Christmas crooners, from left, Bing Crosby, Frank Sinatra, Angela Lansbury and Willie K.
Do you have a favorite Christmas song?
With so many Christmas melodies recorded years ago but annually srevived and shared on radio during the holiday season, the choices are varied and plentiful.
Just asking…
So I’ll start the ball rolling.
For a holly jolly mood, I love “J-I-N-G-L-E Bells,” an increasingly popular December number, was recorded by both Bing Crosby and Frank Sinatra (separately, of course). Its jingle is easy to remember, adorable and charming, and it’s a contagious sing-along that’s hard to resist. In my book, it surpasses the traditional “Jingle Bells,” and the spelling version is a novelty spin-off of the original number.
For solemnity and a pause from the hectic holiday rhythm, I turn to Willie K’s “O Holy Night.” Beats any other version available. No contest, hometown loyalty aside.
For the essence of the Christmas spirit, I vote for “We Need a Little Christmas,” performed by Angela Lansbury, in Jerry Herman’s hit Broadway musical, “Mame.” The tune establishes the holiday mood in the play’s storytelling, and has since jumped out of the soundtrack with a life and identity of its own.
A close second in the mood-maker would be “Sleigh Ride,” by Johnny Mathis, a legendary singer, with pipes had that ring-ting-jingling mood.
Sorry, Mariah Carey: I love “All I Want for Christmas” and you dominate the pop charts this time of year, so congrats.
Robert Cazimero’s Christmas shows at Chef Chai’s will be a five-night shindig his year; the first evening was last night (Tuesday, Dec. 16) and the run continues nightly through Saturday (Dec. 20).
Already, a Christmas tree is up and decorated, and yes, ’tis the season to be jolly. No holly, but the prevailing mood is ho-ho-ho. And heightening.
If you’ve been a Cazimero/Chai’s regular, you’ll discover a few updates but mostly familiar protocols in what the kumu hula describes as “our little party.”
Robert Cazimero, right, with a familiar face/fan, Vi, aka Mrs. Harada.
Highlights and summaries:
The show: Standard Cazimero fare with relaxed fun; a blend of Christmas titles, local and traditional, beginning with a savvy opening: “Christmas Island,” with pauses (for no particular reason) on the Garden Island, with “Kauai, Island of Love” and “Hanohano Hanalei.” A sweet touch: “Rainbow Connection,” the Kermit classic from “Sesame Street,” with Hawaiian lyrics midway. He’s the mixologist in charge, so “White Christmas” featured solo hula by Sky PerkinsGora, segueing into “I’ll Be Home for Christmas.” Keola Makaiau, aka Bully had a bouncy hula midway through the evening, but I wasn’t familiar with the title. There’s casual glee on “Jingle Bells,” or a variation thereof, which Cazimero happily discovered; it’s the infectious “J-I-N-G-L-E Bells” version, a radio favorite made fashionable annually by Bing Crosby and Frank Sinatra, and now parlayed into a sing-along. Audience participation seldom fails, but a suggestion here: get the dining audience to lift a spoon and tingle their water glasses to evoke jingling joy. This chiming effect works equally well on “Silver Bells,” if Cazimero is willing to give it a try.
Cazimero, with his bubbly.
The tradition prevails: Cazimero’s favorite bubbly, Louis Vitton Veuve Clicquot, is the potion that fuels his engine and keeps his stamina and momentum flowing. The myth is real; Cazimero was a few moments behind his grand piano, when a waiter delivered a glass with this magical power; and whatever he’s doing or performing, he bursts into “Drinking Champagne,” his alma mater (popularized here by Myra English) for much of the evening.
A new entree at Chai’s: a prime rib option with mashed potato and veggies.
The menu: There are adjustments awaiting exploration. A starter appetizer is included but not necessary – the familiar chicken sate with Thai peanut sauce, plus Asian flat bread, and cucumber salad; and an elective combination pupu platter will be easier to savor than solo choices that now include butternut squash and lobster bisque and sauteed escargot and prawns with a garlic chili ginger cream sauce. Entree? My favorite and usual choice, the Mongolian style lamb chops, is still available, but now has glided to standby. I decided to try the new prime rib entrée. Splendid option for the holidays, and the waiter brought a steak knife. New dessert offering? a 30-layer green tea crepe, which I opted to have packed to take home. Advisory: Look around the room as you exit; darn nearly every table had multiple take-home bags.
