A packed house filled TPAC’s Polk Theater as Sister Act took the stage, delivering a high-energy performance that kept the audience engaged from start to finish. From the opening moments, the production established a lively tone, blending masterful vocals, humor and entertaining choreography.
Presented by Nashville Repertory Theatre as part of Nashville’s vibrant theater scene, Sister Act is a high-energy musical comedy inspired by the 1992 film starring Whoopi Goldberg, featuring music by Alan Menken and lyrics by Glenn Slater. The story centers on Deloris Van Cartier, an aspiring singer whose life takes an unexpected turn when she witnesses a crime and is placed in protective custody. Her hiding place—a convent—becomes the backdrop for both comedic moments and personal transformation. While there, she uses her musical ability to breathe new life into the church choir, ultimately discovering a deeper sense of purpose. The show blends gospel, soul and disco influences into a lively score that underscores its uplifting message.
Under the direction of Jason Spelbring, with music direction by Sarah Michele Bailey, the production showcases a strong lineup of Nashville talent, led by Meggan Utech as Deloris Van Cartier and Megan Murphy Chambers as Mother Superior.
At the center of it all is Meggan Utech as Deloris, whose performance anchors the production. She delivers a strong and confident portrayal, blending vocal power with natural comedic timing. Her presence on stage is commanding, and she moves seamlessly between the show’s lighter, laugh-out-loud moments and its more sincere, reflective scenes. It’s a performance that keeps the audience invested throughout.
The supporting cast adds depth and balance to the production. Shelby Talbert as Sister Mary Robert brings a quieter, more reserved energy that evolves over the course of the show, while Katie Bruno as Sister Mary Patrick provides consistent humor and warmth. The ensemble deserves recognition as well, particularly in the choir scenes, where the full cast comes together to create some of the production’s most memorable moments.
Singing in the show was soulful. The musical numbers were lively and well-executed. Harmonies supported and elevated the storytelling. The choreography added another layer of energy, keeping the pace moving and adding momentum. These moments, combined with vibrant and thoughtfully designed costumes, helped create a visually engaging experience. The contrast between Deloris’ bold personality and the more traditional convent setting was especially effective and added to the overall charm of the production.
The humor in the show’s dialog was witty. Jokes landed well and kept the audience amused throughout the production. The back-and-forth between the nuns and Deloris was genuinely funny, with a rhythm that kept the audience engaged. Running gags—especially those involving Eddie—continued to land throughout the show, creating the kind of laughter that felt shared, almost like the audience was in on a long-standing inside joke. At the same time, the storyline maintained an uplifting tone, centered on friendship, faith and personal growth, without feeling overly predictable.
Overall, this production of Sister Act delivered exactly what audiences hope for: strong performances, high-energy musical numbers and a story that resonates. The audience response throughout the show reflected its broad appeal and engaging delivery. It’s not too late to catch the show, with remaining performances scheduled for Thursday, April 16 at 7:30 p.m.; Friday, April 17 at 7:30 p.m.; Saturday, April 18 at 2:00 p.m. and 7:30 p.m.; and Sunday, April 19 at 2:00 p.m.
As part of its ongoing 2025–2026 season, Nashville Repertory Theatre is also preparing to launch the Ingram New Works Next Stage initiative with Bloodsucking Leech, a dark comedy that first gained attention during the Ingram New Works Festival. Written by Amy Tofte, the play follows Erica, a woman determined to shield her aging mother from online scams, only to find herself pulled into a spiraling mix of paranoia, guilt and humor. The production explores the absurdity of modern anxieties and the unexpected fears we create. Bloodsucking Leech is scheduled to run May 14–17, 2026, at the Noah Liff Opera Center.
