Friedman has been both accused of and adored for writing sentimental, uplifting anthems such as "Trust the Wind," We Can Be Kind," and "Help Is on the Way." With songs like these he does, indeed, walk a tightrope between faith and schmaltz. But it's a mistake to think of Friedman strictly in these terms, because he has written so many different kinds of tunes; Listen To My Heart features 27 of his songs, and hearing so many of them performed together should soften, if not dispel, the misconception.

True, Friedman starts the show himself by singing "Trust the Wind," a number that has a sweeping, majestic melody but an irritating lyric that essentially says to the listener, "What, me worry? The wind will solve all my problems!" Fortunately, once Friedman and his cast blow past that song, the show catches fire -- ignited by director Mark Waldrop.

The songs that follow are creatively arranged and staged to build a variety of dramatic and comic arcs that have wit, style, and character. For instance, Alix Korey sings "He Comes Home Tired" (lyrics by Muriel Robinson), a housewife's expression of love for and pride in her man. Korey gives it dignity and depth, performing it as her husband -- played by Joe Cassidy -- sits with his back to the audience and his head nodding in exhaustion. When Korey exits, Cassidy leaps to his feat, makes sure she's gone, and then sings this warning: "If You Love Me, Please Don't Feed Me" (lyrics by David Friedman/Deborah Boudreau/Scott Barnes). Next comes Korey's topper, resonating from a lyric reference in Cassidy's song: She returns to claim "I'm Not My Mother" (lyric by Muriel Robinson). This is the first of several times that Korey has the audience howling with laughter.

Friedman's comedy songs are, in fact, the show's biggest revelation. His best known work in that genre is "My Simple Wish." This endlessly funny (and honest!) number will forever be associated with Alix Korey's unmatchable rendition, which stops the show here. Also surprising are some of Friedman's darker, more dramatic numbers; most notable among them is "Catch Me," stunningly performed by Cassidy and staged to perfection by Waldrop.

Allison Briner, who has been known to do a dead-on Bernadette Peters impression, plays it straight in this revue and puts over some of Friedman's most passionate songs with brio. From "My White Knight" to "We Live on Borrowed Time," she sings expressively and with great warmth. Michael Hunsaker has a big, booming baritone that he uses to great advantage when he teams with Runolfsson for "Two Different Worlds." The entire cast is excellent, each singer bringing something entirely different to the musical table -- and they sound like a gigantic choir when they sing as an ensemble. We only wish that the show's title tune wasn't performed as a group number; it's such a personal song that it might be much better delivered as a solo.

Friedman spends most of the show sitting stage center, playing either the piano or the synthesizer, and he is a charming presence throughout. His ego is never on display but his talent most certainly is; his modesty in singing only at the very beginning and end of the show points up his graciousness. Perhaps that modesty comes from confidence: Listen To My Heart is, by far, the best presentation of David Friedman's work to date.