Guilty Pleasures Cabaret

Speakeasy Social

Chelsea Table & Stage, NYC, September 30, 2023

Reviewed by Chris Struck

Guilty Pleasures Cabaret
Photo: Amber INK

A performing group that has left a lasting impression over the years has only become better. This classy, burlesque-style, variety act continues to deliver entertaining performances that combine choreographed thrills and stunning singing. The choreography was mainly done by the exceptionally talented duo of Andrea Palesh and Bridget Bose, whose creativity continues to find enthralling ways to use the stage space to the fullest. Their audience had much to enjoy. The combination of costumes, dances, songs, and lighting was a feast for the eyes and ears, The cast members of Guilty Pleasures teased their adoring Chelsea audience and satisfied them without taking off more than a pair of gloves. These talented dancers changed costumes frequently and performed the detailed choreography that was as vintage as it was contemporary and, recalled both the Ziegfeld Follies and the Moulin Rouge dances. They left no era of music out of their show, which included Broadway classics as well as 2015’s “Black and Gold” (Brenna Whitaker) and 1996’s “No Diggity” (Dr Dre/Blackstreet). The music direction was provided by Annie and Vinnie Ester.

The vaudevillian mistress of ceremonies Marie Smith, nicknamed “Mama,” started the show by singing a tantalizing “When You’re Good to Mama” (Kander & Ebb from Chicago). She explained the show’s format (and gave a precious glittering white-and-gold lockbox to a gentleman in the front row) and reminded us to be good patrons, because “When you’re good to Mama, Mama is good to you.” One of the most exceptional performances of the evening that was had a similar style of song and a solo dance performance when Emily Britt took the stage to choreography adapted from Bob Fosse’s for “Whatever Lola Wants, Lola Gets” (Richard Adler/Jerry Ross from Damn Yankees).The dance was exceptional, the steps were neat, and Britt’s voice was clear and vibrant as she attempted to seduce a stage guest while she sang this evergreen classic in which she blended comedy and desire.

While both of those performances were astounding, Annie Ester’s depth and range on each of her numbers deserves special praise. From Miley Cyrus’ hit “Wrecking Ball” to a wonderful “Black and Gold,” she showed how far she could push her beautiful voice and how easily she could maneuver into a clean groove as she asked the audience to wait for her next appearance between dance numbers. The duo of Ester and Britt performed a number of selections, including “Nowadays” from Chicago and “A Little Party Never Killed Nobody” (Fergie/Q-Tip/GoonRock). Andrea Palesh performed an amazing light dance to the music of “All Night” (Parov Stelar). As she sang the venue went dark for a moment, which gave her the opportunity to spin a pair of high-tech ropes that lit up with a set of highly detailed designs and created colorful stories in the blindingly fast circular trails.

Playing with lights and turning off the lights has always been a feature of the Guilty Pleasures Cabarets, and this show promises to be extra spooky and spectacular at their upcoming performance on October 28 at Chelsea Table & Stage: www.gpc-entertainment.com/upcoming-shows-events