Intimate Evening With Sam Harris, An

Singer/actor Sam Harris scored big on Broadway, earning a Tony nomination for his starring role in the Cy Coleman musical The Life. More recently he won acclaim in the West Coast revival of "Hair." The trim, boyish-looking Harris is scoring big in his debut at Arci's where his friendly demeanor and stand-up comedy-implemented set proves an asset in this intimate room. Dressed in Ninja warrior basic black, Harris has a somewhat retro look that is as disarming as the casual attitude with which he frames his diverse and varied material.

The Oklahoma-born Harris opens his set insinuatingly with the 1932 Arlen/Koehler blues, "The Wail Of The Reefer Man," about which he adds jokingly "I never smoked pot with Arlen, but I did share some Ecstasy once with Cy Coleman." Pushing his voice a little more aggressively through Jones/Schmidt's "I Can See It," he gives us a sample of his strong pipes and the energy with which he likes to invigorate songs. Augmented with Harris' own lyrics, the comical subtexts of both Sondheim's "You Could Drive A Person Crazy," and the Danny Kaye/Sylvia Fine ditty "The Torch Singer" are funnily embroidered. Harris' ability to personalize some material that male singers often do not sing, like the Rodgers/Hammerstein "Cockeyed Optimist," Arlen/Koehler's "I've Got a Right to Sing the Blues," and "Stormy Weather," and the Deitz/Schwartz "By Myself," say a lot about his willingness to bare his soul, with the latter song acting as a personal anthem.

Perched on a stool next to the piano and later perched atop the piano, Harris gets a little carried away with the Mercer/Tauber saloon song "Drinking Again," and in his sentimental finale "In My Life." Because of his ingratiating style, Harris easily prompts the audience to join him in the Lennon/McCartney lyrics. One may suspect that Harris is still looking for a more individualized musical identity and one that doesn't prompt us to think of Judy Garland. Some of his stand-up comedy, which includes a long stretch about his moving to L.A., could be cut. This, as well as the reading, amusing as it is, of a tome mocking the trend of modern theater program bios that tend to include the actor's philosophy on life, could be shortened a little for greater effect. Steve Marzullo's piano accompaniment is distinctive and marked by his rapport with the singer.

Added note: There is no cabaret in town that can compare with the cuisine at Arci's. When you go, plan on dinner.