What a voice! Prinnie comes on to the stage singing, and looking like a siren, with a sparkly silvery gown and a big white flower on her hair, done up high and revealing her fine face. Applause is immediate, and introductions come next, even with a surprisingly positive comment on the hot weather, familiar to someone from the tropics.

As the title, Lady Sings the Blues, is a deliberate quote, the immediate reference to Billie Holiday is acknowledged, and associated with a more recent name, within a time frame of 100 years: Prinnie plans to go from BiIlie to Beyonce. More names are included in the one-hour show, yet never enough for the enthusiastic audience, who at the end is given a choice of who should be added: Tina Turner is the winner on the first night, and Prinnie thinks about a second edition of the show, to satisfy the many additional demands of fans.

The key elements of this winning formula go beyond cover songs and narrations about a range of female stars, focusing on their stories and suffering, with music that moves and engages the audience. There are personal elements gradually revealed, with a surprising transformation and an engaging addition that encourages audience participation.

Prinnie deserves to also be called a 'Lady', a suitable form of address for women who continue to make music history, and lift their voices along with the spirit of their generation and beyond. The cabaret format allows for intimacy and sharing, with prompt recognition and enthusiasm by the audience when well-known songs and singers are presented.

A particularly touching anecdote involves Marilyn Monroe, as she stood up, or rather sat down every night in a nightclub, to ensure that her friend Ella Fitzgerald would be singing there. Another reminder of the dark past, yet still relevant, is the supposedly taboo song 'Strange fruit', and its soulful sorrow is partly balanced by other tunes, in a performance which indeed 'is the best'.