A tribute to singing gals’ groups and their founders of the late ‘60s through ‘70s, Sistas in the Name of Soul is currently WBTT’s lively “mainstage” musical. Although the amount and range of songs are limited, the talents of their current interpreters are not. While each is vocally distinct, they’re all great at harmonizing as well. Their “We Are Sisters” number is totally believable.
Ariel Blue has long graced many a local stage as both vocalist and actress. She retains all her powers here in such numbers as “Midnight Train to Georgia,” coming down close to listeners and drawing them in. Ariel neatly leads her sisters into “Rolling” with all sorts of motion choreographed by Donald Frison and sound effects. As a result, audience members rise from their seats clapping, stamping, and upping arms. Later “Bad Girl” duplicates these effects.
Syreeta Shontee proclaims herself “Natural Woman” with the all-out vocalizing she has become famous for. She makes the most of ballads, then delves successfully into base rock with “I’ll Take You There” as one person duplicating the power of the whole offstage band. Still, Syreeta’s “Inseparable” and “You’ve Got the Best of My Love” may be even more remembered.
Of the younger singers, the tall Stephanie Sandra handles well lesser known or harder to put over songs like “Closer to Heaven.. Stephanie’s “Heartbreak” conveys its title’s effect. She often partners with shorter, intense Delores McKenzie. On her own, Delores frequently goes down to the audience level for mostly little intimate songs.
The four singers collaborate on most of the songs as introducers, back-up or equal partners. Examples of the latter are “Light Up the Night,” “Freedom,” “Hello, Hello, Hello, Hello” (starting the show’s second half), “Proud Mary,” and a rousing “We Are Family” at the end. Director Nate Jacobs blocks effectively not only cast action but also stances in support of solos or duets. There’s not an awkward assemblage at any point. Of course, Jacobs always solicits the right emotions conveyed by the lyrics of all the songs he chose and assembled for his show.
WBTT keeps its reputation for beautiful costumes, here designed by Darci Collins. Each singer has a distinctive gown color: blue, red, green, or purple. The early gowns are half white on diagonal sides with waists belted in silver to match heels. The women change during a brief musical interlude, each to their earlier color but for lovely sleek, sequined gowns.
The technical crew may surely boast Michael Pasquini with his varied, potent lighting. The background main theater windows and doors are curtained from the inside to shine through in a gorgeous often-changing array of cool to very hot colors. The big window is lit close in with small yellow-red lights and framed with regular ones. The stairway is often brightly illuminated facing the audience, and variously toned spotlights and sidelights do their job on performers throughout the show. A really professional treat!
Music is as good as it should be, but sound engineering often lets sound compete with the singers’ delivery of lyrics. Clarity can suffer. At times vocal power sounds like screaming and dims the effect of songs that actually benefit from some shouting.
The varied singers whose works comprise the show include Tina Turner, Gladys Knight and the Pips, Aretha Franklin, Diana Ross, Patti LaBelle, and The Sunbeams. Jacobs mainly lets their music, not narrative, speak for their talents and inspire his cast. All succeed.
