Category: Reviews

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‘NCIS: HAWAI‘I’ THIRD IN RATINGS

With the launch of a new TV season Monday (Sept. 20), and  “NCIS” mothership switching to the lineup from its long-time Tuesday perch, the newbie “NCIS: Hawai‘i” appears to benefit in the ratings, thanks to its slot following the original show’s 19th season lift-off.

A new franchise — this one filmed in Hawai’i — can always use a helpful boost.

Here’s how the evening played out in the ratings:

— No. 1 – CBS’ “NCIS,” the Mark Harmon foundation of the franchise, attracting an audience of 8.5 million viewers and 0.7 rating in the coveted 18 to 49 age demo, a skosh lower than last season’s debut on a Tuesday night.

— No. 2 — NBC’s “The Voice,” with 7.2 million viewers, topping the demos with a 1.1 rating. Its audience of younger fans reflected the uptick in the demo.  

— No. 3 – CBS’“NCIS: Hawai‘i,” with 6.6 million viewers and a 0.5 demo rating. Not bad for the newbie.

Mark Harmon as agent Gibbs.

In fine fashion, there was Harmon, as lead agent Leroy Jethro Gibbs, recovering from his boat explosion from last season’s finale, and finally connecting with his team including special agent Timothy McGee (played by Sean  Murray). Sure, Gibbs is an often threatening bossman, who often smacks the back of the heads of his agents, but he has their back, and vice versa. That rapport is a two-way street; respect for the honcho, and support for the chief. That camaraderie has been the spine that has kept NCIS on the straight-up as the No. 1 procedural for nearly two decades.

Vanessa Lachey, appearing as Jane Tennant, the first woman leading an NCIS team, must not have gotten the memo, or its script writers didn’t, in the first episode of the “Hawai‘i” installation. Her I’m-the-boss tone quickly created friction with a Navy Capt. Joe Milius, portrayed by Enver Gjokaj, with her colleagues awkwardly jostling for relevance. Leaders need to have mutual respect and sensible work ethics to co-exist and succeed.

Vanessa Lachey as agent Jane Tennant in “NCIS: Hawai’i.”

Tennant is a single mother, so is tasked to shape a comfortable home front while juggling her chores as a head agent. She is called from a soccer match to proceed to a plane deliberately pounding into a mountain, so the mission’s finally launched. At best, Lachey has potential to get that chip off her shoulder and lead the team effort. Might take two or three more episodes for this niggler to settle. Alex Tennant ([portrayed by Kian Talan) is the elder son of the lead character and Julie Tennant (played by Mahina Napolean) is the young sister and both logically can anticipate to be more visible in future episodes when the mother meter ticks.

The Hawai’i investigative team is a quirky lot. Lucy Tara (played by Yasmine Al-Bustami), eager to please and curiously swift to proclaim her standing, has an unexpected lesbian embrace, suggesting future LBGTQ themes down the line.

Kai Holman (played by Alex Tarrant) is a junior squad member returning to Hawai’i to serve, still trying to forget or escape his Waimanalo roots; he looms as a key figure, but seems unsettled about where to set anchor. He looks local/Hawaiian (he’s Maori, Samoan and Niuean) and orders kalua pig, manapua and loco moco from a food wagon, but clearly can’t feign the real-local ways. Yet. One of his issues is in doubting his dad, realistically portrayed by Moses Goods, a keiki o ka ‘aina. You can quickly recognize the legit in the first few utterances and moments. Yep.

Jesse Boone (portrayed by Noah Mills), is a homicide detective settling into a new job in the islands, and has the look and physique that could develop into a popular and major sidekick.

Kate Whistler (played by Tori Anderson) also is an outsider from the Defense intelligence Agency hoping to find her niche in the Pearl Harbor realm and seems to have a path for her own rise on the ladder of investigation—and possible revisit her eyebrow-raising smooch with Agent Tara.

And Ernie Malik (played byJason Antoon) is the sometimes goofy techie /intelligence guy – all procedurals have one – who has to dig up investigative files in quick moves.

