Category: Reviews

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‘Island moments’ in the Tonycast

There were “island moments” — two — in last night’s (June 7)Tony Awards televised on CBS.

No one mentioned it, so I will: Darren Criss and Nicole Scherzinger were key award presenters since they both won Tonys last year… Criss, as Best Actor in a Musical (“Maybe Happy Ending”) and Sherzinger, as Best Actress in a Musical (“Sunset Boulevard”). Their presence was part of the ritual of passing down the crowns to this year’s victors in the same categories.

Darren Criss and Nicole Scherzinger, key Tony presenters.

Lest you forget, Criss spent his early childhood in Hawaii; Scherzinger still has family here and has had a notable musical career as the centerpiece of  The Pussycat Dolls.

I haven’t seen any of this year’s winning shows and performers, but I’ve been researching the slate of attractions, since I’m heading to The Big Apple in July to see some of the shows, and already have secured tickets to many titles with toe-tapping energy, including “Schmigadoon,” the parody of “Brigadoon,” which snagged four trophies including Best Musical.

Ann Harada, in the ensemble of “Schimagadoon.”

And drum roll, please; another island tr!ouper —Ann Harada (no relation), a Punahou grad –is in the “Schimagadoon” ensemble. Yippee!

Other new musicals I’ll catch: “The Lost Boys”  (four Tonys) and “Cats: the Jellicle Ball” (three Tonys). Will experience “Titanique”  (the Celine Dion-“Titanic” parody) — nominated for Best Musical.

Will see “Oh, Mary” for the first time, but will revisit “Moulin Rouge” and “Harry Potter and the Cursed Child,” the latter a pared-down version (“Harry” originally was a two-show attraction).

Was curious about the  “Beaches” musical, based on the film featuring Bette Midler and her signature hit, “Wind Beneath My Wings,” but without a star wattage, the Broadway version was shuttered when it wasn’t nominated for a Tony.  The cancellation enabled me to buy tickets to “Titanique,” completing my show list.

The Tonys spectacle is truly a wonderment and a revelation: How can producers and backstagers move one show’s sets and sundry performers off the stage, and get another cast and sets placed in an incredibly short time, with the cadence and confidence of a marching band.

This year’s Tony cast also staged several remarkable hits again with on-and-off tempos – “Chicago,” “The Book of Mormon” (back in action in real time, following a theater fire two weeks ago) and “A Chorus Line.” The latter was a singular sensation—a Cassie singing the show biz anthem, “What I Did for Love,” but it would have been a bonanza to have the “One, Singular Sensation” showstopper, but it would have been a miracle chore to assemble singers-dancers dressed in glittery duds and topped with hats. Just a thought…

It’s summertime, and the going’s not easy

Summertime theater-going  dropped in overall grosses for the week ending June 31. An indication: “Wicked,” normally in the top five, took a dive to No.6.

The 2026 Best Play production, however, soared to No. 3 before the Tony Awards this past Sunday (June 7), and likely will inch-up toward the top of the horse race. So will “Schmigadoon,” the just-crowned Best Musical, find its way to the Top 10?

 “Hamilton” managed to be the lone show topping the $2 million level.

As summer vacationers head for Broadway, there should be more see-sawing attendance figures.

The Top 10:

1—”Hamilton,” $2.028 million

2–“The Lion King,”$1.979  million

3—“Death of a Salesman,” $1.35 million

4—“MJ the Musical,” $1.582 million

5—“Oh, Mary,”  $`.534 million

6—“Wicked,” $1.464 million

7—“Ragtime,” $1.300 million

8—“The Lost Boys,” $1.290 million

9—“Aladdin,” $1.196 million

10—“Giant,”  $1.178 million

The complete list, courtesy the Broadway League:




And that’s Show Biz…

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Brice is right in ‘Funny Girl’

In her Diamond Head Theatre debut as Fanny Brice in “Funny Girl,” Becca Brake turns in a star-making performance, hitting all the right notes and delivering all her solo vocals with powerful confidence.

