What matters to Martin Vidnovic? Let's guess - Romance. He opened his show at the Metropolitan Room with a medley of "It's Almost Like Being in Love," "Some Enchanted Evening," and "My Romance." All performed in his robust theatre voice, connecting smoothly with his audience, and without saying a word.

Not that Vidnovic did not go on to offer plenty of patter in this show, sometimes veering in offbeat directions. He set up his songs effectively and illustrated a wacky sense of humor with a Marx Brothers tribute of "Lydia, The Tattooed Lady," and a comical, "The Dying Cowboy." Tom Jones' "Delilah" via Vidnovic was a rousing addition, as was the devilish "Jackie," from Jacques Brel Is Alive and Living in Paris.

Vidnovic's vocal tone needs no microphone; in fact, it would have been more effective to occasionally put down the mike and sing unplugged, especially his encore, "There's a Place For Us." The Vidnovic Voice is constructed to fill a theatre, which he has done many times in his career. In this show, however, he was putting the same volume into a cabaret room and cutting back the intimacy.

Decibels aside, Vidnovic presented a generous selection of songs that obviously mean a lot to him. "Laura," of course, refers to his daughter, Laura Benanti, a standout hit playing Gypsy Rose Lee in the Encore's recent revival of Gypsy. He mentioned his idol, Sergio Franchi, and in a salute, sang the heartfelt Neapolitan love song, "Core 'n Grato." Referring to his Broadway career, Vidnovic offered tender renditions of "We Kiss in A Shadow" and "This Nearly Was Mine," both from The King and I, and from Oklahoma, he shone with Judd's lament, "Lonely Room." Vidnovic was accompanied by musical director, James Followell, on piano.

Kudos to Vidnovic for his vocal, dramatic and comedic talent, but volume-wise, it was sometimes too much of a good thing.

Elizabeth Ahlfors
Cabaret Scenes
August 6, 2007
www.cabaretscenes.org