Black and White: Two Local Reviews of WOH's "Nunsense"

The glass is either half-empty, or half-full, depending on one's point-of-view.....

Woodland Daily Democrat Review of WOH's "Nunsense"
'Nunsense' garners plenty of laughs
By ANNAMARIE BARROS/Democrat Play Reviewer

In the 1980s Dan Goggin turned a comic greeting card figure of a nun into a cabaret show that debuted in New York City in 1983.

From that show came "Nunsense" and in 1985 it became a successful off-Broadway show. Goggin received the 1986 Outer Critics' Circle Award for Best Musical, Best Book and Best Music and it has led to five sequels.

The Woodland Opera House is now presenting the original "Nunsense" for two more weekends and it is a must see, laugh-a-minute, stress-reducing, talent-laden production.

The laughter begins while the audience is being seated and some of the cast members, in their habits, come out and chat with the attendees. They ask questions such as: Are you Catholic? Would you like to become a nun? or just make small talk. The play within a play begins with a rollicking number called "Nunsense is Habit Forming" performed by Sister Mary Regina (Nancy Agee), Sister Mary Herbert (Elizabeth Monet Nielsen), Sister Robert Anne (Robin Hushbeck), Sister Mary Amnesia (Kelly Daniells), Sister Mary Leo (Jinn Schroeder) and Sister Mary Achie (Naomi Berg) at the piano.

All of the 29 skits and musical numbers were very entertaining. And each of the ladies did several numbers alone and with others.

The dancing reflected the great talent of choreographer Pamela "Pam" K. Lourentzos. It was lively and physically demanding. In many instances the cast has to sing while they danced. No small feat in nun's habits with waist-length wimples.

It would be difficult to single out any one performance over another, but some numbers deserve a special mention. Nancy Agee was superb as the Reverend Mother. She went from serious to hilarious. She danced and sang up a storm and made everyone laugh. Her comedic talent made her the perfect foil for the others. She and Elizabeth Nielsen did a rousing song and dance duet that was very different from their roles in "Ragtime."

Jinn Schroeder did a delightful interpretation of "The Dying Nun Ballet." She looked like Sally Field as the "Flying Nun" and even evoked Sally's acceptance of her Academy Award by saying "They liked me, they really liked me!"

The biggest surprise was Elizabeth Monet Nielsen doing a torch number to "Holier Than Thou." I hardly recognized the very prim and proper Anna of "Anna and the King of Siam." I didn't know Elizabeth could do it. She was great.

Robin Hushbeck was a standout as one "Just Wants to be a Star." She belted out the number like she owned it. This is her first WOH production and I'm sure she'll be back.

Kelly Daniells was a joy to watch and hear. I first noticed her in "Cinderella" and knew she was a real talent. And she proved it as Sister Mary Amnesia. She has tremendous vocal range, dancing ability and a personality that would charm anyone.

All of this talent was ably assisted by Naomi Berg at the piano. Jeff Kean did a very excellent job as director. He got the most out of all those great ladies on stage, ably assisted by Elizabeth Nielsen as music director.

So make plans to come see all this "nonsense from 'Nunsense.'" It will make the heat bearable for awhile and you'll have some great laughs.

Tickets are on sale now at $16 for adults, $14 for seniors and $8 for ages 17 and younger. Call the WOH box office at 666-9617.

Performances are on Fridays and Saturdays at 8 p.m. and Sunday at 2 p.m. through July 31.

Davis Enterprise Review of WOH's "Nunsense"
Indulging in a few bad habits
Top-notch cast undercut by dated material, risky jokes
By David Burmester, Enterprise drama critic
Published: July 19, 2005

What happens when you put six talented performers together with an indifferent piece of material?

To find out, one need go no farther than the Woodland Opera House, where Dan Goggin's community theater warhorse, "Nunsense," is the current offering.

"Nunsense," a big hit in 1985, undoubtedly generated huge crowds because it blended almost every nun cliché in the world with some lively music into what must have seemed, at the time, like an irreverent look at a reverend mother and her flock.

But in 1985, of course, most nuns still wore traditional habits, which might account for a musical about singing sisters: I guess it's pretty funny to see women in medieval garb singing and dancing like a cabaret act. This year's WOH nuns still are wearing anachronistic black and white. (After all, what's funny about a nun wearing regular clothes ... as most of them do these days?)

The play's basic premise — established early on, and generally beaten to death for the next two hours — is that 52 members of the Little Sisters of Hoboken accidentally have succumbed to botulism poisoning at the hands of the cook, Sister Julia, Child of God.

Gotta give credit, it's a good pun ... so good, in fact, that we get to hear it about 10 more times, each time accompanied by an obligatory sign of the cross.

Unfortunately, before all 52 sisters can be buried, Mother Superior uses some of the treasury to buy a new DVD player, and so four nuns currently are laid out in the kitchen freezer until funds can be raised to bury them ... and hence the evening's "benefit." Pretty funny stuff, huh?

I didn't laugh very often.

In fairness, though, I should report that other audience members did laugh. Occasionally.

I feel duty-bound to acknowledge that I belong to the church in question. That said, I found the humor less offensive than predictable. Nuns are an easy target, but few nuns these days fit the stereotype of — say — Sister Mary Hubert, Mistress of Novices, who greets entering audience members while slapping her palm with a wooden ruler.

The show includes plenty of harmless digs at things Catholic, but also occasional attempts at humor guaranteed to offend, many of them in a sketch called "Cooking with the BVM" (BVM being the "Blessed Virgin Mary"). I can't think of a better way to get a Catholic's back up ... other than, perhaps, making a crude joke about the immaculate conception (which "Nunsense" also does).

Call me thin-skinned, but I also find Polish jokes offensive, and I'm not Polish.

Still, "Nunsense" provokes some good, honest laughs, many deriving from names. Sister Mary Achi is the pianist, and Sister Mary Annette is a very bossy hand puppet. The puppet is wielded with authority by one of the most compelling performers I've seen in a long time: Kelly Daniels, playing Sister Mary Amnesia, who lost her memory when — buh-dum-bum — a crucifix fell on her.

Daniels has a riveting presence. She's pretty and lively, has a huge voice, and moves better than anyone else in the cast. Moreover, she nails her character: an appealing innocent who has no idea how appealing her innocence actually is. When she's on stage, it's hard to look at anyone else.

Despite everything I've said about this show, I'd must add, "Run, don't walk" to see Kelly Daniels. She's just brilliant.

In fact, the entire ensemble does a nice job with some pretty unfortunate material. Of special note is Robin Hushbeck as Sister Robert Anne, whose poignant second act opener, "Growing Up Catholic," is the show's best number. Hushbeck has a good voice, and she can belt with the best of them when necessary.

Nancy Agee, Elizabeth Monet Nilsen and Jinn Schroeder round out the on-stage quintet of nuns; each turns in a polished performance. Naomi Berg is a formidable presence on piano. Director Jeff Kean moves his cast around fluidly and paces the show so that slow moments are rare.

What I really wish is that the Woodland Opera House had found a better showcase for this particular cast. "Nunsense" doesn't make much sense at all for this gifted ensemble.

Copyright, 2005, The Davis Enterprise. All Rights Reserved.