Not an easy task, considering she is working in the shadows of Barbra Streisand, who originated Fanny Brice on Broadway and later in the film.

Hello, gorgeous!

Brake starts off slowly, then going full-throttle-furiously, chewing her lines in rat-tat-tat swiftness, and conquering every one of her solo vocals with stunning flair and finesse.

Not surprisingly, audiences are cheering and applauding.

The show, about a hungry-for-fame singer from New York’s Lower East Side, features a musical score by Jule Styne (music) and Bob Merrill (lyrics), based on a book by Isobel Lennart.  It’s a made-for-the-stage story of talent and eagerness overtaking the odds and challenges of the uncertainties of stardom, in the era of vaudeville and  the Ziegfeld’s Follies.

John Rampage, DHT’s seasoned director-choreographer, is the perfect choice to helm and mount “Funny Girl,”  which is the fourth revival  of the classic over the past six decades,  Rampage knows the road map to this one, steering  his cast of 29 –  tap dancing has been his specialty – with the spirit of the era. And yep, he  knows how to party hearty with a corps of dancers who also sing…a strength of DHT musicals.

Shari Lynn is Mrs. Brice, Becca Brake is Fanny Brice, in “Funny Girl.”

The show is well cast, with Mark Sanders (debonair, smooth talker) as gambler Nick Arnstein, who marries Brice; Shari Lynn (a stalwart Jewish mother, with a firm perspective of life), as Mrs. Brice;  Joe Martyak  (profound business man, and a star-maker), as Florenz Ziegfeld Jr.; and David Weaver (loyal, supportive best buddy of Fanny) as Eddie Ryan, the  talented dancer-choreographer.

Brake carries the burden of singing and delivering the show’s familiar hit songs – “I’m the Greatest Star,” “Don’t Rain on My Parade” and “People”  –all in Act 1, with a couple of duets with Nick. Brake still dominates the song count in Act 2, with such novelties as “Sadie, Sadie” and “Rat-Tat-Tat-Tat”  rendered with the company.

Jenny Shiroma efficiently conducts the orchestra of seven; the opening overture here is not exactly the best (not the fault of the musicians).

The techies deliver where it counts: Dawn Oshima’s lighting design and Michael Minor’s sound design work hand in hand; Miya Yoshimoto’s hair and make-up design project the look and style of an earlier time.

Kyle Conner’s and Dawn Oshima’s set design – depicting backstage of the New Amsterdam Theatre in New York, circa 1924 —  is a curiosity, with a pair of moveable stairways as the centerpiece. There’s a lot of old-time roll-on/roll of set pieces, like Fanny’s dressing room, lots of furniture (sofas, chairs, tables) and a couple of recurring “drops” (a faux brick wall, a reflecting and glittering curtain). It’s all effective, considering the time, and a reminder of old times before the new DHT launched, when set pieces were on wagons and relied on cast and stagehands to push and pull.

Playdates originally were through June 7, with performances at 7:30 p.m. Fridays and Saturdays, 7 p.m. Thursdays, 3 p.m. Saturdays and 3 pm. Sundays. Extension dates have been announced for Saturday June 13 and Sunday June 14.

Tickets are $43 to $70, at www.diamondheadtheatre.com or 808-733-0274…

And that’s Show Biz…

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‘Yellow Face:’ A volley of vitriol

I’m old enough to remember the casting controversy of the Engineer role in “Miss Saigon,” a Cameron Macintosh hit in the 1990s. And this theatrical friction recurs in the current theatrical satire, “Yellow Face,” now at Manoa Valley Theatre.

Jonathon Pryce, a Welsh actor, was cast to play the Engineer in the Broadway launch of “Saigon,” which was an affront to the Asian community.  Playwright David Henry Hwang, best known for scripting “M. Butterfly,”  rightfully cast an Asian, B.D. Wong, to play the leading role.  But Hwang was not silent about the “Miss Saigon” development.

Pryce, Wong and Hwang are smack dab in the middle of the casting conversation and  its implications, in Hwang’s  bold and “Yellow Face”  production, which plays like a mockumentary with a volley of vitriol.

