Photo courtesy of J. Stubbs Photography (https://jstubbsphotographyvb.com/)

What is it about nuns that so consistently captures the imagination of audiences?  By percentage of population in the real world, they have to be one of the most over-represented groups on stage – and yet, I’m totally here for it.  Maybe it is the clash of cultures that can be so easily set up when you introduce something (or someone) new to a cloistered environment.  Or maybe it is the fact that the habits and wimples imply to the eyes that this is a homogenous whole, and we are shocked every time to discover the personalities that live behind the rosaries.  “Sister Act”, playing now at the Little Theatre of Virginia Beach, plays into both of those possibilities, and opens the 2026-27 HRACT Award season with a well-deserved standing ovation.

Our leading lady, Michelle Ellis, is everything we could want and more in the role of Deloris Van Cartier, the wannabe disco club singer who finds herself accidentally witnessing a murder and suddenly in need of protection.  Ellis is massively engaging, bringing such joy and energy to the role.  She is free and comfortable in her skin, popping around stage like that coworker we all have who is the most interesting and fun to talk to, tip-toe-running off stage for a chance at a Philly cheesesteak, and demanding the audience’s attention with her expressive face even in ensemble numbers, as a top-notch lead should.  Her big, quick movements and easily excitable demeanor are in stark contrast to the completely controlled motions of Cynthia Baker’s Mother Superior, whom Deloris meets when the police concoct a plan to hide her in a convent for the duration of her witness protection program.

Baker’s Mother Superior is chaste and faithful, and also quick-witted and clever, with strong timing on her many dual-meaning one-liners (and a strong singer to boot).  When her tongue-in-cheek attempt to take back her vow of charity doesn’t convince Monsignor O’Hara (a surprisingly open-minded vicar played well by Act-y winner Robert Shirley) to turn down the police’s plan, she resigns herself to opening up her convent to this outsider (and for some reason, decides to not just house Deloris behind closed doors, but instead have her take on the habit herself and actually pretend to be a nun). 

As it turns out, this particular convent is just brimming with untapped talent – if only some engaging performing artist could come in and set that talent free, as Sister Mary Lazzarus (a very funky Sarah Fagan) just can’t seem to get her nun-choir to sing in the same key, let alone well.  Believe it or not – Deloris is just the ticket.  She brings just enough of the outside world to these Sister Marys (yes, they are all Sister Mary something) to unleash their personalities and their massive vocal potential.  And this cast is wonderfully put together and organized by director (and multi-time Act-y nominee) Kay Burcher to be up to the task.  The group of nuns is just so fun – individually shining in their own rights (from Merideth Owens’ Sister Mary Robert proclaiming upon hearing disco music “this must be how Protestants feel”, to Sammi Easmeil’s Sister Mary Patrick seeing a disco ball “I feel like I’m in the Book of Revelations”, to Anna Super’s Sister Mary Martin-of-Tours staring completely confused at a sheet of music while sitting at a piano) – and yet best when playing off each other and as a group (represented in two incredibly strong ensemble numbers – “It’s Good to Be a Nun” and “Bless Our Show”, the latter of which filled the room with fulfilling harmonies wonderfully executed by this impressive group).  And don’t miss Merideth Owens singing “The Life I Never Led” – her emotion and amazing voice will bring the house down night after night.

Meanwhile, outside the walls of Queen of Angels Catholic Church, the murderer (Curtis Jackson, played by the multi-talented Derrion Hawkins) has been searching for Deloris with his three cronies.  Hawkins is a hilarious and fun villain who I definitely don’t want to mess with, best demonstrated by his number “When I Find My Baby”.  Don’t miss Hawkins’ laugh-out-loud funny attempt to drag Elijah Ramsey off stage.  And the cronies (well-dressed but totally incompetent criminals played by Matt Belcher, Adam Smith, and Kevin Gonzalez) are a sight to behold, as they consider how they are going to flirt their way inside the convent in “Lady in the Long Black Dress”.  Tasked with keeping tabs on those criminals is “Sweaty” Eddie Souther, a nervous police officer who, by chance, had a big crush on Deloris in high school.  Otis Williams nails the role of Eddie, able to send the audience into fits of laughter with the most subtle of dance moves (just a rock-back-and-forth sort of situation), and makes you root for him in this game of cops and robbers.

This show is bright and happy, with clear villains and heroes, and just a hoot throughout.  I mean, who doesn’t want to see a group of women do a kickline while dressed in habits?  So – to quote the reviews of the eponymous “Sister Act” – “if you only see one Roman Catholic mass this season…”  You won’t be disappointed.

(New this season, our wonderful cat Pepper wanted her voice heard as well, if you all will oblige her…)

Pepper’s Purr-fect Picks: While there were no cats in this show, I’m pretty sure that guy Sweaty Eddie has a cat just off-stage.  Also, being a black and white cat, I liked the color scheme of the habits.  Three paws up! 

(Pepper also canonically sells concessions at the various community theaters.  She always comes up with a themed drink special, which is for entertainment purposes only and notably IS NOT in fact available for purchase)

Pepper’s Drink Special: “The Flying Nun” – an Ouzo-based drink, with the licorice flavor balanced by a sour belt, which also represents the cape.  Nonalcoholic version available upon request.