Category: Show Biz

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‘LA MANCHA:’ VOICES/SONGS/SET

There are three elements in Diamond Head Theatre’s “Man of La Mancha” that elevate, fascinate  and thrill audiences:

  • The pair of lead voices of Buz Tennent as Miguel de Cervantes /Alonso Quijano/Don Quixote and Anna Young as Prisoner/Aldonza/Dulcinea bring power and finesse to their roles. Note the slashes (/) between the character names; they’re plentiful in this show.
  • The inspirational and immortal tune, “The Impossible Dream,” is the exit song audiences sing or hum en route home. And Tennent owns this one, each time he sings it. He projects, perfects, and protects the integrity of the power ballad that is the essence of hope and conquest.
Deanne Kennedy’s set design, with arches, is formidable and functional. A walkway, right, descends to provide entry and exit in two scenes. Brandon Miyagi photos, courtesy Diamond Head Theatre.
  • Deanne Kennedy’s impressive single set, comprising eye-filling arches beneath which all the action takes place, is formidable and smartly functional. There are smaller arches reflected in the window designs, and this single three-in-one set disavows noisy movements of smaller set pieces shoved on and off stage, a problematic quest  for DHT since its new theater opened. The set is challenged only by a metallic staircase that unexpectedly drops from the heavens, sort of,  to provide a dramatic entrance and exit in two scenes in the show. Smoothly and quietly.

The musical, written by Dale Wasserman (book), Mitch Leigh (music) and Joe Darion (lyrics), is a tangle of hope, dreams, and intentions of a playwright and poet (Quixote), who is fascinated by windmills, and his idealism, imagination and inclinations collide in his characterizations. Simply, he struggles and is conflicted between reality and delusion. As Cervantes, he is sent to prison during the Spanish Inquisition where he relates the tales of Don Quixote via a play-within-a-play with his  fellow prisoners to protect his Quixote novel.

Buz Tennent, as Don Quixote, owns the “Impossible Dream” tune.

Multiple themes – perseverance, imagination, and the element of dreams – are   heightened via recurrence  and repetition. Quixote and his devoted manservant, Sancho Panza (Mo Radke) are Spaniards in Seville, though their mission to right wrongs and undo evils, might emulate the knights of the roundtable upholding chivalry in “Camelot.”

Anna Young is Aldonza, aka Dulcinea.

 The delusional Quixote mistakes a windmill for a huge four-armed giant. Worse, at a roadside inn Quixote thinks it’s a castle, and he challenges muleteers and recognizes Aldonza, who toils at the inn, but mistakes her for Lady Dulcinea, to whom he has been eternally loyal. Also shamelessly loyal: Sancho, who pledges his bond with Quixote on “I Really Like Him.”

This not the easiest show to sit through, because of the volley of themes and tuneful reprises. Besides the two lead voices, there are a few other dependable and dedicated singers, too: Larry Paxton (Padre), Garrett Hols (Dr. Carrasco) and Lainey Hicks (Antonia).

Director Bryce Chaddock is like a prison warden here, taking on this journey of quixotic quests and dreams of a creative soul searching for perfection in an imperfect world. Of the cast of 21, 15 play prisoners and other double- and triple-cast roles.

Two faux horses generate smiles and appeal; they giddy-yup and trot with amusement and charm, but the actors are not credited in the playbill. At least, I couldn’t detect the identities.

John Rampage is choreographer, though “La Mancha” isn’t a dance-centric show.

 Jenny Shiroma gets a full sound from her eight-piece orchestra, and the tech work is efficient and clean – Dawn Oshima (lighting), Mike Minor (sound), Kyle Connor (props), Emily Lane (costumes) and Mia Yoshimoto (hair and makeup) can all take a bow.

Advisory: There is no intermission, so the advice is to sip your drinks and visit the bathroom before the show. Running time: 1:55…

And that’s Show Biz…

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‘Man of La Mancha’

What: A musical about Miguel Cervantes, who stages his ‘Man of La Mancha’ while imprisoned. The show was written by Dale Wasserman (book), Mitch Leigh (music) and Joe Darion (lyrics).

