THEATRE REVIEW

JULY 2026 | Volume 265

 

Theatre Under the Stars’ 2026 season opens with two stage musical adaptations of movies, one a cartoon (Disney’s The Little Mermaid) and one live, Sister Act. The trick with Sister Act is to sustain and expand the musicality of the 1992 film, starring Whoopi Goldberg, without turning it into a cartoon. With good music and really smart lyrics the adapters have managed this very well. And director/choreographer Peter Jorgensen has put together a dynamic, joyous production with a terrific central performance from Katrina Reynolds and strong support from the usual large TUTS cast.

Reynolds plays aspiring nightclub singer Deloris, whose relationship with mobster Curtis (David Johnston) goes south when she sees him kill a guy. When she goes to the cops, her old schoolmate Eddie (Andrew J. Hampton) puts her in witness protection in a convent. Street-tough Deloris isn’t a great fit as a nun, and the Mother Superior (Angela Donahue) wants her out. But when Deloris takes over and transforms the creaky nuns’ choir, everything changes, including Deloris herself.

Reynolds is a powerhouse as an actor and singer. With the show set in Philadelphia in 1977-78, Alan Menken charges the music with both disco and Philly soul. Reynolds has some delicious vocal moves, sometimes infusing a little Patti Labelle into her songs. She also makes you believe that Deloris could indeed turn the large group of quiet, discordant nuns into a true rockin’ sister act. Deloris has always known she could be a star (“Fabulous, Baby!”), another Donna Summer, and she goes on to prove she is, although in the end the solidarity of the sisterhood is a powerful draw as well.

Deloris’sisn’t the only breakout experience in the show. Eddie the cop, nicknamed “sweaty Eddie,” has always been a nerdy loser but becomes the pretty cool guy he has always believed he could be (“I Could Be That Guy”). Similarly, the shyest nun, Sister Mary Robert (Alyson Vance), takes the opportunity to grasp her fantasy life (“The Life I Never Led”) under Deloris’ influence. Both Hampton and Vance have excellent voices, and their solo songs are rich in nuance thanks to Glenn Slater’s existential lyrics.

Slater’s lyrics also shine in the very funny sisters’ chorus, “It’s Good to be a Nun,” the Mother Superior’s “I Haven’t Got a Prayer,” and the studly number sung by Curtis’ three thugs (Jacob Sirois, Matthew Valinho, Rodrigo PoMe), “Lady in the Long Black Dress.” PoMe’s falsetto gets cheers in that one.

The music gets a big, crisp sound (thank you Brad Danyluk) from Sean Bayntun’s 12-piece orchestra. Ryan Cormack’s relatively simple, versatile set leaves lots of room for the large nuns’ choruses. And though the costumes are mostly nuns’ habits, designer Christine Reimer makes the most of her opportunities for knockout outfits. I was disappointed that the bravado dancing I’ve come to expect from TUTS shows never materializes here, but Jorgensen gets enough rhythmic movement from the cast to give a satisfying visual dimension to the music.

A feel-good show full of spirit in both senses, Sister Act is a great fit for summer evenings in beautiful Malkin Bowl.

 

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