'why don't you smize?'

Because that creates a bright, nasal tone that flattens out the full voice. American singers push it sharp, which sounds aggressively ugly to me. That's a trick to sharpen certain harmony notes, not something to do 24/7. That's why nobody likes musical theatre: bad singing from a mic-based technique. Most real singers find that sound intolerable. The diction is ok, but they're autotuned on stage these days. Look at Sinatra or Mathis, who don't sing like that. https://www.youtube.com/watch?v=NJFj1YCyN6w&list=RDNJFj1YCyN6w&start_radio=1 https://www.youtube.com/watch?v=93TGcvrkIBA&list=RD93TGcvrkIBA&start_radio=1 Notice that they're using microphones, but they're really singing out. - The real voice, as I said in Beatles Invade NZ, is in the belly and the throat. To sing like me, it takes controlling the larynx and diaphragm. In opera, people use 'the mask' instead of the Disneyland smile. The vowel formants are shapes that resonate extremely well. Here's Goulet doing it for a Broadway show: https://www.youtube.com/watch?v=xL52hEArSfM&list=RDxL52hEArSfM&start_radio=1 - That limits the sound, though. Bluegrass singing projects cleanly too, and that's a sound that is built from a high-larynx effect. It's about developing a broader toolset, then using those if they crop up in a musical. That's what I do in my Nylon Balladeer albums.