Mother’s Day Concert features mother, daughter performing Judy Garland, Liza Minnelli concert
Chicago tribune, Myrna Petlicki
Mother and daughter vocalists and musical theater performers Nancy Hays and Mary Heffernan will share the music of another mother and daughter when they perform “Judy, Liza, and More … A Mother’s Day Concert” on May 7 at the Theatre of Western Springs.
Many of the songs they will sing are from a 1964 concert that Judy Garland performed with her daughter Liza Minnelli at the London Palladium.
Hays reported that the Palladium concert “was the only time in Judy’s lifetime that they performed together on a stage.”
The pair will sing several duets, including “Happy Days are Here Again,” “Two Lost Souls,” and “Together Wherever We Go,” among others.
“We’ve really tried to match their choreography,” Hays noted.
Hays will solo on such songs as “Over the Rainbow,” “The Man that Got Away,” “San Francisco,” “Once in a Lifetime,” and “Just in Time,” among others. The selection that is most meaningful to Hays is “Make Someone Happy.” “It is right for the time,” she explained. “Coming together is about making each other happy.”
One of Heffernan’s favorite songs in the show is “For Me and My Gal.” “That’s because as a geriatric social worker, I spend my days caring for seniors with Alzheimer’s disease and although many of their memories are fading, ‘For Me and My Gal’ is one of the songs that every time I turn it on for them, they all know the lyrics,” she said.
Nancy Hays (left) and Mary Heffernan will share music of another mother and daughter when they present, “Judy, Liza, and More … A Mother’s Day Concert” on May 7 at Theatre of Western Springs.
Her favorite duet with Hays is “Happy Days are Here Again.” “That’s another one that seems to put everyone in a good mood,” she explained.
Award-winning Music Director Robert Ollis duplicated the vocal arrangements to recreate that London concert. He will play piano for the show and lead a jazz trio featuring Anthony Scandora of Wheaton on drums and Lara Ochoa Regan on reed instruments.
Hays stressed that she doesn’t attempt to impersonate Judy Garland. “I try to bring in some of her vocal style and her dynamics,” she explained. “I try to be a vessel for her music. I think that’s true of Mary as well. She has her own vocal qualities but she’s bringing that essence of that big belter and energy.”
Although it is a rare treat for Hays and Heffernan to sing together professionally, their singing connection began long ago.
“We began singing together when she was just a little girl,” Hays said. “Right away. when she was about 3 years old, I could tell that she could sing well. She fell in love with music, mainly watching the Disney singalong songs and the Disney movies.”
Hays took her daughter to see “The Sound of Music” at the Auditorium Theatre when she was about 4 years old. “She was riveted to the music,” Hays recalled.
After that, the two sang together at home as well as in family groups with Heffernan’s other three siblings, all of whom are musically talented.
Hays has been a professional performer for many years. She was the opening act in Las Vegas and at other locations for legends George Burns, Danny Thomas, Tommy Tune, Rita Rudner, Conway Twitty and others. She has had leading roles in musicals at Chicago theaters. Hays toured the United Kingdom five times, sharing her original music, and is planning a sixth trip for next year.
Performing songs by Garland is familiar territory for Hays, who has played the icon in eight productions, including for her first professional role.
“I played Dorothy in ‘The Wizard of Oz’ at the Little Theatre on the Square in Sullivan, Illinois, when I was a teenager,” she said.
Heffernan, who has a master’s degree in social work, works with seniors who are dealing with memory loss and dementia. She has performed in a number of professional and community theater shows, most recently in December with the Wheaton Drama Group’s production of “Beauty and the Beast.”
Performing with her daughter reminds Hays of what transpired during the one-and-only time Judy and Liza shared a stage. “I understand about her feelings of passing the torch to her daughter and recognizing for the first time when she saw in front of that live audience what a powerful talent she was,” Hays said.
“As a mother you have pride in your kid anyway. But when you see that transformed in front of an audience and others appreciate that talent, it’s incredibly gratifying.”
“The thing I enjoy most about singing with Mom is the fact that music brings us together and we can share in the memory of performing together, which is something we both love to do,” Heffernan said.
The vocalist said that she enjoys singing Liza Minnelli’s songs because, “singing songs by a woman who has accomplished a lot in her life despite health challenges, and living her childhood in the public’s eye under the shadow of her mom, is the best way I know how to honor her.”
