Liza Minnelli

On stage 8 productions, 43 years

Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.

Worked with more than once2 names

Both names in the same cast list, more than once. It is not evidence of a partnership — a long-running company puts the same forty people together every night — but it is where one would start looking. 1 of these names are not links because we hold no record behind them; the name is set from the identifier and its punctuation may be wrong.

Also credited on1 work

Best Foot Forward

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

• The public’s adoration of stars may be considered a kind of insurance, but sometimes, if the star and the role do not gibe, their presence can act as a kind of ‘de-surance’. John Kander and Fred Ebb who had written a large part of Liza Minnelli’s material, wrote the main role, the mother who has been left to manage an unsuccessful busines…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• Sometimes, as with Liza Minnelli’s appearance in The Act, written by close friends John Kander and Fred Ebb, 192 the fortunes of a musical, a product of a like-thinking creative group will be permitted to rest on the fragile shoulders of a generally mercurial personality. But producers have a large investment to protect and so, over the s…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• 169 This is said notwithstanding Liza Minnelli’s 1989 hit recording of ‘Losing My Mind’, for this crossover rock treatment is aimed at the pop market and approaches the song from the point of view of anger rather than the ‘torch’ manner in which it was originally presented in the theatre.ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• 192 Kander and Ebb seem to be the designated court songwriters for Liza Minnelli as Haydn was for Prince Esterhazy. They wrote Flora, the Red Menace in 1965 especially for their friend. Next, after creating some special nightclub material for her, they wrote Cabaret with her voice in mind. (Hal Prince, who directed the show turned her dow…ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• 193 Kander and Ebb were an ideal team for such a project because they had the experience of tailoring their material in The Act to friend Liza Minnelli’s unique talents.ebooks/Citron, Stephen/Musical From the Inside Out, The - Stephen Citron.txt
• Actors were going to be working for peanuts. Liza Minnelli was getting $100,000, Michael York was getting $50,000, Joel Grey was getting $35,000. Fosse was being paid $75,000. The reason we were shooting at the Bavaria Studio in Munich was to save money. The whole budget was $3.4 million. We were working with a very tight collar.ebooks/Feuer, Cy/B003L77WUK EBOK - Cy Feuer & Ken Gross.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Which of the credits above the roles on this record — actor — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.