Category: Reviews

You might say that “Chicago,” the hit Broadway show, still has “legs.”

Add elbows, and arms, and wrists, and fingers.

The show, the final installment of the “Broadway in Hawaii” series, opened last night  (Dec. 2) at the Blaisdell Concert Hall, and received a genuine, hearty, and roaring welcome.

The applause — loud and proud — was constant for the elbows, arms, wrists and fingers, a trademark of the legendary Bob Fosse, long associated with “Chicago.”

“Chicago” has become the longest-running American musical running on Broadway, and the hit show –this national touring company — is in residency through Sunday.

If you’ve never seen “Chicago,“ it’s still a dandy.

Why you might go see this one:

C horeography – Ann Reinking has retained the original Bob Fosse style, and Gregory Butler recreated the original choreography. Fosse is the legendary dance wizard, whose trademark style taps succinct movements of elbows and wrists and fingers. His presence is all over the place, and but credit is merely a wee, teeny note in the playbill. Oldtimers will recognize the Fosse finery, but I fear the younger generation is unaware of his lofty status and style.

H it tunes – the music fuels the action, , thanks to the songwriting team of Fred Ebb (lyrics) a John Kander (music), who collaborated on the book. The popular, inventive songs in the score include “All That Jazz,” “Cell Block Tango,” “When You’re Good to Mama,”  “Razzle Dazzle,” “Mister Cellophane,” “Class,” and “Nowadays.”

I ntensity – There is terrific interaction of the singing and dancing actors, who excel in the numerous ensemble numbers, with even the orchestra members roped into many numbers. This version feeds off the orchestral crew, too, because they’re not in the pit, but in the midst of the action, surrounded by key entrances and exits of the performers.

C harisma – The  interaction and reaction are possible because of the pent-up emotion within the ranks, and the stage is like a cabaret club, with singers chirping amid the musicians, creating solid bonds.

A ttitude – The feeling among the performers and even among the audience is that this borrows traditions from such show biz facets as a speakeasy, a vaudeville revue, a nightclub without a curtain, for the most part, to separate performers from spectators. Is integration possible with several different elements and forms?

G rit – The hodgepodge of characters yields a community of curious denizens: fame-seeking murderesses on death row,  a somewhat corrupt prison warden, newspaper reporters, a judge, jury members, law officials, and more.

O xygen – The splendid cast members are the ingredients of this stew, and their actions and acting styles, provide oxygen and flavors to the fray.  The feuding murderesses are Claire Marshall as Velma Kelly and Ellie Roddy as Roxy Hart; Max Cervantes is lawyer Billy Flynn, Illieana “illy” Kirven is Mama Morton the jail matron; Amos Hart is Roxy’s husband, and J. Clanton is murder trial reporter Mary Sunshine.

FYI, the original “Chicago” – a commercial and critical triumph –bowed in 1975 with Gwen Verdon as Roxie Hart and Chita Rivera as Velma Kelly. Bob Fosse directed and choreographed.

This version of “Chicago,” reimaging the Fosse version and retaining his signature dance moves is 25 years old…but still has a lot of life.

So, in actuality, “Chicago” is 50 years old.

Remaining performances will be at 7:30 p.m. today (Wednesday) and tomorrow (Thursday). 8 p.m. Friday (Dec.  5), 2 and 8 p.m. Saturday (Dec. 6) and 1 and 6:30 p.m. Sunday (Dec. 7).

Tickets: $50 to $156, available at the Blaisdell Concert Hall and www.ticketmaster.com

‘Hamilton’ exceeds $4.8 million gross

Christmas arrived early this year for the cast, crew and investors of “Hamiton,”  since the megahit Tony Award musical grosses an awesome $4.88 miilion, for the week ending Nov. 30. The Thanksgiving crowd surely contributed to the amazing ticket sales.

“Harry Potter,” “Wicked,” and “The Lion King’ continued their secondary sweep.

The Top 10:

1—”Hamilton,” $4.877 million

2—”Harry Potter and the Cursed Child,” $3.152 million

3—”Wicked,” “$3.012 million

4—”The Lion King,” $2.787 million

5—”Chess,” $2.066 million

6—”Mamma Mia!,” $2.020 million

7—“Aladdin,” $1.716 million

8—”MJ, the Musical,” $1.595 million

9—”The Outsider,” $1.562 million

10—“Ragtime,” $1.461million

The complete list, courtesy the Broadway Guild:

And that’s Show Biz…

“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

“Priscilla, Queen of the Desert,” now playing through Dec. 14 at the Manoa Valley Theatre, is a lively, robust but often campy jukebox musical. It’s a stunning exploration of drag queens, boasting spirited casting and characters, a non-stop cache of pop and disco tunes, splendid costumes, and energy to spare.

