Liza with a Z

It would be difficult to imagine another performer on the planet capable of accomplishing what Liza Minnelli achieved in her riveting hour-long performance of "Liza with a Z." In its beautifully restored version, this stunning television showcase, originally broadcast on May 31, 1972, is now available for a new generation of viewers.

The expression "triple threat" is used in the theatre for those gifted performers with skills in singing, acting, and dancing. Liza Minnelli is at the top of her game in all three areas in this knockout performance. With the brilliant choreography of Bob Fosse and the electric feeling of a live audience at New York's Lyceum Theatre, this was a spellbinding and virtuoso performance. While not listed in the credits, the dancing ensemble also deserves kudos for their supporting contributions to this singular and indeed historic concert.

Among all of the dazzling numbers, including "Bye, Bye, Blackbird" and Liza's "Cabaret" medley, my favorite selection was the most personal and introspective, a quiet love monologue adapted by Liza from one of Charles Aznavour's songs, "You've Let Yourself Go." The song is a confession of a wife to her husband about the rather mundane and unexciting state of their relationship. Liza's interpretation, including her raw emotions and the coloring of the words, was unforgettable in its honesty and simplicity. This song and the other dynamic numbers reveal the range of Liza's performing abilities in a show for the ages!

I saw this for the first time on TV when I was a child. I remembered liking it a great deal-I think it was the first time I'd seen Liza Minelli. Watched it again today on Showtime and was amazed! Liza was fabulous-and the whole thing seemed so undated-that was a real surprise. Bob Fosse's choreography is still so modern looking and sexy. Halston's costumes were gorgeous and even when he put her in knickers (which believe it or not were IN for about 5 minutes during this time) she still doesn't look dated-you just think "Wow, I didn't remember KNICKERS looking that amazing"! The only thing that looks time-warpish is the hair and facial hair of her backup dancers. The guys have big, fluffy mustaches and it looks like she is being backed-up by 1970s porn stars. Other than that this special could have been done yesterday. The decision to do it live was perfect-Liza starts off quiet, and she just does a slow burn. By the end of the show her hair is plastered to her head with sweat and she is just burning and glowing and brilliant. An artist at the peak of her powers. Liza is just as talented as her famous mother, I think. She has all of Judy's raw talent & her incredible vulnerability, but with Liza you also get sex-I had forgotten how very sexy she was. By all means watch this special on Showtime or rent the DVD-you will not be bored.

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'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)