Josephine Sanges
Metropolitan Room, NYC, January 10, 2016
Reviewed by Rob Lester for Cabaret Scenes
Take Josephine Sanges’ name, lop off the last two letters, and you’d have an accurate sentence about what she did on stage—and might indeed be in tune with her understated, simple manner—but it wouldn’t begin to indicate the breadth of her talent and absolutely gloriously golden voice. In 2015 she grabbed attention as a finalist in the Metropolitan Room’s annual MetroStar competition, in the venue’s New Year’s marathon in a 3-song set that knocked me out, and in this outstanding show that included all three numbers. She also scored a coveted inclusion in October’s Mabel Mercer Foundation’s Cabaret Convention where she also impressed mightily. The unassuming lady, whose singing was confined largely to church until recent times, has one of the most ear-pleasing female vocal instruments to grace cabaret in recent years. Excuse what may sound like hyperbole, but I’m hyper-thrilled by her work and that the Metropolitan management has booked more dates for her this year.
The praise being thus heaped, I’ll let dribble a quibble or two. OK, maybe three. Not all the material is inspired choosing, some too identified with other singers or done a lot, or could be better placed in the set. Some of pianist John Cook’s arrangements are too distractingly “busy” for my taste. But at their best, they’re bliss. His fleet and inventive setting of “Ding Dong! The Witch Is Dead,” mixing in more Wizard of Oz bits, is a tour of the score that becomes a tour de force. Their combined work on his own dense and thoughtful “Pleasantville” is intriguing and blessedly mature.
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The lengthy drama of “Meadowlark” is a challenge of clear storytelling, analogy-presenting, and vocal prowess.
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Sanges soars and—here it comes—sings like a lark.
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She’s sincere and sensational. In a word—GO!
