Memorable Cabaret from the First Half of 2017
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
by Andy 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.