Liza with a Z

Right after her Oscar-winning performance in CABARET, Liza Minnelli took her act on the road and it was brought to television in the form of LIZA WITH A Z. Directed and choreographed by Bob Fosse, who won an Emmy for his efforts, this breathtaking evening of musical theater showcased Liza Minnelli doing what she does best...singing, dancing, clowning, completely commanding a stage and captivating an audience. From the opening number "Yes" from 70 GIRLS 70 to the title tune, written especially for her by John Kander and Fred Ebb to a striking production number called "Ring Them Bells", Liza doesn't just prove to be a superb songstress, but a great actress who makes every number a show within itself. She brings an intensity to an old Tin Pan Alley classic "It was a Good Time" and rocks the house with "I Gotcha" and wraps the evening with a medley of songs from CABARET...a once in a lifetime concert event and a must for Minnelli fans.

Although she received considerable attention for stage and film work, throughout the 1960s Liza Minnelli was best known as the daughter of legendary Judy Garland. In the early 1970s, however, Minnelli began to emerge as a distinct talent in her own right, and her Best Actress Oscar win for CABARET put her over the top. In the wake of the film's success, she re-teamed with director Bob Fosse for an hour-long television concert. Titled LIZA WITH A Z, the program was a critical and ratings smash--but television programing is a transient sort of thing, and soon the show was relegated to the vaults. It was not seen again for more than thirty years.

Seen today in the remastered Showtime DVD release, LIZA WITH A Z gives you a very clear idea of what all the fuss was about. It is impossible to watch Minnelli without comparing her to Garland, and it is true there is some actual basis for comparison: the sense of humor, the energy, the intensity are very similar, and from time to time Minnelli's vocal phrasing echos Garland. All the same, the comparison will only take you so far; even when performing such Garland-esquire material as Jolson's "My Mammy," Minnelli is distinctly herself.

Her glitchy body language becomes an asset for director and choreographer Fosse, who used it to such great effect in CABARET and repeats the effect here--and who backs Minnelli with a solid chorus of dancers performing his own demanding, highly eccentric work. When Minnelli blasts out "Ring Them Bells" or down-shifts to a tightly controlled "Bye, Bye Blackbird," Fosse's dancers are memorable indeed.

Whether it's a new take on Billie Holiday's "God Bless the Child" or a piece specifically written for her such as "Say Liza," Minnelli never gives less than one hundred percent. Even so, there are one or two lapses in the material. In hindsight, such selections as "I Gotcha" and "Son of a Preacher Man" are not really the best possible choices--but even so she works hard to sell them, and while you may question the choice of song you never question her talents.

Of particular interest is the "time capsule" quality of the show. Although she had many later successes, Minnelli was somehow never able to keep her career on a consistent track; LIZA WITH A Z catches her at the crest, before one bad decision too many took its toll. The same "time capsule" quality applies to Fosse's staging; it is also distinctly early 1970s--and when Minnelli steps out in an aggressively pink Halston dress it couldn't be any other period.

The remaster is quite good, and the DVD comes with a number of interesting extras, including Minnelli's audio track and bios of both Minnelli and Fosse; the deluxe DVD edition also includes the audio CD. Recommended for Minnelli and Fosse fans.

GFT, Amazon Reviewer

Liza Minnelli has it in her genes from her beloved mother, Judy Garland, and Vincente Minnelli. Although she states that her sister Lorna Luft is the singer in the family, LIza is the entertainer of our generation. She can sing, dance, act, and do it all. Thirty years later, her career is revived after another divorce and health problems. Liza may never be as fit as she was when she performed on stage in a live production in 1972. Liza has always been an incredible performer. I love her in Cabaret and I refuse to see any production of the musical because I can't imagine anybody but Liza as Sally Bowles, the sad Berlin singer who craves the love of a good man and the love of her own father in the film. This stage version is like an extended performance of her from the film, Cabaret. Unlike the film, this show is not as dark and lonely. Liza worked hard for six weeks before this production. IT's a once in a lifetime event and I wasn't even born yet. I first bought her Liza with a Z CD to listen in the car. You can't imagine not singing along with her as well. Now I look forward to seeing her dance, sing, and entertain us in the DVD. Believe me, nobody today can touch Liza as a performer.

Liza Minnelli's Emmy-award winning musical TV special, directed by Bob Fosse, and coming right on the heels of their Oscar-winning "Cabaret". After listening to this record album for years, I was quite excited to find a copy on video (transferred from the 16mm print). I was surprised by two things: 1) that the LP captures most of the show's excitement all on its own, which says a lot for the command of Liza's singing and the quality of the music; and 2) that Fosse is irreplaceable in the business of musical-comedy staging. The dancing on numbers like "I Gotcha!" and "Son Of A Preacher Man" is incredible, with Fosse's sensual style of choreography bringing down the house. Still in all, it's Liza's singing that is the show's centerpiece, and she's in fine, clear voice throughout. Dramatic, comedic, self-effacing, flirtatious, silly, giggling, Liza proves to be a virtuoso performer of great magnitude.

Liza/Z is great! Really good bonus features. The Toronto Film Fest alone, proves that Liza is still sharp as a whip! That said, she did forget that at the beginning of Son of A Preacher Man - Fosse was paying tribute to Ailey with those "Revelations" arms. And I'm still trying to find out the name of the male singer that starts Preacherman.

As much as I'm thankful for the careful restoration of this major event, I still feel that an integral part of the show has been slighted: the dancers! I really wish someone had bothered to list the dancers in the credits. While a few names are mentioned, surely the overall group should be known as more than just "the kids". I understand that 1972 was a long time around, but surely someone remembers all of their names. In fact, I would have enjoyed seeing Liza in a room with the some of the dancers - sharing memories. (I know Candy Brown is still around)