Stearns Matthews

December 23, 2012

“The Importance of Being STEARNSest”

Don’t Tell Mama: November 19, December 16;  Duplex: January 26, February 23

It’s hard to know where to begin with Stearns Matthews, a young man blessed with talent, but who is perhaps still trying to figure out who he is as an artist. Or maybe he knows, and I’m trying to figure it out. The idea behind this show, I think, was to poke fun at himself and the way that cabaret artists can be self-involved. I’m not sure that concept worked here because Matthews never fully committed to a real diva act, and in fact told so many self-deprecating jokes, it often raised the question, “Then why are you doing this?”

The show, which was directed by Lennie Watts, boasted an ambitious, 17-song set list containing a nice selection of theatre and pop songs, but Matthews’s success with them was a mixed bag. He began the evening perched atop the piano singing “I’m Pretty” (Joe Raposo), which was perhaps not as amusing as he had hoped. A few minutes later, fun was to be had with “You I Like” (Jerry Herman), in which he duetted on the piano with his musical director, James Kenon Mitchell, then Mitchell moved to the center mic while Matthews continued to play. Mitchell played a supporting role throughout the show, which allowed for some playful back-and-forth banter between them.

Although it’s almost de rigueur these days for gay male performers to sing songs associated with females, four in a row seemed to be pushing it: “He Touched Me” (Milton Schafer, Ira Levin), “A Corset Can Do a Lot for a Lady” (Irving Gertz, Hal Levy), “Kiss the Boys Goodbye” (Frank Loesser, Victor Schertzinger), and “Could I Leave You?” (Sondheim). The middle two of the lot were amusing throwbacks, but the searing Sondheim number seemed out of place and the wrong material for this show. Later in the show, his version of “Becoming My Mother” (Brian Lasser, Gary Gardner) was much more enjoyable, in no small part because he bears an uncanny resemblance to Psycho‘s Anthony Perkins.

Aside from the self-deprecating jokes, Matthews told a story about a certain article of clothing he’d started wearing; the story didn’t enlighten or inform—it was just TMI. He also had a way of pausing after an announcement (“I’ve lost some weight” or “I just spent five months in Hawaii,” for example), as if to cue the audience for applause; he was rewarded with a smattering of it. If he had done this with the real flair of a diva—as Maggie Smith might do—it would have been funny, but, again, his delivery was lacking.

Matthews did offer a few welcome surprises. He ended his Hawaii story by saying he’d learned to play the ukulele; he then took one out and started playing and singing Chuck Berry’s novelty hit, “My Ding-a-Ling.” He also invited the audience to participate in a raffle, in which two of the prizes were objects emblazoned with his headshot photo—truly a laugh-out-loud moment.

Matthews has a supple lyric baritone with a wide range. However, except for the softer, wistful quality he brought to Noël Coward’s “Sail Away,” there was a sameness to his vocal delivery—using his comfortable mid-range at mid-power, it seemed. Imagine my surprise when he closed the show with Jerry Herman’s “I Am What I Am,” really showing some defiance and grit; I will forever remember his stirring version of the song. For an encore, he returned with another Joe Raposo piece, “Sing,” and filled it with childhood wonder. This particular performance came just two days after the horrific, heartbreaking massacre in Newtown, Connecticut. As a lump rose in my throat, this song made me realize that the show did not need a gimmick—it’s always just about the healing power of a song, honestly sung.

Stearns Matthews needs to do nothing more than give us his heart—the anger, the sorrow, the joy, the triumph. But, oh, if it were that easy…


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About the Author

Kevin Scott Hall performed in cabaret clubs for many years and recorded three CDs, including “New Light Dawning” in 1998, which received national airplay. He also worked at the legendary piano bar, Rose’s Turn, and has taught cabaret workshops and directed shows since 1995. Kevin earned his MFA in Creative Writing at City College of New York. He is an adjunct professor in the Theatre and English departments at City College and Borough of Manhattan Community College. His novel, “Off the Charts!” was published in 2010, and his memoir, “A Quarter Inch from My Heart” (Wisdom Moon), in 2014. Kevin writes a monthly column and entertainment features for Edge Media Network, writes reviews for BistroAwards.com, and freelances for other publications.