They’re putting the ‘sis’ back in Genesis— those holy-rolling Suburban Players over at the Saint Demetrios Greek Orthodox Church this summer. They’ve caught that sizzling Sunday-morning fever and are bringing you one hell of a Sister Act. Directed by Lauren Spencer-Harris with Musical Direction by Steven Soltow and Choreography by Amie Bell, this joyous outcry of finding your place among your true sisters is just what the summer-season ordered.

With a live musical pit (conducted by MD Steven Soltow) there is some strong musical vibes rolling out onto the stage for this performance. Featuring Soltow as both conductor and keyboard player, the orchestra (Connor Mathers- trombone, Alex Perlroth- trumpet, Nathan Shumaker- reed 2, Johanna McGuire- reed 1, Paul Balsley- keys 2, Amitabh Goswami- bass, Daniel Czyz- drums) pumps up the energy and the groove for the more frenetic, up-tempo numbers. There are a few sound balance issues at times, though this has more to do with some slight microphone hiccups than anything else, and for Soltow’s part, the orchestra does a fine job of keeping pace with the performers.

With technical director and set designer Pete Beleos at the helm, the scenery and lighting design for Sister Act come together quite nicely. Beleos has a handle on the late 1970’s disco-lighting vibe, which really gets the rafters rocking for numbers like “Sunday Morning Fever” and “Fabulous, Baby” and its reprise. There are gobos galore that spin in zesty disco colors and even a real, live mirror ball that descends from above (probably very much to Mother Superior’s chagrin!) As for the set itself, Beleos keeps it simple; something that could double up as the interior of anywhere like a bar or a nightclub or even an apartment building, but more importantly the inside of the cloister where most of the show takes place. With the seven rounded ‘stained glass’ style windows that overlook the play space (each with nine window brackets, from behind which shine all of those aforementioned energetic rainbow lights!) you get the feel that you’re inside the abbey with the sisters straight away. Keep your eye on the big drop-hang cross that comes and goes from time to time too!

Pulling together a bunch of black habits is probably tricker than you think, especially when you’ve got to outfit nearly a dozen women and do so with full veil and wimple AND make sure that they can quickly change in and out of these nun-suits to play other ensemble characters. Enter Costume Coordinators Tom Cook and Monica Agapaloglou (with quite possibly some assistance from the female actors when it comes to that one scene, “Bless Our Show” where we see all the nuns in various states of pajamas…including a too-cute-for-words-if-a-little-era-inappropriate adult Eeyore onesie on Sister May Robert!) Cook and Agapaloglou get that groovy feel going right at the top of the show with the shimmery sequin rainbow dresses seen on Michelle (Linda Tamia Brown) and Tina (Mia Coulbourn) the back-up dancers for Deloris. See if you can catch the glittery sparkle stoles that accompany the sisters as they glam up mass in the second act!

Director Lauren Spencer-Harris works with Musical Director Steven Soltow and Choreographer Amie Bell to pull off an impressive performance (and certainly not without overcoming many hardships of having to bump the performance from February to now, having to change nearly half the cast once the performance dates changed, and other ‘pandemic-times’ related challenges all along the way) with an energetic and enthusiastic cast. Spencer-Harris’ enthusiasm is infectious, spreading through the cast and keeping a lively, bubbly atmosphere on stage for almost the entire show. When the sisters sing together in unison, you can hear Soltow’s hard work in action, the smooth blends, the strong harmonies, the clean carries— these are especially notable during “Raise Your Voice” and “Spread The Love Around.” And Amie Bell’s disco-inferno inspired moves, which features— at one point— a linked-arm nun-kick-line— rounds out the three corners of giddiness in this production. You’ve got good characters, singing great music, and really bouncing to the boogie, and grooving to the goodness all throughout the performance.

You’ve got the sisters (Erin Acerno, Linda Tamia Brown, Mia Coulbourne, Paula Diggs Smith, Cat Kohlbus, Archie Kramer, Lexi Merrifield) as an ensemble that come together and sing with such joy and devotion you can feel their joy palpating and radiating out to the audience. Included in that bunch is Sister Mary Martin-Of-Tours (Mayo) and Sister Mary Theresa (Suzanne Young) who both have quippy quirky bits to contribute to convent humor and the number “It’s Good To Be a Nun.” It’s Sister Mary Lazarus (Holly Walter) that you have to watch out for. Sassy with that heavy sarcasm, especially when she starts biting back at Deloris taking over her choir practice job, Walter is the real deal. When she patter-raps through “Raise Your Voice” and her crazy breakout section during “Sunday Morning Fever” she’s winning applause from the whole house.

