BWW Reviews: SIGNATURE SISTERS Christens Signature Theatre's Newest Space—The Shen

Way up on the fourth floor of Signature Theatre, previously reserved only for admin offices, three enormously talented women grace a makeshift stage in what must, by day, be a rehearsal studio. In Signature's newest cabaret offering, SIGNATURE SISTERS, the incomparable Sherri Edelen, Signature favorite Susan Derry, and the impossibly young and brilliant Florrie Bagel bring the house (or should I say room) down. The three have no trouble filling the low-ceilinged room, expressing with delicate harmonies the deep heart of female trios from across the ages.

The ladies enter from behind the audience, making their way through the low café tables that seat four guests each, nodding to the barkeep as they go. Once onstage and acquainted with their incredible pianist, Marc Lilley, the three begin a show that seems half improvised and half scripted. The audience gets a little history from Derry who tells us the brief synopsized tale of the Andrews Sisters (whom they honor with their first number, "Don't Sit Under the Apple Tree" and later, the eternal classic "Boogie Woogie Bugle Boy"), and then a bit of unscripted humor as they tumble over their lyrics, and giggling, demand to begin again.

The one-hour set covers an enormous range of eras and styles - including at once, Destiny's Child, the McGuire Sisters, and Joni Mitchell. While Derry seems most at home with classic musical theatre pieces like her solo, "Comes Once in a Lifetime" from Subways are for Sleeping, both other women transition well among vastly different songs. In the modern final number, "Bang Bang" sung by Jessie J, Ariana Grande, and Nicki Minaj, the cross-generational ladies sell the modern grit and snark of the song with ease.

Ms. Edelen herself commands attention with her first solo - "Sincerely," sung with just the right amount of sassy coquettishness to the poor, unwitting Lilley on the keys. As the other women stand to the side, singing back-up and swaying in time, Edelen sweetly serenades the object of her affection with a mischievous twinkle in her eye. Later, she gets the chance to show off with the jazzy "Sunny Side of the Street," reaching down into her lower range and really growling out the choruses to great applause. Clearly the leader onstage, Edelen proves she belongs there again and again.

The group goes a little country for Deana Carter's "Strawberry Wine" and the song really hits its stride when the piano cuts out and the three voices are left solo - overlapping in soulful, swaying harmonies. Keeping the country theme going, the trio moves on to "I'm Not Ready to Make Nice" by the Dixie Chicks - a driving, emotional power ballad about the group's anger and frustration over public political conflicts. These two songs, ripe with high emotional stakes, give the three women opportunities to exhibit their musical theatre skills; adopting personas and clicking into characters with little effort. It's no surprise that each singer's bio contains almost exclusively musical theatre credits, from Broadway to national tours to Carnegie Hall.

In this unconventional space, credit must be given to the Sound Mixer, Christopher Baine. Working with low ceilings, ambient bar/café table noise, and only two main speakers hung at the front of the audience, Baine has managed to create an excellent balance of sound. This is made particularly difficult by a talented pianist and the vastly different voices of the three performers. Derry, the soprano of the group, has a wide vibrato and a great deal of high notes; Edelen, who played Mama Rose in Signature's Gypsy this past season, employs her brassy voice and show-stopping personality; and Bagel shines above all with her gorgeous tone and impeccable technique. Baine had his work cut out for him, but thankfully succeeds in perfecting the blend of three such unique voices.

Even with the unquestionable talents of Lilley on piano, Derry and Edelen singing their hearts out, and Baine mixing it all to beat the band, there is only one true star of SIGNATURE SISTERS - Ms. Florrie Bagel. From the beginning of the night, we hear snippets of Bagel's voice holding down the bottom of the three-part harmonies or chiming in with mini solos in a group number. However, it's not until her show-stopping number towards the end of the show - an original mash-up of "(You Make Me Feel Like) A Natural Woman" and Adele's power ballad, "Someone Like You", arranged by Howard Breitbart - that we get a change to appreciate just how much she is capable of. Much like Adele, Bagel's voice retains strength and tone across every tempo, in every range, and with every dynamic marking. Crooning into her microphone, Bagel tells an incredibly compelling story of heartbreak with her furrowed brow and sad eyes. This is the night's crowning moment and leaves the audience with an undeniable yearning for more and more Florrie Bagel.

SIGNATURE SISTERS is just the beginning for the newest Signature venue, The Shen. Next up in the cabaret series is Signature Tenors, Gone Country, and a solo show by Signature Theatre's co-founder Donna Migliaccio. Although the venue is atypical and perhaps not the best suited to public performances, the intimate space is homey and allows unparalleled access to the performers. We'll miss Florrie Bagel in every other cabaret, but beyond that, Signature promises a truly exciting future for the Shen.

Picture Credit: Signature Theatre Website

SIGNATURE SISTERS: Directed and Conceived by Walter Ware III, Music Direction by Marc Lilley, Musical Arrangements by Howard Breitbart, Additional Musical Arrangements by Adam Wachter and Marc Lilley. Lighting Design and Light Board Operator: Zachary Dalton, Sound Mixer: Christopher Baine.

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