’t get it, that are way too big for the space, or for that matter too small, or that don’t play to the audience as well as they could. Out of these two, Sister Act, presented by Taproot Theatre, and running on their Jewell Mainstage through August 10, in a production directed by Associate Artistic Director Bretteney Beverly, is most certainly the former. Perhaps it is that Bretteney understands the venue so well, or that she is familiar enough with the canvas on which she is creating her art that the show works so well, but whatever the reason, she has produced a musical that is big without being bloated, funny while still honoring the heart of the story, and something that plays to every angle of the Jewell Mainstage thrust configuration. It’s a play that is joyful and joyous, extremely well-paced, and wholly entertaining.

Taproot’s Sister Act is an achievement in design. Mark Lund’s set design makes such great use of the small space that he has to work with, utilizing a turntable and rotating part of the stage to change scenes, and quite frequently at that. In concert with projections above the stage itself, each scene change is done quickly and efficiently, and with all of that, a special mention of the work of Stage Manager Kathryn Louise is necessary, for making sure that these quick changes are complete with changing and correctly placed props and set pieces. Bretteney has also deployed some creative entrances and exits by the cast to help with the quick set changes as well, all of these contributors to the pace of the show, which never lags. Esther Garcia, who is known around Seattle for many wonderful costume designs, is again more than up to the task, with numerous variations of her nuns’ habits, and lead character Deloris Van Cartier and her backup singers’ over the top 1970s sequined disco-inspired costumes, every piece unique, period appropriate, and crafty. Her costumes for the men in the cast are equally good, and also allow for some pretty quick changes, from the ones worn by Danny Kam in his dual roles to a surprising turn with Charles Simmons’ Eddie’s piece. Add to these factors, a solid live band under the musical direction of Michael Nutting and R.J. Tancioco, lighting from Ahren Buhmann that accentuates each mood and moment of the show, and Jimmy Sheilds’ choreography that is most definitely disco inspired, some of it designed humorously in its own right, and all of it well performed by this cast. Choreography is another area where it’s important to know the space you’re in, and Jimmy uses all of the stage, both he and Bretteney give equal attention to those seated in all three sides of the orchestra, as well as the balcony. It makes a difference in the enjoyment of a show when you’re not dead center and a director purposely includes you in the presentation, and here everyone is given an appropriate amount to feel like the show is for them.

Sister Act the Musical is, of course, based on Sister Act the movie, which premiered in 1992. The musical’s book is by Bill and Cheri Steinkellner, with music by Alan Menken and lyrics by Glenn Slater, the pair who have teamed up on so much of Menken’s later work, including the Disney hit Tangled. The story has two converging plots, the first involves a convent and its resident nuns. Their Mother Superior opens the show lamenting about the struggles of the church, financially and spiritually, and perhaps more than anything vocally. Her chorus of sisters seems not to be able to carry a tune in a bucket, so to speak. Meanwhile, Deloris Van Cartier, aspiring nightclub singer, is seen singing to club owner/boyfriend Curtis Shank. As one might expect, Curtis isn’t completely on the up and up, and as events transpire, Deloris witnesses something that puts a target on her back, when her old friend Eddie, a Philadelphia Police officer, works to get her into a place where she can be safe and protected from Curtis and his goons. You’ve probably guessed where this is going, and you’d be right. Placed into the convent, she quickly earns the ire of Mother Superior, the admiration of the choir of nuns, and the appreciation of the church’s Monsignor as he watches his attendance grow once Deloris takes over managing the musical group. Sister Act, like the movie it is based on, is extremely funny and entertaining, and though the audience is quite certain how events will transpire, that in no way takes away from the enjoyment of this piece. The music is standard Menken, a mix of classic Broadway, Doo-Wop, and disco, and the songs range, as you might expect, from campy and fun to pleading and emotional. It’s a fun story with a memorable soundtrack, and a design that amplifies each of these qualities. Throw in a cast that can sing, dance, and act with both humor and heart, and you’ve got an extremely enjoyable piece of musical theatre.

