Category: Reviews

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I COULD HAVE GLANCED ALL NIGHT

It’s daring, it’s different, it’s delightful.

It’s Diamond Head Theatre’s revival of “My Fair Lady”!

It takes risks with its basic pristine set in stark white, like a mammoth canvas, where projections add color on smaller scenic drops from the fly loft.

It delivers a new wrinkle — the opening overture is a precious, unexpected  dance opportunity — which is an additive to showcase a terrific dance ensemble. And costumes floating in from the fly space? Too bad wearers couldn’t just slip into the descending gowns and suits.

It boasts a stellar cast of principal actors who inhabit the essence of the show’s familiar musical and comedic gems, but certainly fresh and formidable. This is not a rom-com, but admittedly, Henry Higgins might come off as a pushy bully and Eliza Doolittle a victim in his ploy to make her wrongs right. Just remember, this is show biz.

The Alan Jay Lerner and  Frederick Loewe favorite opened Friday (Dec. 1) and has an extended run through Dec. 30 . Yes, there are attitudes of verbal abuse, sexism perhaps, colonial, and societal prejudice in this vintage story, but you can’t rewrite the play, inspired by George Bernard Shaw’s “Pygmalion,” so interpretation and presentation are the underlying challenge. Forget the now, and enjoy the wow of each scene.

I took in the Saturday (Dec. 2) performance and was happily charmed by the innovation of the stylish look and versatility of the set and the splendid casting of actors with depth.

Anna Young as Eliza, and Garrett Hols as Higgins, in the “Rain in Spain” scene. Photo by Brandon Miyagi.

Truly, I could have glanced all night.

So, director Bryce Chaddick retains the beloved story but alters the playing field; if you can’t rewrite it, neutralize the playground.

Dawn Oshima, set and lighting designer, created a basic three-panel wall in white, that features occasional projections, with a few lowering and raising of mini scene tricks including vertical panels that can be illuminated with hues and a basic “door” panel to serve as entrances and exits for some scenes. You won’t see the usual environments of Covent Garden, Wimpole Street, Ascot, Higgins’ home, and other key spots in the storytelling. You have to imagine it all and depend on those rectangular backdrops from start to end.

As Eliza Doolittle, Anna Young struggles a bit in the early scene as a flower girl with a Cockney accent amid the setting of the large white background panels. So, viewers have to bring imagination to see or feel her loverly thoughts, as Eliza sings “Wouldn’t It Be Loverly.” But when she full-blooms, under the tutelage of Professor Henry Higgins, hiccups hardly happen.  Her shining moment is when she delivers “I Could Have Danced All Night, her personal, triumphant declaration of independence. Just you wait, Young /Eliza is a powerhouse.

As Higgins, Garrett Hols is the master of the production, delivering a performance with vigor and voltage with polish and precision. His lines are mouthfuls, delivered with confidence and speed, and his tempo is terrific. His mission to convert the lowly flower girl is an opportunity to elevate her status by undoing her inability to speak, well, English. The pain, it’s plain, is actually in his gain. His moments of glory include “I’m an Ordinary Man,” which reveals his inner thoughts, and “I’ve Grown Accustomed to Her Face,” which expresses his softer, romantic side. If he accomplishes his feat, he wants to strut Eliza in front of his mom, Mrs. Higgins, played by Betty Bolton, and get her seal of approval, as if she were a show dog. (FYI, David L. Young, spouse of Anna Young, is understudy of Higgins, and it would be fun to see the couple in action).

Betty Bolton is Mrs. Higgins, seated left, and Young as Eliza, seated center in the “Ascot Gavotte scene, which shows the stunning black, white and silver finery designed by Kimmerie H.O. Jones. Photo by Brandon Miyagi.

As Colonel Pickering, Eli K.M. Foster is the third wheel in this journey—a sidekick of Higgins curious about his notions and his insistence and kind of a leash to monitor the transformational goal.

As Eliza’s father Alfred P. Doolittle, Miles Phillips steals scenes, notably on the early “With a Little Bit of Luck” in Act 1, leading up to “Get Me to the Church on Time” in Act 2.

Eliza’s suitor, Freddy Eynsford-Hill, is portrayed by Andrew Erwin, whose solo song is “On the Street Where You Live.” While he looks the part, his voice was pitchy and tentative. He ought to avoid the guardrails on the street; he nearly toppled one at the show I saw.

And The “Loverly Quartet” – David L. Young, Alex Bishop, Alston Alika Albarado and Isaac Liu – provide a foundation of four-part harmonies that are a bit of a hallmark of the show.