Where: Diamond Head Theatre

When: 7:30 p.m. Thursdays, Fridays and Saturdays, 3 p.m. Saturdays, 4 p.m. Sundays;  extended playdates at 7:30 p.m. June 13 and 3 p.m. June 14.

Tickets: $41 to $68, at www.diamondheadtheatre.com and (808) 733-0274

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SEE ‘STITCH,’ THEN BUY THE MERCH

Disney’s live-action “Lilo & Stitch,” now in the multi-plex theaters over the Memorial Day weekend, is anticipated to break box office records by Monday, a holiday.

The Hawaii-filmed project is surely to draw a family audience, whose patronage will probably boost the film with a $175 to $180 million gross, besting the Paramount-Tom Cruise “Mission: Impossible —  The Final Reckoning” summertime powerhouse.

“Lilo & Stitch” will be driven by the popularity of the naughty-but-nice blue alien, who is the lone cartoonish character in the film, and an obvious scene-stealer. And sorry, Lilo, the most popular figure from the movie.

You know a film is hot, hot, hot, when it is accompanied by a swarm of merchandise to accompany the buzz from the movie. And while Lilo has a few entries in the buyables, Stitch is going to be the character to fuel the jingling cash registers.

Stitch talking plush.

Parents, get your charge cards ready. The merch looks wonderful, and the kid on the block to be the first to get one of the items will be the king or queen of  the summer. But several items are for adults, so parents won’t be left out. But because of the prices of the products, moms and dads mahy prefer to save the purchases as Christmas gifts. But knowing Disney, there will be more stuff later that Santa will deliver to the young ones.

Stitch canvas tote,

Since Disney Stores have vanished in Hawaii, the easiest way to buy merch will be via online. So let me share a preview, with prices, of some of the best gifts available while stocks are plentiful.

The cool finds:

  • A basic Stitch “talking” plush, $39,99.His eyes light up and shows many moods.
Stitch sweatshirt.
  • An oversized vinyl Stitch, $24.99.
  • A puppetronic Stitch plush, $49.99. A hand inserted into a cutout on the back of Stitch’s head makes the doll’s mouth open to “talk.”
  • A Lego house, presumably where Stitch lives with Lilo, $89.99.
  • An adult sweatshirt, with ‘Ohana lettering on the back, $79.99.
  • A canvas tote, depicting a surfing Stitch, $19.99.
Stitch crocs.
  • An adult blue pair of Cros, festooned with Stitch images, $64.99

Go to www.disneystore.com to purchase and see more official Stitch buyables. Other sites, like Etsy and Target, may  carry some of these items, or variations thereof.

Of course, you know that the cast includes many local actors, including:

  • Maia Kealoha, as Lilo.
  • Kaipo Dudoit, as David Kawena.
  • Jason Scott Lee, as the luau manager.
  • Sydney Agudong, as Nani Kelekai.
  • Amy Hill, as Tutu.
  • Tia Carrere, as Mrs. Kekoa.
  • Celia Kaleialoha Kenney, as AJ.

Another local notable, with an esteemed credit: Chris Kekaniokalani Bright, one of the screenplay writers for “Lilo & Stitch.”

And that’s Show Biz…

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‘CONVENIENCE’ DELIVERS KIM CHEER

Ins Choi’s “Kim’s Convenience,” now at the Manoa Valley Theatre,  is a sit-com about an immigrant Korean family operating a corner store in modern-day Toronto, Canada.

It arrives in the aftermath of  a series of popular episodic chapters screened on Netflix, peeking in on a family involved in the daily biz of selling goods in a cornerstone store visited by a walk-in  crowd. But you don’t see the usual foot traffic like on the TV show.

The Kim Family amid the shelves: from left, Miki Yamamoto as Janet, Brandon Hagio as Appa, and Sun Min Chun-Dayondon as Umma.

But clearly, the streaming has widened viewership and thus casts an immense shadow on the play. I fear some show-goers who are diehard fans will expect a lot but  receive just a little. Abbreviation is the special here.