And for all the good girls of the show you’ve got some bad, bad boys. Slick-talking Curtis (Kenneth Mines) is all the edgy villain one could need in a show like Sister Act. He’s got very smooth vocals for “When I Find My Baby” and it’s reprise. But as the song is all about how he’s going to basically put Deloris six-feet underground when he catches up with her, you get your comic relief in his trio of goons— Pablo (Archie Kramer), Joey (Douglas Kotula) and the ultra-dorky, hip-popping, disco-crazy TJ (Kyle LaPosta.) With all the zany disco-dance moves, LaPosta becomes sort of like the group ringleader when they’re carrying out their plan to break into the convent.

If there are bad guys there have to be good guys— two good guys in this case! The Monsignor O’Hara (Sam Ranocchia), who pops up here and there with witty little one-liners particularly when he’s opposite Mother Superior, and Eddie (Tyrus Mataban.) With a deadpan face and very milquetoast expression and presentation, you find the joy and light in Mataban’s breakout musical number, “I Could Be That Guy.” Mataban has a surprising vocal range and a great ability to stay in tune whilst holding notes. (The libretto doesn’t do the ‘good guy’ characters in this musical much justice; it’s all about the sisters, after all, but Mataban still makes for a good Sweaty Eddie when he’s performing.)

Back to the good girls, as it were! Sister Mary Patrick (Kylie Taylor) is a bright ball of bouncing sunshine, so jubilant and so radiant that she’s nearly as blinding in her glee as some of those rotating fixture lights that sweep out over the audience during some of the more party-styled musical moments. Taylor is just an effervescent burst of energy and excitement and lays into the quirks of the character with ease. She can belt and sing with the rest of them and really shines supreme with her bits during “Raise Your Voice” as well as a great many other stand-out solos during all of the group numbers.

Sister Mary Robert (Gracelynn Fritts) has the voice of an angel. She truly understands the calling of rock the rafters, raise the roof, and belt your face off. Playing the youngest postulant in the convent, Fritts portrays this delightfully naïve and innocent character who is just so very sweet and earnest you want to hug all her troubles away. Her mousy little characterization comes in striking contrast to the sound she unleashes both at the tail-end of “Raise Your Voice” (the first time the character is encouraged to find her true voice) and later when she blasts the house down with her powerful Broadway-capable belting voice during “The Life I Never Led.” Fritts fills the entire arena with this otherworldly powerhouse belting sound that just sends shivers up your spine; it’s astonishing. And you get a huge depth of emotional support behind her stunning vocals as well.

With equally impressive vocal chops, Suzi Eldridge as Mother Superior, is a force to be reckoned with. While she doesn’t get to put her singing prowess on display in as strikingly profound a way as Sister Mary Robert, don’t discount her extraordinary solo (completely with Broadway-style beltress moment) during “I Haven’t Got a Prayer.” This hilariously humorous ditty shows Eldridge’s character at her absolutely wits end, overloaded with exasperation and even getting to showcase her glib sense of humor (watch her when she mimics the “…dance moves like Travolta!…” line.) There is a sharpness to the Mother Superior personality that Eldridge brings into balance with the maternal side of the character whilst keeping the quippy, clipped dry sense of humor about her at all times. Her voice is a powerful one, and much like Fritts, she keeps a beautifully balanced tonal quality, every time she sings.

While she may not get a white sequin dress or snowy fox fur coat, Siren Davis is channeling some serious Donna Summer attitude, and a whole bunch of other diva-type characters into her portrayal of Deloris Van Cartier! With a deep and booming soulful belt that really speaks to the angels, she is selling this role with such vocal conviction you really follow her on her journey. The role’s natural range has a few top notes that fall right at the break of Davis’ natural switch-range (from her chest voice to head voice) but she manages in these moments by really pushing out the upper end of her chest range and loading her moments in song with fabulous, forceful spirit. Davis is serving up some serious attitude when first adjusting to ‘convent life’ and watching the discovery of transition for her— particularly during the titular number, “Sister Act” brings some joyful tears to your eyes. Davis is owning the role, making it her own, and really bringing the holy spirit through a great many of these numbers.

So make your reservation! Suburban Players will put your backside in rotation— they’ll raise their voice and you’ll raise your hands and clap and cheer along with his sprightly, gleeful, joyous musical; Sister Act is a super fantastic way to kick off the summer season. Don’t miss it!

Running Time: 2 hours and 30 minutes with one intermission

Sister Act plays through 12, 2022 with the Suburban Players housed at the Saint Demetrios Greek Orthodox Church in the Hermes Rafailides Center— 2504 Cub Hill Road in Carney, MD. For tickets please call (443) 390-2981 or email Suburbanplayers2504@gmail.com