Holmes at home in Cabaret Theatre

Joe Delaney

Friday, April 30, 1999 | 9:43 a.m.

Clint Holmes has obviously made a home for himself in the Golden Nugget's Cabaret Theatre, if the near-capacity crowd, enthusiastic response throughout and two spontaneous standing ovations at the show caught are any indication. Holmes has wisely surrounded himself with the best possible accompaniment with longtime friend, musical director, pianist and part-time participant Bill Payne, in charge of a dynamite six-piece group plus four incredible backup singers.

Holmes does not use an opening act for his 80-minute, concert-type presentation and certainly doesn't seem to need one. The orchestra has a brief chance at setting up his quiet entrance and makes the most of it. "Get Here (If You Can)" is a strong opener for the affable, very much at ease (most of the time) Holmes. "While The City Sleeps" rocks mightily, and the audience, a mixture of young and old, responds in kind. "If I Could Change The World" gives the brilliant Philip Wigfall, who doubles on alto sax and flute, a chance to establish a very strong presence. "For The First Time" is an effective mid-tempo statement, thanks to Payne's solo piano backing. "One Note Samba" gives Holmes a chance to reveal two of his early influences, Al Jarreau and Bobby McFerrin. "The Cup Of Life" is more of the same.

"Wanna Be" and "Gotta Be" bring the four singers down front and give them a chance to be musically and vocally versatile. Holmes has an easy, conversational style and talks well with the audience. His chat is biographical and, at times, quite funny. "America Was Waiting" tells of the travail of his parents -- a mixed marriage, two very talented people -- when they settled in this country.

"Sometimes You Have To Go Through Hell To Get To Heaven" tells of their triumph over adversity. Lucy Shropshire joins Holmes for a highlight duet on the song. He throws in just a little bit of opera as his mother's contribution to his career and a whole lot of good jazz with each member of the orchestra as a tribute to his jazz-singer father in a show-stopping "At The Rendezvous."

Somewhere in there he worked in a touch of an accurate, humorous take-off on Johnny Mathis. "Sometimes When We Touch" is properly placed next-to-closing. He gives it a bravura reading. He adds an encore, "Whatever Happens," for an equally effective second closing number.

Homes could be a big winner here, but it will take more than word-of-mouth. He's worth an all-out marketing effort.