When a franchise has four shows total (“Los Angeles” and the original still exist, ‘New Orleans” went to TV heaven), it’s tough to differentiate one from the other, except by setting. The military or cop jargon remain the same, but landscape matters. Problem is, “NCIS: Hawai’i” still has competish from locally-filmed “Magnum P.I.” (aerials, surf, hotels, green mountains when it rains), and frankly, reflecting back to the original “Hawaii Five-0,” “Magnum” and other Hawaii series as “Jake and the Fatman” and “Five-0” reboot, the novelty of sea-shore-sun is long gone. The major difference will be in the art of storytelling, and perhaps some day, bona fide Hawaiians, Asians and Pacific Islanders as principal cast, not secondary backgrounders. (Current fave: “Doogie Kamealoha,” the Disney+ creation, with lots of local faces and manners).

At least in the premiere, the newbie had the smarts to embrace local music in the soundtrack, notably “Island Style.” Words and sounds — meaning our cultural tunes — will boost and establish atmosphere, and further enhance and propel the images.

If nothing else, Lachey’s Tennant character has gusto and guts, speaking her mind, and totally immersing herself in island waters (well, clearly, her stunt double did that finale scene). The best bet going for her, and the island-based show, is the fact that it airs here at 9 p.m., following the mothership at 8 p.m. Mondays. Now it has to earn its own stripes. …

And that’s Show Biz. ….

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A ‘CINDERELLA’ FOR THE ME-GEN

Camila Cabello, front, with Idina Menzel, Billy Porter, Nicholas Galitzine, Pierce Brosnan and Minnie Driver.

“Cinderella,” currently screening on Amazon Prime, is a pulsating rendering clearly for the 21st century generation, with a familiar tale retold for the Me-Gen crowd.

It opens with a thumping redo of Janet Jackson’s “Rhythm Nation,” with a dancing hip-hop crowd, quickly providing a wow factor that might surprise traditionalists. No bibbidi-bobbidi-boo here; clearly, this is not your grandma’s Ella.

Camila Cabello, the Cuban-American pop singer, swiftly introduces herself as the titular character, delivering Des’ree’s“You Gotta Be,” setting her personal tone, tempo and theme to come.

As a film musical, it’s a mixed bag of new and old melodies, with the familiar likely to be more popular than the newbies.

As written and directed by Kay Cannon, from an idea by James Corden (he doubles as  an exec-producer, and appears as one of mice-turned-coachmen when Ella heads to the ball), the update embraces  a woman’s viewpoint of making her own life choices.

Familiar voices and names  abound, punctuating values and versatility; it might be hodge-podge, but in the end, it all works because Cabello brings innocence and hope to the party. Yes, she’s the reluctant princess with a penchant for designing gowns, and she’s not interested in becoming a trophy bride. Perhaps not till the finale, anyway.

The ingredients are all here: the stepmother, Vivian, not so wicked in Idina Menzel’s interpretation. And yes, hers is a wholly wonderful vocal instrument, a la her Broadway creds in “Wicked,” but Pierce Brosnan as King Rowan is no better or worse than his “Mamma Mia” stint, but he fits the mold as the rigid royal who lacks ambition. Minnie Driver is Queen Beatrice, who isn’t given much to do, but comes out with the most relevant posture of credibility late in the party.

Galitzine as Prince Robert and Cabello as Cinderella.

Clearly the jewel of the project is Billy Porter as the Fairy Godmother, visually and vocally a piece of skillful work in his gilded finery of a gown.

Since this is a princess tale, not a prince’s story,  Nicholas Galitzine as Prince Robert has  the dubious task of dimming his headlights, not overshadowing Ella. He’s not a bad singer, however, but the rigidity of the Cinderella plot disallows romantic legitimacy. He goes searching for the midnight maiden, but the quest  is reduced to door-knocking, minus damsels trying to get foot into the shoe.

