Review: 'Sister Act' Is A Blessing To Behold
July 28, 2016 at 4:25 p.m.
By David [email protected]
Those are the two words that kept popping up in my head after opening night of the musical “Sister Act” Wednesday night at the Wagon Wheel Center for the Arts. And it’s also exactly how I felt.
I haven’t been in the best of moods lately for a variety of reasons, and yesterday was no exception, but by the time the company of “Sister Act” was taking their bows to the standing ovation, I was not only smiling ear to ear, but I wanted to hug the entire cast for making me laugh so much and smile again.
The show felt like a baptism of love and happiness. The music was a blend of 1970s disco, funk and soul, with angelic voices from everyone on stage. The acting was habitually heaven sent, while the dancing was simply divine.
The musical is based on the 1992 movie starring Whoopi Goldberg as Deloris Van Cartier, but the show has enough changes, new music and character development that it feels like a whole different experience. And with this Wagon Wheel company, under the leadership of Artistic Director Scott Michaels, it far exceeds the movie in my book. I would go see this show again at the theater.
For the Wagon Wheel production of “Sister Act,” Morgan Wood has been cast as Deloris, and she’s bringing all the attitude, sass and fire she can muster. But when the plot calls for heart, Wood is an emotional powerhouse that will make you feel.
I’m totally gushing about this show, I fully realize, but I can’t help it. I am just feeling so good after the experience, and Wood’s singing and acting brought so much life to the musical that I want to be a part of her choir to sing her praises.
The character of Deloris changes, from a fame-seeking singer who looks out for herself first to a sister who loves the nuns with all of her heart and would die for them, and Wood makes that change feel real. As a member of the audience, I not only saw but I felt the transformation take place in Deloris and in her heart. That’s the conviction Wood brings to the stage in her role for this musical.
As for her singing gift, Wood can handle any genre of music thrown at her, but I was lifted up highest when she delivered the number “Sister Act” in Act II. It’s a number where Deloris realizes her calling.
The musical is set in late 1977 and early 1978 in Philadelphia. Like the movie, Deloris witnesses her boyfriend, Curtis (Chuckie Benson), kill a man. She flees and reports it to the police, specifically Eddie (Cameron Mullin), who she knew in high school. To protect Deloris from Curtis before she goes to court to testify, Eddie puts her in the last place Curtis would suspect - a monastery. Mother Superior (Kira Lace Hawkins) isn’t thrilled with taking Deloris in, but Monsignor O’Hara (Scott Fuss) is insistent and the church needs the money.
As Mother Superior, Hawkins showcases her sternness, of course, but she delivers one liners so flawlessly she makes comedic acting look easy. And as any long-time Wagon Wheel patron knows, Hawkins sings so well that it’s hard to argue which song she does best on in “Sister Act,” but I loved “I Haven’t Got A Prayer” in Act II. It was a slightly humorous number, but Hawkins sang it with so much heart.
Each nun has their own distinct personality, even if they’re not center stage. As Sister Mary Lazarus, Jennifer Dow plays a quibbler that is such riot. Ruby Gibbs is so perfect as Sister Mary Patrick that you’ll wish the musical gave her more time on stage and more lines.
Then there’s Sister Mary Robert played fabulously by Elaine Cotter. Mary Robert is a shy, quiet, modest nun who isn’t 100 percent sure about being called to be a nun. There’s so much in life she hasn’t done or explored that she even sings about it in the well-delivered number “The Life I Never Led.”
Cotter brings so much energy and life to the supporting character of Mary Robert that she feels more like a main role. Mary Robert grows a backbone and Cotter acts that out so well that audiences see and believe the change.
“Sister Act” is a female empowerment show, one that encourages women to be sisters and watch out for one another.
Of course, what that means for the men in the musical is that they’re not the drivers but the passengers. And that’s perfectly OK because the guys do so well in this show that they fully support the leading women.
Benson was phenomenal in “Ragtime” this summer, and he brings his “A” game again to “Sister Act.” He’s got a lot of soul and R&B, that even playing the bad guy he’s just smooth. On the song “When I Find My Baby” in Act I, he sings it so straight, but listening to the words you’ll find plenty to laugh about.
Curtis has three goons in this show, his nephew T.J. (Evan Duff), Spanish-speaking Pablo (Caleb Fath) and dunce Joey (Joey Birchler). Together in these roles, the guys are like the Three Stooges of ’70s disco. They cracked me up and I couldn’t help but wish they had their own show centered around their antics. That’s especially true in Act II when they take turns singing “Lady In The Long Black Dress.” Birchler’s moves started off hilariously strong, then Duff and Fath knocked it out of the ballpark. I love those three guys on stage together.
As Sweaty Eddie, Mullin feels like he’s in another role made for him. He shined in “Ragtime” as Booker T. Washington, and while Eddie is a smaller, less political role, Mullin fits well into it. Over the next few years, whether it’s at the Wagon Wheel or across the country, I believe that Mullin has a natural acting gift that will keep him employed on the stage for a long time to come as he continues to develop his artistry.
There’s so much to enjoy in this production of “Sister Act” that leaving stuff out feels like a cardinal sin. But I’ll just give a final shout out to Keaton Eckhoff for his bar scene – and when you see it, you’ll know what I’m talking about – and to Akilah Sailers and Erica Durham as Michelle and Tina, Deloris’ backup singers who appeared only briefly but brightly.
Overall, I loved Wagon Wheel Center for the Arts’ production of “Sister Act” and the way it made me feel afterward. I would strongly encourage everyone to go, laugh and feel good long after it’s over.
My rating of the show (out of four): 4.
