Screen Gems: Liz Callaway Sings the Movies
“When You Wish Upon a Star” (Leigh Harline/Ned Washington – Pinocchio) is an unexpectedly apt intro to “Let the River Run” (Carly Simon – Working Girl), a song that’s often sung technically well, but can be empty, becomes in the actress’s hands, not just determined, but anxious. It erupts. That Liz Callaway renders even the most well known material as if experiencing in real time differentiates her work and is especially apparent in a show with so much that’s so familiar. (There are a few unearthed gems.) The artist is a warm presence. You’d borrow a cup of sugar from her just to chat. A perfect amount of patter or anecdote bridges songs. Quieter numbers bear no affectation. Those with clarion sweep can make one want to follow her embracing some cause.
“The Trolley Song” showcases vocal control and crystal enunciation. Clip clop go the cantering lyrics as Callaway’s hands find her heart. She’s thrilled. We feel it. (Hugh Martin/Ralph Blane- Meet Me in St. Louis) Passion also rises with John Kander/Fred Ebb’s “Maybe This Time” (Cabaret) with the dark, bruised thrum of bass guitar. In the first, she’s wonderstruck; in this she’s been through the mill. Audible intake of breath (an exception) adds to theatrical distress.
Liz Callaway
“Cold Enough to Snow” is melancholy, serious. A radio announcer says that it isn’t freezing, but “What’s he know/He didn’t see you go…” Callaway sits motionless on a stool, perhaps staring out a window. Piano is muted; bass offers muffled ballast. During instrumental parenthesis, the performer remains wrapped in private thought. (Alan Menken/Stephen Schwartz – Life with Mikey) Another rarity, “The Place Where Lost Things Go” (Marc Shaiman- Mary Poppins Returns) is sung by the nanny to her children in the film. With only refined piano, Callaway exudes tenderness and devotion. She must’ve sung to her son.
A concert with Stephen Schwartz just after 9/11, included “Beautiful City” (Godspell). “In the show the song is bright and jaunty, but he slowed it down and changed a few lyrics.” The rendering works. “…Not a city of angels/We can build a city of man…” she sings with fervor and restraint. Presented as a reaction to current news, it lands as intended. Swell is gradual, not over the top.
A prologue to two songs from Disney’s animated Anastasia in which she voiced the lead, amusingly relates the artist’s prior audition failures. Songs are both lush. Music box piano opens in tandem with plucked and stroked bass, cymbal punctuation. “De-ce-em-burr” she sings with effusive longing- “Once Upon a December.” Piano starts as a skittering brook, then surges to the sea in an extravagant “Journey to the Past.” Good songs, compelling performance. (Lynn Ahrens/Steve Flaherty)
Alex Rybeck, Liz Callaway
“The Way We Were” floats on sighs, bowed bass, the lightest cymbal, the ping of a triangle. (Alan and Marilyn Bergman/Marvin Hamlisch – the film of the same name.) “Through the Eyes of Love” (Marvin Hamlisch/Carole Bayer Sager – Ice Castles) is pristine.
Caveats: “Moon River” (Henry Mancini/Johnny Mercer – Breakfast at Tiffany’s) and “Over the Rainbow (Harold Arlen/Yip Harburg – The Wizard of Oz) are wistful, tremulous songs here hampered by becoming big. Familiar material is surprisingly presented in what sounds like original, often chestnut arrangements – which is unlike Maestro Rybeck.
Occasional vocal back-up by Rybeck and Bassist Ritt Henn adds appealing texture and style.
Opening photo by Bill Westmoreland
Screen Gems: Liz Callaway Sings the Movies
Alex Rybeck – Musical Director
Ritt Henn – Bass; Ron Tierno – Drums
Again July 8 and 11
54/Below
254 West 54th Street