Good news, for only the “Priscilla” run: MVT has splendidly updated and expanded its capacity to 282 from 150,  by adding extra rows of seats hugging both sides of the stage; and despite the cutback of seats — making the performance space smaller –the theater utilizes the floor space as extension of the stage, putting the action right in your face.

Further, a balcony above the stage set provides superior performance space, and houses a nine-piece orchestra with elbow room to deliver the volley of thumping, dance-centric live-band music.

The most welcome plus: MVT has reinstated the traditional playbill, making it possible to restore cast photos and bios, credits for the tech crew, director notes, roster of song titles and credits of all music played, and even in-house advertisements. All valuable innards, restored in playbills that herald back overdue rewards for playgoers, actors, and backstage artistry. So, all together now, a shout-out of  thanks! (OK, we’ve cheered for a comeback of the playbill).

Despite its giddy and flamboyant overtones, “Priscilla” upholds serious real-life issues dealing with relationships. The tale here is about the trio of lead characters: Greg Zane as Bernadette, Andrew Simmons as Tick/Mitzi, and Henry Hawes as Adam/Felicia and their quest to find work and maybe some life pleasures in the Australian outback. Bernadette is the sane, sensible leader who drives a bus named Priscilla – a metaphor of the drag queens’ battered situation – in hopes of landing a job of sheen and propriety.

Zane is irresistible and irrepressible as Bernadette; in his real life, he was a ballet dancer who turned to acting, and transitioned to directing and choreographing musicals later in his career. He was inspired by his mentor, the late Tommy Aguilar of “A Chorus Line” fame. With his wig and makeup and attractive gowns, Zane represents a figure of courage and leadership — and while it’s hurtful, he’s been enduring the high heels, too.

Simmons and Hawes are like mismatched bookends, who play off each other and turn in supportve and touching performances in drag (wigs, sequins, feathers, and heels) and as gents with LGBTQ readiness.

One of their memorable number with Zane is “MacArthur Park,” delivered with earnest warmth, validating the emotional chemistry between Bernadette, Tick and Adam.

There’s a lot to praise, like the Divas, Nicole Villejo, Marie Chiyo Staples and Aurielle Polynice, who are splendid as a spotlighted trio on the main stage as well as from the overhead balcony.

There’s even a cutie pie in the ranks. Braeden Dillabaugh is making his MVT debut as Benji, the son of queer dad Tick. He delivers his lines as a youngster would, with proper articulation, and he’s got full acceptance of his dad’s choice in life. He even sings with the adults on “Always on My Mind,” late in the show, and has a couple of moments in gay garb, which surely must be fodder for conversation with his school chums.

If you’re a nostalgia fanatic, “Priscilla”  is for you. The score boasts nearly 30 hits from the past, such as “It’s Raining Men,” “What’s Love Got to Do with It,” “I Will Survive,” “True Colors,”  “I Love the Nightlife,” “Venus” and “Hot Stuff.” In ensemble numbers, it won’t be a crime to sing-along from your seat. And don your disco duds, and you’ll be in vogue, for “Girls Just Wanna Have Fun.”

Director David Weaver and set designer Willie Sabel must have worked hand-in-hand, to create the performance space – a tighter and abbreviated stage, to open up more seating – and redefine the entrances and exits for the actors. There are no doors, just a single silver curtain befitting a disco at the back of the stage.

There’s Priscilla the bus to reckon with, too, since it is a huge set piece with mobility issues. The turnarounds have been swift. Priscilla does its duty well.

Precision is the operative word – Weaver co-choreographed with Ahnya Chang, known for her lively, rigorous and candid vision – and their best work is in the vivid and even volatile prancing and dancing scenes amid Jenny Shiroma’s superb orchestral support, in the celebratory disco moments.

All this action is supported by spot-on lighting by Chris Gouveia, even with an extra burst or two of colorful twinkles overhead, and clear sound by Sarah Velasco and Timothy Manamtam, a treasure for the disco vibes.

And the vivid costumes by Emily Lane provide the flash and dash of kaleidoscopic hues for the queens, supported by Lisa Ponce De Lion’s trademark artistic power and tower in hair and makeup …

And that’s Show Biz…

‘Priscilla, Queen of the Desert’

A musical with book by Stephan Elliott and Allan Scott, based on the film by the same name

What: A musical comprising disco tunes supporting a story of drag queens seeking a better life in the Australian outback; pop hits of the 1990s dominate the soundtrack

Where: Manoa Valley Theatre

When: Performances through Dec. 14, with shows at 7:30 p.m. Thursdays, Fridays and Sundays; at 3 p.m. Saturdays and 4 p.m. Sundays; no performance on Thanksgiving

Tickets: $25 to $55,  at (808) 988-6131, www.manoavalleythreater.com