Reyn Afaga is DHH (as Hwang is called) and he leads a small army of Asian and part=Asian performers, who argue, agree, yell, shout and spew out opinions like bullets in this theatrical drama en route to becoming a social and satirical comedy. The players form a vigorous and vital animated ensemble, directed by Reiko Ho, herself a seasoned and savvy director of numerous Asian-content works in her career. “Yellow Face” easily could be the most explosive  and controversial entry in her list of credits.

Reyn Afaga, in yellow shirt, plays David Henry Hwang in “Yellow Face.”

“Yellow Face” is easy to watch as it dismantles real-life drama and repurposes it  into onstage comedy, examining and exploring the elements of farce, racial discrimination,  cultural identity.

Nicholas Gianforti plays Marcus Gee, an actor cast as  “The King” in “The King and I,” and mocked as a fraud, since he is not Asian but trying to legitimize the role popularized by Yul Brynner (who was part Asian).

Other players are Brandon Caban, who is the constant announcer in a wave of informational bursts of headlines and quips from newspapers like the New York Times and the Post; Sam Bui is Henry Yuah Hwang (NYH), the father of DHH who idolizes Frank Sinatra and  “My Way;”  Elizabeth Ung is Leah Ann Cho; Anastacia Narrajos is Jane Krakowski; Angeline Roselani Han is Carla Chang; and David Tang is Stuart Ostrow. All cast members take on numerous smaller roles and also actively move  or remove furniture and set pieces as needed.

MTV’s recent series of in-the-round staging is over, as “Yellow Face” is staged in the more conventional proscenium format, though there’s no proscenium. Before there’s any stage action, the performance space is kind of blank canvas; Willie Sabel’s stage is all black but takes on different hues thanks to lighting; the open space enables romping by the entire cast, with selected props, and Janine Myers’ lighting and Sarah Velasco’s sound direction work their magic. Amber Lehua Baker’s costumes are  suitable and functional and Kelly Belle’s props are comprised mostly of tables, chairs, and stools.

Performances are at 7:30 p.m. Thursdays through Saturdays and 3 p.m. Sundays; a matinee has been added at 3 p.m. May 23; and two performances also have been added at 7:30 p.m. May 30 and 3 p.m.. May 31.

Tickets: $25 to $47, at (808) 988-6131 or www.manoavalleytheatre.com

Around town

Hoku Zuttermeister.

Hoku Zuttermeister has been performing at Roy’s in Hawaii Kai, doing  informal sets on the lawn outside of Roy’s downstairs bar. According to Robbyn Shim, who does p.r. for Roy’s, the entertainment community has been stopping by the catch him in action. Among Zuttermeister’s pals tuning in: Nina Kealiiwahamana, Robert Cazimero, and Manu Boyd. Nothing like attracting celeb listeners…

With the extension of the “Ke Kilo Lani: Robert Uluwehionāpuaikawēkiuokalani Cazimero” exhibit till May 30, another panel discussion has been added to the series at Gallery ‘Iolani at Windward Community College, adjoining Paliku Theatre.

Roland and Robert Cazimero, back in the day…

Zachary Lum, a member of Keauhou and a Gent from Halau Na Kamalei, will moderate.

The final panel discussion will be from 6 to 7 p.m. May 21, and the panelists will be members of Cazimero’s halau, the Gentlemen of Hālau Nā Kamalei o Lililehua, who will discuss their learnings and perspectives of the exhibition.

For tickets, register at https://www.waheafoundation.org/

Gail Mack, Lance Luke, Keith Hiraoka and Bobby Nishida will perform from 5 to 8 p.m. today (May 17) at Mango Street Grilll in Wahiawa. For reservations, call Daryl at (808) 627-5451. Same number, to preorder a prime rib dinner…

The musicians also perform from 6 to 8 p.m. May 29, at The Edge, at 31 N. Pauahi St. Reservations: (808) 888-3228; $5 cover prevails.

