Sister Act

Rockville Musical Theatre

Photo credits: Bruce Rosenberg

Who’s ready for a little “Sunday Morning Fever?”

Don’t worry, Rockville Musical Theatre’s laugh-out-loud production of Sister Act has ya covered. Crank up the hymns and hold onto your habits: this cast and crew laid it all out on the stage, and delivered a performance nothing short of “Fabulous, Baby!” 

Sister Act

The original Sister Act film premiered in 1992, starring legends Whoopi Goldberg and Maggie Smith; naturally, it went on to achieve great success, and garnered a sequel in 1993. It wasn’t until 9 years later that Sister Act was first brought to the stage. Whoopi Goldberg even co-produced its West End production, and the subsequent Broadway transfer.

I technically haven’t seen the film (boo), and was fascinated to learn that the musical adaptation features an entirely different score. While the movie had a 1990s motown feel, Alan Menken’s score completely transported the musical into the disco-infused setting of 1970s Philadelphia. Because it’s Disney legend Alan Menken, obviously the songs were catchy. If it wasn’t evident by the opening line of this review, I still have “Sunday Morning Fever” running through my head on loop.

After nightclub singer Deloris Van Cartier witnesses her mobster boyfriend commit murder, she immediately runs to the police. Their solution? To hide Deloris in a local convent for her protection. It goes about as well as you might think; hence the musical hijinks and hilarity of Sister Act.

So… now that we’ve got the church and the steeple, let’s open the doors and see all the people!

This Production

Iris DeWitt was fierce in the role of Deloris Van Cartier. A “diva” in every sense of the word, DeWitt’s powerful presence and booming vocals were captivating. She began the show with hip pops, finger snaps, and larger-than-life sass, yet DeWitt skillfully transformed Deloris into a loving, devoted friend by the closing curtain. Her rendition of “Sister Act,” Deloris’s 11-o’clock ballad (and the show’s namesake!), was incredibly poignant and grounded.

In a perfect juxtaposition to Deloris’s extravagant personality, Carmel Ferrer performed a witty, down-to-earth performance in the role of Mother Superior. Her initial deploration of Deloris was unmistakable, as an exasperated Ferrer pursed her lips and turned to the heavens for guidance. With such a natural command of the stage, I never would have guessed this was Ferrer’s return to theatre after a 9-year hiatus! Brava!

Naturally, much of the show’s hilarity takes place in the convent, and each nun in Rockville Musical Theatre’s production certainly delivered their own standout moments. Megan Evans’s giddy Sister Mary Patrick was positively bouncing off the walls with excitement, which paired perfectly with Ava Silberman’s hilariously apprehensive Sister Mary Robert. Throw in Judy Lewis’s delightfully deadpan Sister Mary Lazarus, and it’s easy to tell how a little pizzazz from Deloris might shake things up. Regardless, the ensemble of nuns was always eager to come along for the ride; whether they danced ballet in pajamas or strutted their stuff in sparkly habits, every number was overflowing with enthusiasm and spirit.

Disco nuns are fun and all, but what about those dangerous mobsters outside the convent? Don’t worry, they too can break out into a catchy showtune. Tommie Adams led the pack as Deloris’s lover Curtis, and expertly spelled out his villainous intentions in the peppy “When I Find My Baby.” He was flanked by Derrick Buie, Gavin Kramar, and David Salgado in the roles of TJ, Joey, and Pablo--Curtis’s three goons and part-time backup dancers. Together, the tune evolved into a full-on boyband number. 

Finally, Clayton Alex James brought us home in the role of Eddie Souther, more commonly referred to as “Sweaty Eddie.” His awkward stammers in front of childhood-crush Deloris painted the perfect picture of a lovesick boy-next-door (sweaty-officer-next-door?), complete with a dance number even more dazzling than the disco ball overhead. 

Because, yes, of course this production of Sister Act had a disco ball.

The show featured a lot of different locations, courtesy of set designer Maggie Modig: the nightclub, Eddie’s office, the convent, the wall that served as a backdrop for Curtis’s boyband numbers… you know, all the usuals. Though a curtain was tactfully used to hide some of the scene changes, the stage crew was super speedy at completely transforming the stage. I never once saw them moving pieces on and off.

With Duane Monahan and Catilin Oh’s flashy choreography and Scott Richards’s tight ensemble harmonies, musical numbers were an absolute treat. Toss in the rich sound of a remarkably talented 14-piece orchestra, and this treat was just upgraded to a three-course dessert. It was two and a half hours of deliciousness for my eardrums.

Who is it for?

Anyone looking for a belly laugh will be delighted by Sister Act, but they’ll ultimately stay for the show’s heartwarming messages of sisterhood. This cast and crew wonderfully delivered on both fronts.

I’d personally recommend the show for ages 8 and up. There’s simulated gunfire, and some suggestive dancing/language in the song “Long Black Dress,” but it’s all played up for comedic effect. The show’s overall messages are certainly applicable to audiences of all ages.

Sister Act runs at the F. Scott Fitzgerald Theatre until July 12th, so grab tickets at https://www.r-m-t.org/ before they’re gone. 

Curious about RMT’s upcoming production of Caroline or Change in the fall? Visit the website for information on their upcoming auditions.