Reservations: (808) 585-0011; cost: $125; dinner service from 5:30 p.m., show at 6:30 p.m. Validated parking available.
The Chai question: Chef Chai Chaowasaree relocated to Thailand, to care for his aging mother, and likely won’t return in the foreseeable future. So Pomaikai Shishido has valiantly stepped up to carry on and replicate the flavors and finery a la Chai.
The future: I asked Shishido if he and Cazimero have already put their heads together for playdates in 2026. They both want to continue the serenades, but playdates have not yet been confirmed. Shishido said that Cazimero can select a suitable agenda, but these little parties likely won’t be set on Mondays and Tuesdays, because these are dark nights to give the kitchen and serving staffs nights off, per Shishido…
The Actor’s Group’s staging last night of “It’s Delightful, It’s De Lovely, It’s December!” was a no-brainer. To add to the alliteration in the show’s theme, it’s delicious, it’s debonair, and it’s delirious. It’s demanding, too. And a dandy!
Two terrific singers, Shari Lynn and guest buddy Mary Gutzi, made their debut together in a holiday special. In side-by-side collaboration, in solo struts, they’re dandy. Togetherness paid off; they’re highly compatible.
Mary Gutzi, left, with Shari Lynn: A bond of sisterhood.
Shari wore a bejeweled white pants suit, Gutzi donned a black ensemble. That was the extent of their differences.
Both have profound skills in Broadway theater, Gutzi with credits on the Great White Way and on stages around the globe, Shari in a number of triumphs on local stages, principally at Diamond Head Theatre.
Shari Lynn
And clearly, this was a demanding gig, surely a test drive for TAG, which likely is thinking of a future tradition in the making. TAG billed it as “a dark night series,” meaning a show presented in the little theater’s stage in-between the season’s show’s off nights. There were two performances, at 4 and 7 p.m.; I attended the first show.
Backed by the indispensable Jim Howard on electric keyboard, Shari and Gutzi surely know how to deliver a melody. They are seasoned troupers who really sell a song.
Mary Gutzi
The evening was simply a showcase of the individual talents, but also a demonstration of unity, sisterhood, and mutual admiration.
“White Christmas” typified their skills, with splendid, expressive harmonics. “Sisters,” not a holiday tune, demonstrated their melodic bond.
Shari’s “Santa Baby” was sultry and sexy.
Gutzi’s “Have Yourself a Merry Little Christmas” captured the seasonal gusto.
There were funny stuff, like “It’s Christmas and We’re Jewish,” with cultural pokes. And Shari took the lead on an outrageous, giddy but joyous parody of two tunes, “My Favorite Things” and “Rudolph the Red-Nose Reindeer, with lyrics that were naughtier than nice.
Gutzi’s shining non-Christmas moments including “Lullaby of Broadway,” which was an introduction to her Broadway past and her role as Mary Magdalene in a touring company of “Jesus Christ Superstar,” and thus she offered a medley of “Everything’s Alright” and “I Don’t Know How to Love Him,” reflecting her projection savvy.
Keyboarder Jim Howard: Indispensible.
“Silent Night” also was a beaut, another give-and-take contribution, Gutzi singing in English, Shari rendering periodic Hawaiian translations.
Gutzi’s “O Holy Night” solo was another keeper, delivered with rich emotion.
The closing number, “Happy Days Are Here Again,” was a bit of an oddity and perhaps a holiday hope that the clouds of life will vanish. If the wish was for the sun to come out tomorrow, there’s a Broadway classic that also expresses this wish…
‘Harry Potter’ has Broadway magic
There’s been a major surprise in the No. 1-grossing Broadway play: “Harry Potter and the Cursed Child” outgrossed the usual musicals for the coveted spot for the first time, for the week ending Dec. 7. Perhaps a bit of hocus pocus helped the popular drama.
