In one of the most technically elaborate FST Cabaret shows to date, four guys and a pianist bring Hitsville, U.S.A. and Motown artistry to Sarasota—especially its now midlife adult fans. “Get Ready” they sing jubilantly, starting with a solo and zooming into a vigorous backup both musically and in movement.
As mainly Jordan Craig delivers snatches of narrative about the impact of Motown on American music and its singers, his cohorts never pause but always move their entire bodies making points. Ryan Connolly gets sweet with “Baby, I Need Your Loving” and all chime in, asking the audience to follow. The four go a capella with an “Earth Angel” that recalls their school days. Then Jim Prosser on piano backs “Come to Me” and “Money” to “Please, Mr. Postman.” Andrew Mauney stands out with “Shop Around” while Luke Minx joins in to show how the group named The Four Tops became Soul Mates. Having reached Hitsville, the group issues Diana Ross and The Supremes’ hits like “Stop! In the Name of Love!” For the end of Act I, they bring in audience participation and put two men into fuschia boas as costumes while they all sing. Audiences either love this stuff or, like me, don’t appreciate customers performing what they paid others for. The second half of the show gets into well-loved songs like “For Once in My Life” (Luke predominating) and Ryan leading “I’ll Be There” with aplomb. “My Girl” and “Ain’t No Mountain High Enough” get a lot of harmony before the guys return to “Get Ready” for the “25 Miles” that ends all but the encore. Cabaret shows usually take place before a draped background with sometimes changing lights or even added flashing ones. Soul Mates is backed by an arrangement of changing-colored circles and fronted by lighting of varying intensity. On each side wall projections show Motown historical places and others mentioned in the script, along with album covers and some abstract transitional slides. Costumes are special: shiny formal suits and showy patterned stockings in black patent leather shoes. In Part II, the guys go from blue to shiny gray vests instead of jackets but with patterned blue backs. Everything has the same flash as the choreography that never lets the men pause. I hope their hearts and voices hold out during their long stint, a worry even though, at the Court, they’re out of the Florida sun and humidity.
