A 90-minute tribute to singer Tony Bennett must be a difficult thing to craft, given the wealth of material available to creators David Grapes and Todd Olson. They decided to make an interesting choice. Instead of focusing on anecdotes and famous names associated with the 87-year-old singer, this revue is all about the music.
Interestingly, the cast consists of three male performers – all dressed in three-piece suits – who take on different aspects of Tony’s career. “Young” Tony is Andrew McMath, while the “older” Tonys are represented by Rob Tucker and Eric Jon Mahlum. It is worth noting that none of these guys looks remotely like Tony Bennett, so using one’s imagination is required.
The show starts off with a sprightly rendition of Irving Berlin’s “Steppin’ Out with My Baby.” It also introduces the first of many three-part harmonies that are the show’s highlight. Although each “Tony” has his solo moment alone in the spotlight, the best numbers combine all three of them. Of course, the revue includes such Bennett standards as, “From Rags to Riches,” “The Good Life,” “Stranger in Paradise” and “Because of You.” A number of these songs feature interesting musical arrangements. The title song is a satisfying ending to many fine musical moments throughout.
More than 40 songs are performed during the show, some coming off better than others. Andrew McMath, in particular, struggles with the tricky syncopation in his songs; this is particularly evident in “The Best Is Yet to Come.” He also occasionally wanders off key. But McMath is exceptionally strong when paired with the other two singers who exude more confidence onstage. The very best numbers include a fourth performer, the incredibly gifted musical director Richard Carsey. He effortlessly makes each transition from one song to the next, and he also gets in on the act on a couple of songs. These interludes are not only great to hear, but fun to watch as well.
The show’s brief banter drops a few famous names. Bennett fans may already be aware that he got his “stage name” from Bob Hope in 1949. Or that he was the first musical performer on the old Johnny Carson TV show.
The dialogue includes interesting tidbits regarding some of the songs, as well. For instance, “I Left My Heart in San Francisco” almost got lost in the shuffle until Bennett discovered it years after he had received it.
The show is remiss in failing to mention any personal information, such as Tony Bennett’s wives, his drug use or his activism during the Civil Rights era. It also doesn’t mention some of the famous, recent singers who have sung with Bennett, such as Bono or Sting. The show also doesn’t mention that one of the reasons Bennett has been “rediscovered” by younger fans is the result of his work with Lady Gaga, Queen Latifah and Amy Winehouse.
Instead, the show’s musical offerings veer into territory claimed by other singers of Bennett’s era, such as Frank Sinatra and even Fred Astaire. Oddly, the audience is treated to peppy renditions of “Night and Day,” “That Old Black Magic,” “It’s Wonderful” and “Puttin on the Ritz.”
Set designer Megan Truscott surrounds the men with bits and pieces of a nightclub lounge, a place in which the real Tony Bennett would have felt very comfortable. As such, this concert version of Tony Bennett’s hits seemed to enchant the enrapt crowd in the intimate Stackner Cabaret. Judging from the overflow of elderly theatergoers, one guesses that the songs undoubtedly brought back fond memories, not the least of which was, “I Left My Heart in San Francisco.”