Heffernan added that Minnelli also overcame addiction, hip surgeries, and brain encephalitis in 2000.
“Doctors told her she may never recover from that,” Heffernan related. “Despite all these challenges, she kept on going.”
The pair is scheduled to perform this show a second time on May 8 at Le Piano in Chicago.
Many of the songs they will sing are from a 1964 concert that Judy Garland performed with her daughter Liza Minnelli at the London Palladium.
Hays reported that the Palladium concert “was the only time in Judy’s lifetime that they performed together on a stage.”
The pair will sing several duets, including “Happy Days are Here Again,” “Two Lost Souls,” and “Together Wherever We Go,” among others.
“We’ve really tried to match their choreography,” Hays noted.
Hays will solo on such songs as “Over the Rainbow,” “The Man that Got Away,” “San Francisco,” “Once in a Lifetime,” and “Just in Time,” among others. The selection that is most meaningful to Hays is “Make Someone Happy.” “It is right for the time,” she explained. “Coming together is about making each other happy.”
One of Heffernan’s favorite songs in the show is “For Me and My Gal.” “That’s because as a geriatric social worker, I spend my days caring for seniors with Alzheimer’s disease and although many of their memories are fading, ‘For Me and My Gal’ is one of the songs that every time I turn it on for them, they all know the lyrics,” she said.
Nancy Hays (left) and Mary Heffernan will share music of another mother and daughter when they present, “Judy, Liza, and More … A Mother’s Day Concert” on May 7 at Theatre of Western Springs.
Her favorite duet with Hays is “Happy Days are Here Again.” “That’s another one that seems to put everyone in a good mood,” she explained.
Award-winning Music Director Robert Ollis duplicated the vocal arrangements to recreate that London concert. He will play piano for the show and lead a jazz trio featuring Anthony Scandora of Wheaton on drums and Lara Ochoa Regan on reed instruments.
Hays stressed that she doesn’t attempt to impersonate Judy Garland. “I try to bring in some of her vocal style and her dynamics,” she explained. “I try to be a vessel for her music. I think that’s true of Mary as well. She has her own vocal qualities but she’s bringing that essence of that big belter and energy.”
Although it is a rare treat for Hays and Heffernan to sing together professionally, their singing connection began long ago.
“We began singing together when she was just a little girl,” Hays said. “Right away. when she was about 3 years old, I could tell that she could sing well. She fell in love with music, mainly watching the Disney singalong songs and the Disney movies.”
Hays took her daughter to see “The Sound of Music” at the Auditorium Theatre when she was about 4 years old. “She was riveted to the music,” Hays recalled.
After that, the two sang together at home as well as in family groups with Heffernan’s other three siblings, all of whom are musically talented.
Hays has been a professional performer for many years. She was the opening act in Las Vegas and at other locations for legends George Burns, Danny Thomas, Tommy Tune, Rita Rudner, Conway Twitty and others. She has had leading roles in musicals at Chicago theaters. Hays toured the United Kingdom five times, sharing her original music, and is planning a sixth trip for next year.
Performing songs by Garland is familiar territory for Hays, who has played the icon in eight productions, including for her first professional role.
“I played Dorothy in ‘The Wizard of Oz’ at the Little Theatre on the Square in Sullivan, Illinois, when I was a teenager,” she said.
Heffernan, who has a master’s degree in social work, works with seniors who are dealing with memory loss and dementia. She has performed in a number of professional and community theater shows, most recently in December with the Wheaton Drama Group’s production of “Beauty and the Beast.”
Performing with her daughter reminds Hays of what transpired during the one-and-only time Judy and Liza shared a stage. “I understand about her feelings of passing the torch to her daughter and recognizing for the first time when she saw in front of that live audience what a powerful talent she was,” Hays said.
“As a mother you have pride in your kid anyway. But when you see that transformed in front of an audience and others appreciate that talent, it’s incredibly gratifying.”
“The thing I enjoy most about singing with Mom is the fact that music brings us together and we can share in the memory of performing together, which is something we both love to do,” Heffernan said.
The vocalist said that she enjoys singing Liza Minnelli’s songs because, “singing songs by a woman who has accomplished a lot in her life despite health challenges, and living her childhood in the public’s eye under the shadow of her mom, is the best way I know how to honor her.”
