Watching a singer like Rosemary Loar who brings a bright jazz swing and a subtle, good-humored sexiness to almost everything she sings makes you realize the crucial role good instincts play in the too often self-conscious, overly-confessional and sometimes overwrought world of cabaret singing. Such traits are on display in her new ambitious show, oddly named Sting, Stang, Stung!

at Metropolitan Room at Gotham. The show is a musical tribute to the songs of pop singer/songwriter Sting whom she basically admits to having a longtime obsession with (more on that later.)

Returning to the small stage after a brief hiatus, Ms. Loar is a rangy jazz belter who has shown herself to be an exceptional singing actress in past cabaret forays, once again shows why she should be more visible on the club scene. Her new show has some serious highlights worth noting. Rather than just toss off the words and music with the usual rah-rah pop/jazz enthusiasm, she has joined forces with some formidable jazz musicians and arrangers, starting with her ingenious musical director/arranger Frank Ponzio, master bassist Tom Hubbard and excellent drummer Vito Lesczak, who complete the onstage trio. Add to this musical contributions by John Di Pinto, Daryl Kojak, Ponzio and Loar herself, and the musical stylings were worth the price of admission alone. The arrangements were so captivating, it would be hard for any vocalist to live up to them. Loar had her work cut out for her from the fist note. Happily, she rose to the occasion in spite of a few hiccups along the way.

Some of the pop nuggets she dug up for this homage to an icon ranged from a sturdy get up and go opener "Brand New Day," arranged by Ponzio, followed by "Englishman In New York," arranged by Kojak. Both kicked off the show with a lot of spirit that resonated throughout her lively interpretations. Other highlights included a sultry "Moon Over Bourbon Street," in an outstanding arrangement by Ponzio and "All I Could Do Was Sigh," personalized through her own arrangement.

However, and it's a big one, Loar repeatedly returned to her childlike silly banter about this puerile obsession with Sting, “It was always my goal to sing with Sting.” She reached that goal when she sang backup vocals with him on the film, The Emporer's New Groove. It was fine initially. Funny, too. But to carry this triteness throughout the show,  ultimately diminished the effectiveness of what she succinctly created musically. She even told of fantasizing about the two of them in the laundry room against the washer. That's a bit more visual than is needed.

The show was void of what could have been fascinating anecdotes about this pop star. Even the slightest history of the man who has won Grammy Awards as well as international recognition for his benevolence to charities, would have sufficed. The incessant talk about her physical attraction became an obstacle that made a near-perfect musical jaunt distracting. Some more serious conversation against such a high level of musicianship and great song choices, called for occasional set-ups to compliment this pop idol's profound story songs, and would have made a good show a perfect one. An experienced director would have helped.

A golden moment became the hour's best moment with a visceral pairing of "Mad About You" in union with Noel Coward's "Mad About the Boy." This is one of the best medleys to emerge from a cabaret show in the last decade. Other terrific turns came with the more familiar “Roxanne” sung with “Tomorrow We'll See." The same was true of "Every Breath You Take" fused with "Set Them Free." It all proves what Loar is capable of and that she easily has the goods to make it all work to perfection. The material alone calls for a showcase of the highest caliber.

There are two more shows remaining on Sunday, February 21 and Friday, February 26. The Metropolitan Room is located at 34 West 22^nd Street. Reservations: (212) 206-0440.