In probably the sexiest show in FST cabaret history, Gypsies, Tramps, and Thieves, three female performers exemplify the title but with sophisticated twists. Like the sparkling baubles on the blue curtained stage background, they scintillate in an opening medley characterized by its beginning “Shoop Shoop Song” subtitled “It’s In His Kiss.” FST favorite Jannie Jones leads the trio of Juliana Davis Ditmyer and Southern sweetie Meredith Jones, all in suggestive mode. The gals come on well-jeweled and in form-fitting dresses of blue, purple, and bronze with white shrugs. They remove the latter after an initial song to forcefully assert “I’m a Woman.” Their numbers are illustrated by cartoons, period ads, abstract designs, and pictures of women who made the songs famous--starting with “Nine to Five” by Dolly Parton. Then Jannie introduces but is soon joined by the others in Robert Stone’s piece that gives the show its title. Jannie is most provocative with “I Want a Little Sugar in My Bowl,” complete with full frontal gestures. “I Feel a Sin Coming On” has Juliana weaving enough to bring in Meredith. “What’s Love Got to Do with It” highlights Jannie again, followed by Juliana’s “Somewhere Out There” and Meredith emulating Bette Midler’s “The Rose.” Both “River Deep, Mountain High” in which Jannie soars and a group “Proud Mary” end Act I. Act II begins with the gals in glittery sheaths of the same colors in Act I, enhanced by feather boas for a medley well characterized by the opening “I Wish I Could Shimmy Like My Sister Kate.” They do so indeed with “Put the Blame on Mame” and “Minnie the Moocher” but get milder until “Trashy Ladies Tag” ends the set. Its down-and-dirty followers include “Pretty Legs and Great Big Knockers” by Juliana and Meredith and Jannie’s “Gravity’s a Bitch.” A change of pace comes with the narrative “The Night the Lights Went Out in Georgia,” and things get sexually milder as the end comes closer. Juliana’s “I Will Survive” sets a triumphant tone. “Feeling Good” and “Friends” unite the gals and lead toward an audience-pleasing ending with Aretha Franklin’s hit “Respect.” Director Catherine Randazzo sees to it there’s never a moment of flagging energy. In fact, movement in Act I is on such a high that it threatens to crash. But director, cast, and audience don’t let it. Throughout, all receive bolstering from Jim Prosser’s great gusto at the piano. Lighting also seems like lightning they’ve captured.
