There was nothing twisted about Twisted Misters and Sisters, which took an old idea — men singing songs made famous by women and vice-versa — and created an evening of pure entertainment due to the straight-out talents of five stellar performers, each of whom had his or her own moments on stage.

For Pat Whiteman, one of the most sublime singers around, there was an achingly gorgeous version of “I’d Rather Be Sailing” (William Finn, from A New Brain) — sung in her pure, powerful voice and capped by a soaring A at the end of the line, “The sea is incredibly blue,” near the end.  She also was outstanding on “Got to Find My Heart,” by Geoffrey Leigh Tozer, for which Tozer himself played piano, and a sweet, giggly version of “All Shook Up” (Otis Blackwell).

Todd Sherry, a very funny man, delivered an over-the-top, campy — but perfectly sung — rendition of “Always True to You” (Cole Porter, from Kiss Me, Kate) —including one chorus flat on his back atop the piano, with his head down over one edge and his legs up over the other.  He also shredded the audience's collective hearts with a couple of tear-jerkers: “Something in Red” (Angela Kaset) and “Fifty Percent” (Billy Goldenberg and the Bergmans, from Ballroom).

For smoky-voiced Sandra Benton, her best moment came during a powerful reading of  “I (Who Have Nothing)” (Leiber & Stoller).  She also showed a considerably lighter side in a medley that combined a sweet, soft “Love Me Tender” with “I’m in the Mood for Love” (Jimmy McHugh and Dorothy Fields), during which she pulled various love-making accoutrements out of a shopping bag, including Reddi-wip, a bottle of wine, a dog collar, a feather duster and, finally, a dildo.

Heather Olt displayed her deep, throaty voice and comedic skills in “At This Moment” (Billy Vera)—interspersing choruses of the sweet ballad with her fond memories of an episode of TV’s Family Ties—and performed a soaring vocal about something she lacks in the lyrically silly “Fat Bottom Girls” (Brian May).

Tom Kiesche, a giant of a man, kept a straight face — though his eyes twinkled brightly — on strongly sung versions of “Gimme Gimme” (Dick Scanlan and Jeanine Tesori, from Thoroughly Modern Millie) and “Maybe This Time” (Kander & Ebb, used in the film version of Cabaret), both of which had audience members laughing at moments the songwriters never intended. He followed later with a warm, gentle take on “Come Away with Me” (Norah Jones).

Musical Director Ron Snyder played piano, Kevin Widener was on drums and Eric McCann played bass.  The show was produced and conceptualized by James Mooney.

Pictured: Benton, top left; Kiesche, top middle; Sherry, top right' Whiteman, bottom left; Olt, bottom right.

Elliot Zwiebach
Cabaret Scenes
September 19, 2012
www.cabaretscenes.org