By Michael Barbieri**** When I first discovered cabaret, the art form itself was a much simpler affair—a singer, a piano and about 12 songs. Stearns Matthews’ show, Golden Ticket: The Songs of Leslie Bricusse, was a lovely throwback to that time. Matthews stood onstage at the Laurie Beechman Theatre, in front of a mic stand, accompanied only by the talented Warren Helms at the piano, and the simplicity of the presentation was a huge part of the show’s appeal.
I first became aware of Stearns in 2008, when he was first runner-up in the MetroStar Talent Challenge at the Metropolitan Room. Despite his youth, he won the audience with his charm, wit and tremendous vocals. Since then, he’s appeared at Town Hall, Feinstein’s/54 Below and Jazz at Lincoln Center. He’s won the 2015 Bistro Award for Outstanding Recording and the 2015 MAC Award for Best Male Vocalist.
With Golden Ticket, Matthews treated us to a beautiful selection of songs by prolific and celebrated British composer, Leslie Bricusse, whose work has been seen on Broadway (Jekyll & Hyde, The Roar of the Greasepaint—the Smell of the Crowd, Stop the World—I Want to Get Off), television (Peter Pan) and films (Victor/Victoria, Willy Wonka and the Chocolate Factory). Matthews clearly respects and loves the material, and his restrained physical and vocal style allowed the audience to better appreciate the composer’s artistry.
Stearns opened the show with one of Bricusse’s best known show tunes, “Feelin’ Good,” from The Roar of the Greasepaint, written with frequent and longtime collaborator, Anthony Newley. And while I like the powerful Nina Simone arrangement, it’s been overused of late and I’ve heard too much of it, particularly in TV commercials. The version he gave us was the simple, pretty and slightly sad version from the show—refreshing and offset nicely when combined with the more upbeat “Gonna Build a Mountain” from Stop the World—I Want to Get Off. Matthews’ glorious tenor was in fine form, with crystal clear phrasing and lovely tone.
I’m a big fan of Leslie Bricusse, but as much as I thought I knew, there were actually a few surprises in store. “C-I-N-C-I-N-N-A-T-T-I,” from the 1986 version of Babes in Toyland, was new to me and adorably clever, with lyrics like ‘Cincy’s more than merely natty, she’s Ohio’s Maserati!’ And as long as I’d known the theme to the James Bond film, Goldfinger, I was somehow unaware that it had been penned by Mr. Bricusse!
Beyond surprises, however, Matthews sang some of my favorites. “You and Me,” from Victor/Victoria was a jaunty tribute to Stearns’ friendship with accompanist Helms. “I’ve Got a Golden Ticket,” from everyone’s childhood favorite, Willy Wonka, had a sweet, bouncy, if slightly laid back feel, and “The Minister’s Cat,” from Scrooge:The Musical, was a silly little ditty based on a Victorian parlor game, which Stearns enjoys, but his husband refuses to play.
The best moments came from heartfelt renditions of “If I Ruled the World,” from the musical Pickwick, sung with a lovely touch of melancholy in his voice; “The Joker” (Greasepaint), which had a nice undercurrent of anger; and a beautiful “Crazy World” (Victor/Victoria), done with no extraneous flourishes, just quiet ease.
If I had any negative critique, it would be that I wanted a bit more variation in emotion throughout the evening. “Goldfinger” could’ve used more intensity; Stop the World’s “Once in a Lifetime” was beautifully sung, but a little detached, emotionally; and “Look at That Face” (Greasepaint) held a missed opportunity for Stearns to change up the tone of the show a bit, and give us a little of Bricusse’s, and his own, sly humor in the wicked second verse. All that aside, though, the show closed on a hopeful note, with Greasepaint’s “Sweet Beginning” promising new and brighter things to come.
I enjoyed Golden Ticket—not just the music, but the show’s simple, old-school vibe. And there’s a wealth of material from Bricusse yet untapped. I’d love to hear what Stearns could do with some of the songs from the 1967 Rex Harrison film, Doctor Dolittle! With a winning performer like Stearns Matthews and so many more songs to explore, perhaps he could bring us a follow up show: Another Golden Ticket! If he does, I know I’ll be there to see him!
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