Jeri Tidwell Photography
Most people know by now that before Whoopi Goldberg took a seat at the table to host daytime chat-fest The View, she had a flourishing film career, winning an Oscar for Ghost and striking it big as the star of the comedy Sister Act. As seems to happen more and more frequently, hit movies eventually end up as Broadway musicals, some successfully and others entirely forgettable. In 2006, Goldberg herself was one of the producers of such a stage musical that debuted at the Pasadena Playhouse, then opened in London’s West End in 2009 before finally heading to Broadway in 2011, and earning five Tony Award nominations including Best Musical. The show closed after 561 regular performances, launched international productions and tours, and now the show is making its way to regional theatres.
Toby’s Dinner Theatre in Columbia, Maryland has launched its in-the-round production of the show which pretty much follows the plot of the movie. Set in the late 1970s, nightclub singer Deloris Van Cartier finds herself in some serious trouble after witnessing her gangster boyfriend Curtis Johnson murder one of his gang he believes to be a snitch. Deloris pretends she saw nothing but quickly escapes and makes her way to the police station to report what she’s seen. Turns out the desk sergeant is an old high school friend, Eddie (aka ‘Sweaty Eddie’, who had a serious crush on her back in the day), and the decision is made to put her in hiding until they can bring a case against Curtis. The one place the police thinks no one will look for someone like Deloris is in a convent, and the Mother Superior is not keen on having such a person in their midst … but the police are making a handsome donation to the failing church (which is about to be sold to a pair of antique dealers) … and Deloris isn’t thrilled about having to live the life of a nun either. Especially when she learns she could be there for a year. She and Mother Superior butt heads but Deloris finds a calling in leading the choir of nuns and before you know it they are the talk of the town. They say any press is good press but not when you’re hiding from a killer. On top of everything, the Pope is coming to Philadelphia and wants to see the sisters perform. But will Curtis and his goons get there first?
If you follow these reviews on a regular basis, you know I enjoy and appreciate the work that goes into a production at Toby’s. Many of the productions have wowed me but I just might have a new show in my Top Three Toby’s favorites. Sister Act is that good (I saw the original tour back in 2014 and I found it enjoyable as well), and the success of the show and the enjoyment the audience receives depends on a strong leading lady in the role of Deloris. Goldberg was, of course, memorable in the role but the film Deloris is a bit different than the musical Deloris so whoever plays the role now gets to make it their own. Ashley Johnson-Moore, who ironically played the Whoopi Goldberg role in Toby’s production of Ghost — The Musical (and stole the show) now gets to lead the cast of Sister Act. If the audience can’t connect with Deloris, then the show is dead in the water and with Johnson-Moore’s performance, you can’t help but connect to her. She makes Deloris bold, tough, a woman who knows what she wants from her singing career, but she’s also vulnerable when she needs to be, tough with Mother Superior but intensely caring with her other ‘sisters’. And even when she takes the reins of the choir to almost make it about her, she knows when to pull back and nurture the others who aren’t as confident as she in their singing abilities. Johnson-Moore becomes a part of that family, and through her performance she connects to us watching and makes us a part of that family too. And her voice… just stunning. She stole the show in Ghost, and earned a Helen Hayes Awards nomination in the process, and here she is the heart and soul of Sister Act… and if there is such a thing as Divine Intervention, she should find herself nominated again.
Jeri Tidwell Photography
But she is surrounded by an insanely talented group of actors as well, whose performances are bolstered by the energy from the audience who have already been primed by Johnson-Moore’s presence. Ryan Holmes plays Curtis, written as a pretty one-note, stereotypical bad guy, but he truly shines and wins over the audience with his performance of ‘When I Find My Baby’, a humorously macabre song about what he’ll do to Deloris when he finds her. With his three henchmen as back-up, the song is cleverly staged as a sort of Temptations-style performance complete with that classic choreography. The lyrics of the song may make you gasp, but you can’t help but laugh and cheer watching Holmes perform. His gang composed of Jordan B. Stocksdale, Brian Dauglash and Anwar Thomas also get the choreo down pat, and they also get to shine in their own Act 2 number ‘Lady in the Long Black Dress’. Gerald Jordan takes on the role of Eddie, and he seems at first to just be a sort of buffoon character, a guy who over-reacts to any little pain or mishap, but when he reveals he still carries his crush for Deloris in the song ‘I Could Be That Guy’ — with a pretty amazing costume moment that I won’t spoil — he gets the audience in the palm of his hand and we want nothing more than for him and Deloris to come together by the end. Jordan gives a really winning performance, and he makes us believe that Eddie truly does care for Deloris.