Brandon Hagio

I loved the giddy pace and vibes of the TV program, and stage designer Willie Sabel has created a perfect setting dominated by shelves chockful of everyday needs, from breakfast cereal to snack-time chips, from chilled drinks to boxes of pancake mixes.  And yes, instant saimin, too. Sara Ward, as prop designer,  must have had a cheerful shopping mission to shop for  the array of goodies to stock the shelves.

Appa (Brandon Hagio), the patriarch of the family,  is an Archie Bunker sort with his own cache of racial slurs. He’s a worry wart,  the sergeant of cars illegally parked in a no-parking zone we never see, and Appa also is conflicted, about his ranking now and his eminence in the future.

Miki Yamamoto

 In comedies like this one, the verbal no-no’s trigger the loudest laughter, and Hagio is a master of put-downs. As viewers, we yearn for a volley of hisses and howls, but the show requires a bit more time than the allotted 1:45, including intermission.

The other key family member is Janet (Miki Yamamoto), a photographer at heart, whose beau is Alex (Jonathan Beck, in multiple roles), and she constantly dodges rockets from Appa about boyfriends and marriage. But she survives.

Sssun Min Chun-Dayondon

Director Reiko Ho has a way with characters, with a rhythm of cycles,  but the production minimizes a couple of family regulars, including Kim’s wife, Umma (Sun Min Chun-Dayondon), and son Jung (David Tang). They share a key scene, staged on a bench, where they belt out a song of faith. Umma doesn’t have the usual confrontations as in the TV series, but Jung has a special photo to share as well as a pre-final curtain revelation of sort, comprising sentimental lore with familial love; he accepts to carry out Appa’s dream to tell his story by taking over the convenience store, not selling out to strangers or looming developers nearby. Nothing like  fulfilling  his dad’s wishes.

David Tang

Amber Lehua Baker’s costumes are functional, every-day wear; Janine Myers’  lighting design includes a minimal but a nice high-and-low mood surprise midway in the show; and Timothy Manatam’s sound is, well, sound.

It’s a blessing to showcase the work of a Korean, to share a modest but endearing comedy about successful immigrants writing their  own chapter of establishing a viable mom-and-pop enterprise….

And that’s Show Biz…

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“Kim’s Convenience

What: A comedy by Ins Choi, about an immigrant Korean family and the convenience store they own in Toronto, Canada

Where: Manoa Valley Theatre

When:  7:30 p.m. Wednesdays, Thursdays, Fridays and Saturdays; 3 p.m. Saturdays; 3 p.m.  Sundays; through June 8; extended shows at 7:30 p.m. May 21, 7:30 p.m. June 4, and 3 p.m. June 7.

Tickets: $24 to $47, at www.manoavalleytheatre.com and at (808) 988-6131

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FAMILY, FAITH PART OF PAPA’S BIRTHDAY

For his 80th birthday celebration, Jack “Tihati” Thompson received the gift of love, adoration, respect, hugs, handshakes and accolades for being the best Papa on the planet.

Last night (May 18), the Waialae Country Club was converted into a makeshift showroom, alive and active with South Seas rhythms, staged by  astounding family members – grandkids galore, all talented and capable to render Samoan and Tahitian songs and dances and even a trademark haka number with body-slamming and rigorous voicing. In other words, a brand of passionate enterprise, normally displayed night after night at in showrooms and on lawns statewide, where Tihati Productions earn applause and appreciation as the world’s most prolific producers of Polynesian luau extravaganzas.

 An ensemble of singers and drummers provided the syncopation and  heartbeat to replicate the Tihati trademark…expressly for Papa.

There’s no shortage of dancing family members.

This was no ordinary performance, but an extraordinary  salute to the co-founder (now retired) and creator of Tihati Productions. The evening reflected the values of faith and family, which have always been part of Tihati’s journey, coupled with the mission to uphold the roots and the culture he adores.

Afatia Thompson and Misty Tufono, who now share the helm of Tihati Productions, were the creative minds behind Papa’s birthday blast. They shored up snippets of Tihati’s specialties —  like the haka dance — and the cast of willing Tihati troupers provided the vigor and the momentum. The littlest performer – Tihati Thompson, one of Afatia’s children – was a scene stealer. FYI, he’s the young fire knife dancer on the Waikiki strip, but fire marshal rules forbid the flaming knife dance in enclosed structures.