The techies – Dawn Oshima, lighting; Kimmerie H.O. Jones, costumes; Aiko Schick, hair and make-up; and Kerri Yoneda, sound – do their magic. And Jenny Shiroma’s musical direction and Ahnya Chang’s choreography, work in tandem to produce elegant, exciting moments, especially when sweeping dancers swirl and twirl in elegant costumes, with alluring attitude that seems they could have pranced all night…

And that’s Show Biz…

‘My Fair Lady’

A musical by Alan Jay Lerner (book and lyrics) and Frederick Loewe (music), adapted from George Bernard Shaw’s play and Gabriel Pascal’s film, “Pygmalion.”

Where: Diamond Head Theatre

When: 7:30 p.m. Fridays and Saturdays, 3 p.m. Saturdays, 4 p.m. Sundays, through Dec. 17, the original closing date; extended through Dec. 30, with shows at 7:30 p.m. Dec. 20, 21, 22, 23, 29, and 30; plus 3 p.m. Dec. 30

Tickets: $37 to $62, at www.diamondheadtheatre.com, (808) 733-0274

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NO DILEMMA FOR COMEDIAN FRANK

At 75, comedian Frank DeLima has common aging issues. Body aches everywhere, loss of memory, unstable legs.

At his brunch show Sunday (Dec. 3) at Blue Note Hawaii at the Outrigger Waikiki resort, he celebrated the upcoming holidays with hilarity and ho-ho-ho revelations about his life. He shared a solution to his tiring legs, explaining his frontside (tummy) is now the same size as his backside (butt), which gives him equilibrium.

Such was the tone, and temperament, of his presentation.

Yes, he donned a Santa’s outfit. Yes, he delivered the expected “Filipino Christmas,” which simultaneously salutes the yuletide and pokes fun at Filipinos. No racism intended – never, in a DeLima show – but the underlying fodder for his success over the past 47 years as a comedian who demonstrates his adoration of local ethnicities (Japanese, Chinese, Korean, Polynesian, Portuguese, and yes, particularly Filipino) because that’s his brand. He generates laughs because he celebrates, not condemns,  the races here.

You’ve heard the jovial jokes, right? He learned, first hand, the idiosyncrasies of island living, in the Pauoa Valley region where he grew up. His gags may be exaggerated, but reflect truths – Japanese listening to Naniwabushi radio programs, with unique vocal tones; Chinese burning firecrackers at gravesites, bringing manapua to share with the deceased; Okinawans, with hairy chests, arms and legs, and so on.

A masterful parody creator, he unveiled his latest “Kona Low,” the term favored by weather forecastors, referring to what used to be called “Kona weather,” singing the newbie to the tune of the oldie “Let It Snow! Let It Snow! Let it Snow!” He relied on what he called his “teleprompter,” a cardboard roll-out with lyrics, with the liner comprised of Clorox boxes. So DeLima.

An earlier parody, to the tune of “Mack the Knife,” described the unfortunate fate of Captain Cook, the presumed discoverer of the Hawaiian Islands, who was eaten by the Hawaiians, as the legend goes.

Other namedropping melodies tapped King Kamehameha and Imelda Marcos.

Audience participation is part of DeLima’s agenda, so not surprisingly, he beckoned audience members to take the stage for his laugh-loaded ritual of rendering the island version of “The 12 Days of Christmas,” from 12 televisions to one mynah bird in one papaya tree. Happily, or perhaps laughingly, the dude tapped to do the mynah/papaya line could not get it right until the bitter end, earning cheers and hurrahs for his achievement.

‘Twas a sweet end to the show.

And that’s Show Biz…

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IT’S PRIME TIME FOR KEALI’I REICHEL

Keali‘I Reichel, the Maui-based superstar of Hawaiian mele, chant and hula, made a triumphant return to the Blue Note Hawaii stage Thursday night (Nov. 16).

He’s doing five shows over four nights through Sunday (Nov. 19) at the Outrigger Waikiki resort venue, in whatr constitutes his annual Honolulu residency.

Reichel, who admits he is in the midst of being 61, is eager to hit 62, so he can start collecting Social Security. Or not. He likely will continue concertizing, if the opportunity is there.

His debut album, “Kawaipunahele,” is nearly 30 years old now, and it made him a prime force in island music and dance. As a concert act, he’s still very much in his prime, too, though the venues in Honolulu have become disturbingly scarce. Thus, the Blue Note is red hot for local and visiting acts.

