Liza treats each song as an emotional Mount Everest, never holding back a thing, and the result is a psychodrama played out in the klieg lights. (The outrageous costumes by Halston don't hold back a thing, either; Studio 54, here we come!) Memories of the all-or-nothing style of her mother, Judy Garland, are already heavy in the air by the time Minnelli reaches "My Mammy," and workouts on "God Bless the Child" and "Son of a Preacher Man" confirm the singer's approach.

As for Fosse's choreography, there are signature moves aplenty--his dancing so frequently suggested a choreographer lusting for actual sex to break out on stage. "Bye Bye Blackbird" gives Minnelli and her backup dancers a chance to stretch out in an echt-Fosse feast of bowler hats and white gloves. The bell-and-booty shaking in "Ring Them Bells" and the loony tuxedo-clad cowpokes in "I Gotcha" hint that Fosse was in the midst of a manic phase. Speaking of which, Minnelli tackling Joe Tex's "I Gotcha" is one of those jaw-dropping mismatches that she salvages only through dint of daft commitment. No quarreling with the Cabaret medley; say want you want about Liza, she owns those songs. Minnelli and Fosse won Emmys for the show. The restoration of the original materials looks about as good as can be expected, with the spirit of a glitzy seventies TV variety special quite intact. --Robert Horton