Review: Antonia Bennett

In the best possible way, Antonia Bennett is musically every bit Tony Bennett’s daughter. She has down cold the kind of laid-back jazz-inflected gently swinging phrasing that her father perfected more than any other artist. If anything, her rhythmic sense is even a touch more sophisticated, which makes her tendency towards bossa nova arrangements so pleasing.

Again like the elder Bennett, Antonia is the furthest thing from musically flashy. She, too, exemplifies the virtues of subtlety, precision and seamless elegance. Her ability to communicate the meaning of a song comes less from anything to do with storytelling or acting, and more from a refined sense of what musicality can express all by itself, be it in the turn of a phrase, a slightly syncopated hesitation or any number of similar things.

Her set list is exclusively from the Great American Songbook, with a strong emphasis on Gershwin. She is ably supported by a skilled jazz trio, whose approach is every bit as subtle and measured as her own.

Bennett shows great musical confidence, and on stage she projects a warm, sweet charm rather than magnetic charisma. This works for the intimate setting of cabaret, though some witty scripted patter and theatrical shaping certainly would give her winsome appeal a better frame. Recommended.

For tickets, click here.

To learn about Jonathan Warman’s directing work, see jonathanwarman.com.

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