Tihati troupers provided the sounds and syncopation of the South Seas.

Some observations:

Cha and Jack Thompson unite in dance.
  • Jack and spouse Cha Thompson seldom take to the dance floor, but were united in dance.  They seemed to enjoy the two or three brief moments in motion, especially on “Unchained Melody.”.
  • The audience included  a lone, legitimate Hawaiian songbird, Nina Keali‘iwahama, a family friend  who rarely basks in the limelight. Coaxed to sing, she did “only if Cha dances.” So, this was a double treat a pair of reluctant Incredibles.
  • The Thompson grandkids are devoted to their Papa, and he shares inspirational Biblical thoughts; you know they bond when it comes to faith.
  • The Johnny Valentine quartet provided a splendid musical show during dinner, and Valentine had the smarts to research the hit songs of the era of the ‘60s when Jack and Cha were Farrington High School students. Tunes like “Moon River,” “Beyond the Sea,” and “Dream Lover” prevailed. He has the makings to become a showroom headliner.
  • The foundation of the guest list was family first; then folks who’ve made a difference in the Tihati growth and success, like Jerry Gibson, longtime Hilton Hawaiian Village  general manager and now a Marriott corporate official, and Keith Vieira, former Starwood Hotels executive and now a hospitality industry consultant, and Kalo Mataele Soukop, former producer of a competitive Tongan show at the Hawaiian Hut.
  • A former politician was in the house, too. But Mufi Hannemann not only has mayoral roots but he’s family – Thompson’s cousin.
Little Tihati
  • A historical video of snapshots Tihati featured voiceover by little Tihati. Someday, when he’s 80, he’ll reminisce about the time Papa had a swanky birthday party.
  • Afatia said that the night’s proceedings were filmed so that video release of sorts will be available. For Papa, for sure…

And that’s Show Biz…

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SECOND FILIPINO IN ‘HAMILTON’ CAST

And then there were two.

Filipinos in the cast of “Hamilton,” that is.

So the mega hit musical show — approaching its 10th anniversary on Aug. 6 on the Great White Way — has another dash of Hawaii’s aloha spirit in the company.

You might recall we’ve earlier written about Marc delaCruz, who had been the lone Filipino performer in the ensemble. He’s originally from the Big Island, the first Filipino to play the hit show’s titular character, after understudying Alexander Hamilton originally played by Lin-Manuel Miranda, the show’s creator. DelaCruz emailed me recently that another former islander has joined the company, and he helped me get in touch with this colleague.

Reanne Acasio, as Eliza Schuyler in :”Hamilton” debuting during the Filipino American History Month, when she became the first Filipina portraying the character on Broadway.

So say aloha to Reanne Acasio, a Filipino actress and also a former resident of Hawaii. She’s now in the ensemble but also has been understudying andctively playing the three Schuyler sisters, Angelica, Eliza and Peggy.  She and delaCruz thus are the only Filipinos in the multi-racial cast…and both are proud of their heritage.

Acasio’s Broadway journey started in 2022 with a national tour of “Hamilton,” dubbed the Angelica Company, First National. “I was an offstage cover for Angelica, Eliza and Peggy, as well as one ensemble track,” said Acasio.

Acasio’s trio of Schuyler roles, from left, as Eliza, Peggy and Angelica; she also plays Maria Reynolds (center).

“I had gone to an open call in NYC, got one in-person callback for Eliza, and then had a series of Zoom callbacks and tapes that finally led to the job,” she said. “ I booked it with four days left on a contract in New Hampshire, with no jobs lined up afterward. It was a Godsend!”
She joined the Broadway “Hamilton” cast in  2024, this time as the onstage cover of the Schuyler sisters, performing every night in the ensemble while still understudying Angelica, Eliza, and Peggy.(She understudies a fourth role, Maria Reynolds, the character who has an affair with Alexander Hamilton).

Thus, when she reports to the Richard Rodgers Theatre every day, she winds up playing different characters, according to need.

