PicksInSix Review: Sister Act

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A ROUSING, RIOTOUS, HIGH-SPIRITED HIT!  

When Mercury Theater’s new artistic director Christopher Chase Carter stepped on the stage Thursday to welcome the opening night audience for “Sister Act,” you could feel a higher power in the house. Less than a year ago, Mercury’s future was in jeopardy and without some divine intervention, the former silent film nickelodeon on North Southport, home to such long-running regional hits as “Avenue Q” and “Spamalot” under the production partnership of Walter Stearns and Eugene Dizon for the past decade, might have been lost to Chicago theater audiences forever.

All of the fear, uncertainty and speculation of that eventuality was washed away a few moments later when the dazzling Alexis J. Roston launched into a stunning star turn as Deloris Van Cartier in the hilarious musical comedy about a fame-seeking disco diva who is remanded into the Philadelphia police witness protection program after reporting a murder. Whether shimmering in a silver-sequined Marquecia Jordan outfit, decked out in her nuns veil and tunic, or lounging in your big sister’s wool pajamas, Roston drips with so much charm, talent and vocal presence that you become an instant, true believer in her unique path to enlightment. This is a blockbuster, folks, and recertifies the importance of the Mercury Theater Chicago, and it’s busy cabaret venue Venus, as an essential element to both the Southport Corridor and the Chicago theatrical landscape.

As the story goes: Fearing for her life, officer “Sweaty Eddie” Souter (Gilbert Domally) takes Deloris to a convent to hide from the ruthless gangster Curtis Jackson (Denzel Tsopnang) and his rag-tag minions who want her dead. The free-spirited Deloris immediately gets into the habit of antagonizing Mother Superior (Jane Grebeck-Brewer) with her brash street talk and progressive attitude. A harmonious chord is struck when Deloris takes over the choral direction of the Queen of Angels Singers and wins over the charming sisterhood, the congregation and even the affable Monsignor O’Hara (Ed Kross). The story—by Cheri and Bill Steinkellner with additional book material by Douglas Carter Beane—may verge on the melodramatic at times, but it’s all uproariously funny and sewn together with a phenomenal score by award-winning composer Alan Menken and lyricist Glen Slater.

Director Reneisha Jenkins rocks the parish in her professional directing debut. With a creative team that includes choreography by Carter and music direction by Diana Lawrence, the resounding themes of friendship, acceptance, faith and love come shining through in each character. And while Roston, Grebeck-Brewer and Domally have an abundance of the special kind of chemistry needed to carry the show, their higher calling is infusing that enthusiasm and trust into the entire company, in every song and every production number. It’s really evident and that is why “Sister Act” will leave you feeling three-times blessed.

Among the many featured performances, newcomer Isabella Andrews is exquisitely cast as the shy and demur Mary Robert who blossoms into a confident firebrand. In a show of showcase performances, Andrews sings the touching ballad “The Life I Never Led” with the wide-eyed wonder of innocence. The nuns—Leah Morrow, Jenny Rudnick, Nicole Cready, and Nancy Wagner— along with Nicole Armold and Aalon Smith, are quite simply marvelous. Jackson’s henchmen—Joey (Marcus Jackson), Pablos (Ruben Castor) and TJ (Austin Nelson Jr.)—show off some nifty footwork and serve as terrific backup singers.

Scene designer Angela Weber Miller and video designer G. “Max” Maxim IV have teamed up on an exquisite multi-level set that incorporates high-tech optics which are punctuated by Jackie Fox’s lighting design and Carl Wahlstrom’s crystal-clear sound. In addition to the nightclub dazzle, costume designer Jordan uses a creative, wide-ranging color palette for the nuns habits, altogether making “Sister Act” a rousing, riotous, high-spirited hit!  

PHOTO|Brett Beiner Photography

MERCURY THEATER CHICAGO
presents
SISTER ACT
through January 2, 2022

3745 N Southport Avenue
(773) 360 - 7365

WEBSITE

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HEALTH PROTOCALS

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PICKSINSIX Review: MEMPHIS

"THE BIRTH OF ROCK AND ROLL."

Something in the water … There are a lot of reasons for you to run to see MEMPHIS, the exhilarating new Porchlight Music Theatre production directed by Daryl Brooks that opened Wednesday at the Ruth Page Center for the Arts. One is certainly the charismatic performance of Liam Quealy as Huey Calhoun, a character inspired by the life and career of Memphis DJ and personality Dewey Phillips. Another is the radiant and explosive Aerial Williams in the role of Felicia Farrell. Then there is an amazing company of talented dancers, singers, actors, and musicians who are non-stop great! Maybe there is something in the water at PMT these days. They've done it again. MEMPHIS is a SMASH!

Embraces R&B music … Part revolutionary, part rebel, Quealy’s Calhoun oozes with the kind of passion that drives a dream - a crusader who rejects stereotypes, fights bigotry, racism and the segregation of the era in which he lived. Against the odds, he embraces R&B music as a way of bringing people together, first on the radio, and then on television. As this engaging, often dark and richly soul-filled journey unfolds in Calhoun’s 1950s Memphis, what we are really seeing is the birth of rock and roll.

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On the radio … From his musical awakening in a black nightclub on Beale Street with “The Music In My Soul” and falling for Felicia, we follow Calhoun through his unlikely success as a D.J in a department store and eventually on the radio extolling his commitment to African-American music. Along the way, Williams thrills with the poignant “Ain’t Nothin’ But a Kiss” with Quealy, “Colored Woman” and “Love Will Stand When All Else Fails”.

Musical revolution ... The bittersweet love story inevitably leads to rejection and reprisals. Felicia’s brother, nightclub owner Delray Jones (Lorenzo Rush, Jr.) sees only trouble and Huey’s mom, Gladys (Nancy Wagner) experiences hate firsthand. Through it all, Huey single-mindedly pursues what is right until his own musical revolution - and rebellious nature – wear him out. Rush makes the role of Delray all his own and in Bobby, the triple-threat talents of James Earl Jones II are on full and glorious display. Gator finds his voice in fine form from Gilbert Domally.  

What to watch and wait for … so many spirited, high-energy company numbers including “Scratch My Itch” … “Everybody Wants to Be Black On A Saturday Night” … “Someday” and “Stand Up” … Rush’s powerful “She’s My Sister” … Jones at his best in “Big Love” ... Christopher Carter & Reneisha Jenkins dynamic choreography ... be sure to lean in and listen every time Williams steps up to the microphone. 

Porchlight motto … fulfilling the Porchlight motto - “american musicals. chicago style” - in rousing fashion,  MEMPHIS completes the 23rd season for the company and the first in their new home at the Ruth Page Center for the Arts. MEMPHIS has already been extended to June 10th, but don’t wait a moment longer to see this show.    

PHOTOS|MICHAEL COURIER

PORCHLIGHT MUSIC THEATRE
Presents
MEMPHIS
through June 10th
Ruth Page Center for the Arts
1016 N. Dearborn St.
773.777.9884
WEBSITE

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