His casual, conversational, and cordial “act” is Reichel at his best. Who else can admit he has hairy toes (he’s always barefooted on stage), and he drops local-style references periodically in his 90-minute show. From gala-gala and hanabata (to non-locals, he says it’s phlegm…and spells out the word), and he’s unashamedly honest to confess and admit he was a “bad boy” at Lahainaluna High School and couldn’t graduate in 1980 until he completed work on one credit during the summer.

This kind of patter reflects his local-boy demeanor. He is clearly a proud Mauian and his cache of songs and dances depict his life, likes and artistry.

He started off his serenades with “Ode to a House,” an homage to his earlier Valley Isle home, as he weaves name songs with place songs in his repertoire to share the joys of his life.

Most tunes are in the Hawaiian language, with a few with inserts in English, but he wisely provides brief descriptions of what he’ll perform, so he’s savvy about engaging his listeners who may not speak or understand the Hawaiian language.

And because he is kumu hula of Halau Ke’alaokamaile, his wahine dancers are joyful with precision galore, providing motion and mana’o to his compositions.

For instance, “Maunaleo,” with dancers in light blue costumes, was about a beloved mountain on Maui depicted as a source of inspiration with its majestic currents. Reichel wrote the tune for his mother, Lei.

 “Kawaiokalena,” another place song, assembled his corps of dancers — clad in black and blue gowns this time — who provided a poetic painting of Piiholo, a secluded area above Makawao on Maui where Reichel and his husband Fred Krauss, now live. Its elevation and wilderness are home to grazing wild boars, cows and deer, and clouds hug the forestry. “You have to have fur BVDs,” Reichel commented about the temps, adding “You have to have big dogs you can put your feet on (presumably, when seated), not chihuahua.”

“Maile’s Song” was a sentimental moment – a tribute to Doris Maile Krauss, the late mother of Fred Krauss – and it reflected the affection he had for her. It’s also a rare instance when English lyrics were lovingly woven into the precious Olelo Hawaii (Hawaiian language).

Of course, being a ‘Luna, he delivered a splendid  rendering of “Lahainaluna,” tossing in a footnote about supporting and devoting kokua to the effort to restore normalcy and restoration of Lahaina, the historic beachfront community ravished by the wildfires.

Reichel’s last tune, on a roster of 15 titles, was “E Ku‘u Home O Kahaluu,” the trademark song composed by Jerry Santos whose career with Olomana soared with this lovely, nostalgic tune engineered by the late Jim Linkner, an award-winning veteran sound engineer who championed Reichel’s career with his engineering savvy. Reichel’s entire discography was engineered by Linkner, so the tribute was genuine and real.

At last year’s Blue Note residency, Reichel played to sold-out houses but left the stage without programming his signature hit, “Kawaipunahele.”

At last night’s show, the audience howled “hana hou, hana hou,” and he returned to the stage to dutifully respond to the request. If you no ask, you no get “Kawaipunahele.”

Lest you don’t know, Reichel’s appeal and following continue to astound; at the table I sat, a visiting Los Angeles couple flew to Honolulu expressly to see Reichel in action and they used airline and hotel points to make the overnight visit. That’s loyalty, for sure – and an indication that Reichel still is in his prime.

And that’s Show Biz…

Keali‘I Reichel

Where: Blue Note Hawaii, at the Outrigger Waikiki resort

When: Opened last night (Nov. 16); remaining shows:

  • Nov. 17, 6:30 p.m.
  • Nov. 18, 6:30 and 9 p.m.
  • Nov. 19, 6:30 p.m

Tickets: $125 for premium seating, $85 for loge seating and the bar zone; available at www.bluenotehawaii.com. Doors open at 5 p.m. all nights and 8:30 p.m. for Saturday’s second show.

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A DECLARATION OF INCANDESCENCE

“This Is Me,” an I’m a Bright Kid Foundation (IABKF) youth-centric  musical, is a declaration of incandescence, featuring teens who spent several weeks learning the essence of the theatrical experience.

Playing four times only – Friday night, Saturday afternoon and evening, and at 2 p.m. Sunday (July 30) at the Paliku Theatre at the Windward Community College —  “This Is Me” is profoundly and personally a reflection of growing up, mixing appropriate tunes mirroring  each kid’s take on the why’s and how’s of crossing the bridge from kid to teens, while simultaneously shaping a live show in a legitimate performance space.

Mentored by a dedicate corps of teachers, the kids express their “me” in the mentoring process, singing, dancing, and enacting what ultimately is a memorable shared experience in the making of a show.

The I’m a Bright Kid Foundation’s youthful cast : all shapes and sizes.

