BWW Reviews: In His First Solo Show, ANTHONY NUNZIATA Is More Slick Than Intimate at 54 Below

At this point, when reviewing singer Anthony Nunziata, I'm beginning to feel like a broken record. When I first started writing about him (and his twin brother, Will) almost five years ago, the Nunziata's shows featured family stories and several very personal songs. Anthony used some of that same material last night in his solo show at 54 Below.

Yes, Nunziata is an attractive young man with a good vocal instrument. But what once seemed warm and natural has evolved into affectation. In January, for another website, I wrote bemoaning his "slickness, a repetition of old material and the compulsion to make every number a demonstration of able young lungs." The sense that patter is over-rehearsed comes and goes. When Nunziata actually looks into faces, I feel like cheering. There's an appealing personality under there somewhere. Perhaps accustomed to larger audiences, he's lost the intimacy of cabaret. Picking a spot in the distance, looking over our heads or turning his but seeing no one, makes it appear as if he's performing for himself.

Lack of authenticity has grown. Enunciation seems exaggerated, operatic. Phrasing cuts off in the middle of a thought, where written line break occurs rather than in service of a lyric. Nunziata's left hand is in almost constant, balletic motion from pocket, to opposite elbow, folded to sweeping gesture, fist, fingers open, palm extended . . . Distraction and disconnect caused by this robs most vocals of anything but technique. I recognize almost all of the songs from previous shows. Two effective, up-tempo duets with brother Will have been endlessly repeated.

Happily, there's been a little dialing back of 11 o'clock numbers. A feathery "Distant Melody" (from Peter Pan) joined with "Lullaby" (hand on his knee), Stephen Sondheim's "Children Will Listen"--which evidences the most lyrically aware phrasing in the show and almost makes it to the end without swelling--and the very fine coupling of "Loving You" and "Somewhere," couched in Musical Director Tedd Firth's beautiful arrangement--another almost--reveal that Nunziata is certainly capable of performing with restraint. Though a signature "O Sole Mio" (unfussy and focused, with only piano) is a high spot of emotional investment, it also naturally bears a certain amount of schmaltz without diminishing affect. Along the way, alas, the meaning of lyrics has been sacrificed for concert stage showmanship.

I sincerely hoped that Anthony Nunziata's first solo outing would reflect his own personality, that he would have chosen something specific to communicate. Such was not the case. I'm afraid this was, for the most part, a collection from established repertoire with neither reason nor willing-to-share heart. A director is needed. The excellent band led by Tedd Firth, included Tom Hubbard on bass and Sherrie Maricle on drums.

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