Robert Biederman is a hoot as Monsignor O’Hara, especially as he falls under Deloris’ musical spell and gets to cut loose in a number later in the show. Lynn Sharp-Spears (who was amazing as Ursula in Toby’s production of The Little Mermaid) really pulls off the beleaguered Mother Superior to a T. She makes us believe this is a woman who is weary and worried about the fate of her church, and of the sisters who will be scattered if it is sold. But she’s also steadfast in her resolve to not allow Deloris to ‘infect’ the others with her worldliness, even battling the Monsignor when he begins to champion what Deloris is doing through the music she has brought to the church. Sharp-Spears shows us how devout this woman is, but she makes us all root for her to let down her walls a bit and embrace the changes Deloris has brought. She also gets to treat us with her powerful voice on ‘Here Within These Walls’ and ‘I Haven’t Got a Prayer’, which also shows us the many different sides of the character. Just a lovely performance all around.
Some of the sisters get their own stand-out moments, notably MaryKate Brouillet as Sister Mary Robert, the youngest and must unsure of herself of the nuns, who knocks our socks off with her big second act number ‘The Life I Never Led’. Brouillet also endears Mary Robert to the audience as she bonds with Deloris, and we hope that the two will become lifelong friends. Lynne Sigler as Sister Mary Lazarus, one of the more senior nuns in the convent, also gets a showstopping moment when she goes into a rap break in one of the big group performances. Talk about stealing the spotlight!
Jeri Tidwell Photography
Of course, great performances are often born out of great leadership and director/choreographer Mark Minnick knows the strengths of his cast, having worked with many of them through the years in various shows. He had a great eye for casting Johnson-Moore in Ghost, so it was only natural he’d want her back for Sister Act. He’s pulled some great performances from this talented cast, never allowing anyone to go too far over the top or become too cliché. The choreo is also wonderful, especially all of the nods to the types of dancing one would have seen in 1977 from groups like The Temptations. Staging a show like this in the round with some massive setpieces has to be a challenge and that requires a different type of choreography, but his knowledge of the space and an excellent tech crew keeps things moving smoothly on and off the stage through the various portals around the theatre space. Put all of this together — the cast, the songs, the dancing, the staging — and if you’re not moved by the spirit and clapping along by the end, you need to check your pulse. Sister Act is the most joyous show of the season, and that’s the God’s honest truth.
And we can’t forget that in addition to the entertainment, there is food. Lots of food! The salad bar, show themed dishes like Convent Corn, Redemption Ratatouille, Deloris’ Oven Fried Chicken, Mother Superior’s BBQ Ribs, and the Four Cheese Pasta, steamed and seasoned broccoli, the signature Spinach Phunque, baked tilapia, steamed shrimp, the carving board, the ice cream bar … there is something for everyone. There is also the special show drink in the collectible keepsake glass, The Van Cartier, a frozen strawberry lemonade drink available with or without a splash of alcohol.
So do yourself a favor and see this show. You’ll get a night of entertainment and delicious food, and you’ll be supporting local theatre, local artists, and a local business as well. And if you’re reading this from outside Baltimore and DC but are planning a trip to the area, make time to see this show (theatre groups around the country have bussed people in as well, so this is a perfect show for middle-high school students and other groups).
Note: Fog, strobes and gunshot effects are used in this production.
Sister Act runs about 2 hours and 20 minutes with one 15 minute intermission. The show runs through November 5, 2023. Toby’s next production is the musical adaptation of the holiday classic Miracle on 34th Street (November 10-January 7).
Sister Act The Musical 2023 – Toby’s Dinner Theatre, Columbia, MD
Toby’s Dinner Theatre
Check our Ticketmaster link for ticket availability.
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