Clint Morris

Closer to Fine

The Duplex, NYC, November 2, 2017

Reviewed by Chris Struck for Cabaret Scenes

Clint Morris is a natural showman. Witty, warm, and well-dressed, he entertained his adoring, sold-out audience with a well prepared and executed story about his Southern roots meeting big-city style. When he mentioned that his mom thought that she was afraid he might be turning “Jewish” as a young boy, he killed the crowd (in laughter) by appearing to have persuaded her that he was “fine” and shrugging it off with the line, “And we never had another problem again.”

Of course, that wasn’t quite true. Mixing a little Southern fancy with a touch of Broadway bling, he had a good time sharing how, even in today’s world with all its information (and Bible study) available, his pastor, mother, and best friend could sit him down and tell him that the devil is working through him.
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Well, it’s not all that bad, Mr. Morris, because they lost out on a wonderful gentleman with a big heart, and we’re happy to have you in New York.
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Morris is a talented performer who brings excitement drenched in the powerful emotions of disappointment and abandonment. And in no song did he showcase that potential better than “Fancy” (Bobbie Gentry) about a slum girl slinging big money as a high-class prostitute.
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Even after wowing the crowd with a lovely “Lover, Come Back to Me” (Sigmund Romberg/Oscar Hammerstein II from The New Moon), where he told his story in between choruses, he proved he could awe us further. When he sat down at that piano, temporarily replacing an incredible Brian Nash (maybe the best piano player I’ve seen outside of an orchestra hall), to startle us with a resonant “I remember it all very well looking back,” he left us suspended in silence.

Besides Nash, Hunter Hoffman joined Morris on guitar for a few songs, including Dixieland tributes to stars such as Dolly Parton.
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This country boy with a city twist will hopefully be back soon to put on another show — and be better than “fine” perhaps?
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