Oh, what charm and fun. There is no single star in this shimmering galaxy; all lads and lasses are equals and bring singular bursts of joy in declaring their individual “me.” The 40-plus in the ensemble come in all ages and sizes, with varying degrees of experience on stage, and it’s exhilarating when the entire troupers are whirling, kicking, dancing with cyclonic strength, bodies moving in circles of energy.

Diversity is an undercurrent, with a mixed plate of voices and faces – white, black, Asian and surely hapa-this or that —  which distinguishes the show’s sheen and style.

Led by artistic director Jade Stice, herself an accomplished stage professional and  backed by a team of musical (David James Boyd), vocal (Moku Durant, Sarahlea Kekuna) and choreographic (Lisa Herlinger-Thompson, Annie Yoshida) adult directors, the show is an IABKF trademark.

Youthful participants in grades 3 to 12 interpret a number of known and not-so-famous tunes with kaleidoscopic vigor,  yielding a genuine, heart-tugging reflection of growing up amid the angst and aspirations of finding their place in life’s journey.

Some kids are terrific singers, others not so accomplished, but certainly eager to share and  try, best exhibited in Colbie Callait’s “Try,” fueled with wistful wonderment. The tone is try, but don’t overdo the effort; do the best you can.

“Landslide,” the Fleetwood Mac entry, features a trio of older girls (Faith Morrow, Zoe Naso, Moana Simmons) taking turns with a trio of younger girls (Alana French, Aria Kuboyama,  Kamren Neste) synchronizing voices and perspectives about girlhood.

“I’ll Stand by You,” a song by The Pretenders, is a joyous buddy number, delivered with powerful sense of loyalty, by Ezekiel Kekuna and Ezra Kekuna, with Oziah Wurlitzer on keyboard.

One of the hysterically funny numbers is a rap/hip-hop take on Eminem’s “Lose Yourself,” with Noe Kaimu loa, the Kekuna brothers, Damian Mendez and keyboarder Wurlitzer gyrating with obvious joy and intensity.

Similarly, the kids are in vogue with a mashup of “Express Yourself” and “Born This Way,” putting their youthful harmonies and movements to the Madonna and Lady Gaga signatures.

“Me” matters in “This Is Me.” This is a rehearsal shot. (Courtesy IABKF)

A series of “I Am” monologues interspersed within the larger production numbers, with single or group revelations about hope, fear, loves, hates and other challenging idiosyncrasies of teenhood.

The show’s  title tune – the soul-moving, self-assuring song popularized by local girl Keala Settle in the Hugh Jackson musical film, “The Greatest Show,” is the perfect vehicle to bring out the best of the cast. Every “me” matters.
The concept of the summer musical is the seventh in the IABKF series, led by Allan Lau, a dedicated fulltime teacher and the theater group’s current  president. David James Boyd, the morning program director, helped shape the daytime sessions with the youngsters that evolved into the cast now doing the show. Ligaya Stice, sister of Jade, is the IABKF executive director, who continues to run the office and makes certain the spirit and inspiration of the late Ron Bright continue to be the lightning rod for developing future theater talent ….

And that’s Show Biz. …

‘This is Me’

A presentation of the I’m A Bright Kid Foundation, to perpetuate the legacy of the beloved teacher-director, Ron Bright

When: final performance at 2 p.m. today (July 30)

Where: Paliku Theatre, at the Windward Community College

Tickets:  $13 to $28, at https://www.showtix4u.com/events/24380/?event=75386&date=200187

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DHT FINALLY MOUNTS A ‘BEAUTY’

Finally, there’s an appealing and sensational on-stage attraction befitting the new theater.

This outing – DHT’s season-closing endeavor – finally hits all the right notes after the largely lackluster “Cinderella” and “The Bodyguard,” the two attractions preceding “Beauty.”

On every front, this one’s a wonderment, with the essential experience and aura of a magical kingdom, a title that Disney now owns outright.

The musical, based on Disney’s 1991 hit animated film, features music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton.

At its core, this is a love story waiting to bloom; a prince becomes a beast-like figure when he falls under a spell from an enchantress; the only way he can undo the spell is to fall in love with Belle, whose father gets trapped in the lair of the beast, and she is held hostage.

Thus, the moral is to chill and learn to love, and the curse will end if Belle, a book-loving woman, sees beyond his mean demeanor and animal-like physique, and kisses him, and, yes, they’ll live happily ever after. In other words, don’t judge a book by its cover.

Director David Spangenthal (inventive, daring, spirited, pictured above) is a triple-threat in this “tale as old as time,” appearing as the Beast/Prince and also credited with the stunning choreography, making each task look easy. Clearly, he’s a singer, dancer, and a theatrical wizard – his Beast is a powerhouse of emotions on “If I Can’t Love Her.”

