Nominated for "Best Cabaret-Male Show" by Manhattan Association of Cabarets and Clubs MAC

2 Time Nominee for "Best Vocal Male" by


​​Remy Block BWW Review:

The man possesses style.
Vernon's voice is a disciplined instrument. His intonation and dynamics were impeccable all evening, and his aura saturated each tune, rendering them all uniquely his own.
Not only is Vernon a skilled vocalist, his sound is lovely and emotive.
Vernon carried it off, oozing Nosferatu chic.
The taut, lean yet rich narration was impressive.
It is exciting to be enveloped into a world that feels simultaneously idiosyncratic and completely genuine.
Vernon creates theater bordering on melodrama, yet projects a vulnerability that remains honest and secure.
He is meticulous and then spontaneously, delightfully imperfect. Vernon is his voice--strange, bright and wonderful.

Ron Forman Cabaret Scenes Review:

David Vernon is a remarkably unique talent whose stage presence is so riveting, it is virtually impossible to take your eyes off of him.
Combine that intense presence with great acting skill and a poignantly beautiful sound, and you get a very special artist.
His autobiographical show at the Metropolitan Room used an extremely relevant song list that brought the audience into the inner workings of David’s soul.
His acting skill made me believe.
I have never heard the “suicide song” “Gloomy Sunday” sung with more emotion and depth of feeling than Vernon brought to it.
What’ll I Do” and “Always,” sung as movingly as I have ever heard them performed.

Alix Cohen – Woman About Town

Though accompanying gestures are distracting, Vernon’s rendition of the song “Nature Boy” is simply lovely, his superbly controlled tenor, hypnotic.
“How Insensitive,” with sad, sighed lyrics and classical, rather than rhythmic piano accompaniment, becomes so much more wounded than that to which we’re accustomed.
Vernon’s voice is sandy with vibrato, enunciation pristine. As they swell and soar, lyrics hovers at the edge of sobbing. The artist can stage-whisper, float high, or become forcefully expansive. Every note is packed with emotion.
Shadowy evil follows with “You Fascinate Me So,” now a tango with a rose in its teeth. The new take is unnerving.
“How Long Has This Been Going On?” is also turned on its head becoming an anguished torch song when Aware phrasing communicates like a monologue.
It’s a pleasure to see an MD/pianist so in sync with a vocalist taking risks. Alex Leonard not only plays with terrific finesse but has translated Vernon’s very different, often difficult intentions to viable scenarios.
A tandem “What’ll I Do?” and “Always” sound as dreamy as they might’ve in the 1920s. “Shall We Dance” is utterly theatrical

I Am David Vernon

B​orn in the Midwest but living on the east coast David Vernon has always followed his own direction. He has created and produced many of his own conceptual concerts and has been given rise to lauded performances at The Algonquin Hotel, Metropolitan Room, Birdland, Don’t Tell Mama, the Laurie Beechman Theater and many other swell spots in New York City. 

Whether performing art songs, showtunes, jazz or the great American songbook David embodies a genre of musical interpretation and casts his spell on a wide diversity of listeners. Called “other worldly” by his critics, David has produced an extensive recording collection and he holds a keen sense of focus and deliberation in his work.

I made the decision to quit my desk job and commit myself fully to the development of my own projects. Beginning with...  

The Concert was originally intended to promote an album release based on the songs selected for its story line within the concert.  Music Director Alex Leonard was really the driving force behind the development of this point in the trilogy. I met Alex one night singing at a restaurant through my friend Sandy. I have amazing friends who hook me up with just the right people, sometimes I think sometimes others know better  what is best for me than I do. Although I had never heard or seen Alex perform I took an instant liking to him. What I remember most about first meeting him was how dignified and cordial he was. What is the most pleasant surprise of all is that he is that way all of the time. I began making trips across the river to meet with Alex and one day we got into a conversation about a relationship I was involved in during the 80’s and early 90’s. At some point Alex said “that’s your show” and my mental reaction was can I pull something so personal off in a club setting?  The story was already a segment within the Musical Theatre piece Beloved which I’d been writing. That’s when it dawned on me that the concert was to actually become the second point in the trilogy in combination with the album and the play. Metropolitan Room is the most amazing performance space and the Furshpans are a delight to work with.  The concert is fulfilling to me because it allows me to not only perform the songs featured on the album but to also include songs omitted from the albums final song list. What really makes the music blend with the story is the arrangements Alex charted for these selections. The concert is a musical documentary based on a true story but weaved together with many of our favorite compositions. 

​Recorded Live at Opera Center of America