David Mills and Nina Pelton
Sister and Mister
Live at Zédel at The Crazy Coqs, London, UK, November 12, 2018
Reviewed by Fiona Coffey for Cabaret Scenes
https://pregnancytesthome.com/wp-content/languages/new/furosemide.htmljpg” alt=”” width=”212″ height=”212″ /> David Mills & Nina Pelton
Photo: Stuart Hull Photography
A double bill consisting of the sharp-suited, wickedly acerbic comedian David Mills and the lusciously soulful R&B singer Nina Pelton seemed an unlikely prospect. But these two are great friends, together on stage for the first time, they created a fabulous evening at Crazy Coqs, suffused with the spirit of their friendship, while offering ample space to showcase their distinctive talents.
Mills opened the show with “You’re a Hoe” by Betty Wright and proceeded with an expertly crafted stand-up set, with material ranging from London tapestry week to the art of navigating an orgy. It is difficult to add new things to the numerous accolades he has received for his comedic talents—take the front page of his website as read—but what was clear on this evening is that his suave, dapper persona is perfectly suited to the Crazy Coqs room. Sitting on a bar stool, with devil-may-care nonchalance, he teased, challenged, and delighted with humor both gentle and very naughty indeed. And the songs, accompanied by Tom Foskett-Barnes, rounded out Mills’ spoken routine beautifully. A passionate rendition of Alanis Morissette’s “Hands Clean” was a lovely contrast to the powder-dry quips that preceded it. Sharing a favorite song—Culture Club’s “That’s the Way”—with Pelton at the end of his set provided a delightful show moment, the latter’s harmonies offering an appetizing taste of things to come.
Pelton opened her set with a reprise of her show-stopping performance of Nina Simone-recorded “You Can Have Him” (Irving Berlin) last heard here a year ago at Harold Sanditen’s Open Mic Highlights show. With the emotional wrench and bravura of a finale song, it proved a surprisingly effective way for Pelton to introduce herself and her story. Some of us may have been wondering how things could evolve from such a climactic start, but the answer soon came: “Dr. Feelgood (Love Is a Serious Business)” showed that she can happily step into the great Aretha’s shoes and make her songs fly. This, and later on, Franklin’s classic “I Never Loved a Man (The Way I Loved You)” (Ronnie Shannon) were both delivered with effortless punch and pizzazz, with accompanists Michael Roulston (piano) and Robert Rickenberg (bass) in perfect sync. “I Heard It Through the Grapevine” inthe Gladys Knight version, featured Roulston and Rickenberg as The Pips, and had the whole room clapping and grooving. And the thrills kept coming. Pelton’s version of Jill Scott’s “Hear My Call,” was spellbinding—a heartfelt cry from the core of her soul, bringing layers of darkness and emotional depth to the original. With Paul Simon’s “Something So Right” and the Phylis Hyman/Jud Friedman/Alan Rich/Nick Martinelli “I Refuse to Be Lonely,” with which she concluded her set on an uplifting message of self-empowerment, provided an emotional climax to a hugely impressive set, wholly deserving the spontaneous standing ovation she received.
Sister and Mister was a wonderful way to spend time with two enormously gifted people who so clearly enjoy and respect each other. With two quite different sets, and two very different talents on display, this show was never intended as a tightly knitted double act, nor did it need to be. Watching Pelton and Mills take pleasure in each others performance and share just a brief time on stage together, Sister and Mister showed just what friends can do when they put their heads together. It’s an uncomplicated premise that turned out to be an unusual and riveting treat.