Heffernan added that Minnelli also overcame addiction, hip surgeries, and brain encephalitis in 2000.
“Doctors told her she may never recover from that,” Heffernan related. “Despite all these challenges, she kept on going.”
The pair is scheduled to perform this show a second time on May 8 at Le Piano in Chicago.
“Judy and Liza” reviewed by Frank Meccia
Around the town chicago
★★★★★ Spring is a great time to be in Chicago, when the rains quit you have perfect sunny days with flowers and trees in full bloom. And no better time to get out of the city. Saturday, I traveled to Western Springs Illinois, hop skip and a jump from Chicago, but you feel you're in another state. And for this woman, I would travel to Wisconsin to see her perform. I am talking about no other than Nancy Hays, that Chicago Icon of theatre and cabaret. I got to see her last Judy and Liza tribute at the Greenhouse theatre in March of 2020, and we all know what happened then. Last time she performed with Alexia Castelvecchi, who both came to the radio station so Al could interview them. This time she is performing her Mother’s Day Tribute with her real daughter Mary Heffernan.
A two hour show with intermission, the sad part is its only one show on Saturday, and one show Sunday, A Mother’s Day Brunch at La Piano in Rogers Park. It was a great evening of solos and duets with a little dance added in for fun. As a true mother daughter team this was truly special, nothing against Alexa who also is great, but this made for a deep tribute. Both Liza and Mary suffered strokes as children and were told they would never be able to walk or talk again. But as you can tell both proved the doctors and medicine wrong.
The tribute concert was an ode to the London Palladium in a 1964 concert that Judy Garland and Lisa then only 19 performed. With the talent of their Music Director the wonderful and talented Robert Ollis at the piano, they did such hit songs as Chicago, Get Happy, the man that got away, Just in Time, Ring those bells and many more. Of course, the final hit was Over the Rainbow, and nobody can sing that like Nancy can today. And a standing ovation followed.
Sad, when we only have two short days and not able to get people to see this great performance. But knowing Nancy and Robert, they will do another one soon.
A two hour show with intermission, the sad part is its only one show on Saturday, and one show Sunday, A Mother’s Day Brunch at La Piano in Rogers Park. It was a great evening of solos and duets with a little dance added in for fun. As a true mother daughter team this was truly special, nothing against Alexa who also is great, but this made for a deep tribute. Both Liza and Mary suffered strokes as children and were told they would never be able to walk or talk again. But as you can tell both proved the doctors and medicine wrong.
The tribute concert was an ode to the London Palladium in a 1964 concert that Judy Garland and Lisa then only 19 performed. With the talent of their Music Director the wonderful and talented Robert Ollis at the piano, they did such hit songs as Chicago, Get Happy, the man that got away, Just in Time, Ring those bells and many more. Of course, the final hit was Over the Rainbow, and nobody can sing that like Nancy can today. And a standing ovation followed.
Sad, when we only have two short days and not able to get people to see this great performance. But knowing Nancy and Robert, they will do another one soon.
Memorable Cabaret PERFORMANCES
NYC NITE LIFE EXCHANGE, by rob lester
July 24, 2017
MEMORABLE TRIBUTE TO ICONS: Two women who played Judy Garland and Liza Minnelli in a production of the musical about Peter Allen, Liza’s first husband, The Boy from Oz, had the bright idea to play the women again by recreating the ladies’ historic joint concert at the London Palladium. This was a smart decision that sets their set apart from the many tributes to Garland and/or Minnelli.
Liza was just 18 and her performing persona wasn’t quite yet crystallized or refined. Most people “doing” Liza, whether with adulation or exaggeration and satire, concentrate on the Minnelli of later years in order to use songs that became her trademarks in the Kander and Ebb and flow of her career. Michelle Lauto as the budding star and Nancy Hays as the proud mama (Isn’t she marvelous?”) are refreshingly right, sharp, loving, diligent, and spot on, without at all making the show seem like a dusty or conservatively cautious museum piece or veering into caricature.
With Judy’s career, there’s so much to pick from; although she died young, she’d already logged thirty full years of work after The Wizard of Oz when she left the world. The Palladium concert was special not just because of the mother/daughter interaction and Liza still being new to most audiences, but because they joined their voices in duet on some of the Garland standbys Liza later avoided: “Rockabye Your Baby (with a Dixie Melody)” and the songs about those cities “Chicago (That Toddlin’ Town)” and “San Francisco.” And, early on in the night, they “greeted” each other with the then-current hit title song from a Broadway show that’s come ‘round again—”Hello, Dolly!” — substituting the words “Hello, Liza” and “Hello, Mama.”
