The Swingeroos describe themselves as a swing-era territory band. For their third and best yet summer stint at Florida Studio Theater, exploration of Hollywood tunes begins with a tribute to the Big Bands who starred during the 1930s. It lasts for two decades of singers and instrumentalists fully into the swing mode. An even earlier tune ends the program with a Swingaroos modern number and a 1913 musical message to the Cabaret audience with appropriate updated 1937 lyrics. Glen Miller is the star among Big Band stars with “Moonlight Serenade” and “In the Mood” performed by the Swingeroos instrumentalists. They follow with “Take the A Train” as presented by Duke Ellington and then Benny Goodman’s favorite “Sing, Sing, Sing.” That’s a good lead-in to Kimberly Hawkey’s appearance singing “Hooray for Hollywood.” As a narrator, she explains how the program’s songs will come from movies in which they were featured. Kimberly sings a number of songs with reeds player Marty Peters, moving from “Love of My Life”, a 1940 Artie Shaw hit. She also occasionally strums a banjo with the boys. Outstanding among Kimberly’s solos are “Blues in the Night” from the ’41 film so-titled, “The Joint Is Really Jumpin’” of the same year, and ’43's “They’re Either Too Young or Too Old” that Bette Davis sang in a film about WWII’s Hollywood Canteen. Kimberly also talks about and imitates Latin American Carmen Miranda singing in Spanish. Marty’s outstanding Act I solo is “Minnie the Moocher,” the ’31 Cab Calloway hit that the audience gets in on. In Act II he becomes Sinatra-like with “I’ll Never Smile Again.” His sax heightens many a song as well. Each instrumentalist gets a spotlight on his performance of at least one song. Drummer Uri Zelig, like Gene Krupa, energizes “Drum Boogie” from a Barbara Stanwyck ’41 film. Steve Morley with his trumpet takes up Harry James’ style for “A Young Man With a Horn,” which Kimberly sings, then links it to the breakup of James’ marriage to Betty Grable. “I Cried for You” follows. Philip Ambuel on the upright bass shines in the spotlight for “Fascinating Rhythm” by George Gershwin, used on Broadway and in a ’43 movie. For “Tico Tico” accomplished Assaf Gleizner and his piano recall Ethel Smith in the ‘40s playing her organ hit for MGM. Assaf renders with feeling the song “I Love a Ballad” he’s written with Kimberly which she sings at the close of the show. Suits worn by the men are right for the times they are recalling. In Act I, Kimberly wears a tawny wide-brimmed hat and gown that’s tailored down to tiers of modest flounce. In Act II, to sing mostly more emotional lyrics, she shuns hat, has her hair slicked back, and wears a satiny, basically navy blue haltered gown with big diagonal white stripe. She sports rhinestone drop earrings and bracelet to match. It works for her alone and also quite well when she joins in song Marty with his navy blue suit jacket. Costumes and curtained background give the show appropriate color. The Swingaroos seem to have found the right formula of songs, patter, and manner that appeal to the typical FST Cabaret audience, especially in summertime Sarasota. No “Stormy Weather” except in song that’s applauded.
