In a program of standards (“Come Rain or Come Shine,” “Young at Heart,” etc.), Vidnovic’s presentation was entertaining in an almost perverse sort of way.  His virile baritone, offset by some self-deprecating humor, was endearing, but these assets do not automatically qualify one to pull off an idiomatic cabaret.  Ironically, following the quoting of Bennett’s words of wisdom pertaining to use of the lyric as a poem, Mr. Vidnovic proceeded to sing in a quite external (with over-emphasized attempts of “dynamic shading”) style—eschewing the velvety crooning that really separated singers like Crosby, Sinatra and Astaire from the equally talented, but differently abled show singers in the tradition of a Robert Goulet.

The collection of tunes included no fewer than four or five shabbily pieced-together medleys, bringing the kind of grin to one’s face that the Saturday Night Live “lounge lizard” spoofs provoked.  “Come Fly with Me” morphing to “Fly Me to the Moon” is as good an example as any.

All this left me deeming that some performers do better with the vehicle of a character, while others thrive on revealing themselves on stage, where as an elite few (Judy Garland) can have it both ways.

 If Mr. Vidnovic wishes to excel artistically in cabaret, a sensitive musical director (mainly for phrasing) is indicated.  I was surprised by the lack of polish in the pianism of Jay Kerr considering the plethora of superb musicians available in New York, right at one’s fingertips.

Melody Breyer-Grell
Cabaret Scenes
December 16, 2009
www.cabaretscenes.org