Nia Savoy-Dock leads the cast of Ford’s Theatre’s production of 'Sister Act.' With music by Alan Menken, the musical, which is based on the 1992 film, conveys an uplifting message of redemption. Photo by Scott Suchman

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Sister Act, the musical based on the 1992 film, is back and currently playing at historic Ford’s Theatre in Washington, D.C. Yet this production is not just a musical adaptation of a comedy that starred Whoopie Goldberg. It’s a spiritually uplifting tour-de-force that suggests that being in touch with the Divine and with what it means to be human may be one and the same. 

For those unfamiliar with Sister Act, the story is set in 1978 and revolves around Deloris Van Cartier, a singer whose main concerns initially are her career, self-promotion and an aspiration for wealth. 

Her life changes, however, when she witnesses her boyfriend, Curtis, the leader of a cohort of criminals, shoot one of his henchmen who has turned police informer. Deloris must flee for her life.  

A caring policeman, Eddie (“Sweaty Eddie,” whom she recognizes as the boy from high school who was nervous around the girls), arranges for her to hide and receive protection in a Catholic convent until Deloris can testify in court.  

Ironically, the convent is in need of her help as well: The nuns there sing in a choir, but in a tone-deaf manner, to put it mildly. Deloris undertakes the role of choir director and trains the sisters to sing angelically, if in a Gospel style unconventional in Catholic tradition. Deloris also infuses the nuns with the showmanship and disco of the day. 

While the convent choir gives Deloris moral guidance and direction in life, its popularity leads to television exposure and thus brings her whereabouts to the attention of Curtis and other villains, who are determined to murder her before she can testify as a witness in court. 

Songs reveal characters 

Yet what lies at the heart of Sister Act is the conflict (perhaps more appropriately termed a “love-hate relationship”) between the convent’s traditionally minded Mother Superior and free-spirited, worldly Deloris.  

Nia Savoy-Dock, who plays Deloris, takes on the role energetically, with charisma and abandon. As the Mother Superior, Sherri L. Edelen delivers a credible performance as a devout woman confronted by the challenges of an increasingly secular society.  

Each character has a song delineating the divergent points of view. For Deloris, it is “Take Me to Heaven,” and for Mother Superior, it is “Here Within These Walls.” A heartwarming aspect of the show is how each woman helps the other appreciate her point of view, a theme especially well brought out in this fine production directed by Jeff Calhoun. 

A standout performer here is Kanysha Williams as shy, diffident Sister Mary Robert, a postulate who at last gains confidence and her own voice — her singing voice, certainly, but also a new assertiveness. Williams sings “The Life I Never Led” poignantly, bringing out the inner struggle between choosing life in a convent or the real world. 

“I Could Be That Guy” is performed very effectively by Joe Mallon as “Sweaty Eddie,” who fantasizes that he is not nervous and nerdy but cool and charming to the ladies, especially Deloris, with whom he is smitten. Derrick D. Trulby Jr. makes for a wonderful Curtis Jackson, especially in his number “When I Find My Baby.”  

The cast of nuns performs a highly entertaining number of “It’s Good to Be a Nun” with Deloris, who is none too sure of the truth of that statement. 

Dramatic touches 

Ford’s Theatre is a classic venue, and the production takes full advantage of this with classical theater allusions, including some scenes performed on a balcony (as in a classic Shakespeare play), a Greek-style chorus in Eddie’s “I Could Be That Guy,” and the shot which rings out as Curtis guns down his nemesis. The audience gasped at the gunshot, perhaps in memory the assassination that took place in Ford’s Theatre. 

The sets were designed appropriately by scenic designer Paige Hathaway, with beautiful stained glass and rounded cathedral arches. The staging is colorful in song numbers like “Take Me to Heaven,” “Fabulous Baby” and “Spread the Love Around.” Costume designer Ivania Stack, lighting designer Max Doolittle, music director William Yanesh, and Calhoun (this time as choreographer) all deserve high praise as well. 

Set in the late 1970s, Sister Act also offers food for thought. It invites us to ponder the extent to which religious and community institutions effectively serve people today. Likewise, the musical illustrates the still-relevant struggle between wanting to maintain tradition and yet “think outside the box” to gain broader appeal. 

This production of Sister Act, which plays through May 17, runs two-and-a-half hours, including a 15-minute intermission, during which guests are encouraged to explore the on-site museum. The show may be frightening for the very young, due to violence and threats of violence throughout the plot. Matinee discounts are available for people aged 60 and older. For tickets, see fords.org or call the box office at (888) 616-0270.