Spangenthal’s casting is remarkable. Beauty is a beauty (Emily North, pictured above, right, with a voice of an angel and alternately feisty and Disney princess-like, graceful, and wistful on “Home”), supplemented by brilliant choices for the humans-caught-in-the-spell:  Garrett Hols (Gaston, aptly boorish, pompous, and self-loving on “Me” and “Gaston”), Samuel Budd (Lefou, Gaston’s punchy sidekick, delightfully impish), Kyle Malis (Cogsworth, tick-tocking timely advice), David Sheftell (as Lumiere, the candelabra with a beaut of a voice, and hands of candles, warmly welcoming on “Be Our Guest” ), Cathy Foy (as Mrs. Pott, the teapot, with pipes that deliver the show’s signature title song), and Julie Okamura (Madame de la Grande Bousch, a walking wardrobe chest of drawers with functioning doors and drawers).

Samuel Budd( Lefou) and Garrett Hols (Gaston), in “Beauty and the Beast.”

These fairy tale characters would not be effective were it not for the magic of new resident costumer Emily Lane, whose creations run the gamut from traditional gowns to the Beast (as a monster, as a Prince), plus specialty garb like the uncustomary costumes including a spout-arm for Mrs. Potts, and fantasy finery for Lumiere, Cogsworth and Madame de la Grand Bousch. That’s sew biz!

Cathy Foy, center, as Mrs. Potts, the teapot, in “Beauty and the Beast.”

There’s also the kitchen implements bearing larger-than-life fork, spoon, and knife, and a brigade of tools like a handmixer, a corkscrew, and a brush.

Kudos, too, to set and lighting designer Dawn Oshima, who finally converts the DHT space into a palate befitting a fairy tale:  a range of scenic background slide projections (the village, the Beast’s lair, scenic skies and mountains and gigantic full moon), platforms and stairways that are utilized in different positioning. The visuals enhance the acting/dancing, elements that have been lacking earlier even with fly space. In one scene, the Beast reveals a surprise for book-loving Belle, three airy book-filled shelves comprising a library, floating beautifully.

Belle’s home is a bright yellow with red door and windows, spartan but suitable for a storybook set, and an oversized plate is an unexpected eye-filler in one scene, which reflects a huge budget for scenery and props.

Spangenthal’s choreography on “The Mob Song,” featuring Hols’ Gaston, earns the largest applause of the evening, for the well-executed mob dancing while clinking flagons, an apparatus-version of the slap dance. Great timing, grand sequence. And Spangenthal repeatedly displays a knack of movement/dancing on entrances and exits with ease and aplomb.

Chip (Mrs. Potts’ son), is cute and effective, with beaming face from a large teacup with a chip, with his body concealed in a cabinet (the role is double-cast, with Tobias Ng-Osorio and Philex Kepa). Giddy but hilarious are the trio of Silly Girls (Lana Differt, Kira Mahealani Stone and Christine Kluvo. Alexandria Zinov (Babette) and Maurice “Mo” Radke (Maurice, Belle’s father) have their moments, too.

Also watch for the somersaulting carpet (uncredited) in several scenes – a rare but stunning contribution.

The orchestra, unseen in the pit, is co-conducted by Roslyn Catracchia and Jenny Shiroma, and provides breathless sweeps and dramatic zest – a remarkable triumph since there are only 10 musicians sounding like 20.

Historically, “Beauty and the Beast” was the first Disney entry as a Broadway player, a feat viewed as a domestic response to the bounty of British-produced successes arriving from the West End. The prevailing climate among Broadway vets was indifference toward a theatrical film organization entering the market, but Mickey Mouse prevailed. Disney also launched an aggressive merchandise tactic (think tee-shirts, coffee mugs, and fake roses that light up) to cater to patrons, with a brilliant idea to direct exiting theater-goers through the souvenir shop, a move incredibly productive especially with “The Lion King,” early in that show’s run. And today, “The Lion King” is the king of The Great White Way, ranking No. 1 in grosses (more than $2 million weekly). …

And that’s Show Biz. …

‘Beauty and the Beast’

What: A musical based on the Disney animated film, “Beauty and the Beast,” with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton.

Where: Diamond Head Theatre.

When:  Opened July 21, running through Aug. 20. The show’s original playdates are sold out:  seats for performances Aug. 17 through 20 are available.

Tickets: $37 to $62, at www.diamondheadtheatre.com or (808) 733-0274.