“Sister Act” is at the Wagon Wheel through July 23. Tickets are on sale at the box office, over the phone at 574-267-8041 and online at wagonwheelcenter.org. Prices range from $14 for children to $34 for adults.[[In-content Ad]]
Those are the two words that kept popping up in my head after opening night of the musical “Sister Act” Wednesday night at the Wagon Wheel Center for the Arts. And it’s also exactly how I felt.
I haven’t been in the best of moods lately for a variety of reasons, and yesterday was no exception, but by the time the company of “Sister Act” was taking their bows to the standing ovation, I was not only smiling ear to ear, but I wanted to hug the entire cast for making me laugh so much and smile again.
The show felt like a baptism of love and happiness. The music was a blend of 1970s disco, funk and soul, with angelic voices from everyone on stage. The acting was habitually heaven sent, while the dancing was simply divine.
The musical is based on the 1992 movie starring Whoopi Goldberg as Deloris Van Cartier, but the show has enough changes, new music and character development that it feels like a whole different experience. And with this Wagon Wheel company, under the leadership of Artistic Director Scott Michaels, it far exceeds the movie in my book. I would go see this show again at the theater.
For the Wagon Wheel production of “Sister Act,” Morgan Wood has been cast as Deloris, and she’s bringing all the attitude, sass and fire she can muster. But when the plot calls for heart, Wood is an emotional powerhouse that will make you feel.
I’m totally gushing about this show, I fully realize, but I can’t help it. I am just feeling so good after the experience, and Wood’s singing and acting brought so much life to the musical that I want to be a part of her choir to sing her praises.
The character of Deloris changes, from a fame-seeking singer who looks out for herself first to a sister who loves the nuns with all of her heart and would die for them, and Wood makes that change feel real. As a member of the audience, I not only saw but I felt the transformation take place in Deloris and in her heart. That’s the conviction Wood brings to the stage in her role for this musical.
As for her singing gift, Wood can handle any genre of music thrown at her, but I was lifted up highest when she delivered the number “Sister Act” in Act II. It’s a number where Deloris realizes her calling.
The musical is set in late 1977 and early 1978 in Philadelphia. Like the movie, Deloris witnesses her boyfriend, Curtis (Chuckie Benson), kill a man. She flees and reports it to the police, specifically Eddie (Cameron Mullin), who she knew in high school. To protect Deloris from Curtis before she goes to court to testify, Eddie puts her in the last place Curtis would suspect - a monastery. Mother Superior (Kira Lace Hawkins) isn’t thrilled with taking Deloris in, but Monsignor O’Hara (Scott Fuss) is insistent and the church needs the money.
As Mother Superior, Hawkins showcases her sternness, of course, but she delivers one liners so flawlessly she makes comedic acting look easy. And as any long-time Wagon Wheel patron knows, Hawkins sings so well that it’s hard to argue which song she does best on in “Sister Act,” but I loved “I Haven’t Got A Prayer” in Act II. It was a slightly humorous number, but Hawkins sang it with so much heart.
Each nun has their own distinct personality, even if they’re not center stage. As Sister Mary Lazarus, Jennifer Dow plays a quibbler that is such riot. Ruby Gibbs is so perfect as Sister Mary Patrick that you’ll wish the musical gave her more time on stage and more lines.
Then there’s Sister Mary Robert played fabulously by Elaine Cotter. Mary Robert is a shy, quiet, modest nun who isn’t 100 percent sure about being called to be a nun. There’s so much in life she hasn’t done or explored that she even sings about it in the well-delivered number “The Life I Never Led.”
Cotter brings so much energy and life to the supporting character of Mary Robert that she feels more like a main role. Mary Robert grows a backbone and Cotter acts that out so well that audiences see and believe the change.
“Sister Act” is a female empowerment show, one that encourages women to be sisters and watch out for one another.
Of course, what that means for the men in the musical is that they’re not the drivers but the passengers. And that’s perfectly OK because the guys do so well in this show that they fully support the leading women.
Benson was phenomenal in “Ragtime” this summer, and he brings his “A” game again to “Sister Act.” He’s got a lot of soul and R&B, that even playing the bad guy he’s just smooth. On the song “When I Find My Baby” in Act I, he sings it so straight, but listening to the words you’ll find plenty to laugh about.
Curtis has three goons in this show, his nephew T.J. (Evan Duff), Spanish-speaking Pablo (Caleb Fath) and dunce Joey (Joey Birchler). Together in these roles, the guys are like the Three Stooges of ’70s disco. They cracked me up and I couldn’t help but wish they had their own show centered around their antics. That’s especially true in Act II when they take turns singing “Lady In The Long Black Dress.” Birchler’s moves started off hilariously strong, then Duff and Fath knocked it out of the ballpark. I love those three guys on stage together.
As Sweaty Eddie, Mullin feels like he’s in another role made for him. He shined in “Ragtime” as Booker T. Washington, and while Eddie is a smaller, less political role, Mullin fits well into it. Over the next few years, whether it’s at the Wagon Wheel or across the country, I believe that Mullin has a natural acting gift that will keep him employed on the stage for a long time to come as he continues to develop his artistry.
There’s so much to enjoy in this production of “Sister Act” that leaving stuff out feels like a cardinal sin. But I’ll just give a final shout out to Keaton Eckhoff for his bar scene – and when you see it, you’ll know what I’m talking about – and to Akilah Sailers and Erica Durham as Michelle and Tina, Deloris’ backup singers who appeared only briefly but brightly.
Overall, I loved Wagon Wheel Center for the Arts’ production of “Sister Act” and the way it made me feel afterward. I would strongly encourage everyone to go, laugh and feel good long after it’s over.
My rating of the show (out of four): 4.
“Sister Act” is at the Wagon Wheel through July 23. Tickets are on sale at the box office, over the phone at 574-267-8041 and online at wagonwheelcenter.org. Prices range from $14 for children to $34 for adults.[[In-content Ad]]
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