On the run after witnessing a murder, singer and aspiring disco queen Deloris Van Cartier finds herself in the witness protection program at a local convent. Restless and restricted by her new life (habit), Deloris as Sister Mary Clarence joins the convent’s struggling choir and, with the boost of some joyful noise and a whole lot of glitter, helps the sisters as well as herself find a voice. Based on the 1992 hit movie and reimagined for 1970s Philadelphia with original music by Alan Menken, lyrics by Glenn Slater, and book by Cheri Steinkellner and Bill Steinkellner, Sister Act at Ford’s Theatre is a celebration of self that proves that sometimes the journey of uncovering who you are brings you to places and to people you’d never expect.
The star herself, Deloris Van Cartier aka Sister Mary Clarence aka Nia Savoy-Dock was a proud, confident, in-your-face Philly diva. Inescapable and unmissable, Savoy-Dock’s Deloris owned the stage. With a wide and bright vibrato that, when opened up to her full vocal power, reminded me of Jennifer Hudson, Savoy-Dock brought self-assured defiance to every song, but in particular, “Fabulous, Baby!” and “Sister Act.” At the same time, Savoy-Dock was able to blend her distinct voice into the larger ensemble scenes with the convent choir. Much like Deloris lending the confidence of her voice to the sisters, so too did Savoy-Dock’s full sound build out larger group songs, like “Bless Our Show” and “Sister Act (reprise).”
Often at odds with Deloris was Mother Superior played by Sheri L. Edelen. Even though battling what sounded like a sore throat during the performance I saw, it was clear that Edelen’s resonant alto packed a powerful punch with some impressive depth and a rich, warm tone that rang to the rafters — on full display in “Here Within These Walls.” What was puzzling to me, though, either through the choice of the book, actor, or director, was the severity to which Mother Superior was represented — so much so that I caught myself wondering if she was now the second villain in the story. Moments such as “I Haven’t Got a Prayer” or in the lead-up to “The Life I Never Led (reprise)” were played so straight and serious that Mother Superior came off as irredeemably mean and nastily judgemental rather than as affectionately flabbergasted. A shift to lean into the comedy of misunderstanding would aid the believability of their eventual reconciliation.
Always in Deloris’ corner was Sergeant Eddie Couther played by Joe Mallon. This high school crush all grown up glowed with the loyalty and adorable enthusiasm of a golden retriever. Mallon’s Eddie brought a charming level of awkward and masterfully balanced physical comedy to every stutter and stumble. Combined with his Brian D’arcy James-esque tone in “I Could Be That Guy” and “Fabulous, Baby! (reprise),” this was a budding romance that you couldn’t help but be instantly rooting for.
Similarly filling the production with hope on her own journey of discovery was postulant Sister Mary Robert played by Kanysha Williams. In another absolute standout performance, Williams gradually and consistently grew Sister Mary Roberts with admirable finesse — timid and mute blossomed into determined and a bit rebellious. Adding in her absolutely phenomenal rendition of “The Life I Never Led” and it was inescapably clear that Williams was one to watch.
The rest of the sisters also brought their own flair and exultation to the production throughout. The exuberantly kind Sister Mary Patrick played by Caitlin Brooke, the endearingly grumpy Sister Mary Lazarus played by Debbie Mobley, the spacy but wise Sister Mary Martic of Tours played by Sarah Corey, the ancient but still grooving Sister Mary Theresa played by Karen Vincent, as well as Simone Brown (also playing Michelle), Kecia Deroly (also playing Tina), Ayanna Hardy, and Justine “Icy” Moral all filled the stage with such joy and the type of (newly) unbridled fun that was infectious. Sunday morning services ”Raise Your Voice” and “Sunday Morning Fever” in particular showcased the distinct personalities of each sister. Not to be left out of the catholic chic, was Monsignor O’Hara played by the lively Lawrence Redmond. An early convert to Sister Mary Clarence’s unconventional ways, I was often looking for what he would do next.
Equally goofy and often bumbling were the henchmen of mob boss Curtis Jackson played by Derrick D. Truby Jr. The perfect example being while Truby silkily, dangerously crooned about all of the ways he was going to make Deloris disappear (pretty graphically, I might add) in “When I Find My Baby,” the three of them — Pablo played by Dylan Arrendondo, TJ played by Trenton McKenzie Beavers, and Earnie played by Ryan Sellers — boogied their backup singer hearts out in a way that would have made the Dreamgirls proud. A similar playfulness in the ridiculously premised “Lady in the Long Black Dress” brought out each of their “romantic sides,” allowing for all three actors to shine. A special shoutout to Arrendondo, though, for committing through to the tips of his fingertips in every dance move in every moment, be he henchman or altar boy.
Not to be outdone, the enthusiasm on stage was also reflected in the work of the artistic team. Director and choreographer Jeff Calhoun took full advantage of the many entrances and exits, doorways and walkways, and the music direction by William Yanesh kept the production dancing regardless of whether there was a stand-alone musical number or not. The striking scenic design by Paige Hathaway, layered with lighting design by Max Doolittle and sound design by David Budries, made for a multifaceted chameleon of a stage, cloaked in creativity and adaptability. Add in the flashy costume design by Ivania Stack and hair and make-up design by Kelley Jordan and the 1970s world of Philadelphia was as out of sight as the disco balls in the balcony of the theater.
Silly, fun, and joyful, Sister Act at the historic Ford’s Theatre is unapologetic in its celebration of self, choice, and sisterhood. The type of break from reality that the DMV could use right now, this production, playing through May 17, is an invitation for us all to find our voices and just be Fabulous, Baby!
Running Time: Two hours and 30 minutes with a 15-minute intermission.
Sister Act plays through May 17, 2025, at Ford’s Theatre, 511 10th St NW, Washington, DC. Showtimes: Mondays-Thursdays at 7 p.m.; Fridays-Saturdays at 7:30 p.m.; Fridays-Saturdays at 12 p.m. or 2 p.m. Tickets range from $48–$90 and can be purchased online. Discounts are available for groups, senior citizens, military personnel, and those younger than 40. For more information, call (202) 347-4833 or (888) 616-0270 (toll-free).
Ford’s accessibility offerings (audio-described, ASL-interpreted, sensory-friendly) include closed captioning via the GalaPro App.
The cast, creative team, and band credits are here, and a digital program is online here.
COVID Safety: Face masks are optional.
SEE ALSO:
Ford’s Theatre announces cast and creative team for ‘Sister Act’ (news story, February 5, 2025)
