Tribute shows, especially of the most legendary performers, are challenging. Does the performer try for imitation? How much visual reference is enough? Mannerisms, physical and vocal – yes or no? How much, if any, of the interpreter’s personality should be seen and shared as the piece unfolds?
Manda Rozen-Flannery has taken on two of the biggest: mother Judy Garland and daughter Liza Minnelli, either one of whom would have been a big enough mountain to climb separately.
Combining and interweaving songs from both divas’ repertoire, Rozen-Flannery presented the echoes of sometimes desperate grabs at happiness (‘It Was a Good Time’) with wistful ponderings on real life away from the spotlight and acclaim. (‘Maybe This Time’, ‘The Man That Got Away’ – and they all did!) There were more wistful songs than genuinely joyful, which is as much about how sad songs have more mileage than happy ones, especially when the original singers both have voices drenched in pain and longing.
This was the first season of Rozen-Flannery’s show and when it settles in, it would be good to hear the darkness in both voices highlighted a bit more, both when they speak, and sing. Garland’s voice was lower than Minnelli’s, which always sounded to this reviewer slightly too bright and eager to please. I reckon there’s more fun to be had highlighting the differences and similarities in their lives and their personas.
There were some inspired choices in Rozen-Flannery’s playlist, and I like the Garland suitcase being used as the treasure chest of costumes and memories (which could’ve led to a few bars of ‘Born in a Trunk’).
A favourite of the lesser-known songs – Kander and Ebb’s ‘Sing Happy’ from Flora the Red Menace in which Minnelli starred on Broadway and won her first Tony Award, the youngest-ever recipient – could actually be the linking song of the entire show.Â
There were moments throughout when iconic images from Garland and Minnelli’s films were recreated – the chair poses from Cabaret are the most memorable – and Rozen-Flannery, an accomplished dancer, handled these stylishly. In fact the boogie she performed to ‘Single Ladies (Put a Ring on It)’ was terrific, and I could happily have watched more dancing – she cut loose and sparkled in that more contemporary choreography.
The venue Motley Bauhaus is a live music bar – a brassy band was playing downstairs, occasionally audible but not intrusive – and the room in which Liza’s Good Judy was playing has a few technical challenges, especially lighting, which was effective but needs tweaking to support Rozen-Flannery more fully and will work better in other venues.
Martine Wengrove accompanied on keyboards – and co-arranged the songs along with Rozen-Flannery’s dad, Des Flannery – and was a lovely presence stageside.
Read: Performance Review: QRAVE, Abbotsford Convent, midsumma
Liza’s Good Judy will develop with more performances, and maybe some tweaks, and promises to be vintage cabaret.
Liza’s Good Judy
Motley Bauhaus
Presented by Heirlume Productions
Producer, writer and performing artist: Manda Rozen-Flannery
Director: Bram Harris
Musical Director: Martine Wengrow
Musical Arrangements: Des Flannery, Manda Rozen-Flannery and Martine Wengrow
Lighting Design: Ruben Laine
Sound Design: Emerson Launder
Production Design: Bram Harris and Manda Rozen-Flannery
Liza’s Good Judy was performed from 30-31 January and 6-7 February as part of midsumma festival.
