New and creative were the driving elements behind Tom Wopat's two-night engagement at the Metropolitan Room. Consider him Everyman's Crooner, a down-to-earth sophisticate, incorporating elements of his Wisconsin farm roots, Nashville, Broadway, even the Far East. Influences from travels, adventures and genres, find their way into Wopat's ever-evolving music, and with music director/pianist Tedd Firth and David Finck on bass, he delivered his most eclectic show to date. With new twists and interpretive nuances, he performed theatre songs, standards, pop, jazz, and the poetic rendering of a Wopat original, written while making a film in Thailand. This song came out of the influence of Joni Mitchell. In a salute to Mitchell, Wopat performed one song she sang but did not write, "Twisted" (Annie Ross/Grey); one song she did write and also sang about the loneliness of "Two Grey Rooms;" and then his own song, inspired by Mitchell.

Another influence was the musicianship of Jimmy Webb; Wopat delivered a distinctive take on "The Moon's a Harsh Mistress," a cappella, and "By The Time I Get to Phoenix," shadowed with emotion and empathy. Also poignant was a meditative new look at Lennon/McCartney's "And I Love Her," as moody as the blue stage lighting.

Getting away from the tender was "But Not For Me," via jazz legend Georgie Fame, who sent it on a vocalese swing mode. The medley of West Side Story was a creative treat, with a satiny Latin "Somewhere", and a hip chill to "Keep Cool," leading into the driving "Something's Coming," "Jet's Song," and a soft closer, "I Have A Love." With Tedd Firth's full piano virtuosity, this last segment clearly highlighted Tom Wopat's theatrical chops.

Wopat delivers his music with sharp phrasing, stress, and savvy, always evoking new thoughts from the listener, who hears familiar songs with attentive appreciation.

Elizabeth Ahlfors
Cabaret Scenes
May 25, 2007
www.cabaretscenes.org