There is something uniquely impressive about pulling off a one-man show. It's not just the obvious added on-stage attention or the expanded set of lines and cues. Rather, it's the burden of carrying the entirety of a performance's character development, which separates the dramatic soloist from the average actor and brings to life the quality of storytelling that only he can achieve.

Chazz Palminteri, star of Broadway's "A Bronx Tale," is one such performer. The story follows the life of a young man, growing up in the New York City borough of the same name, who is torn between the experience of his working-class father and the allure of organized crime. The time period, from the end of the '50s to the late '60s, is reminiscent of a world long forgotten by modern society, when the Mafia still reigns and racial divisions are not only tolerated but also romanticized by a proud Italian community. Young Chazz, or C as he is known in the neighborhood, goes through the better part of his childhood idolizing his father for his honesty and the respect he elicits from others. When he finally catches the attention of Sonny, the local Capo, he is introduced to a new world of moral ambiguity and unparalleled self-interest that threatens to invalidate his own family's struggle and cast him into a dark and lonely new life.

The strength of Palminteri's performance is not merely in his ability to revive a lost era with skill and grace, though its impact is undeniable. Nostalgia alone is insufficient to escape or overcome the cliches that abound throughout the story's premise and various plot developments. The true test of his talent comes in his ability to make the massive audience disappear and the minimal set design pale in comparison to the imagination and emotional dexterity with which he relates his story. The effect is so compelling that one cannot help but be enthralled with what might just as easily have been the subject matter of a Lifetime special or over-dramatized biography. His unique style sets him apart from these criticisms and adds a somewhat intangible distinction to his performance that no lack of novelty can surmount.

It also bears noting that Palminteri is working with a caliber of writing that has no trouble holding its own against the dangers of a static or repetitive plot. Even when dealing with its most trite material, this is a script that finds nuance and originality in some of the most unlikely places. It walks the line between immersive and reflective storytelling, striking an effective balance between retelling a classic American story in its own context and adding the after-the-fact wisdom and perspective that is central to the tale's message.

If there's one area where "A Bronx Tale" threatens to upend its otherwise strong performance, it's the portrayal of some of the less essential supporting characters. With any one-man show, the reliance on voices and personalities is high, and the potential for misrepresentation is elevated with it. Finding a way to add humor to the imaginary supporting cast without transforming them into simple parodies of traditional personas is not an easy task. Ultimately this problem is overshadowed by the excellence of the core characters, however, and the play's overall quality remains largely unaffected. What shines through is exactly what "A Bronx Tale" aims to present: a rich and imaginative saga that excels at taking us to a place far removed from our own, where everyday life is the stuff of legend.