So we mentioned familiar ditties, borrowed hits rebooted with gusto, and  retrofitted  to fit into the tapestry of the kingdom:

  • Madonna’s “Material Girl,” the stepmom’s marry-for-money declaration.
  • Queen’s “Somebody to Love,” Prince Robert’s proclamation that he’d marry for love, not merely an arranged bride.
  • Earth Wind and Fire’s “Shining Star,” the  Fab Godmother’s vehicle to preen, as he/she turns the cinder girl into a saleable sizzler.
  • Ed Sheeran’s “Perfect,” the romantic anthem shared by Ella and the Prince, before the clock strikes 12;
  • Salt-N- Pepa with En Vogue’s “Whatta Man,” a crowd women rallying to earn the prince’s hand and wealth.
  • Jennifer Lopez’s “Let’s Get Loud,” a show-ending livewire to punctuate the happily-ever- after conclusion.
  • And yes, there are several new tunes in the soundtrack and the one to get on is Cabello’s composition, “Million to One.” It’s likely to be the film’s hit track; it is a made-for-radio, groomed-for-video gem.

Meanwhile, a Cinderella on the London stage

A footnote:  there’s another “Cinderella” – a new musical – earning applause  in the West End, London.

The Andrew Lloyd Webber musical, with collaboration with Emerald Fennell and David Zippel, was shut down at the Gillian Lynne Theatre during the panemic, but returned to action in mid-August.

 The cast includes Carrie Hope Fletcher as Cinderella, Ivano Turco as Prince Sebastian, Victoria Hamilton-Barritt as the Stepmother, Caleb Roberts as Prince Charming, and Rebecca Trehearn as the Queen.
In time, this one likely will set anchor on Broadway.

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READY, SET, VAN GOGH!

I finally made it to the “Beyond Van Gogh” exhibition at the Hawaii Convention Center, and thought I’d share some reflections to add to the abundant responses on social media.

The Gogh for broke images, from palette to the walls

I’ll do it in a Q&A format:

Sunny-bright sunflowers…
  • Is it worth attending? It’s a top-tier vehicle, on a wide tour here and elsewhere, and it’s clearly akin to a museum coming to you. You might encounter this on a future Mainland trip, but since it’s here, why not?
More sunflowers — oversized and overwhelming.
  • Is it costly? Nothing is truly cheap anymore; yes, admission is pricey, but for a discount of sort, go weekdays; weekend entry fees are higher. Weekend prices: $45 adult, $40 seniors, students, and military; $23 children (costs rounded out).
The Gogh guy, in one of his guises.
  • What makes this better than, say, an exhibit at the Honolulu Museum of Art? For starters, this is an immersive hap, so you’re part of the visuals you’ll encounter. The art comes to life, so to speak, swirling and dancing across all walls of the main exhibition area; many familiar artwork are depicted, but you may have to look hither and yon to see the range; the exhibit is exquisite in darkness, heightening the color.
  • Is it accessible for the handicapped? Yes, wheelchairs are allowed; chairs are available for the asking, once you’re at the exhibit area; there are limited benches, otherwise; I brought my own stool, since I tire when standing a long time, but took an open seat when it was vacated.
His architectural sense still is imaginative and wondrous.
  • What’s the best point of the exhibit? It’s a personal choice; you’ll be amazed at the range of Van Gogh’s self-portraits, and witness his altering brush stroke styles; I loved his still life, like sunflowers; the art provided a sense of how he felt about life, his country, his people. Especially stunning: “The Starry Night” and “The Sunflowers.”
  • Downsides? Not really, but a stroll through informational morsels was longish, with a lot to read; the intention is to educate, but pictures are worth, as they say, a thousand words, and the gallery of the paintings hit the mark. Oh, there’s the expected gift shop, a pop-up store, with T-shirts ($35), mugs, posters, and bookmarks ($6); no postcards, however.  Museum shop prices prevail.
  • Extended dates: Through Sept. 26..
  • Final words: The common punchline: Gogh see it!
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REVIEW: JOIN THE BUOYANT ‘CHORUS’

“A Chorus Line,” the backstage musical beloved throughout four decades of theatrical relevance, is back and buoyant in its second revival at the Diamond Head Theatre.

It’s aglow with a young new cast, strutting like peacocks for a new generation of fans, with fabled director-choreographer Greg Zane, putting his imprint on the musical that launched his career three decades ago.

Zane played Paul San Marco on the same stage, where he was mentored by the late Tommy Aguilar, so there’s an unstated passing-of-the-torch tradition, with Dwayne Sakaguchi in his career-charismatic turn as the same emotional and conflicted wannabe Paul. Oh, this version must be blessed from heaven.

