- One ticket to see Sister Act
- When: Friday, March 6, or Saturday, March 7
- Where: Palace Theater
- Door time: one hour before showtime
- Full offer value includes ticketing fees
- $29 for the upper mezzanine (up to $56.50 value)
- $35 for the mid mezzanine (up to $66.50 value)
- Click here to view the seating chart
A convent is the last place you’d expect to find smart-mouthed disco diva Deloris Van Cartier. Which is exactly why she’s there: after she witnesses her mobster boyfriend commit murder, the cops transform her into Sister Mary Clarence and convey her into the hands of a no-nonsense Mother Superior for her own protection.
Whoopi Goldberg made the role her own in the 1992 film, but the acclaimed new Broadway version adds some extra twists and glitz. This time around, Deloris’s tale gets the musical and sartorial stylings of the 1970s. Instead of oldies there’s a whole new set of originals that play both sides of the secular/spiritual divide, boasting titles including “It’s Good to be a Nun,” “Haven’t Got a Prayer,” and “Take Me to Heaven.” (Composer Alan Menken won some of his eight Oscars for work on films including Beauty and the Beast, The Little Mermaid, and Little Shop of Horrors.) The songs propel the plot as Deloris—naturally—transforms the convent’s tone-deaf choir into a starring musical attraction, while trying to fly under the radar of the mob.
In the 1920s, Thomas Lamb was the man to see if you were planning to build a theater. The designer of everything from the Orpheum in Boston to Madison Square Garden in New York, his designs fanned the flames of vaudeville and inspired so much admiration in silent-film stars that they almost spoke. So when theater impresario Sylvester Z. Poli decided to built his Palace Theater, he turned to the best. Lamb designed the Palace in a Second Renaissance Revival style, mixing Greek, Roman, Arabic, and Federal motifs into the grand lobby and domed auditorium. With such a regal foundation, Poli couldn't keep his wallet closed when decorating, and spent $1 million dressing the Theater for a king. And so well outfitted, the Theater had a good run, operating with force until 1987. Then the lights on the marquee went out, staying dark for the next 18 years. But with such undeniable beauty, it couldn't stay dark forever. A three-year, $30 million restoration and expansion brought the Palace into the 21st century, turning it into a 90,000-square-foot historical landmark. Yet now, as in the 1920s, the Theater's mission remains the same: to serve as an artistic, cultural, educational, and economic catalyst for the community.