With a gentler arrangement mixing awe and serenity, and taking a little artistic license singing the title phrase of Johnny Mathis’s early hit, Kevin Dozier halves the redundant title phrase “Wonderful, Wonderful.” Result: reduced sugar content and we really listen to the lyric. However, I do need both “wonderfuls” to praise his show. When first seen in New York a couple of years ago, the sincerity was there but he was waaaaay too low-key languid; it was Dozier dozing, lacking consistent connection and spark. Director Lennie Watts found the right dose of kerosene. Kevin’s eyes light up and the electric current begins—the songs light up, too, and soon the whole room does. A certain appealing modesty and unabashed “last of the hopeless romantics” earnest persona, thankfully, remain. High praise for his exquisite, pure high notes which remain the high point and mesmerize. (Did you hear that pin drop? Or was that your heart?) Sweet rather than stentorian, “If Ever I Would Leave You” has all the aforementioned strengths at their most potent pleasure points. He makes you believe “I Believe” and co-writer Ervin Drake, in the audience, sure looked pleased.

Bassist Jered Egan’s bowing can enhance the romance, John Redsecker’s percussion is tasteful. Musical Director/pianist Alex Rybeck’s new involving, intelligent settings paint complete pictures and elegant rhapsodic passages are not too weighty. “What a Funny Boy He Is” (Rybeck/Michael Stewart) is delicately, deftly, dreamily shaded, vocally and instrumentally.

Look for Kevin at the Laurie Beechman Theatre this autumn with, emotionally/musically, as many colors as the leaves. And, like autumn, increasingly cool.

Rob Lester
Cabaret Scenes
July 5, 2010
www.cabaretscenes.org