At age 46 (“A Chorus Line” — which originally ran for 6,137 performances from April 16, 1975 to April 28, 1990 at the Shubert Theatre on Broadway — may seem dated but it joyously captures the angst of line dancers aching to land a role, in Michael Bennett’s incredulous homage to stage gypsies. “ACL” had a first revival Broadway reboot in 2006 and again in 2008.  So in stage annals, she’s sort of a senior citizen, earning Tonys and even a Pulitzer Prize for Drama, and in its time frame, was the longest running American musical.

Ageism doesn’t exist in this show, which still has legs and heart and emotions and regrets – stuff from real life – and it’s only “dated” because it has a proud history and a spirit that doesn’t quit. First time or fifth time, “A Chorus Line” offers a genuine flavor of what it feels like trying out for a show.

The chorus line in “A Chorus Line,” now playing at Diamond Head Theatre. NOTE: 7:30p.m. performance Aug.5 just added — only show with available tickets. Book ASAP before all sold.

The production boasts resources unseen (creator Bennett’s genius, music by Marvin Hamlisch, and a book by James Kirkwood and Nicholas Dante, with lyrics by Edward Kleban) and rituals perpetuated because of the Aguilar/Zane/Sakaguchi connections.

Aguilar, who died of AIDS, has endured as an unofficial local because of his love and the imprint he left on Hawaii actors and dancers. His aura clearly exists in this mounting, though he doesn’t have credit in the online playbill for “inspiration,” which matters very much.

With musical direction by Melina Lillios, encircling the rigorous process of actors  auditioning for a show, “ACL” is rich and pure – a metaphor for life – yet simple and satisfying with notions and niceties about their lives and aspiration.

 A director Zach (Norm Dabalos, commanding but sometimes threatening, presumably inspired by Bennett’s ways and means) is seeking four guys and four gals from a field of gypsies, who roam from one tryout to another, no matter what.

The process is everything here. Well, prowess, too.

Cassie (Kira Mahealani Stone) becomes a focus of friction; she has had a relationship with Zach, who thinks she can do better than becoming a chorus girl, but, well, she needs a job, something, anything, because role-hunting is in her DNA, and with certainty, she is one of the community of ensemble actors seeking parts in a show we won’t see. She might be exceptional (Stone is riveting, transforming and persuasive in her big solo, “The Music and the Mirror,” but is struggling to be equal and ordinary, like her peers). For the record, no one has dared to do a sequel – “Two”? – because the one-ness is at the core of this show, punctuated by the show-closing “One,” the singularly sensational finale formation that is the trademark of “ACL”.

When Diana (Emily North, supposedly Puerto Rican and brutally honest) sings “Nothing” and feels nothing; she is reacting to moments foreign in her life, like swooshing through snow in her improv moment. Her truths bloom later when she belts out a heart-wrenching “What I Did for Love,” the anthem of theater folks who truly spend a lot of time for the love of the job, with very little regret.

The tapestry of hopefuls and dreamers include hilarious morsels, punctuated with authenticity in numbers like “I Hope I Get It,” “I Can Do That,” with singularly sensuous confessions from the sexy and aggressive Sheila (Lauren Teruya, gorgeous and effusive), the Hollywood wannabe Bobby (Marcus Stanger, hilariously confident), the tormented Val (Jody Bill, whose T&A lament is a showstopper), and the supportive couple Kristine and Al (Alexandra Zinov and Jared Paakaula, proud and bound by obvious love).

Imperfect bodies, broken relationships, perseverance and personal revelations are part of the chemistry here. The expressions are pieces of this theatrical puzzle, collected by creator Bennett when he interviewed and taped actual actors spewing out their inner feelings about life and auditions.

Costume designer Karen G. Wolfe has cherry-picked audition garb with a keen eye, and reflection works wonderfully – she includes a tkts T-shirt for Al, a multi-hued top for Diana, and that red hoodie for Paul, signatures from the original show.

