Photo by Berry Berenson. Title in Bob Fosse's handwriting. Collage by Lauryn Johnson. Liza wrote: “At moments like this you keep your focus on the show and shut everything else out. Unfortunately, we had one headache that threatened to unravel the whole shebang. Halston had designed stunning costumes, and one stood out. I'd be singing the Joe Tex pop song 'I Gotcha,' and while you might love the performance, you couldn't take your eyes off my bright red, sequined, oh-so-very-

Liza in her "Mein Herr" costume designed by Halston for the Liza with a 'Z' filming. Liza wrote: “Our work on Cabaret would have exhausted the most energetic cast and crew. For God's sake, we all deserved a rest. For me, though, the hard work suddenly got harder. In the weeks before the Academy Awards, Fosse, Kander and Ebb, and others were busy planning a television special for me that, if it succeeded, would once again break new ground. At the time, TV variety shows blendin

International Posters for the original release of Cabaret American, Italian, French, Czechoslovakian, Japanese, German, Polish,

Liza arrives at the 1973 Academy Awards March 27, 1973 “At that point in time, the Oscars ceremony was still a hometown celebration, as well as a global broadcast. I was facing an audience packed with people whom I'd grown up with, a community I knew. It was an echo of the feelings I had eight years before at the Cocoanut Grove. But the stakes were much bigger now. Before the night began, the unspoken buzz in the room was: Is this little girl gonna make good tonight? Will she

This number was cut from the film Liza with a 'Z' which aired on NBC, but the work print was found and edited using Fosse's original editing notes so this is true to his vision for the number. Liza wrote: “When I first read the shooting script, [of Cabaret] there was a blank space right after the emcce introduces me in the film for the first time. The screenwriter, Jay Presson Allen, a woman, noted that a Kander and Ebb song-as yet unwritten— would fill this scene. And what a

Fosse directs Liza. Photo from the Fosse/Verdon Collection at the Library of Congress “Fosse also had a lot to prove with Cabaret, and he didn't play it safe. […] Fosse's earlier film debut as the director of Sweet Charity had bombed-and his future was not secure. Now, he was determined to make a film that some called an "anti-musical," a show for people who didn't like musicals. It's true that he and his producers had titanic clashes over casting and content as filming progr

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