“It’s quite fun to test my range,” she said. “You really never get bored. I’ve also gotten to make history as the first Filipina to play all three sisters on Broadway.” 

Curtain call at the Richard Rodgers Theatre: from left, ensemble player Phil Colgan; Marc delaCruz, fellow Filipino actor who’s in the ensemble but also understudies the Alexander Hamilton role; Acasio,; and Trey Curtis, the current titular lead actor.

By now, Acasio probably has performed the Schuylers dozens of times. “My favorites are Eliza and Angelica, but I do love the huge switch-up in energy from Peggy to Maria Reynolds. I love the subtleties, acting challenge, arc, and music of Eliza, and the strength, power vocals, and humor of Angelica.” 

Acasio lived in Hawaii in the early 2000s, residing first in Kapolei then in Waipahu. During the pandemic, she lived in Honolulu. And yes, family members, flying in from all over the world, have seen her in ”Hamilton” “They were so proud to see me achieving my wildest dreams,” she said.

Before “Hamilton,” Acasio was part of the all-Filipino “Here Lies Love” on Broadway, based on the life of Imelda Marcos. Acasio shared the role of Aurora Aquino with Lea Salonga, the first Filipina to win a Tony Award for her pivotal portrayal of Kim in “Miss Saigon.” 

Acasio appreciates how Broadway “has become more inclusive of all cultures, skin tones, genders, sexual orientations, and beliefs, than in the past. I am so lucky to witness and be a part of the industry in this era of celebrating diversity in storytelling. I think it’s cool that I get to play four different people in this show, and my heritage/skin tone isn’t the center of the story. I get to color my performance with my Filipino identity, for example, sprinkling a little “Ate” (Tagalog for older sister) energy when playing Angelica. But the audience sees me as Angelica, not as ‘the Filipina.’ Although it is such a joy to meet Filipinos at the stage door who get so excited that they saw a fellow Filipino onstage.” 

While landing a role on Broadway is a dream come true, Acasio is a bona fide island girl and misses everything Hawaii. A military brat born in Guam, she has lived  in Turkey, Germany, and different states. “I attended Hickam Elementary School, Kapolei Elementary School, and Kapolei Middle School in Hawaii,” she said. “My family and I lived on Oahu for six years. 

Because New York is a concrete jungle, her thirst for Hawaii is natural. “I miss the green, the ocean, the ʻāina,” she said. “I miss going to hula as a kid in Kapolei at my neighbor’s house and as an adult at Halau Keolakapuokalani with kumu Drake Keolakapu Dudoit Delaforcé even getting to go to the Merrie Monarch Festival in Hilo. I miss the people and the community who took care of each other and the land. I miss the food — oh the food! I miss the music, the vibrant culture, the hikes, the sunrises. Hawaii was the best place I’ve ever lived, and I’ve gotten to experience a lot of the world in my lifetime. Hawaii will always feel like home”…

Two Broadway dramas recoup initial investment

George Clooney’s hit drama,  “Good Night, and Good Luck,” no longer is in the $4 million club, but it  earlier recouped the show’s initial investments. Clooney also is a Tony nominee for Best Actor in a Drama.

“Othello,” which also has passed the $3 million milestone, has managed to recover its initial investment, too, effective the week ending May 11.

Which means both shows are  hereon riding the gravy train.  But “Othello” has been snubbed, denying lead actor Denzel Washington  a Tony nomination.

The Tonys are set for June 8 at the Radio City Music Hall. Since I have not visited Broadway since last June, I have not seen a single nominated production this year. Sigh…

The Top 10:

1—“Good Night, and Good Lock,”  $3.812 million

2—“Othello,” $3.229 million

3—“Glengarry Glen Ross,” $2.432 million

4—“Wicked,” $2.128” million

5—“The Lion King,” $1.795 million

6—“Hamilton,” $1.660 million

7—“Death Becomes Here,” $1.343 million

8—“MJ the Musical,” $1.214 million

9—“The Picture of Dorian Gray,” $1.204 million

10—“Gypsy,” $1.180 million

The complete list of grosses, courtesy the Broadway League:

And that’s Show Biz…