Sakaguchi’s monologue, recapping his sexuality and his relationship with his parents, is the exclamation point of the evening, rich in detail, honest in delivery, and fueled with passionate emotions. If you don’t get watery eyes, you must be dead.

And yes, the “One” finale, where all the dancers line up in glittering gold-and-white costumes capped with the iconic top hats, is deliverance with dedication — with riveting precision, visible professionalism and sums up the essence of the show. They can do it; chorus liners are stars, too.

In the tradition of “A Chorus Line,” there is no intermission and no curtain call. Thus, no opportunity for spectators to render that standing ovation.

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“A CHORUS LINE”

When: 7:30 p.m. Thursdays through Saturdays, 3 p.m. Saturdays, 4 p.m. Sundays,  extended through Aug. 8 Sold out. Note: 7:30 p.m. performance Thursday Aug. 5 just added; only show with ticket availability, but buy ASAP, or will be sold out, too.

Where: Diamond Head Theatre

Tickets: $25 at www.diamondheadtheatre.com

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‘WHITE LOTUS’ REVIEW: OVERTOURISM??

The real star of HBO/HBO Max’s “The White Lotus” is the Four Seasons Resort Maui at Wailea. Location! Location! Location!

Though the brand’s name is never utilized in the show, the property’s luxurious ambience — from suites to pools, from dining facilities to an abundance of beachfront cabanas –is the perfect site that suits the unending and unapologetic vibes of the rich-and-conflicted clientele depicted in Mike White’s dramady of manners, or lack thereof, set in a Pacific resort.

The six-parter which debuted this past Sunday (July 11) — with airing of new episodes for the next few Sundays — provides an intimate and outrageous portrait of disgruntled travelers of privilege. Its satiric strokes and pokes at the disrespectful wealthy arrives at a time – real time – when Maui and much of the rest of Hawaii resorts are coping with too many visitors and not enough workhands, and this tongue-in-cheek treatment presents one-sided evidence that travelers are a pain in the derriere.

Hotel workers welcome a band of travelers, in the first episode of HBO/HBO Max’s “The White Lotus.”

So the nuisance of overtourism rears an ugly head.

Exaggerated, yes, like the newlywed groom, complaining endlessly about not being in the honeymoon suite, while the bride tries to comfort him and explaining to the hotel’s front desk manner that the accommodations are fine, disputing her hubby.

Tanya (Jennifer Coolidge), a woman traveling with the remains of her late mom, seeks Belinda (Nathasha Rothwell), a masseuse and spa manager, to ease her backaches, and she is the essence of someone who also is a pain in the butt, clinging to the massage whiz like opihi on rock, but a good tipper.

It’s fantasy, of course, and clearly represents the myriad of mishaps and the multitude of complainants within the community of a hotel. The tale could easily be set on a luxury liner or at summer camp, with similar implications. In reality, the “Lotus” cast and crew set up house and workplace, at the pricey Four Seasons last October through December, when most everyplace else had shut down due to the pandemic.

As guests arrive via boat (presumably from a nearby island, after a formal flight), hotel manager Armond (Murray Bartlett) and newbie trainee Lani (Jolene Purdy) welcome the visitors each with different complaints.

The hotelier realizes that the privileged have a thirst for attention, so the squeaky wheels abound and catering to the requests is the key option.  

There’s suspense, too; so “Lotus” will evolve into a peeling murder mystery in the weeks to come.

The good news, however sparse: There are three islanders in the cast, though one wonders if this is a credit worth boasting about. Loretta Ables Sayre shows up in one scene; if you blink, you’ll miss her. Kekoa Scott Kekumano will recur as hotel employee Kai.  Brad Kalilimoku appears as a paddler, though in an uncredited role.

The bad news: In the opener, there were two somewhat startling scenes; Lani, the trainee, is hapai and her water breaks right next to the front desk.Traveler Mark Mossbacher (Steve Zahn), not only reveals he has a medical issue, testicular cancer, but he shows his junk – presumably not really his, but stand-in privates. It’s mockingly queasy stuff.

Perhaps the future episodes will render more startling scenes with less offensive results. The Four Seasons  likely will remain the star, and perhaps welcome guests who may want to stay in the rooms of the “Lotus” cast. Without the baggage of whines.