TWO STEVES WITH LOVE, TWO TRIBUTES,
ONE SUPREMELY SATISFYING WEEK

From Schwartz to Sondheim, Callaway revisits rich
collaborations with warmth, wit, and deeply felt interpretation

Once upon a time in the previous century, very early in her career, on the very same day, Liz Callaway received two pieces of good news: both about being offered roles in upcoming shows. One was a production of Godspell — the celebrated musical with songs written by Stephen Schwartz — and the other was for a new Broadway project with a score by Stephen Sondheim titled Merrily We Roll Along. Fast-forward to this month when, after having worked with both Stephens numerous times and doing cabaret acts of both men’s oeuvres over the years — and recording both at 54 Below for live albums — she’s reprising both tributes in the very same week at the same venue.

The return of the Schwartz set is timed to the week of the release of the Schwartz-centric excellent recording titled The Wizard and I: Liz Callaway Sings Stephen Schwartz (officially released on Friday, March 20, but advance copies were available for reviewers). The March 18 opening night of the live performance run reprised quite loyally what’s captivatingly captured on disc (or digital or streaming). The valentine to Mr. Schwartz continues on Release Day and concludes on Saturday night. Sunday, March 22 is the 96th anniversary of the birth of the late Stephen Sondheim, an appropriate date to honor him with a one-night-only return of To Steve With Love – Liz Callaway Celebrates Sondheim, another valued valentine that’s been a joy as an album and live show to experience. All performances are at 7 PM, and the March 20 and 22 concerts can be viewed via the livestreaming option in real time (but you can play the recordings any time you want — and you’ll want to do that often if you like involved interpretations of great material and interesting interwoven anecdotes).

The wonderful Wednesday opening night was jam-packed, rapturously received by a pack of college-aged musical theatre students and many who’ve apparently been admirers of the charismatic, convincing, clarion Callaway-way with songs before the enthusiastic pupils were born. Returning for the revisit to the Schwartz catalogue were the top-notch instrumental trio — pianist Phil Reno, bassist Ritt Henn, and drummer Ron Tierno — as well as the spirited Ethan Carlson and Cole Wachman, who provided juicy, joyous harmony vocals on “Bless the Lord” from Godspell and returned to cheerily chime in during a big medley near the end of the supremely satisfying set.

Also in attendance — but just for this one occasion and to participate in just one song — was the talented, gracious man who celebrated his own birthday two weeks earlier and was being celebrated all night: Stephen Schwartz himself. He came up to the stage after the songstress (who’s also his friend and sometime tennis partner) talked about him writing a song just for her, based on quizzing her about her life, taking notes with “a freshly sharpened pencil.” He took a seat at the piano and accompanied her on the potent, custom-tailored number “Fearless.” They shared a bit of banter before this highlight and later on, with him answering a question about his trip to Paris — in French.

The program also includes samples from the stage scores for Children of Eden, The Magic Show, The Baker’s Wife (her favorite song, “Meadowlark”), Pippin, and, of course, Wicked (note nods to the Emerald City of Oz and the complexion of a certain witch when the stage lights turned green). Also in the mix are some movie songs, a few of which were co-written with Alan Menken for Disney animated films.

The non-diva is comfortably in command, connecting strongly with her admiring audience. She’s very connected to her material and the emotions therein. She can deliver big climax notes that are impressive, but they are never shrill or show-offy. It’s not about proving or parading her chops to elicit cheers; those gratifying grander moments always serve the dramatic turns or builds in the lyrics and music. Focus, facial expressions, gestures, changes in vocal color, and movement are all in the recipe for successful interpretation. Especially effective are moments when she moves from sitting to standing with determination as a character reaches a turning point. It seems premeditated and planned, yet natural. She’s an actress, but you won’t “catch her acting.” The director of her shows is her husband Dan Foster, currently out of town directing one of the Sondheim musicals — a neat segue to the March 22 return of her Sondheim tribute.

Yes, To Steve With Love returns to 54 Below, where the same-named album was recorded — a loving revisit filled with memories of their associations over the years that merrily rolled along. The same bassist and drummer from the Schwartz sets will join her, and the “pianist du jour” will be Larry Yurman (Alex Rybeck, a frequent Callaway collaborator, was the arranger/music director at the keyboard for earlier Sondheim outings). Expect selections from many of the celebrated scores, including some less-often sampled gems, and the parody lyric to “Another Hundred People” referencing the challenge of memorizing Sondheim’s famously wordy material.

After that, Liz Callaway will turn back to the Stephen Schwartz material, promoting the new recording with May concerts in San Francisco, among other gigs. Catch her approaching Bulgaria if you happen to be on ships that pass in the night in late June; she’ll be providing entertainment for passengers on the Playbill cruise. But it seems to be smooth sailing in all seasons for Liz Callaway and her supple voice, which doesn’t seem to age any more than the titular painting in Oscar Wilde’s The Picture of Dorian Gray.

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Liz Callaway
The Wizard and I album release concert
54 Below, 254 West 54th St.
reviewed on March 18;
repeats live with livestream option on March 21 & 22, 2026
To Steve With Love plays March 22, 2026
for tickets, visit 54 Below

hear, buy, and read all about songs (and tour dates) at Liz Callaway

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