The actual recording and video of the Palladium pow-wow are performances I committed to still-indelible memory by being madly in love with them in very early days when my record collection was thin and I listened to my favorites relentlessly and frequently. So, I didn’t need to do my homework to see if Hays and Lauto had done theirs. They’d clearly studied the originals; they captured nuance after nuance, detail after detail in phrasing, gestures, asides, from hugs to hoorays. Very impressive!
Miss Lauto embodied the fearless ferocity of the decidedly young Liza, with the green, game, and gawky elements, showing no influence of knowing how she’d morph. Miss Hays perhaps had more of a challenge in capturing the gamine Garland vulnerability and nervous tics; at times, she seemed too solid and vital for the legend as she came off that night, the vibrato not as wide and wavering. But she had plenty of the persona down to bring us up to our feet to cheer. Robert Ollis is pianist/music director, honoring those iconic arrangements, from the first Liza solo recordings to her taking over the Barbra Streisand parts in the duet medleys done just months before on Garland’s TV variety series. I’m hoping this show comes back soon.
Liza was just 18 and her performing persona wasn’t quite yet crystallized or refined. Most people “doing” Liza, whether with adulation or exaggeration and satire, concentrate on the Minnelli of later years in order to use songs that became her trademarks in the Kander and Ebb and flow of her career. Michelle Lauto as the budding star and Nancy Hays as the proud mama (Isn’t she marvelous?”) are refreshingly right, sharp, loving, diligent, and spot on, without at all making the show seem like a dusty or conservatively cautious museum piece or veering into caricature.
With Judy’s career, there’s so much to pick from; although she died young, she’d already logged thirty full years of work after The Wizard of Oz when she left the world. The Palladium concert was special not just because of the mother/daughter interaction and Liza still being new to most audiences, but because they joined their voices in duet on some of the Garland standbys Liza later avoided: “Rockabye Your Baby (with a Dixie Melody)” and the songs about those cities “Chicago (That Toddlin’ Town)” and “San Francisco.” And, early on in the night, they “greeted” each other with the then-current hit title song from a Broadway show that’s come ‘round again—”Hello, Dolly!” — substituting the words “Hello, Liza” and “Hello, Mama.”
The actual recording and video of the Palladium pow-wow are performances I committed to still-indelible memory by being madly in love with them in very early days when my record collection was thin and I listened to my favorites relentlessly and frequently. So, I didn’t need to do my homework to see if Hays and Lauto had done theirs. They’d clearly studied the originals; they captured nuance after nuance, detail after detail in phrasing, gestures, asides, from hugs to hoorays. Very impressive!
Miss Lauto embodied the fearless ferocity of the decidedly young Liza, with the green, game, and gawky elements, showing no influence of knowing how she’d morph. Miss Hays perhaps had more of a challenge in capturing the gamine Garland vulnerability and nervous tics; at times, she seemed too solid and vital for the legend as she came off that night, the vibrato not as wide and wavering. But she had plenty of the persona down to bring us up to our feet to cheer. Robert Ollis is pianist/music director, honoring those iconic arrangements, from the first Liza solo recordings to her taking over the Barbra Streisand parts in the duet medleys done just months before on Garland’s TV variety series. I’m hoping this show comes back soon.
“Judy And Liza: Once In A Lifetime” makes a magnificent recreation of renowned London Palladium concert
Posted on October 9, 2016
byAndy Argyrakis
Individually speaking, Judy Garland and Liza Minnelli have countless iconic concerts and appearances in their individual repertoires, but when it comes to their collaborations together, 1964’s “Live At The London Palladium” is the crown jewel in their collective catalogue. In fact, as the title behind the increasingly popular cabaret show “Judy And Liza: Once In A Lifetime” so proudly proclaims, the partnership between the megastar mother and burgeoning daughter was truly one for the history books and something Chicagoans are finally getting to periodically relive.
Both co-stars obviously have an equal affinity for their characters, but they thankfully favor a classy over campy approach throughout the warm and engaging 75 minute production.
