Interview: Tony Danza Makes His Return to 54 Below with STANDARDS AND STORIES

After a triumphant series of concerts at Feinstein's/54 Below, the one and only Tony Danza is returning with his cabaret show Standards and Stories. Tony will be performing six shows, February 24 & 25, March 17, 18 & 31 and April 1 at 7pm.

He was kind enough to take some time out of his sunny day in Los Angeles to speak to me about the upcoming series and things currently going on in his career.

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What's new since the last time you brought this show to 54 Below?

Do you know the song The House I Live In? I think it's one of the greatest American songs, I really do. It tells the story of America. Frank Sinatra did a short film by the same name, which actually won an honorary Academy Award, and it's about this kid who gets picked on cause he's a little different, and Frank comes up and he says you know this isn't how we treat each other, e pluribus unum, and all that. We have to respect each other, and difference is what makes American great. And I think that's beautiful and it's very relevant with everything that's going on today. So that's going in the act, that's new. But we found that the show worked last time, and if it works and people like it, why change it? But there are a few new things. It's great to be going back to 54 Below. I like to think of this as a residency. And a job in New York, that's the dream.

The definition of standard is different for everyone, what does it mean to you, how did these songs make the cut?

Standards for me are the songs I grew up with, the ones that stayed with me. I was watching the Grammys the other night and I do get hip hop, I get some of it, but I'm just thinking, what are these kids gonna hum? Standards are songs that stay with you. I grew up sort of in between two times, you know there was a lot of doo wop and then there was rock and roll. My cousin Paddy taught me to drive stick shift when I was nine years old and he would play all that stuff in the car and then my mother kind of inoculated me to Frank Sinatra. I think standards are the kind of songs that you remember, the ones that stay with you.

Despite the fact that this type of performance has always been a part of your career, do you think there are people who are still surprised to see you in this role as a song and dance man?

To be honest, I think that's the best part. People are used to seeing you a certain way and it's really hard to break through that unless you have a hit record or something. But for the most part, you toil in anonymity. But there's a good side to that. You know what the good side is? There's surprise. You shock them. When we were first putting the act together, I was working with this guy called Walter Painter, he's a choreographer, director, great dancer, amazing guy, and this is a bigger act. When I first started I had trappings. I had three dancers with me, I used to do a fifteen minute reader's digest version of Pal Joey. We would do seven songs in fifteen minutes, sets and costume. It was really elaborate. And we were having a conversation about it one day and the girl says we need a surprise and Walter came in and he said to me 'You're the surprise!' That's the good side of it, people are pleasantly surprised. Of course, in the end I really believe that people should get their money's worth, and you know if I can put it all together and make it an entertaining evening, then l'm doing my job.

What other work are you doing around New York at the moment?

I'm consumed with my Police Athletic League acting program right now. I was a PAL kid after a beat cop in my neighborhood strongly suggested that I give it a try. We serve 35,000 kids. I've been talking to them about this acting program because when you teach a kid how to act, you teach a kid how to act. When you act you have to listen, you have to speak clearly, be present, you have to drop your guard and be part of something bigger than yourself, all the things you have to do in life. We see incredible changes in kids because what these kids don't have is models. When I was a kid I had good models everywhere. I had my parents, I had the neighbors, I had the garbage man, I had the guy who crossed me at the corner, I had the beat cop. Adults. When we turned on the TV we saw Father Knows Best, Leave It To Beaver, Who's the Boss. Now we don't have as many models, and if you don't have a model, you don't know what you're supposed to look like. And so PAL provides models, provides adults that are there day in and day out for the kids. Right now I'm working on expanding the acting program, which helps these kids realize they have a stake in life.

What kind of model do you hope to be as you take the stage?

Well first of all, the character's a little happy-go-lucky right now cause he's single, and he's living in New York City at this stage in his life. But I would like to think I'm a hard-worker. And an upbeat person who's optimistic about the world in general.

What's your headspace like when you're on stage bringing Tony Danza to the audience in this setting?

I always think about executing. That's number one, let's just execute. Make sure we hit the steps, make sure you don't mess up the songs, remember the words. There's a lot you've got to do. And then sometimes I sing to people. Especially with these songs. I really try to see them as acting pieces and stories that need to be told. And I hope that I can bring a little life to them. I mean if I'm really honest, I'm thinking about the words I'm saying. In the songs and in the patter and in the book. I don't think you can do the songs justice without thinking about the words, what the song is trying to evoke, and then it becomes real for you.

What's up next for you in your career alongside this show?

I'm in Los Angeles right now, and I'm currently filming a new show called There's Johnny. It's about the Tonight Show with Johnny Carson, and being backstage. I play the legendary Freddie de Cordova, the producer. It's been great, I love being back at it. It's produced by Paul Reiser, David Steven Simon. I'm really looking forward to it. Right now I'm filming, then Thursday night I fly home to New York, Friday night Saturday night do the show at 54 Below, then the next day come back and finish this thing. And then I'm back in New York for the show in March.

Is that busy pace something you enjoy keeping up with?

I am happy when I'm working. It sort of imposes a discipline on you. I've got to vocalize today and I've got to do all the things I have to do so that I'm ready to do my job that night. Putting all that stress on yourself, flying and everything else, that's not easy on the voice, it's not easy on yourself. You know an actor's life is filled with unemployment. Even the most successful actors are unemployed most of the time. If you have a long career you just have to find a way that that doesn't throw you and that you make use of the time. For me I often think about how I get to do this. I get to do this. And I don't go up on stage to succeed anymore. The only thing I do is I go up there and have a good time. And invariable if I'm having a good time, the audience has a good time. Because they do see that this is what I love doing, and they do see that these songs mean something to me.

Tony Danza: Standards & Stories plays Feinstein's/54 Below (254 West 54th Street) on February 24 & 25, March 17, 18 & 31 and April 1 at 7pm. There is a $75-85 cover charge, $110 VIP seating, $140 premium seating and $25 food and beverage minimum. Tickets and information are available at https://54below.com