The Top 10:
1—”Harry Potter and the Cursed Child,” $2.939 million
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.
Ellle Roddy as Roxy Hart, flanked by the “Chicago” ensemble.
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.”
Claire Marshall, as Velma Kelly, fronting the “Chicago” cast,
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?
Illeana “illy” Kirvin, is Mama Morton the jail matron,
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
OK, enough with the rhymes. The evening was themed “Kalikimaka Ho‘omau” (“It’s Christmas Every Day”), a freebie staged by the City and County of Honolulu as the town’s annual yule time community highlights.
It’s a marvelous gift of song and artistry for the citizenry, and most gratifying was to watch the ordinary folks parading down the aisles seeking seats. The elderly, many in wheelchairs or utilizing canes, were assisted by ‘ohana to secure the best viewing locations. Many brought in bentos, not a proper thing since food is not allowed in the Concert Hall, but didn’t see anyone getting questioned, though the aroma of kau kau (and this was no luau) was improper.
Kala‘i Stern, RHB Glee Club leader, emceed the program, which showcased island music, hula, and novelty and traditional Christmas favorites. For variety, the RHB Big Band as well as the ‘Ohana Jazz Trio with guest artists provided variety, while simultaneously showcasing the depth and versatility of our homegrown cultural asset.
Henry Kapono
Many came to hear and rally for Henry Kapono, perhaps the state’s must active artist who shared some of his signature tunes: “Home in the Islands,” “Jingle Bell Rock,” “I Wish Christmas Was Everyday” and “Merry Christmas To You.”
Starr Kalahiki provided a sultry, sensational “J-I-N-G-L-E Bells,” and she was clad in a sleek red gown of renown. The tune, and arrangement, has ties with singer Frank Sinatra’s“Jingle Bells” recording, which has the clever spelling of “jingle” in the verse
Raiatea Helm
Raiatea Helm, who has a new Christmas album this year, rendered three tunes, “Hark the Herald Angels Sing,” “O Come All Ye Faithful” and a poignant “Ave Maria.” Her poufy top was an indescribably oversized creation in white/yellow, worn over a silvery and glittering bottom. And she chose to have a lengthy pigtail dangling over her left shoulder, and a large floral accessory over her left ear completed her holiday glam look
Karen Keawehawai’i
Karen Keawehawai‘i also was abloom, a reddish-pinkish garden of sorts in her first time on stage, singing “Ku’u Hoa” while dancers from Ka La “Onohi Mai o Ha‘eha‘e” did the hula. And for “Rudolph the Red-Nosed Reindeer,” Keawehawai‘i donned beaucoup yellow plumeria over her left ear. Festive and plentiful, which is her common trademark look.
Malia Ka’ai
Malia Ka‘ai chose white anthuriums, worn over her right ear, when she shared the hypnotic “O Holy Night,” with the Kamehameha Schools Children’s Chorus, conducted by Lynell Bright, offering backup vocals. She displayed power and range in her vocal dynamics.
The Kamehameha youths clearly were the evening’s favorite, thanks to their signature hit, “Hawaiian Rolle Coast Ride,” heard in this year’s box office hit, the live-action “Lilo & Stitch,” though the kiddie fave also has had a life outside film exposure. The chorus is a treasure and a treat.
The Kamehameha Schools Children’s Chorus, on screen and on stage.
The ‘Ohana Jazz Trio, guest artists, had the moves and the grooves to please the audience and blended well with the RHB. Noel Okimoto (drums), Dean Taba (bass) and Tommy James (piano) are also known as soloists.
Emcee Stern also is a solo singer, and demonstrated ease and efficiency in his “Christmas in Hawaii” number, augmented by hula dances Kanani Oliveira and Ku‘uei Hazlewood.
Bandmaster Bright continues to carry on the legacy of the Royal Hawaiian Band, whose roots to Hawaiian monarchy make it a unique organization in annals of performing arts. The band also boasts a number of star musicians and arrangers in the ranks, and the band’s link with a cultural ambassador, kumu Hinaleimoana Wong-Kalu, is yet another stitch of authenticity in the organization’s rich legacy…
