Liz Callaway might’ve been your favorite college roommate or the friend who best listens. She exudes warmth and genuineness. This valentine to composer/lyricist Stephen Schwartz is highly personal. From having attended Pippin three times as a teenager to working together since 1992, Schwartz has been a valued “presence” in the artist’s life. The heart and spirit of songs which seem utterly natural to her are reinforced by off stage rapport.
Stephen Schwartz and Liz Callaway (Courtesy of Liz Callaway)
Pippin’s “Corner of the Sky” begins perched on a stool, low key and self ruminating, then up on her feet bursting with anticipation. Though the latter is splendid, communication supersedes performance. This is a vocalist writers should turn to. “Lion Tamer” (The Magic Show) was found serendipitously among Colony Records sheet music: I’d like to be a lion tamer/Sequins and tights and silk top hats…She mines every endearing nuance.
A buoyant “Bless the Lord” tracks back to the performer’s first role in New York as Joanne in Godspell. “Scott Bakula was a hot Jesus. He had no trouble getting disciples.” Callaway bounces, prances, and leans out to audience. She looks into faces. At the piano, Alex Rybeck offers convivial back-up vocal. Heads bob, feet tap.
From Wicked, we’re treated to a plaintive “I’m Not That Girl” and “The Wizard and I” during which I’d lay odds everyone listening is cheering for her as if situations were really occurring. Lyrics to the latter punch and glide. Schwartz’s photo is displayed. “Sometimes I have to pinch myself that I know Steve and we’re friends.”
Disney sent the honoree and Alan Menken (acting as composer) to Paris for a week to inspire their score for The Hunchback of Notre Dame. Schwartz got clearance to walk the cathedral before it opened to the public. He climbed to the balcony imagining Paris back then. Usually sung by Quasimodo, “Out There” is luminous with longing. Elbows bent, Callaway’s hands rise and fall as if helpless to affect escape.
Liz Callaway
“Cold Enough to Snow” (also by the duo), written for the soundtrack of the film Life with Mikey, enters on the measured breathing of piano. Bowed bass adds poignancy: On the radio, there’s a man says/’ It ain’t freezing’/What’s he know? He didn’t watch you go/Now the sun can shine if it wants to, fine/But it’s cold enough to snow… This is a song that should be performed more often. The artist tugs at one’s heart.
Following on its heels is “Fearless” a song written FOR her about (the metaphor of) overcoming public performance fright. Callaway radiates humility.
“When I do concerts with Stephen, he solves the problem of frequent requests with what he calls “the obligatory hits medley.” Skillfully bridged by Rybeck, we hear songs from Pippin, The Magic Show (everyone is encouraged to chime in with “doodle-ee-doo”), and Wicked. It wouldn’t surprise me if she rose off the stage during the last vocal unfurling.
Liz Callaway and Ritt Henn
Callaway’s favorite song – not just her favorite Stephen Schwartz song – is “Meadowlark” from The Baker’s Wife, something the artist has been performing since 19. Once having experienced her version, you’ll hear it over every other interpretation. It’s rhapsodic.
“For Good” (Wicked) is palpably affectionate/grateful. Liz Callaway hasn’t dropped a stitch over the years. She’s present in every choice, engaging, vibrant, and despite professionalism, often cozy. Rybeck’s contribution is symbiotic. This is an irresistible show.
Kudos to Director Dan Foster for patter, sequence, and connection.
Unless otherwise noted, all songs by Stephen Schwartz.
Performance Photos by Alix Cohen
Opening: Alex Rybeck, Liz Callaway
The Wizard and I: Liz Callaway Sings Stephen Schwartz
Liz Callaway
MD/Piano- Alex Ryback
Ritt Henn- Bass; Ron Tierno- Drums
Through May 17, 2025
54/Below
254 West 54th Street
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