Barrett made his first impression in Dance a Little Closer, the 1983 one-nighter by Alan Jay Lerner (his final show) and Charles Strouse, in which Barrett played half of a gay couple, singing "Why Can't the World Leave Us Alone?" while ice skating with partner Jeff Keller. During his time playing Billy Flynn in Chicago, Barrett's first Fynsworth Alley solo disc, devoted to the work of Kander and Ebb, was released. His second album features the lyrics of Lerner, and from Dance a Little Closer, Barrett includes the fine "There's Always One You Can't Forget" and "Anyone Who Loves." (The latter was sung in the show by the leading lady, in defense of the male couple's right to wed.)

Also at Encores!, Barrett was Edward Moncrief in the Lerner-Burton Lane On a Clear Day You Can See Forever, and here he preserves his sterling "She Wasn't You." Barrett recently played the doctor in a reading of a radically revised Clear Day, and the disc includes one of the doctor's numbers, "Come Back to Me." Some years back, Barrett was an excellent Tommy in Lerner and Loewe's Brigadoon at New York City Opera, but nothing from that score is included here, as Barrett recorded the role on the Angel/John McGlinn set. Nor is there anything from the Lerner-Loewe Camelot; Barrett will play King Arthur at Paper Mill Playhouse in April.

The disc includes some familiar material ("They Call the Wind Maria," "I've Grown Accustomed to Her Face"), but there are several rarely-sung numbers. Among these are two lovely items from Lolita, My Love (music by John Barry); the attractive "Let's Go Home" from Coco (Andre Previn) ; and the catchy "Headin' for New Orleans," from the unproduced film Huckleberry Finn, with music by Lane.

It's always fun to hear Lauren Bacall sing, and she's in good, sardonic form, joining Barrett for a combination of "You Haven't Changed at All" (The Day Before Spring) and "I Remember It Well" (Gigi). Tami Tappan shares "Too Late Now."

The arrangements and orchestrations sometimes disappoint. But Barrett is equally adept at ballads and up-tempo material, and his singing combines gleaming tone, flawless intonation, and fine diction. Now all Barrett needs is a leading-man part to call his own.