And the cast is indeed very good. Alexandria J. Henderson is Deloris, the fish out of water club singer who finds friendship and respect, something severely lacking in her life, in the most unexpected place. Alexandria’s Deloris has attitude and isn’t afraid to show it. Her singing is soulful and sassy, performed with a power and range that works very well with Menken’s music. It’s a transformational role, Deloris has many lessons to learn, and I really enjoyed watching Alexandria manage this, and at the end of the day, she really is a triple threat, very well suited for the role. On the other side of the coin, so to speak, is Anne Allgood as Mother Superior. These two performances, Alexandria’s and Anne’s, elevate the show so much. While Alexandria’s performance is energetic and full of life, Anne’s is more subdued, as you might imagine a Mother Superior’s would be. Her classic, beautiful voice excels in “Here Within These Walls”, and it is strong in every number she is in. This isn’t an easy character in this show. While most of the others are written through a humorous lens, Mother Superior is the only one that is written with a serious intent. Anne is excellent in this aspect of the character, but that isn’t to say she cannot garner a laugh as well. Her conversations with Alexandria’s Deloris are a prime example of how Anne’s deadpan delivery in response to the disruption that Deloris brings to the convent are wonderfully funny. This pair plays off of each other extremely well and really do drive this show.

There are so many good performances in this show, Alexandria and Anne are just the tip of the theatrical iceberg. Danny Kam plays both club owner/mobster Curtis Shank and Monsignor O’Hara, head of the church where Deloris goes to find refuge. These characters are polar opposites, Curtis the bumbling but violent mob boss, and O’Hara the jovial “I’ll do whatever it takes to save the church” priest. Danny does a nice job with these two contrasting roles, and he’s called on to do a pretty quick switch between them a few times, which he carries out impeccably. The Monsignor is extremely fun and Curtis is indeed despicable. Well done here. Just as fun as O’Hara are his “henchmen”, TJ (Eyual Degaga), Joey (Christopher Clark), and Pablo (Rolando Cardona). Each is unique and funny in their own way, highlighted in “Lady in the Long Black Dress”, where each attempts to prove that they are the one to help infiltrate the convent to gain access to Deloris after they determine her hiding place. Joey is the schlocky, smarmy ladies man, and Christopher plays him with a smolder that is sure to make any one turn and run. TJ is bluesy and sexy, a little too much, and Pablo has a surprise up his own sleeve. Separately they’re hilarious and together they are the next best thing to a chart-topping boy band, albeit satirical. Each of the nuns bring a unique personality to the show, too. Sister Mary Patrick (Hannah Schuerman) is the exuberant one, who can only think of why she loves being a nun, as depicted in “It’s Good to Be a Nun”. Hannah is joined in that extremely enjoyable number by Mary Lazarus (Connie Corrick), Mary Martin-of-Tours (Ania Briggs, who also plays Deloris’ backup singer Tina), and Alexandria’s Deloris. I love Hannah’s enthusiasm, but Connie’s portrayal of the more experienced Mary Lazarus is just as good, and it’s clear that Ania puts everything in to her performance. She (Ania) brings a fresh energy to each role that she portrays that is very enjoyable to watch. The group of nuns is rounded out by Sister Mary Theresa (Charisse Martinelli, who also plays backup singer Michelle) and the biggest surprise of the group Sister Mary Robert. The latter is played by Rebecca Cort, who portrays the young, shy nun who blossoms when she comes out of her shell stunningly. The cast is rounded out by Charles Simmons, who plays policeman Eddie. He’s sort of shy and nervous at first, but like Rebecca’s Sister Mary Robert, when Eddie opens up, the shy exterior is replaced by a confident and delightful persona. And Charles is such a soulful artist, he fits in very well with this talented cast. It’s a complete show, from the direction, to the design, and the cast, everything works so well together.

With the lion’s share of theaters winding down for the summer, Taproot Theatre has taken up the professional mantle with the production of its summer show, Sister Act. With a design that makes the most of Taproot’s layout in its Jewell Mainstage, to a cast that is funny and extremely talented, all under the superb direction of Bretteney Beverly, Sister Act is exactly what we need this summer, the perfect salve for the heat and and stress of current events. The songs are catchy, the humor laugh-out-loud, the pace of the show quick, and the level of quality from top to bottom is just excellent. It’s everything anyone can ask for in a summer hit.

Sister Act runs on Taproot Theatre’s Jewell Mainstage in Seattle through August 10. For more information, including ticket availability and sales visit https://taproottheatre.org/.

Photo credit: Robert Wade