Review by Greg Gorton
Liza’s Good Judy is a cabaret about Liza Minelli and her relationship with her mother, Judy Garland. It touches on their husbands (hinting at their unusual relationships), their addictions, the pressures of fame, and the unique perspective of each other. The Judy Garland Liza knew is not the one the public knew, and in some ways this show gives us a peek behind the curtains.
Taking cues from Verbatim theatre, a large amount of the script comes directly from interviews with the women, and the two women, the way they speak, the way they think, are captured in the words used. The song choices not only reflect some of the more famous pieces the two are known for, but form solid thematic links with the story.
While appearing a little nervous at the start of the show, Manda Rozen-Flannery is quick to fall into the roles she plays and lets the audience get lost within them. The voices, both in accent and cadence, are (at least to me) quite adept emulations, even if Minelli sometimes sounds like a slight caricature of herself. That said, I’ve always thought that about the real Liza as well. Especially impressive is that Rozen-Flannery sings in their voices, speaks in their voices, and even changes characters mid-sentence. Despite a few costume changes, there wasn’t a moment in the night where I was confused about the person on stage. This is a feat I’ve rarely experienced.
Granted, I don’t have the world’s best ear for music, but I was completely engaged with every song on stage. A personal preference had me enjoying “Garland’s” voice especially, but I could not fault any song. Of course, “Over the Rainbow” had to be covered, and the way it fit into the story, not overshadowing, was sweet and effective. Martine Wendgrow is a brilliant musician, and her work on the electric piano communicated with Rozen-Flannery’s voice quite easily. What this show would sound like with a baby grand!
This show was smartly directed by Bram Harris, keeping the monologues active and the space appear lived in. Harris didn’t just find things for Rozen-Flannery to do, but found ways to bring the characters to life in movement alone. Ruben Laine’s lighting design, colourful at times, cutting at others, would have been even more impressive without the restraints of the venue. A human-controlled followspot would have added so much more, and avoided some moments when Rozen-Flannery inevitably ended half in shadow.
There are some clever prop devices in this show, with many small features that had to the world in which Liza and Judy inhabit. The use of an old, large, suitcase in which to store them, to draw from and put back, was a brilliant idea. While I personally could have done without the fog machine, I think I might have been alone in that opinion.
Liza’s Good Judy is a beautiful spectacle, and deserves that large, more complex stage, where the creatives could show everything they are capable of. For lovers of music, even those who might shrug at Garland or Minelli, you will regret missing this night of loving renditions and thoughtful story-telling.
