Stearns Matthews
Golden Ticket: The Songs of Leslie Bricusse
Laurie Beechman Theatre, NYC, April 4, 2018
Reviewed by Randolph B. Eigenbrode for Cabaret Scenes
“Less is more.”
That’s what the old adage says and, indeed, Stearns Matthews offers an economical approach to performing. Sweet and earnest, he seems to elicit an almost accidental charm with his no-frills style. But, in the case of a cabaret, is there such a thing as too little?
The piece spotlights the melodic appeal of multi-hyphenate Leslie Bricusse, whose songwriting collaborations include, most famously, Willy Wonka & the Chocolate Factory and Victor/Victoria, as well as both Stop the World, I Want to Get Off and The Roar of the Greasepaint, the Smell of the Crowd. Those titles alone cement Bricusse as skilled songsmith.
And, moreover, Matthews is a skilled vocalist. His voice is emphatically clear—a dreamy baritone that strokes phrases with an almost velvety touch. Most exciting is his end-of-phrase sailing: straight tone and then, almost at the last second, a rich and rapid vibrato. Both “Thank You Very Much” and “I’ve Got a Golden Ticket” (written with Anthony Newley) showcased his superb chops.
But, it’s his interpretations that seem overly simplistic. The intrinsically hypnotic “Goldfinger” (John Barry/Newley) played glossy—more pop ballad than menacing rhapsody. “If I Ruled the World” (Cyril Ornadel), full of ambition and hope, lacked any play or punch. And the brash and buoyant “Once in a Lifetime” (Newley) was delivered with diffidence.
In fact, the evening seemed to dissolve into an overreaching blandness– smooth and lifeless.
There were exceptions. A dedication that introduced a twinkly “Look at that Face” (Newley) seemed to engender a real lyrical connection. And “Crazy World” (Henry Mancini) matched Matthews’ simplicity tit for tat.
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While reserved, he navigated the quiet journey from passion to surrender.
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While Stearns Matthews may be a listener’s dream, this cabaret showing made one long for more.
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