Review: ‘Sister Act’ an irresistible treat

First, “Sister Act” was a terrifically funny movie with Whoopi Goldberg as a nightclub singer going undercover in a convent and comically disrupting the sisters’ simple lives with her too-worldy ways while on the run from murderous mobsters.

Now, “Sister Act” is a terrifically tuneful stage musical from Alan Menken, the eight-time-Oscar-winning composer of “Disney’s Beauty and the Beast,” “The Little Mermaid,” “Aladdin” and many more bouncy, hummable, sing-along classics.

And the touring Broadway version in Wichita as the latest offering from Theater League has a joyful heart and an irreverent sense of playfulness that pulls you in, tickling the funny bone while pleasing the ear and dazzling the eye – it ultimately becomes sort of a fantasized Glam-Gospel extravaganza with nuns, choir boys and even the Mother Superior in sequins.

Most of what makes this show such an irresistible treat is Kerissa Arrington in the Whoopi role of sexy chanteuse Deloris trying to tone herself down to pass as a cloistered Philadelphia nun after witnessing a mob hit. Arrington, who is making her national tour debut, is a bundle of livewire energy that oozes sensuality to get our attention, then erupts into fever-pitch revival mode (thanks to choreographer Anthony Van Laast).

Arrington shows her musical styling versatility by singing the same song two different ways. In the nightclub, her “Take Me to Heaven” is a steamy come-on. But in the convent, she uses “Take Me to Heaven” to become a literal entreaty as the joyful noise that nudges the sisters out of their stodgy, introverted comfort zones.

Providing comic highlights – albeit a bit cliched – are the roly-poly jovial Sister Mary Patrick (hilarious, giggly Sarah Michelle Cuc), the no-nonsense but slyly wry Sister Mary Lazarus (commandingly low-voiced Nancy Evans) and the little postulate with the big, big voice, Sister Mary Robert (enthralling Emily Kay Shrader).

Less successful because of a voice that wasn’t quite warmed up enough at first is Maggie Clennon Reberg as Mother Superior, the alpha nun who begins as Deloris’ haughty, even smug antagonist but transforms into the singer’s ally when she sees what inspiration she gives the flock. Reberg, who has an opera background, has power in both the upper and lower registers, but has an odd catch in transitioning between them. Her comic chops as Deloris’ foil were right on target, however.

While “Sister Act” is more entertaining charmer than timeless classic, husband-wife writing team Cheri and Bill Steinkellner know precisely how to get maximum audience reaction by escalating an increasingly outrageous, extravagant and jaw-dropping curtain call that virtually guarantees a standing ovation.

This story was originally published February 4, 2015 at 2:33 PM with the headline "Review: ‘Sister Act’ an irresistible treat."