Sam Harris creates excitement — through the sheer power of his voice, his ability to sustain a very high energy level and his exuberant performance style.

Harris was at the top of his game and his power throughout his set at Catalina’s — potentially exhausting himself and the audience with the amount of energy he exerted and then pushing himself even further on the next number.

What he did was more than simply sing well.  In a committed effort to please the audience, Harris entertained without holding anything back — tenderly caressing the lyrics to a sweet  “I Can’t Make You Love Me” (Mike Reid/Allen Shamblin); performing “Ain’t We Got Fun” (Richard Whiting/Gus Kahn/Raymond Egan) in vaudeville style as a wry commentary on the state of the economy; or making it personal, declaring his love for his husband in  “He Is” (by Harris, Todd Schroeder and Heather Sullivan) and for his year-old son in the sweet simplicity of Maury Yeston’s “New Words.”

But it wouldn’t be Sam without the power numbers that stopped the show — Harold Arlen’s “Stormy Weather,” Jimi Hendrix’s “Red House Blues”; and a dynamic “Don’t Rain on My Parade” (Jule Styne/Bob Merrill).

And just as quickly as he revved up the room, he lowered the decibel level to croon Rodgers and Hammerstein’s “My Favorite Things” as a ballad and expressed hope for a troubled world in a very restrained “The Rescue” (Bruce Roberts/Gavin Dillard), segueing directly into Paul Simon’s “Bridge Over Troubled Water,” starting it as a simple, quiet prayer and ever-so-gently nudging up the energy level until it became a a full-out gospel number.

Aiding and abetting Harris throughout the show was musical director Todd Schroeder, doing some of his most impressive work here with powerful key-pounding rhythms in the bluesy numbers and more restrained artistry, along with subtle vocal harmonies, during the quieter moments.

Harris wasn’t afraid to mock himself, referring to his alcoholism — 5-1/2 years sober, he said — in self-penned lyrics to Sondheim’s “I’m Still Here”; and suggesting that maybe he’s too old to do the over-the-top version of “Over the Rainbow” that his fans are used to, then declaring  that he’s not, and proving it.

Harris' appearance at the jazz club, presented by Scott Stander & Associates, Sherman Oaks, Calif., is one of several cabaret acts the firm will be booking there in upcoming months to broaden the room's appeal.  The space is large and comfortable, with excellent sight lines and an ample stage that could certainly accommodate a wide range of musical styles.

Elliot Zwiebach
Cabaret Scenes
April 10, 2009
www.cabaretscenes.org