Review: Abigail Brooks Makes NYC Debut With JOYFUL AND TRIUMPHANT at Chelsea Table + Stage

At the end of the Abigail Brooks show at Chelsea Table + Stage on December 9th, my husband (a mild-mannered man not prone to exaggeration) said to me, "That voice is EPIC." Since anything I might write about Ms. Brooks would be a step down from Epic, let us just say that the gentleman is right. Abigail Brooks has one heck of a voice and let us all hope that the singer who has just taken her first bow on the cabaret and concert stage will continue to use it, moving forward.

Brooks, one of the talented singing actors who has made the most of the internet airwaves by using their talent and tenacity to build a name for themselves, chose the holiday season to make her cabaret debut because it is a special time of year for her. To that end, Abigail named her show JOYFUL AND TRIUMPHANT and she curated a series of songs from throughout her life that have left warm and cozy memories on her heart. Then she gathered together some cherished friends (including Musical Director Sharon Kenny), picked out the right outfit (a festive Christmas-red pantsuit), and threw herself into the season, selecting whimsical tunes like opening number "I Want a Hippopotamus For Christmas," lullabies like "Count Your Blessings" from the film White Christmas, and Christmas music, both songs and carols, that holds meaning for her. And with guests like tap dance machine Melissa Jones, speed singer Sadie Jane Kennedy, harmonizing Hallie Bond, and three of her gifted Chelsea Table colleagues (Caitie Frownfelter, Tyler Ledbetter, and Jack Issler), Ms. Brooks presented her own Christmas variety show, resonant of heart and chock-a-block with fun.

The Chelsea Table troupe's performance of "Snow" was greatly enjoyable, with all of the singing actors showcasing splendid abilities with the harmonies originally performed by Bing, Danny, Rosemary Clooney, and Trudy Stevens (who dubbed Vera Ellen in the film), and there is never a bad time for some tap dancing; Melissa Jones really delivered the dance and the vocals during Abigail's unique take on "Little Drummer Boy" (Jones was so good that it made me and my husband both wish that she would put together her own show). Even with all of her lovely friends there to make things feel like a Christmas party, though, all eyes were on Ms. Brooks. After all, this was her New York club debut, and everyone was wondering what it would look like to have the TikTok artist right in front of them, doing her thing.

Well, it looked great. Abigail is a very talented singer and a charming young lady that is easy to listen to, as she expounds on past events that have made her who she is and given her the points of view that she has. There is no denying the special quality of her voice, one that is crystal clear in its soprano, and superbly trained (Abigail's breath control is so impressive that it actually demands to be paid attention to). Indeed, this could, well, be the voice of an angel, if a person believes in that sort of thing. It is absolutely pure, beautiful, and more than easy to listen to: it is a joy to listen to. Nothing could have been a better example of just what a joy it is than the acapella "Silent Night"performed in honor of Abigail's father, who sang the song to her in her youth. It was a lovely and personal moment, one of a few, since Abigail took some opportunities to share with her audience some of her life experiences, some of her innermost thoughts and feelings about being a New York City artist, and some specific reasons for her song selection, like her connection to the song "Tennessee Christmas," even though she, herself, does not hail from The Volunteer State. It was all a charming way for Ms. Brooks to get her feet wet with the art form, to introduce herself to the community, and to find out if a career in cabaret and concert is what she seeks. If this is, indeed, what Abigail seeks, this reviewer has a few notes that might prove handy, before the next outing.

There is no credited director for Abigail Brooks' show, which wasn't a cabaret, and it wasn't a concer: this was a "set" - she herself called it a set at the end of the far-too-short (forty-three minutes) evening. A director is essential for your cabaret or concert - if that is what an artist wishes to present. It doesn't appear that what Abigail Brooks wants to do (or should do) is a set - there was too much content in JOYFUL AND TRIUMPHANT for it to be a mere set. It looked like Brooks was aiming for a Christmas Special, like the ones Michael Bublé does, and that requires a director to help craft a script that takes the audience on a journey, a script that keeps the artist on point and in motion, a script that builds a foundation for the program, thus giving the actor a sense of security. Once a director, script, and additional fifteen minutes are in place, Abigail Brooks will have a club act, rather than a set. The other note this writer would like to offer Abigail is a simple but important one that all brand-new club artists have to learn: watch your sightlines. Many clubs in New York City (around the world, in fact) have three audiences - one to the front, one to the right, one to the left. An artist cannot play their entire show facing out because the people to the right and the left will be cut off, and audience connection is key. The placement of microphones and music stands has to be meticulously arranged so that audience members from all three sides can have, at least, one or two glimpses of the singer(s). Mics not being used must be moved back, music stands must be lowered, and tables situated behind the front mic must be included in the action, from time to time, otherwise those guests' only view is that of the pianist's back and the singer's backside, and that isn't fair to a paying patron. A director can help with these small details and many others, freeing up the actor to focus on their storytelling.

And Abigail Brooks is a storyteller. It's easy to see how much she enjoyed the small venue experience on Friday night - she's a natural, she is a charmer, and one with a singing voice that people will want to hear, some might even say an epic voice that people will want to hear. It's going to be fun to see what her next show will be (hopefully sooner, rather than later), how her artistry will grow with more stage time under her belt, and what the burgeoning relationship between she and the artform of cabaret will be. This could be the start of a wonderful relationship - two, in fact: one between Abigail and the artform, and one between Abigail and the audience. There is promise here.

And an Epic voice.

The full cast of artists from JOYFUL AND TRIUMPHANT was

Singer: Abigail Brooks

Piano: Sharon Kenny

Bass: Gene Taylor

Drums: Joe Choroszewski

Guest singers: Hallie Bond, Melissa Jones, Sadie Jane Kennedy, Caitlin Frownfelter, Tyler Ledbetter, Jack Issler

Find great shows to see at Chelsea Table + Stage HERE.

Abigail Brooks can be found on Instagram HERE, on YouTube HERE, and on TikTok HERE.

Photos by Stephen Mosher; Visit the Stephen Mosher website HERE.

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