In her last one-woman show, TELL ME THE TRUTH ABOUT LOVE, Kingsley performed songs by classical composers "under the influence of cabaret."  David Finkle of Backstage said, "I'm still thinking about the hilarious yet subtle drunk she threw during the William Bolcom-Arnold Weinstein 'At the Last Lousy Moments of Love.'"  He called her, "[d]ark, fleshy, sexy, and proudly Greek" and ended his enthusiastic review of her Danny's debut with ". . .she's good enough for an audience to want to hear plenty more."

 

What reviewers and audiences alike have seen is that Kingsley doesn't just sing songs, she becomes them.  Every piece is informed by a theatrical passion that has always been her hallmark as both actress and singer.  The Virginian-Pilot called her Cleopatra in Shakespeare's Antony and Cleopatra "a compelling creation, refreshingly regal, coy and feminine" and the Richmond News Leader added "petulant, seductive, jealous, childlike yet mature, neurotic -- and gloriously, theatrically so."  The Cleveland Plain Dealer said of her Witch in Sondheim's Into the Woods, "Dynamic hands . . . penetrating voice . . . formidable figure" and the Free Times agreed, "remarkable . . . wonderful serpentine physicality that allows her to command the stage with a simple gesture."

 

TELL ME THE TRUTH ABOUT LOVE had its birth with the Canton Symphony Orchestra, and the Canton Repository said:  Her "voice and emotions filled the room . . . she was a professional actress before studying voice, and it's easy to believe . . . adept at playing character, letting the audience know what kind of person was singing and why . . . [Kingsley's] voice seems to belong in a smoky, dimly lighted room filled with ladies and gentlemen in evening dress, sipping drinks. She has a real empathy for the cabaret genre."

 

Catch TWISTED. You'll be glad you did.