10 Secrets of a Frank Sinatra Impersonator

In late January, Las Vegas took a step back in time to its Rat Pack heyday when FRANK The Man. The Music—a supper club-themed musical production showcasing the life and work of Frank Sinatra—made its debut at The Palazzo Theatre. Playing the role of Ol’ Blue Eyes himself is Bob Anderson, a longtime Vegas headliner whom Merv Griffin dubbed “The Singing Impressionist.” 

While Anderson’s act typically features a handful of musical impressions—from Frank to Dean Martin to Sammy Davis Jr. to Tom Jones—for FRANK, it’s all Sinatra all the time, a changeup that requires Anderson to act as both impersonator and impressionist. Here, he shares some of his trade secrets. 


“I lived on a farm in Michigan and there was always a lot of music going on with my mom and dad,” Anderson says of his childhood. “I wanted to learn to sing and I thought that the best way for me to do that without taking lessons was to listen to the greatest singers and sing along with them. So I would put their music on and try to sing to as close as I could to whichever singer I was listening to. I thought that if I could sound even a little bit like these guys I’d do well, because they were the best. Little did I know that I was really learning how to do impressions of each one of these people.” 


“At the time that I started nobody was doing singing impressions, they were usually doing big actors or political figures,” Anderson recalls. “I never planned on being a singing impressionist; I wanted to be a singer and that’s what I was doing. But this was in the 1970s and everyone was losing their record contracts, so you had to produce your own music and hope to get a distribution deal.” 


Anderson was just 20 when he arrived in Las Vegas. “I had no money, long hair, a peace sign for a belt buckle, and all that stuff," he says. "I got to Las Vegas and, after sleeping in my car, I walked into the Sahara Hotel and just started walking around. I saw the show room, opened the door, and a guy asked, ‘Can I help you, kid?’ I said I was just looking around and he asked if I’d ever seen a rehearsal. I said no, that I didn’t even know what that was. He said, ‘Why don’t you sit in that booth over there. Don’t make any noise and you can watch this.’ It was about three o’clock in the afternoon and Nancy Sinatra was up there rehearsing with a full orchestra.”

Though the Everly Brothers were scheduled as her opening act, an incident during rehearsal found Ms. Sinatra scrambling for a replacement. Call it being in the right place at the right time or simply a moment of serendipity. “She was going to open in four hours and she was stuck,” says Anderson. “She was calling everybody and nobody could get there in time. I was sitting there and realized, ‘I can do whatever she needs.’ I don’t know where I got the whatever to get up there and do it, but I walked up to the stage and—with everybody looking at me like, ‘How did this guy get in here?’—I said, ‘Hey, Nancy. I’m a singer. And I can do whatever you need.’ Everybody laughed except for the conductor. He told her, ‘Nancy, we are stuck. See if this kid can sing. It might be funny.’ I told her I knew all her duets. Her conductor, Billy Strange, started playing the song ‘Something Stupid,’ which she did with her dad. So I sang this song with her. She came off the stage, hugged me, and I opened that evening in the Sahara Hotel.” 


After that fortuitous afternoon at the Sahara Hotel, Anderson continued working with Nancy Sinatra for the next year. And she began introducing him to some of her friends and colleagues. Just days after Sinatra took him on The Merv Griffin Show, Anderson got a call from Paul Anka, who had seen his performance and asked him to come back on Merv’s show with him a week later. “After the show Merv Griffin came up to me and said, ‘You know Bob, you have to have a reason for being on the show. You have to have a hit record or be in the movies or have a TV show or something. We can’t just keep having you back here on the show,’ and I told him that I totally understood,” says Anderson. “About a year later I was working in L.A. and Merv came into the club where I was and told me that he was having a party at his house and wanted me to come.’ 

“It was Merv’s 50th birthday and everybody in Hollywood was there—and I mean everybody: Cary Grant, Henry Fonda, and Elizabeth Taylor. The Beach Boys were sitting in the front room and Mama Cass, who had a cast on her foot, was resting it on Brian Wilson’s lap. Goldie Hawn was walking around. I couldn’t believe it. All of a sudden, Merv started playing the piano and asked me to come up and sing something. And out of nowhere I started singing the songs just like the people who made the famous: If he played ‘Misty,’ I did Johnny Mathis. If he played ‘If Ever I Would Leave You,’ I was Robert Goulet. If he did ‘Delilah,’ I was Tom Jones. Within five minutes you could hear a pin drop in Merv’s house and I will never forget that Cary Grant was sitting on the floor, about 10 feet away from me, and said, ‘This is amazing. I have never seen anything like this.’ And it was amazing. So Merv Griffin made me ‘The Singing Impressionist.’” 


Anderson’s role in FRANK just might be the part he was born to play. “I watched Frank Sinatra my whole life,” Anderson admits. “If you are a singer, and you are serious about it, you are going to watch Frank Sinatra and you are going to like Frank Sinatra. You have to. He is just that good. So I used to watch him and sing along to him all the time and I just really felt at home doing Frank Sinatra songs. I knew his gestures and all that stuff. But when I started to work on FRANK, I spent two years getting up at 6 a.m., four days a week, and practicing two hours a day. I had a great big 10-foot by 12-foot video screen with mirrors all around the room and a great sound system and I would get up in the morning, put on a tuxedo, and study every move. I sang along with him and watched every gesture—the way he cocks his head, the way he points, the way he snaps his fingers, the way he walks, everything.” 


