If you are in love, think you might be in love, looking to be in love, or thinking love will not ever find you, Christine Andreas’s “S’Wonderful” provides assurance that love is real and falling in love is possible.

Opening with “On a Clear Day” (Burton Lane/Alan Jay Lerner) from “On a Clear Day You Can See Forever,” Christine moves into a love pairing with “They Say It’s Wonderful” (Irving Berlin) and “I’m in Love with a Wonderful Guy” (Richard Rogers/Oscar Hammerstein II). This pair instantly grounds Christine and her music director/husband Martin Silvestri on the 54 Below stage and immediately draws the audience into their magical spell for the evening.

She then glides through the rest of her set list proving that “Love Don’t Need a Reason” (Peter Allen/Marsha Malamet) and reminds us of the important life lesson that “love is all we have for now/What we don’t have is time.” Each song is part of a well-constructed emotional arc that builds throughout the evening’s performance, which includes a standout arrangement and delivery of “Alfie.”

“Alfie,” the Burt Bacharach contemplation on life, choice, and love’s significance, becomes a showcase for Andreas’s mastery of breath, silence, and phrasing. She understands that the space between notes carries as much weight as the notes themselves.

This is especially evident during her delivery of “Moon River/Two for the Road” (Henry Mancini/Johnny Mercer/Leslie Bricusse). There, as Christine and Martin breathe as one with hearts beating as one, we are assured that, “As long as love still wears a smile/I know that we’ll be two for the road/And that’s a long, long while.” And as “drifters, off to see the world/There’s such a lot of world to see/We’re after the same rainbow’s end/Waitin’ ’round the bend/My huckleberry friend/Moon river and me.”

The magic emerges in the connection between Christine and her incredible talent, between Christine and her music director/husband Martin Silvestri, and between both of them and their audience of loyalists and newcomers.

Cabaret is about presence and vulnerability and the ability to successfully deliver both in an intimate space like the iconic 54 Below. Christine Andreas knows how to deliver those qualities with her physical presence and movement just as she does on the Broadway stage. Her vocal mastery—in tone, interpretation, quality, and phrasing—is remarkable, perhaps unparalleled.

At the end of a song like “What the World Needs Now is Love” (Burt Bacharach/Hal David) or the encore “Laughing Matters” (Dick Gallagher/Mark Waldrop), Christine, Martin, and the audience simultaneously know that the songs landed successfully. Whether the “palm bump” is visible or not, the sign of success is on everyone’s face and in everyone’s heart. That is the magic of a Christine Andreas performance whether at 54 Below or anywhere else around the world on land or at sea.