Mary Wilson decided to amp up the energy and volume levels for this show which concentrated heavily on the Supremes and old R&B hits from the ‘60s. From her most famous incarnation in the most popular of all girl groups came a selection of hit after hit—“Love Child,” “My World Is Empty Without You” and “Reflections”—that set the tone for the evening. Wilson sounded raw and ragged, perhaps nursing a cold, but still muscled through these numbers on pure professionalism. The lovely ballad “Here’s to Life” had notes clipped short, followed by “Body and Soul,” which seemed to stretch her voice.

Sting’s “Fields of Gold” and the Norah Jones hit “Don’t Know Why” found Wilson back in form. An extended series of ‘60s hit songs (“Dancing in the Streets,” “Baby Love,” “Stop in the Name of Love,” “You Can’t Hurry Love” and “Come See About Me”) had the audience up and out of their seats and fans onstage singing backup. Concentrating the evening on pop hits is a slam-dunk for Wilson, but left me wanting a tad more artistry and range, which she is certainly capable of. A glimmer of her greatness was in the set’s closing rendition of Joni Mitchell’s “Both Sides Now,” a song that Wilson says defines her philosophy. It’s a stunning arrangement and highlights the very best of Mary Wilson.

Steve Murray
Cabaret Scenes
September 22, 2010
www.cabaretscenes.org