‘Sister Act’ stage adaptation highlights clash of singing styles
Scene from “Sister Act”
SINGAPORE—One of the most interesting things about the theater adaptation of the 1990s screen comedy, “Sister Act,” is the clash of personalities and singing styles between the lead character, the club singer-turned-murder witness, Deloris van Cartier, and Mother Superior, the leader of the convent where the former goes into hiding.
Deloris is brash and sassy, and sings with a pop-R&B vibe. On the other hand, Mother Superior is more conventional in her delivery, which aptly goes with her austere countenance. Together, they spark an interesting chemistry.
The Inquirer had a chat with Rebecca Mason-Wygal, the theater actress who plays Mother Superior, in a recent press junket hosted by Ovation Productions—the local promoter that will bring the touring production of “Sister Act” to The Theatre at Solaire from June 27 to July 9 (call 891-9999).
Rebecca Mason-Wygal
Excerpts from our interview with Rebecca:
The contrast between your and Deloris’ (Dené Hill) personalities creates some funny moments. It’s great working with Dené, who’s a consummate professional. But backstage, our roles get reversed. I’m the one who likes to crack jokes and keep things light for everyone.
Dené, meanwhile, is extremely focused—and understandably so, because she carries the entire show.
Also, she’s the one who’s opera-trained; I’m not. But from the first time I met her I could tell that she is a great talent and that the show was going to be good.
How did you prepare for the role? Did you spend some time in a convent? No, I didn’t, but I wish I did. I grew up watching the movie, though, especially the sequel, which was my favorite.
So, in a way, I feel like I have that as a base. But then again, our show is a bit different, so I needed to do research work.
Sometimes, we wonder about what other things nuns do that aren’t in the show. So, I read books. There’s this one about a woman who joined a novitiate in the 1950s; the book laid out the rituals nuns have to do, the chores they do every day. They’re very busy people.
I’m not a Catholic, so these things are all new to me. It was a nice learning experience.
Did you ever wonder how audiences in non-Catholic countries would receive the show? It’s a question I had, because I had never been anywhere in Asia prior to this tour. I wondered what it would be like bringing the shows to places that have a different mentality and culture from the United States. The show has a bit of violence, but it is very family-friendly.
Some of the jokes reference things related to the Church. Being a Catholic does help. Some of the words may be unfamiliar to you if you’re not Catholic or a religious person. And I did have to look up some of the terms myself. But I believe the show’s humor is universal.
In the beginning, the nuns sing horribly. That must be hard for you guys. Well, you actually have to be a good singer to sing that badly! When they first step out singing terribly, a conductor is in the pit leading them, because the notes they have to hit are very specific.
The singers have to rehearse to sound that bad!
How do you feel about some of the popular songs, like “I Will Follow Him,” not being in the show? It’s a little sad, but since the music is written by Alan Menken, who’s behind some of the most popular Disney films, I had no problem with that.
He’s one of my favorite composers, and it’s a privilege to sing his songs. I also believe that the new songs make the experience exciting.
