Anthony Nunziata: 54 Below

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Anthony Nunziata

54 Below, NYC, November 28, 2014

Reviewed by Joel Benjamin for Cabaret Scenes

Anthony-Nunziata-54Below-Cabaret-Scenes-Magzzine_212Anthony Nunziata seems to enjoy being a throwback to the era of the Rat Pack. His tight suit, skinny tie and a voice that is a hearty cross between croon and operatic all point to his love of the singers of that era like Dean Martin, Frank Sinatra and Tony Bennett. He’s blessed with good looks, great hair and a mobile, slender physique. Nunziata is most often paired with his twin brother Will, but took the solo plunge with this new show at 54 Below.

He bounded onto the stage with a slow and intense “Once in a Lifetime” (Bricusse/Newley), holding notes for effect. “Being Good” (Comden & Green/Styne) was almost a whisper, his eyes communicating more than his voice. He turned the Kern/Fields “The Way You Look Tonight” into an eager, boyish and mushy valentine. His “Come Rain or Come Shine” (Arlen/Mercer) was jazzy, gaining in passion as it rolled along.

After speaking of his dad’s influence, he brought up his brother Will for a very sexy, hip-wriggling, close harmony “This Could Be the Start of Something Big” (Steve Allen). They performed Musical Director Tedd Firth’s arrangement of two Bricusse/Newley songs: “Who Can I Turn To (When Nobody Needs Me)” and “What Kind of Fool Am I?” Although the arrangement was a tad forced, the brothers were charming as they channeled their inner Anthony Newley.

Anthony’s “Good Night, My Angel” (Billy Joel) was particularly lovely, enhanced by Tom Hubbard’s long, bowed bass accompaniment. His mini-tribute to Stephen Sondheim came in the form of two songs: a voluptuously sung “Loving You” (from Passion) and “Somewhere” (West Side Story, Bernstein), which he skillfully and slowly brought to a big finale. “When I Fall in Love” (Victor Young/Edward Heyman), that Nat King Cole standard, took on a jazzy feel. Somehow Nunziata couldn’t contain himself and wound up jumping up and down.

His only misstep was ending his show with “The Lord’s Prayer” (Albert Hay Malotte). It was simply too heavy-handed, and far too religious. A seasonal Christmas ditty would have worked better. This, frankly, was a turn-off.

Thankfully, the rest of the program, which was all about love, was first rate.

Firth led the terrific band which also included Sherrie Maricle on drums.

Joel Benjamin

A native New Yorker, Joel was always fascinated by musical theater. Luckily, he was able to be a part of seven Broadway musicals before the age of 14, quitting to pursue a pre-med degree, which led no where except back to performing in the guise of directing a touring ballet troupe. Always interested in writing, he wrote a short play in high school that was actually performed, leading to a hiatus of nearly 40 years before he returned to writing as a reviewer. Writing for Cabaret Scenes has kept him in touch with world filled with brilliance.