And that’s Show Biz…

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Fleeting memories, with isle icons

Two icons of Hawaii mele and ‘olelo – Robert Cazimero of Oahu and Keali‘i Reichel of Maui – convened in a rare Lei Day concert last night (May 1) ‘neath the huge white tent erected on the Great Lawn of Bishop Museum.

The gathering was more than a routine May Day spectacle, however, since Cazimero and Reichel shared illuminating chit-chat in pre-recorded  video shown on screens. The commentary included fleeting memories from the past that will likely define and shape the future destination of Hawaiian music and dance.

Robert Cazimero

Reichel opined that Cazimero was a visionary model in a trail of stardom. “Thanks for getting me out of the bushes to catch up,” said Reichel, who summed up his trailblazing buddy in a single word: “Gratitude.” Cazimero noted that there were instances where the roles were reversed. “I became a follower, too,” he said.

Keali’i Reichel

It was the first time that both kumu hula and their dancers and singers assembled in a lavish presentation yielding unexpected exchanges. Though the overall mission of both halau is to perpetuate island music, Cazimero’s two-time Merrie Monarch-winning  Halau Na Kamalei O Lililehua (earlier known as Halau Na Kamalei O Likolehua) is comprised of gentlemen who elevated kane hula; the guys sing, dance, and play cultural instruments, committed to hula kahiko and hula auana, and expanding its horizons with Christmas productions that appeal to a wide base of fans. With hula as its foundation, Reichel’s Halau Ke‘alaokamaile perpetuates the Hawaiian culture and heritage through the arts, language and dance, with a connection to the ‘aina in its hula experience. He admitted hula was primary, before singing.

Standing, from left: Zachary Lum, Jonah Solatario, and Nicolas Lum. At piano, Cazimero; in front of Solatario, Reichel.

The first-time status also included the participation — again — of Keauhou, the Na Hoku Hanohano Award-winning trio comprised of Zachary Alakaʻi Lum,  his brother Nicholas Kealiʻi Lum and Jonah Kahanuola Solatorio. Their roots in Hawaiian run deep, with Kamehameha Schools vintage. They support the three p’s of show biz, performance, preservation and perpetuation. Nick earned a PhD several months ago, Zack is a doctoral candidate, and has emerged as the game-changing producer of the May Day specials like last night’s. Zack and Cazimero were the ones who urged Reichel to join Lei Day.

The gents of Halau Na Kamalei O Lililehua share a kahiko hula.

This was a challenging production to review; I was situated in a midway table which made photographing the artists extremely difficult; in many shots, I captured wee images of Cazimero at his yellow plumeria-draped white piano, but mostly the camera focused on Kuana Torres Kahele’s head, beautifully displaying his beautiful hand-made lei po‘o.

Cazimero hugs Jon de Mello.

There were notables all over the house; Kumu hula Vicky Holt Takamine, singer and Cazimero’s best friend, Kaipo Hale, longtime Cazimero manager and recording producer Jon de Mello, entertainment lawyer Mark Bernstein, restaurateur and chef Kelvin Ro. Sitting next to me: Fred Krause, Reichel’s manager and partner; and so on.

Kelvin Ro makes the rounds.

The music seemed to be hand-picked  by both kumu stars and Keauhou, nicely paced but with somewhat abrupt and awkward TV commercial breaks (Hawaiian Airlines was title sponsor of the production, Hawaii News Now televised the show live). The concert will be aired on Mele.com this month.

Reichel’s best treats were “Kawaiokalani” and “Ode to a House” (but no “Kawaipunahele”). Cazimero was effectively reflective on “Downtown Honolulu” (his favored composition) and “Lei Onaona.” Keauhou’s “Ka Uluwehi O Ke Kai” was an op for hula dancers to strut their thing between the rows of diners. And a grand slam-dunk finale choice, “Hanohano Ka Lei Pikake” included rotating verses by Reichel, Cazimero and Keauhou.

‘Twas precisely the kind of robust, energetic and soul-touching moment – fleeting memories attendees could savor, cherish and take home to enjoy till the reflections fade.