Actresses/singers extraordinaire Nancy Hays (Judy) and Michelle Lauto (Liza) first conceived the project while working together in Pride Films & Plays’ “The Boy From Oz,” and given a pair of previous sold out shows followed by a third engagement Sunday night at the Uptown Underground, chances are the Windy City will be seeing a lot more from The Swinging City. For those wondering what all the fuss is about, “Judy & Liza” is basically a tender love letter to the songs, personalities, looks and cultural references that could otherwise only be found on what’s survived of the limited footage or the original record (which was recently restored and reissued by Capitol Records).
Both co-stars obviously have an equal affinity for their characters, but they thankfully favor a classy over campy approach throughout the warm and engaging 75 minute production. At their side is a snazzy jazz combo with crisp orchestral arrangements by music director/pianist Robert Ollis, backed by meticulous direction and choreography from Jeff nominee Cam Turner, alongside gorgeous and cleverly accented costumes designed by Jeff Award winner John Nasca.
It all begins with Hays reverently portraying the seasoned showbiz veteran entering the twilight of her career, but still possessing considerable vocal gusto and a superstar persona. But as Lauto confidently struts out as her 18-year-old daughter, audiences are treated to the more human side of the family combo as they frequently exchange friendly conversation with the ease of walking down the street.
Even so, the emphasis throughout “Judy & Liza” is mostly about the music with highlights ranging from the former’s “Once In A Lifetime” and “Smile,” to the latter’s “Gypsy In My Soul” and “Who’s Sorry Now?” And perhaps most magical are the numerous duets, such as “Together (Wherever We Go),” “He’s Got The Whole World In His Hands” and “Swanee,” all of which give an accurate glimpse of what each entertainer was truly like in their prime.
Those paying close attention may have notice a set list switch between “San Francisco” and “Chicago” in the closing slot, though even purists would likely concede the artistic liberty is appropriate given the geography. There’s also the non-album addition of a triumphant pairing throughout “Get Happy/Happy Days Are Here Again” after the elder’s obligatory (and breathtaking) “Over The Rainbow,” though no matter the specific selection, these ladies and their backers always seem to land on just the right note.
Both co-stars obviously have an equal affinity for their characters, but they thankfully favor a classy over campy approach throughout the warm and engaging 75 minute production.
Actresses/singers extraordinaire Nancy Hays (Judy) and Michelle Lauto (Liza) first conceived the project while working together in Pride Films & Plays’ “The Boy From Oz,” and given a pair of previous sold out shows followed by a third engagement Sunday night at the Uptown Underground, chances are the Windy City will be seeing a lot more from The Swinging City. For those wondering what all the fuss is about, “Judy & Liza” is basically a tender love letter to the songs, personalities, looks and cultural references that could otherwise only be found on what’s survived of the limited footage or the original record (which was recently restored and reissued by Capitol Records).
Both co-stars obviously have an equal affinity for their characters, but they thankfully favor a classy over campy approach throughout the warm and engaging 75 minute production. At their side is a snazzy jazz combo with crisp orchestral arrangements by music director/pianist Robert Ollis, backed by meticulous direction and choreography from Jeff nominee Cam Turner, alongside gorgeous and cleverly accented costumes designed by Jeff Award winner John Nasca.
It all begins with Hays reverently portraying the seasoned showbiz veteran entering the twilight of her career, but still possessing considerable vocal gusto and a superstar persona. But as Lauto confidently struts out as her 18-year-old daughter, audiences are treated to the more human side of the family combo as they frequently exchange friendly conversation with the ease of walking down the street.
Even so, the emphasis throughout “Judy & Liza” is mostly about the music with highlights ranging from the former’s “Once In A Lifetime” and “Smile,” to the latter’s “Gypsy In My Soul” and “Who’s Sorry Now?” And perhaps most magical are the numerous duets, such as “Together (Wherever We Go),” “He’s Got The Whole World In His Hands” and “Swanee,” all of which give an accurate glimpse of what each entertainer was truly like in their prime.
Those paying close attention may have notice a set list switch between “San Francisco” and “Chicago” in the closing slot, though even purists would likely concede the artistic liberty is appropriate given the geography. There’s also the non-album addition of a triumphant pairing throughout “Get Happy/Happy Days Are Here Again” after the elder’s obligatory (and breathtaking) “Over The Rainbow,” though no matter the specific selection, these ladies and their backers always seem to land on just the right note.
