About the Author:
As the musical adaptation of Sister Act was preparing to hop the pond from the West End in 2010, producers enlisted a veteran playwright to give the show a Broadway makeover: Douglas Carter Beane. The famously funny writer earned his third Tony Award nomination for his Sister Act efforts, having gotten nods for his two previous Rialto outings, the satirical play The Little Dog Laughed and tongue-in-cheek book for the musical Xanadu. Here, Beane reflects on the challenges of revamping a show’s existing script and shares his wisdom on what really makes “a Broadway show.”
There is such a thing as “a Broadway show,” and Sister Act needed to be a Broadway show. There’s a muscularity to it, there’s a pace to it, the characters are a certain way, and I just knew a New York audience would really go for and understand this piece. But it wasn’t there yet. As fate would have it, I happen to have grown up in Philadelphia in the '70s, when the drinking age was like a suggestion: You had to be 18 years old or very tall to get a cocktail. It was a different time ...
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