Title and subtitle tell what the show at Florida Studio Theatre during its summertime season of visiting troupes is all about. Vocalists highlighted are Barbra Streisand, Whitney Houston, Carole King, Cher, Celine Dion, Bette Midler, and Aretha Franklin. Still each of the trio of performers brings in her own personality, along with each wearing stunning sequined costumes in different styles but matching colors.
Diminutive blond Samantha Duval tends to solo the softest songs, like the 1980 ABBA hit “The Winner Takes it All,” but actually none are done totally softly. Not by sweet brunette Charity Farrell or the dominant darker, heavier, most confident Crystal Alicia Garrett. Much is made of Garrett’s having been a Miss South Carolina and why, so it’s no surprise when she recalls Gladys Knight and Aretha Franklin strongly in her songs.
Both Acts of the revue begin with all three divas doing a time-scanning medley. In Act I, it’s a “60s Girl Group Medley” including favorites “One Fine Day”, “Will You Still Love Me Tomorrow”, and “Ain’t no Mountain High Enough.” Act II starts with a “Disco Medley” consisting of “We Are Family,” “Car Wash,” and “It’s Raining Men” that were known mainly as much for movement as vocalization.
Various sections of the opening night audience seemed to favor certain selections. Dolly Parton songs scored with the elders, whereas younger listeners most applauded “Midnight Train to Georgia,” “I Wanna Dance with Somebody” and “River Deep, Mountain High.” Everyone loved the ending “A Natural Woman.”
Much enjoyment of the divas is determined by how much one likes their “powerhouse performances” with “powerhouse voices”. The technique can either seem thrilling or a bit too much the same by ending near screaming (however controlled), no matter what the lyrics say. The divas sometimes vary their power endings when they work as a trio, being quite effective.
There are on the sides of the stage interesting projections related to song lyrics or the period in which they became important. Both slides and film clips project stills like those of embraces or movie action (usually cuts from movie musicals).
The program doesn’t tell designer of the stage’s curtained background but it’s varied in color and tone by FST’s lighting director, along with his design of overall illumination. All sound is well handled by FST’s sound designer and also the board operator. FST does a fine job of abetting Nancy Allen Productions.
