SANDY—Walking into Hale Centre Theatre in Sandy to see Sister Act, I knew I was in for a spectacle. The production, directed by Dave Tinney, promised glitz, humor, and heart, and it delivered on all fronts. Based on the 1992 film written by Joseph Howard and starring Whoopi Goldberg, this stage adaptation is written by Cheri and Bill Steinkellner, with brand-new music by Alan Menken. The story takes place in Philadelphia in 1978—a fun nod to the fact that the Pope actually visited Philadelphia during that same time, which the show cheekily references.
The story follows Deloris Van Cartier, a nightclub singer who witnesses her mobster boyfriend commit murder. To protect her, the police hide her in the last place anyone would expect: a convent. Deloris, who couldn’t be less suited for a nun’s lifestyle, soon finds her purpose by transforming the convent’s disastrous choir into a national sensation. The true heart of the story lies in the bond that forms between Deloris and the sisters, celebrating belonging, acceptance, and the strength of women standing together.
I attended the Monday, Wednesday, Friday cast. McKenna Kay Jensen played Deloris with powerhouse vocals, particularly in her rendition of “Sister Act.” She could have leaned into the sass a bit more, but vocally she was a knockout. Dante Jamar Lamonte Murray brought menace and charm as Curtis, the mobster boyfriend. His henchmen—TJ (David K. Martin), Joey (Carson Davies), and Pablo (Daniel Cespedes)—opted for a more understated comedic style. Personally, I felt they could have turned up the energy and leaned harder into the humor, as some of their funnier bits didn’t quite land with the audience.
Sweaty Eddie, the charmingly awkward cop who harbors a secret crush on Deloris, was played by Remy Egan Talanoa. His number “I Could Be That Guy” was both sweet and funny, earning well-deserved applause. Michelle Blake’s Mother Superior was dignified yet vulnerable, her song “I Haven’t Got a Prayer” was beautiful. David Weeks leaned into the comedy as Monsignor O’Hara, the fame-hungry leader of the convent. Dakota Clement, as Sister Mary Roberts, was a standout. Her timid postulant blossomed under Deloris’s influence, and her heartfelt “The Life I’ve Never Led” was a highlight.
One of the undeniable highlights of the evening was the costuming. Designed by Joy Zhu and Tori Earl, the costumes were truly dazzling. Every time the nuns performed, their habits glimmered with new sequins, colors, and bling. Deloris’s hot-pink outfit during the “Fabulous, Baby! (Reprise)” number was perfectly over-the-top, made even more fabulous by the pink shag carpet staircase set piece. And just when I thought it couldn’t get any better, Deloris’s all-white costume in the finale with a floor-length fur stole took my breath away.
Sister Act plays through October 25. | Photo Credit: Leavitt Wells
Equally impressive was Hale’s technical wizardry. Watching entire sets rise from below, descend from above, and glide seamlessly across the stage never ceases to amaze. The production whisked us from nightclub to police station to convent to bar without breaking flow. Each set was detailed and immersive, pulling the audience directly into the story’s world.
That said, the theater-in-the-round staging does come with challenges. From my seat on the south side, I missed almost the entire bar scene due to obstructed views. While the sound was crystal clear, I often couldn’t tell who was speaking or singing. Similarly, physical comedy and facial reactions sometimes lost their punch when actors were turned away. Some of Curtis’s gang’s humor might have landed better if I’d been able to see their expressions. Even a few of the nuns’ funnier lines felt muted for the same reason.
Still, the overall production quality was stellar. The sound design was flawless, the scene transitions seamless, and the professionalism of the cast and crew shone through in every detail. The nun choir’s transformation from chaotic voices—“everyone selecting their favorite key,” as the show quips—to stunning harmony was delightful to witness. The music is energetic and fun, with impressive vocals across the board. While I missed some of the iconic songs from the original movie, the Menken score is joyful in its own right.
At its core, Sister Act is about more than flashy costumes and catchy tunes. It’s a story about sisterhood, acceptance, and finding family in unexpected places. Hale’s production captured this message beautifully. Watching Deloris embrace the nuns as her sisters—and seeing them rally around her when she’s in danger—was genuinely moving.
If I have one final nitpick, it isn’t about the show—it’s about Utah audiences. Too often I feel like audiences here are too quiet. I don’t think every performance needs a standing ovation, but please, show the actors you’re alive! Laugh when it’s funny, cheer when it’s outstanding, and clap with enthusiasm. The actors feed off that energy, and it elevates the whole performance. The Hale’s actors and crew pour heart and soul into their work, and they deserve an audience that responds with equal passion.
Overall, Sister Act at Hale Centre Theatre is dazzling, heartfelt, and an absolute joy. It’s a must-see production that proves once again why this theater is one of the finest around.
These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.
