Miracle Time brought a Metrostar talent search contender back to the Metropolitan Room. Timothy Mathis returned, accompanying himself at the piano, with a program of his own delightfully melodic compositions. The show’s light-hearted success owed much to his pleasing voice and gregarious personality.  Interestingly, most of his songs were not generic, but firmly nailed to a very specific character, time and place – the songs reminding one of those to be found advancing the plot in Broadway musicals.  At their best, Mathis’ songs conjure such distinct characters that one hopes he has the chance to make his mark in musical theater.

For a program dedicated to new songs, it was surprisingly autobiographical, as Mathis detailed the various sources of his musical inspirations. One such song, “ripped from my life” he claimed, was “The Man Reading Kafka on the Train,” which chronicled a characteristically lost opportunity for Mathis to establish an emotional connection. Another is “I Noticed You Noticing Me” from a night at Uncle Charlie’s bar.

“Waterloo,” a tune about a waitress in an Iowa diner and her response to her small town existence, evoked favorable comparison with The Best Little Whorehouse in Texas and Doatsy Mae’s plaint of “I wanted to, I wanted to…But I never could.”

Sometimes, Mathis explained, his experiences suggested song titles and only then, lyrics to match.  “As Much as the Next Guy” came from a remark to himself at a two a.m. visit to the refrigerator when he was about to substitute a piece of pie for a glass of wine, then decided “I like a nightcap as much as the next guy.”  The thought metamorphosed into a love song, ending with “I couldn’t love you as much as the next guy. Baby, I’d love you more.”

Timothy Mathis is an ingratiating performer and a promising songwriter. Given the right opportunities and a modicum of good luck, he could be someone we’ll be hearing much more about.  Tech director Michael Barbieri graced the show with appealing lighting and balanced sound.

Peter Leavy
Cabaret Scenes
November 5, 2008
www.cabaretscenes.org