To get completely into character, FRANK enlisted the help of two-time Oscar-nominated makeup artist Kazu Tsuji (Looper, The Curious Case of Benjamin Button, Planet of the Apes) in order to turn Anderson into the legendary showman. And that’s when the character really clicked for Anderson. “Certainly when I have the makeup on and the wig and the whole thing, that makes me feel the part,” says Anderson. “Kazu told me that when he works with movie stars, ‘Once they put this makeup on, they feel the role and it helps them to be the person.’ Well that is exactly what it does to me.” 


One physical feature that Anderson does not have in common with his on-stage alter ego is those famously blue eyes. “No, I have contacts in,” Anderson says, laughing. 


As if Anderson’s spot-on Sinatra impression weren’t enough to put audiences in the mood, he also recruited Sinatra’s former musical director, Vincent Falcone, to conduct the 32-piece orchestra that performs throughout the 90-minute production. “Vince was with Sinatra for more than a decade and has the original arrangements that Sinatra gave him,” Anderson says. “I am singing the original arrangements, and 16 players in my orchestra were with Frank Sinatra. I’ve got the real thing.” 


In order to fully immerse his audience in Sinatra’s world, Anderson asked the production team “to design me a set that would be reminiscent of the old Persian Room of The Plaza Hotel. I wanted to go back to circa 1965 and go into a supper club when they had their heyday. And so my stage is a supper club; in front of the stage, down in the orchestra seating, we put beautiful tables and lamps on the tabletops and really comfortable chairs and stuff for people to come in. So people who are sitting in the theater seating are looking forward at the stage and they are just looking in on a nightclub … It’s the quintessential reenactment of Sinatra.”


“I have been in the business for a long time, almost 40 years, and I am very comfortable with what I do at this point,” says Anderson when asked about whether it’s easy for him to shed Sinatra’s persona when he’s not on stage. “I am the last of the singers that have touched that Golden Age of music. I became friends with all those people; I have done all the television things and stuff and I think I grew up quite a few years ago. I am here because I really enjoy it. I enjoy what we are doing … and I am really just having a great time with it. I have surrounded myself with the best of the best and that is what we are doing.”

U2’s 360-Degree Tour Stage Will Become a Utah Aquarium Attraction

The immense stage that accompanied U2 on the band’s 360° Tour from 2009 to 2011 is getting an unexpected second life as a Utah educational attraction. It will soon be installed over a new plaza at the Loveland Living Planet Aquarium outside Salt Lake City.

The Claw, a 165-foot-tall structure shaped like a large spaceship balanced on four legs—a design inspired by the space-age Theme Building at Los Angeles International Airport—was built to house a massive speaker system and cylindrical video screen for the band’s performances. Underneath it, a 360° stage allowed U2 to play to audiences surrounding the structure in all directions. To make it easier to tour 30 different countries with the elaborate system, which took more than a week to put together at each concert location, the band had several versions built.

U2 and its management have been looking for a buyer for the 190-ton structures since the tour ended in 2011, and it seems they have finally found a home for one of them. One of the two remaining Claw structures is coming to the Utah aquarium, where it’s being installed as part of a plaza at the institution’s new, 9-acre Science Learning Campus.

A four-legged, industrial-looking video-and-sound-projection rig rises over a crowd at a concert
The Claw at a Dublin concert in 2009
Kristian Strøbech, Flickr // CC BY 2.0

As the only Claw in the U.S., the alien-looking feat of engineering will be "preserved and sustainably repurposed as a Utah landmark and symbol of science exploration and learning," according to the aquarium's press release. As part of the expansion project, the 2300-square-foot stage system will play host to festivals, movies, and other special events in two venues, one with 7000 seats and the other with 350.

The $25 million Science Learning Campus hasn’t been built yet—construction is starting this fall—so you’ll have to wait awhile to relive your U2 concert experience at the aquarium.

Courtesy of Pop Chart Lab
This Beatles Poster Breaks Down the Instruments Played in Every Fab Four Song
Courtesy of Pop Chart Lab
Courtesy of Pop Chart Lab

If you're a Beatles fan who has memorized every second of every one of the legendary band's songs, from instruments to vocals, Pop Chart Lab has got a poster for you.

"Come Together," the pop culture-loving design company's latest poster, breaks down the instruments featured in every single one of The Beatles's songs, from 1963's "I Saw Her Standing There" to 1970's "Get Back." The chart is broken down into five colors—one for each member of the Fab Four, plus one hue to represent various non-band members—and the icons show you which instrument each member plays in each tune, from the conventional (guitar) to the unique (tape loops and mellotrons). Grab your headphones and follow along as you listen: soon you'll be able to impress your friends by rattling off who's singing when. Who knows—it might even inspire you to pick up the guitar and learn "Blackbird."

The poster measures 24 by 36 inches and pricing starts at $37. It's available for preorder now, and shipping begins April 20.

Music fans will also love Pop Chart Lab's other music posters, like this spread of famous guitars or this brilliant taxonomy of rap names.

Check out the art below. To purchase the poster and also enjoy Pop Chart Lab's many Beatles puns, click here.

Beatles Instrument poster
Pop Chart Lab


More from mental floss studios