“Piney Needlesmith and the Road Less Traveled,” in its world premiere engagement at the Diamond Head Theatre, is an admirable and resourceful entry in the genre of holiday musicals.
It’s a mammoth undertaking, featuring a cast of 28 actors and dancers, an orchestra of 11, a team of 12 techies (directors, costume designers, etc.) comprising the creative team, and 20 production numbers performed by soloists, ensembles or the whole company.
Its running time is 2:40, including a 15-minute intermission, which is longish for any play, so it’s possible that future stagings may include some doctoring to trim the running time.
It’s no secret that It takes a village to mount a show, to put a theatrical spin on a timeless proverb. Thus, a newbie venture like “Piney” perhaps requires a city—or two — when a Christmas-centric play is involved.
Set in the North Pole during the holidays, the saga is blessed with a devoted cast that has engaged and inhabited the characters with succinct personalities.
Title character Piney Needlesmith, played by Vanessa Manuel-Mazzullo, is a spunky misfit of a girl, whose aspirations and hopes — stated in her revealing “My Christmas Dream” solo – eventually raises questions if she has the discipline to fulfill her vision. Manuel-Mazzullo projects a sweet voice, and she’s got youth on her side, in her journey of self-discovery. I mean, who dares to play a tree, anyway?
North Pole denizens include Jingle and Jangle, performed by Aiko Schick and Chad Navarro, respectively, with a balance of humor and melody expected from a give-and-take duo. They’re different souls, but get along like bread and butter.
As Agatha, Leslie Goldman steals the show. She brings prowess and power to the party, with her accented operatic voice, with all the eloquence and flair of a Verdi or Puccini diva. Her Hawaii Opera Theatre residency is indeed a bonus for the audience and the production. She’s box office salvo!
Two characters of the North Pole includes Frederick the Polar Bear, enacted by Moku Durant, in the expected furry and white gear, and Maleko McDonnell is a different Santa, lacking a white beard and donning a maroonish shirt and trousers, not red. But he boasts a classic black buckle belt tucked below his tummy. He doesn’t need to utter ho-ho-ho.
The unseen heroes in the launch of “Piney” include the solid creative team.
Roslyn Catracchia and Peter Seibert, who collaborated on the book, music and lyrics of the endeavor, deliver a multitude of musical gems, with a few titles mentioning Christmas, including “My Christmas Dream,” the Piney-sung anthem also heard in reprise twice. But as Joseph Morales says, in his directorial debut and his notes in the playbill, “This is not a Christmas show.” On the road less traveled, perhaps – but there is a Santa aboard, a wintery polar bear, characters named Jingle and Jangle, and – lest we forget – a manger scene, not once but twice!
Seibert conducts the on-stage, visible musicians, and he plays keyboards, while collaborator Catracchia is a percussionist, doing the shows in the spirit of, you guessed it, Christmas.
Piney’s pine-lined green dress looks like a Christmas tree and lights like one up late in the show. Expect it, and applaud it. No jingle bells necessary.
Outside the theater, holiday decorations brighten the scene and the snack shop airs recorded Christmas fare, from “White Christmas’ to “Rockin’ Around the Christmas Tree.” ‘Tis the season, ready or not.
Further, during the show, faux snow falls, and bubbles float in the air, since it is a snow substitute in snowless Honolulu. And the whole overview of the staging resembles a giant snow globe, because of the arc that frames the entire show set.
And DHT has gifted itself (and benefitting the spectators and performers alike) with a revolving stage, which twirls scenery large and small, to and fro, on and off), easing the transit of large pieces like a staircase and several tables. Or perhaps this is a big test for the season’s finale, “Les Miserables,” which requires turntable scenes and it’s already operational. Do you already hear the people sing?
Set design, simply, finally has come of age after a rough start in the new theater. Set designer Patrick Fujioka, features an impressive scenic drop from the fly space, like a scenic London moment with a brilliant red-and-white building frontage, with apartments in the background. The drop even does a turnaround for another scene, an aerial switch, not on the revolving stage.
Oodles of toys, clocks and household items and more float above the stage, for a curious effect.
Hugh Hanson’s stylish costumes – highlighted by lots of complementary plaid designs – provide fashionable outfits for the ensemble gents and women, and this visionary plus enhances choreographer Chandler Converse’s nimble and nifty dance numbers, including one where the dancers are uniformly lying and dancing on tables, feet thumping away.
Steven Clear’s lighting is, well, clear and bright, befitting his name, and is complemented by Jericho Sombrio’s crisp and stunning sound design. Consequently, Aiko Schick’s hair and makeup are ready-for-a-closeup chic. Kyle Conner’s props are functional and fun.
A parting note: There is so much compassion and cooperation within the ranks, with an unstated mission to make this maiden journey of “Piney” a memorable success. The shortage of a holiday-time musical just received a jolt of joy, with hopes that this new original funfest becomes the gift that keeps on giving. Honolulu is blessed with the launch, the nature of the show fuels and embraces camaraderie among the cast.
At last, “White Christmas” can take a rest…
And that’s Show Biz…
‘Piney Needlesmith and the Road Less Traveled’
A new holiday musical, with book, music and lyrics at Roslyn Catracchai and Peter Seibert, about a misfit of a girl named Piney, and her journey of self-discovery
Where: Diamond Head Theatre
When: Opened Nov. 21, held over through Dec. 13
Tickets: $43 to $54, at www.diamondtheatre.com or (808) 733-0274