Cabaret Scenes Theatre Review

This is the season for fine-and-fabulous, sequins-and-glitz musicals. Besides Priscilla and her bus, there’s a Sister Act of nuns at the Broadway Theatre with its own glittering star, Patina Miller, a big-time big voice for the big stage, a funny, motor-driven belter. The show also features the sumptuous voice of Victoria Clark (The Light in the Piazza) who plays a Mother Superior who finds the funky side of soul.

This good-time crowd-pleaser boasts a new director, Jerry Zaks, and libretto-brightening by talented Douglas Carter Beane. Unlike Priscilla, this is not a juke-box musical, although you can catch snippets of some golden oldies. Catchy new tunes were created by Alan Menken (Beauty and the Beast, The Little Mermaid) and lyricist Glenn Slater (The Little Mermaid). The scene was switched from Reno in the 1992 film to Philly with the sound of funky Philadelphia soul and Lez Brotherston’s groovy costumes.

The show opens with a vigorous R&B tune, “Take Me to Heaven,” and ends in full-out disco frenzy with “Spread the Love Around.” In between, the plot is predictable. Deloris Van Cartier (Miller) has been around the block trying to make it as a singer. She has a no-good boyfriend, the smooth, cruel Curtis Jackson (Kingsley Leggs). Unfortunately, as she is leaving an audition, Deloris accidentally glimpses Curtis shoot a stool pigeon. Maybe Deloris had watched Some Like It Hot, or maybe it’s just instinct, but survival mode kicks in and Deloris takes off. The police offer her protection and Detective Eddie Souther (Chester Gregory) helps her hide in a local church until she can testify against Curtis. She agrees, reluctantly, to abide by Mother Superior’s strict orders, joining the rather sad, tuneless choir. Inevitably, Deloris, now disguised as Sister Mary Clarence in a nun’s habit, whips some heat into the choir.

There are barriers to overcome. Mother Superior is not quite in favor of what Sister Mary Clarence is doing with the choir (understand, Deloris was raised a Baptist and the music is different). The bankrupt church is about to be sold to two bachelors who deal in antiques and, finally, Curtis finds Deloris’s hideaway. However — hallelujah! — these nuns got their mojo revvin’, rockin’ the pews with the Sunday morning fever. By the end of the story, all is saved. Mother Superior accepts Sister Mary Clarence’s blessed talents and the downtrodden little church is revived. Curtis is put away and Detective Eddie reveals he still has an eye for Deloris.

Jerry Zaks keeps the show moving with lively tunes and dances. Cheri and Bill Stienkellner’s original book, polished by Carter Beane, is light, often witty, though superficial. The dances by choreographer Anthony Van Laast are not creatively ground-breaking, but they are habit-forming. Clara Zieglerova designed impressive church settings with lighting inspiration by Natasha Katz.

Patina Miller seems to be having the time of her life making her Broadway debut as Deloris Van Cartier. Victoria Clark is a formidable Mother Superior with a gorgeous voice. She has just one solo, “Haven’t Got a Prayer,” but in her duet with Deloris, “Here Within These Walls,” she states her case in a persuasively rich contralto. Some of Deloris’s sister nuns are heavenly – Marla Mindelle as the self-doubting Sister Robert, Audrey Neenan as snide Sister Lazarus and Sarah Bolt as robust Sister Patrick.

Amen! The power of Sister Act is in its sisterhood.

(Pictured: Victoria Clark and patina Miller. Photo by Joan Marcus)

Elizabeth Ahlfors
Cabaret Scenes
May 19, 2011
www.cabaretscenes.org



	Sister Act Broadway Theatre New York, NY
This is the season for fine-and-fabulous, sequins-and-glitz musicals. Besides Priscilla and her bus, there’s a Sister Act of nuns at the Broadway Theatre with its own glittering star, Patina Miller, a big-time big voice for the big stage, a funny, motor-driven belter. The show also features the sumptuous voice of Victoria Clark (The Light in the Piazza) who plays a Mother Superior who finds the funky side of soul. This good-time crowd-pleaser boasts a new director, Jerry Zaks, and libretto-brightening by talented Douglas Carter Beane. Unlike Priscilla, this is not a juke-box musical, although you can catch snippets of some golden oldies. Catchy new tunes were created by Alan Menken (Beauty and the Beast, The Little Mermaid) and lyricist Glenn Slater (The Little Mermaid). The scene was switched from Reno in the 1992 film to Philly with the sound of funky Philadelphia soul and Lez Brotherston’s groovy costumes. The show opens with a vigorous R&B tune, “Take Me to Heaven,” and ends in full-out disco frenzy with “Spread the Love Around.” In between, the plot is predictable. Deloris Van Cartier (Miller) has been around the block trying to make it as a singer. She has a no-good boyfriend, the smooth, cruel Curtis Jackson (Kingsley Leggs). Unfortunately, as she is leaving an audition, Deloris accidentally glimpses Curtis shoot a stool pigeon. Maybe Deloris had watched Some Like It Hot, or maybe it’s just instinct, but survival mode kicks in and Deloris takes off. The police offer her protection and Detective Eddie Souther (Chester Gregory) helps her hide in a local church until she can testify against Curtis. She agrees, reluctantly, to abide by Mother Superior’s strict orders, joining the rather sad, tuneless choir. Inevitably, Deloris, now disguised as Sister Mary Clarence in a nun’s habit, whips some heat into the choir. There are barriers to overcome. Mother Superior is not quite in favor of what Sister Mary Clarence is doing with the choir (understand, Deloris was raised a Baptist and the music is different). The bankrupt church is about to be sold to two bachelors who deal in antiques and, finally, Curtis finds Deloris’s hideaway. However — hallelujah! — these nuns got their mojo revvin’, rockin’ the pews with the Sunday morning fever. By the end of the story, all is saved. Mother Superior accepts Sister Mary Clarence’s blessed talents and the downtrodden little church is revived. Curtis is put away and Detective Eddie reveals he still has an eye for Deloris. Jerry Zaks keeps the show moving with lively tunes and dances. Cheri and Bill Stienkellner’s original book, polished by Carter Beane, is light, often witty, though superficial. The dances by choreographer Anthony Van Laast are not creatively ground-breaking, but they are habit-forming. Clara Zieglerova designed impressive church settings with lighting inspiration by Natasha Katz. Patina Miller seems to be having the time of her life making her Broadway debut as Deloris Van Cartier. Victoria Clark is a formidable Mother Superior with a gorgeous voice. She has just one solo, “Haven’t Got a Prayer,” but in her duet with Deloris, “Here Within These Walls,” she states her case in a persuasively rich contralto. Some of Deloris’s sister nuns are heavenly – Marla Mindelle as the self-doubting Sister Robert, Audrey Neenan as snide Sister Lazarus and Sarah Bolt as robust Sister Patrick. Amen! The power of Sister Act is in its sisterhood. (Pictured: Victoria Clark and patina Miller. Photo by Joan Marcus) Elizabeth Ahlfors Cabaret Scenes May 19, 2011 www.cabaretscenes.org

Sister Act

Broadway TheatreNew York, NY

Broadway Theatre
New York, NY