The nun's choir, a lovely combination of voices, delivered a rich vocal prologue and epilogue. Paula Parkhust as the Mother Abbess, who must tackle an operatic solo, struggled just a little, but nonetheless delivered an affecting performance.
Prock uses the confined space with functional creativity. From Nonnberg Abbey to the slightly creepy discomfort of having a Nazi storm trooper “guarding” the end of the row, the audience is embraced by the action and the story. This involvement stops short of inviting the audience to join in singing during the “contest” — although that might also work.
On the back of the stage wall, muralists Randall Nix and Laurie Ayers-Polk have brought the magnificent Austrian Alps to life, placing the show and creating a sense of airiness in the tight confines of the Poteet stage.
The uncredited set designer has made good use of the pillars that are a permanent reality in the Poteet. The revolving set itself, while clever and effective, is also noisy to manipulate, which can be distracting.
— Anna Holloway