Trib­utes fill Theater at North con­cert sea­son

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time that that gen­er­a­tion had great mu­sic. Of course, even if there is a crowd of the new­gen­er­a­tion, they get a chance to knowwhat the ‘ Satur­day Night Fever’ ex­pe­ri­ence was all about.”

Acosta’s showlasts about 90min­utes and runs through the best parts of the Bee Gees’ ca­reer, he said, start­ing with the early stages in the 1960s when the group sounded “very Bri­tish, very Beatle­sish,” be­fore the broth­ers Gibb trans­formedthem­selves into “disco dance gods with the falsetto, the look and hair.”

“These songs stood the test of time be­cause of the ingredients, the in­tegrity and the writ­ing of that time,” Acosta said.

Forged from a dif­fer­ent time and place, Michael Fire­stone re­lives the hits of the King of Pop dur­ing his “I AmKing” trib­ute to Michael Jack­son, set forNov. 11.

“I’m just try­ing to hit ev­ery sin­gle iconic look and dif­fer­ent eras,” Fire­stone said of his 90- minute pro­gram, which features backup dancers and a full band plus top- of- the line cos­tumes.

He’s been im­per­son­at­ing Jack­son for al­most 20 years but said the showhe brings to Scran­ton is his best yet.

“There are some artists put here to do this, and ( Jack­son) was born a great artist,” Fire­stone said. “He was meant to be, and in 50 years, peo­ple will still be try­ing to sound like him. His mu­sic will last for­ever.”

For Cary Hoff­man— star of “My Si­na­tra,” sched­uled for Sept. 16— find­ing suc­cess as his ver­sion of Ol’ Blue Eyes means the ful­fill­ment of a life­long dream.

“As a kid, it’s all I wanted, was to be him and sing like him. That’swhat the showis about: why?” Hoff­man said. “Some peo­ple say that it has to do withmy los­ing two fa­thers. I made ( Si­na­tra’s) voice a kind of fa­ther fig­ure. The­mo­ment I heard Si­na­tra, my life was dif­fer­ent for­ever. The sound im­me­di­ately en­tranced me.”

Mu­sic was al­ready in­Hoff­man’s blood thanks to his singer mother and un­cles who served as stu­dio mu­si­cians for the likes of Ella Fitzger­ald, Mel Tormé and even Si­na­tra. Hoff­man spent count­less hours in his teenage bed­room prac­tic­ing his Si­na­tra im­per­son­ation, he re­called, and joked that he later was the only kid in his­tory to re­ceive a stand­ing ova­tion for singing at his own bar mitz­vah.

“Right then was af­fir­ma­tion that I could croon,” Hoff­man said with a laugh.

His show­blends his takes onSi­na­tra clas­sics fromthe late ’ 50s through’ 70swhile also re­count­ing his ownlove for the­mu­si­can­danec­dotes that in­clude meeting the star in the 1960s. Hoff­man’s sto­ry­telling tran­scends sim­ple mimicry­like awed­ding singer might do, he noted, andaims to trans­port his au­di­ence for a bout of joy­ful es­capism.

“Si­na­tra was kind of more than a singer. He rep­re­sented a kind of free­dom and loose­ness,” Hoff­man said. “He told us you can be your­self and any­thing you want. Si­na­tra per­son­i­fied re­bel­lion be­fore rock ’ n’ roll.”

No mat­ter­which trib­ute plays to one’s tastes, the shows prom­ise to bond multi­gen­er­a­tional au­di­ences.

“Mu­si­cal trib­utes of­fer a way to bring a sense of fa­mil­ial con­nect­ed­ness through live per­for­mances that mod­ern tech­nol­ogy just can­not de­liver,” Co­laiezzi said. “It evokesmem­o­ries and emo­tions that are shared with one another.”


Bee Gees Gold show, which lasts about 90 min­utes and runs through the best parts of the Bee Gees’ ca­reer, will be held Oct. 14 at the Theater at North, Scran­ton.

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