Jackson shines at The Smith Center

What components go into making a successful cabaret singer? First, the voice, then communication skills and finally, strong rapport with the audience. How did Cheyenne Jackson measure up Friday for a rather full house in The Smith Center’s Cabaret Jazz? Let’s examine these elements in turn.

His voice is remarkable. He demonstrates quality and skill throughout an extraordinary range, from a rich deep baritone to a full-throated tenor and even a well-controlled and cautiously used falsetto. The voice served him well for a varied and well-chosen 75-minute set that featured the Rolling Stones’ “Satisfaction,” (can that classic rock song really be approaching 50?) as part of an eclectic assortment including the Mexican bolero “Besame Mucho,” “Something’s Coming” from “West Side Story,” “Luck Be a Lady Tonight” a la Frank Sinatra and jazz classic “Angel Eyes,” which had pianist Ben Toth singing a harmony line as he did in a couple of other pieces.

The vocals that really grabbed attention, though, were Toth’s composition “Mad Girl’s Love Song” (“I Think I Made You Up Inside My Head”) with lyrics by Sylvia Plath, Jackson’s own work “Mr. Lonely Boy,” and Joni Mitchell’s “A Case of You.” Jackson gave that song very thoughtful treatment as he sang from the pit, however, we were spoiled barely two years ago when, in the same room, singer-pianist Diana Krall gave the definitive performance of this minor classic.

If one could simply hear Jackson sing via recording it would be fine. However, a live performance demands more than notes and words, and here is where Cheyenne Jackson is puzzling. For one who prides himself on his acting accomplishments he does little to bring his audience into the performance by facial or physical expression. Given that his palate of vocal color is often — but not always — limited in scope, his reliance on “the voice” to do the communicating is sometimes misplaced.

In dealing directly with the audience he can be forthright and charming.

He also seems to need to share his life story with anyone who will listen, not always an assurance of success.

For example he told us he had just been married a month ago and introduced his new husband, Jason, who was seated at a ringside table.

He also went into several details of his experience with alcoholism from which he has been recovered for two years.

Once broached, such topics might better be left alone, but the homosexual innuendo went on for much of the evening.

Jackson is a multitalent. Before his move from his native state of Washington to New York he was involved in regional theater where he understudied in “Thoroughly Modern Millie” and surprisingly, as Radames in Verdi’s “Aida.”

Musical comedy experiences include “West Side Story,” “The Most Happy Fella,” “Damn Yankees,” and “Carousel” among others. Television credits include appearances on “30 Rock,” “Glee,” and an episode of “Law &Order.”

Other than pianist Toth, Jackson failed to credit the other two members of the very tight trio that played behind him. When asked the names of the bassist and drummer he couldn’t provide them. Reason: He had only met them that morning and couldn’t remember their names. What a tribute to the skills and talent of the professional musicians available to us in Las Vegas.

Friday’s audience included a party from Jackson’s hometown, Newport, Wash. (population 1,200), where he went to school, learned to sing, and was bitten by the acting bug.

His repartee with that group was refreshing and amusing.

He brought the evening to a close with “What a Wonderful World” juxtaposed with “Auld Lang Syne.” How eclectic can you get?