Being stuffed into folding chairs in the wheelchair section affirmed the mistake of not confirming my seat for Sister Act: The Musical at Ferndale Repertory Theatre. Turns out the early ’90s nostalgia for the Whoopie Goldberg movie is leaving tickets scarce. This is not the movie though. In fact, key musical numbers like “My God” and the depth of nun life are notably absent from the stage version. Still, there is plenty of original(ish) music by Alan Menkin, a mixtape of popular ’80s throwbacks early in Act II and a plot that is almost verbatim to the classic in this not-without-problems musical.
Leaving the crowded theater and hearing people around me praise the show made me curious. The gist of their enthusiasm: The cast tried really hard through the challenges and remained upbeat and family friendly.” I absolutely agree. FRT’s nemesis of sound balance, microphone outages, excruciating set changes and mysterious lighting levels forced the cast to work for it. What most don’t know is that any community theater’s opening weekend matinee is the culmination of at least one week of long hours, determination and grit, lovingly referred to as “hell week” for thespians and techies familiar to the craft.
This particular Sunday matinee, it showed. Cynthia Martells as Deloris Van Cartier (aka Sister Mary Clarence) was her usual consummate professional and gracefully moved about the stage surefooted, connected and stunning in a shimmering gold dress provided by Costumer Deirdre Bise. Yet her voice seemed tired and on the verge of being blown out as it struggled to reach some of the notes from the opening number. Impressively, she used her amazing acting abilities to pull off a gorgeous “Fabulous Baby” that found her appropriately speaking some of the singing lines and brought a depth that may not have been achieved if the totality of her voice had been present. Undoubtedly, she will use this in the remainder of the run to continually make discoveries and hopefully inspire the rest of the cast also. Despite equal performances by Rigel Schmidt as villainous Curtis Jackson, who remained composed as a perfectly believable mobster where others would succumb to a caricature, and Minnie Savant-Bunch whose Sister Mary Robert was sweet and sublime, this Sunday’s performance was unfortunately labored and timid (for my snobbish liking).
The problem I could not reconcile was the unfortunate and dated microaggressive depiction of race and racism in the show. Some could argue (and I am sure they will) that it is true to the script and has its purpose for time-stamped theater. However, the Latino mobster, Asian nun and line spoken to Delores, “Are you still a Negro?” among other less obvious moments, did not come off funny or progress the storytelling. Still the majority of the audience not only did not seem to mind it, but enjoyed the laughs.
Director Craig Benson brings to life some exceptional moments throughout the script, particularly an absolutely brilliant moment in the first act with Lt. Eddie Southern (Warren Hardison) that I did not anticipate. It left me fangirling for Hardison for the rest of the show. In addition, allusions to The Sound of Music in clever blocking of “Bless our Show” are little directorial touches I appreciate. However, his choreography is far too simple to have cast members looking around to see if they are on the same foot and should definitely be addressed in the run. Though much of it is an obvious play off old Motown groups, it does not read if it does not have the same sharpness and claps on two and four. TWO and FOUR!
It may be unfair to review off an opening matinee, as I am positive the rest of the run will resolve the shortcomings of the afternoon. Still, the price of the tickets is the same and the audience deserves the same caliber show as opening night. This cast and crew tried hard to produce that. Unfortunately, that labor was too evident. Still, the crowd seemed to love it even through its specific-to-this-performance hardships and I recommend you get your tickets to see its improved runs.
Ferndale Repertory Theatre’s production of Sister Act: The Musical plays Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through May 7. Call (707) 786-5483 or visit ferndalerep.org.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
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The Redwood Playhouse in Garberville hosts seven short plays in Randomonium 2023! March 31 through April 2. Visit randompeopletheatre.org.
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This article appears in ‘A Symbolic Gesture’.
This is far from a review, it is a political rant. Critical reviews in a town this size are difficult, not impossible. When this review has opined on other productions we sought insight from the nave of the theatre world.
In this piece, the writer has allowed the dirt of their personal, political view to muddy their public thoughts. This is morally irresponsible reporting which appears to be going unchecked.
While it is true that it is an opinion on a given performance, we should examine this writers ability to be objective enough to omit the political cards they should maybe play a bit closer to their chest.
Reviews should be based on the performance of the people sweating on the stage. It should be based on ability to convey the intended message even when the reviewer may agree or disagree with the content.
The cast does not select the material, they strive to embody the message without consideration for their own political views. The cast had no hand in selecting their fellow cast members or crew of this event.
As such, I feel the effort that was put into this event has been overlooked. There is no mention of rising stars, only praise for those favored by the reviewers eye.
As a director of a new show that will soon come to this very stage, it seems reprehensible to speak solely on a political note about another story currently being told on the same stage.
It is this writers opinion that this reviewer may need a break to reassess their ability to remain objective enough to give an actual review without the added soapbox of their personal political theories burning a hole down the middle of fellow performers efforts.
As a writer, I am embarrassed for this reviewer and their catty rant.
Based on previous reviews from this writer, it is glaringly obvious that this is someone accustomed to manipulation of community theater and doesnt have what it takes to write for anything on a more intricate level.
As an Asian woman it’s interesting to me how you couldn’t reconcile the micro-aggressions yet you came off a bit ableist by opening your badly written essay with, “being stuffed into folding chairs in the wheelchair section.” Like are you discriminating against being in the row where disabled people would need to sit or do you not like the folding chairs? Maybe add in a bit that they could provide better seating for those in wheelchairs and be a bit more grateful. This felt more like an attack essay rather than a well written critique of local a play. Yikes! I also suggest you deeply review what racism and micro aggressions are before also slewing the same vocab yourself. Tigger needs to bounce on away from the writing!! Please and thank you.
As an Asian woman it’s interesting to me how you couldn’t reconcile the micro-aggressions yet you came off a bit ableist by opening your badly written essay with, “being stuffed into folding chairs in the wheelchair section.” Like are you discriminating against being in the row where disabled people would need to sit or do you not like the folding chairs? Maybe add in a bit that they could provide better seating for those in wheelchairs and be a bit more grateful. This felt more like an attack essay rather than a well written critique of local a play. Yikes! I also suggest you deeply review what racism and micro aggressions are before also slewing the same vocab yourself. Tigger needs to bounce on away from the writing!! Please and thank you.
NCJ deleting comments that critique their writers yet they can critique all they want without others input? Very classy.
As an Asian woman it’s interesting to me how you couldn’t reconcile the micro-aggressions yet you came off a bit ableist by opening your badly written essay with, “being stuffed into folding chairs in the wheelchair section.” Like are you discriminating against being in the row where disabled people would need to sit or do you not like the folding chairs? Maybe add in a bit that they could provide better seating for those in wheelchairs and be a bit more grateful. This felt more like an attack essay rather than a well written critique of local a play. Yikes! I also suggest you deeply review what racism and micro aggressions are before also slewing the same vocab yourself.
Also! NCJ needs to stop deleting criticism they don’t like while doing the same thing to the whole community who reads and mostly supports them – it’s a small town. Hypocrisy only gets you so far.