P.S.: Reichel created an unintended memory, slipping in the mud (it rained earlier in the day) en route to the stage, and a brown smudge on his white pants at his left knee was prominent. He couldn’t change clothes because his spare clothing was back at the hotel. “It’s like a pimple on your face,” he surmised…

And that’s Show Biz…

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‘Thriller’ defines ‘Michael’ biopic

In “Michael,” the biopic with Michael  Jackson’s real-life nephew, Jaafar Jackson as the centerpiece, there’s authentic movie magic. Jermaine Jackson’s son is launching a film career, and yep, it’s a stunning mix of emotional acting and enticing impersonation. By end of the flick, you may feel Jaafar isn’t a copycat here; after all, he’s got that DNA to vocalize and dance.

Here are 10 take-aways:

1—“Thriller,” MJ’s iconic Halloween-y vocal/dance, is the No. 1 in the roster rock from the King of Pop’s catalogue. So the precision and enactment of the famous MTV video depended on the dancers learning and reimagining the moves and grooves for the big screen. So yes, “Thriller” is a killer!

Jaafar Jackson, as Michael Jackson: : “Thriller” defines his moves and grooves.

2—“Billie Jean” is a super  duper second-placer. Again, the recreation chills because of the energy and power delivered.

3 – The single-glove lives and shines. Supposedly worn, to shield scars of a developing skin condition. What happened is that the glove became an iconic element of his presence.

Jaafar Jackson, Michael’s cousin as MJ: A star is born.

4 – The moonwalks are plentiful and Jaafar didn’t  create them, but he perfected the glides and bouncing to and fro, and his uncle must be proud that the crown has been sort of unofficially turned over.

Colman Domingo, as Joe Jackson

5—Colman Domingo— as Joseph “Joe” Jackson, MJ’s real-life father — is perfection as the meanie patriarch who belt-whipped the kid in his mentorship of Michael and the Jackson 5. It’s the film’s toughest and most challenging and complex character  – a bad dad – with personal greed in his veins with demonic demands. However, he could earn an Oscar nomination next year.

6 –MJ’s link to Peter Pan and Neverland was real; it explains a lot why he wanted to be forever young.

7 – His at-home zoo was strangely real; peacocks, a giraffe, a snake, a llama and the adorable chimp named Bubbles were among his animal pals depicted. And toys – MJ was a boy-man who loved stuffed figures including Mickey Mouse. And ‘twas cute, when he taught Bubbles how to navigate the Twister gameboard.

8 – As painful it must’ve been in real life, that horrid accident of MJ’s misfortune – his hair caught on fire during the filming of a Pepsi commercial – was a moment of terrifying winching. Yet he persevered, and this misfortune changed  him into a humanitarian supporting hospital burn units.

8 – Missing in action: Janet Jackson. Pourquoi? Marvelous in action: child actor Juliano Valdi(aka Juliano Krue Valdi) as Young Michael at 12: he fibs, saying he’s 8, at one point of the film. Mystiful.

 9—Gasping, screaming, fainting girls are part of the shrieking and adoring fan ship.  Happens quite often in rock shows, dating back to Elvis Presley,  but the hysteria was vital, providing raw energy.

10 –This is Part One of the MJ story; Part Two is coming  — unnecessary, since No. 1 showed and glowed with the MF the world cherished. The sequel will downplay the magic of his music and deal with  MJ’s dark side as a pedophile, with a tangle of accusations and court issues, for sure. This is not “Wicked.” …

One is a Lonely Number

And there was only one again, in the challenging and elistis $2 Million Club. And that’s
“Harry Potter,” again and again and again.

The Top 10:

1—”Harry Potter and the Cursed Child,”$2.31 million

2—“Hamilton,” $1.94 million

3—“The Lion King,” $1.89 million

4–Every Brilliant Thing,” $1.65 million

5—“Death of a Salesman,”$1.47  million

6—“Chicago,” $1.59 million

7—“MJ the Musical,” $1.35 million

8—“Moulin Rouge,” $2.64 million

9—“Ragtime,” $1.17 million

10—“Stranger Things: The First Shadow,” $1.00 million

The entire list, courtesy of the Broadway League: