Theatre review: Theatre Under the Stars’ Sister Act soars on joyous sounds and heartfelt story
Fierce company transforms characters by committing to the popular musical’s blend of disco, soul, and gospel
Theatre Under the Stars’ production of Sister Act.
Theatre Under the Stars presents Sister Act at Malkin Bowl until August 21
IF YOU HEAR something divine coming from Stanley Park this summer, it’s likely Theatre Under the Stars’s Sister Act.
Inspired by the beloved film, TUTS’s production of the Broadway musical, directed by Peter Jorgensen, is led by the phenomenal Kat Reynolds and a fierce company that commits wholeheartedly to every note, dance step, and comedic beat. Yet beneath the show's sparkle lies a beautiful message about friendship, belonging, and the transformative power of community, making Sister Act truly moving.
Featuring music by Disney legend Alan Menken (whose The Little Mermaid is TUTS’s other offering this season), lyrics by Glenn Slater, and a book by Cheri and Bill Steinkellner, the stage adaptation is a loose retelling of the film. While the movie unfolds in Reno and San Francisco in the early 1990s, the musical relocates the action to Philadelphia in 1978, and set designer Ryan Cormack’s vivid cityscape backdrop firmly establishes this. Here, we see aspiring singer Deloris Van Cartier (Reynolds) witness a murder committed by her sleazy boyfriend, Curtis Jackson (an appropriately narcissistic David Johnston).
Police officer Eddie Souther (a likeable Andrew J. Hampton) determines that the safest place to hide Deloris until she can testify is the Queen of Angels convent. There, the stern Mother Superior (an emotionally nuanced Angela Donahue) insists that Deloris pass herself off as a nun, under the name of Sister Mary Clarence. Unsurprisingly, Deloris struggles to adapt to convent life, but she soon discovers a shared passion with the sisters: music. When she joins the convent’s painfully off-key choir, an opportunity emerges for both Deloris and the nuns to transform one another’s lives.
Overall, Sister Act is a joyful and entertaining production driven by the bond between Deloris and the sisters, and their fabulous choir numbers. Still, the musical takes some time to find its footing, with the rhythm lagging a bit in the first few scenes. The opening scene lacks clarity; it’s difficult to determine whether Deloris and her backup singers are performing for nightclub patrons or auditioning privately for Curtis. Jorgensen’s decision to conceal Curtis behind a stack of Christmas gifts for a dramatic reveal also feels unnecessary.
Similarly, while the film makes Deloris’s career frustrations clear early on by showing a disengaged lounge audience, Curtis’s crew of thugs here actually appear entertained, even dancing along. As a result, Deloris’s frustrations feel less defined.
Everything kicks into gear when we meet the sisters of the Queen of Angels convent. With the introduction of Amanda Lourenço’s cheeky and exuberant Sister Mary Patrick, the production bursts into life. Alongside Lourenço, we also meet the shy, young postulant Sister Mary Robert (Alyson Vance, delivering a star turn), the delightfully sardonic Sister Mary Lazarus (a hilarious Suzanne Jabour), and an ensemble of endearing sisters. When Deloris joins the choir, the musical takes flight with the exhilarating “Raise Your Voice”.
From that point on, Sister Act becomes an irresistible showcase of sensational vocals, energetic choreography, glittery costumes, and heartfelt storytelling. Menken’s score fuses disco, Motown-inspired soul, and gospel into a buoyant musical landscape that entertains while propelling the characters’ emotional journeys.
Reynolds anchors the production with a commanding performance. Blessed with tremendous vocal power and remarkable musicality, she invests every line with purpose and emotional specificity. Even while performing for a large crowd, Reynolds possesses the ability to make some moments feel intimate. The title number is particularly affecting, revealing a significant character turn. Most importantly, her Deloris feels authentically human, with flaws. We don’t simply watch her transformation—we experience it alongside her.
An exciting show highlight is Vance’s sensational triple-threat performance. Through skilled acting, singing, and dance, Vance captivates as the quiet Sister Mary Robert, whose trepid exterior hides complex emotions, finally revealed in “The Life I Never Led”. Arguably, Vance portrays the largest character transformation, and much of this is supported by her powerhouse vocals.
Jorgensen’s staging makes inventive use of Cormack’s movable church pillars, which continuously reconfigure to take us to different locations and facilitate chase sequences. Costume designer Christine Reimer supplies a parade of eye-catching looks, from Deloris’s orange sequined dress at the beginning of the show to more sequined costumes that add extra glitz to the production numbers.
Appropriately, music lies at the heart of the show. Under the masterful direction of Sean Bayntun, whose orchestra is cheekily billed as “Sean Bayntun and the Bad Habits”, the musicians and cast infuse every number with joy and heart. Sister Act is a feel-good musical that fits terrifically as an outdoor summer show. Like Deloris’s choir, once the show finds its rhythm, it soars high. 
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