‘Wonderful, Wonderful’ Describes Johnny Mathis SPAC Performance

by Marilyn Nason, The Post-Star, August 5, 1970

“Wonderful, Wonderful,” was not only Johnny Mathis’ first hit, it aptly describes the fantastic performance of this excellent young singer last night at Saratoga Performing Arts Center.

With some 4,000 attending, this personable, almost shy entertainer sang dozens of songs, many his own hits through the years and many either his own personal favorites or simply a cross-section of the latest. They ranged from the great standard “Day In, Day Out”; to “Charade”; “Raindrops Keep Falling On My Head”; “Love Look Away,” the rarely sung but truly lovely love ballad from “Flower Drum Song”; “Misty”; “Close to You”; and the thrilling love theme from “Romeo and Juliet.”

He offered a medley that ranged from, “It’s Not for Me to Say,” to “Chances Are”; and the aforementioned, “Wonderful, Wonderful”; then sang, “Maria,” from “West Side Story,” indicating this is his own personal favorite. The way he crooned it was of the swooning era of Frank Sinatra and really wrapped the audience into a neat package marked “personal property of Johnny Mathis.”

Closing number started with the theme from “Man Of La Mancha,” then moved to the ever-impressive “Impossible
Dreams,” which brought thunderous applause as a multifaceted glass ball was lowered from the stage ceiling, a spotlight cast on it and thousands of glittering “stars” circled the stage, Mathis, the orchestra and the audience. It was truly a fitting and spectacular ending to a perfect show.

SPAC audiences have become just about the greatest ever recently, thoroughly attentive and appreciative and ready to show the performer their talented efforts were appreciated. Last night was no exception, for Mathis received a long standing ovation with shouts of “more” but he was quickly whisked away in a station wagon while the orchestra of Al Corbin was still playing the closing notes.

To watch Mathis close up (and we were treated to a rare bit of good fortune last night after five consecutive years of
SPAC coverage with a front row seat) is to marvel at how this rather slightly-built, none-too-tall young man can produce the clear, magnificent sounds and sustained notes. His breath control is nothing short of miraculous and all so effortlessly. Even close up, he hardly seems to take even a deep breath and certainiy did not appear winded.

One can only assume he has achieved some kind of almost mysterious way of using his voice, his diaphragm and his mouth to create these sounds, a la an instrument really, at least that’s the way it appeared as he moved from one tune to another.

His perfect enunciation, his sense of tempo and his shy, almost uncertain way at the microphone (no gyrations or wild flaying of the arms to achieve affect) creates a quiet onstage effect, permitting audiences to concentrate on enjoyment of what is certainly one of the finest, purest voices heard today and certain to be around for many years, long after the “shooting stars” have faded from sight.

Warm-up backing group for Mathis was one of the best comic-singing team ever for SPAC—Bruce Belland and David Somerville. They will appear on the CBS’ Tim Conway Show this fall and offered some excellent comedy routines, often quite reminiscent of Martin and Lewis in their heyday.

Tonight, SPAC stage will be dark with the Philadelphia Orchestra offering its second and final matinee at 2:30 p.m.