Category: Show Biz

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MY KIND OF TOWN, NEW YORK

I’ll be seeing my first Broadway shows in the days ahead, when I make my first visit to New York in nearly four years.

The brakes started in late 2019, when the pandemic shut down pretty much everything.

I’ve gained a lot more confidence since, as I adjust to a number of changes.

It’s our first real vacation, so my wife Vi has been a bit uneasy, about the trip. But we need to make the plunge and re-ignite our love for The Big Apple.

It hasn’t been easy.

We’ve traded in 300,000 Hawaiian Air miles for a pair of first-class tickets and heading for JFK.

For the return trip from Newark, N.J., another 330,000 miles were required for United first-class seats.

Hotel searches revealed costly rates in the Theatre District, where we’ve been staying for our annual N.Y. visits in the past. The last time in the summer of 2019, rates at the New York Hilton on Sixth Avenue topped at more than $400 a night; didn’t bother checking this year, because we wanted to get room in the midst of the theater hub. A night at the Marriott, where we were hoping to book, was about than $450. Three other sites were on our list, where tariffs were in the upper $300; we decided to try the Hotel Edison on W. 47th St., a central location, and the tab will be well under $300 per night, for 10 nights. These rates don’t include the excessive N.Y. room taxes. But the hotel has a gym, which I’ll check out.

One tradition hasn’t changed for decades. I always send postcards to family and friends, but stopped buying postcards because they became pricey for the nice ones, but somewhat impersonal. So as a cardmaker, I started making New York note cards by the dozens, and these creations reflect my craft and personality, and become a keepsake (to recipients) of my silly artistry. Yep, made a bunch of notecards, ready for scribbling and then mailing fromThe Big Apple.

But the real change this year has been in the show ticketing process. I’ve been scoping the slate of shows, and finally booked 11 shows — yes, 11 only because there are no shows to book a No. 12 on Monday.

For my 2019 visit, online show reservations meant you could print your own with the usual bar-coding, pronto. Not anymore. Your reservations are sent two-weeks prior of booking dates.

Paper-ticketing still exists, you know, by printing out the QR codes that have finally been sent.

It’s the e-ticketing that was frustrating, with a few reservations directed to Seat Geek, an app that keeps your e-seats, downloaded on your iPhone. Three shows went directly to that site, which means no more souvenir ticket stubs collectibles. The plus: you can’t lose your tickets or forget ‘em at home. The reality: you can’t lose your phone, where some of the admissions are stored. This is the future of ticketing.

Online sales require prompt action; you have to be quick at getting in your data and essential searches for seats, and before you know it, you’re reminded you have  perhaps 10 minutes to rush through the process, otherwise you have to start all over again. Guess who started the process over and over a couple of times. Almost as bad as airline ticket-buying. Sigh…

With one show, I simply couldn’t complete the crush to download to my e-wallet, not Seat Geek, and when I attempted to get those QR codes printed, discovered that these weren’t going to be processable. I called Tele charge and was instructed that the only way I can get access was to bring my receipt with order number to the box office on day of performance, no earlier, to enable the box office to print out my tickets.

Wonder if they’ll be actual tickets, or the one with bar codes.

Since I’ve used a walking cane for stability on foot, during my last two or three Broadway visits, I’ll continue to do that, with an additional element: I’ve rented an electric wheelchair for use whenever a walk might be taxing, and surely on the day I plan to visit a Trader Joe’s store and then wheel on over to the nearest post office, to mail ‘em in priority boxes. It used to be a walk-over, but these on-foot endeavors seem to get longer and wearier than the past.

The wheelchair will be a boon to museum visits, and I won’t need to wait on one floor while my wife views collections in other floors.

Will continue to purchase Metro Cards, to catch the buses and the subways; on some days the wheelchair will sit still in my hotel room. Most subways don’t have elevators so walking up and down those endless stairs will count as some of my exercises..

The point is, New York can still be a prime destination, even for those with some handicaps. You just have to move at your own pace, with your own plans, with your own orientation. Go Slow will be my mantra.

Wish me luck; will have lots to share upon my return…

Meanwhile, here are last week’s Broadway grosses

The after-Tony crush has yet to appear, at least for the week ending June 18.

The reigning shows, in our Lucky 7 list, continue to hold on to the lead, with this year’s winners like “Kimberly Akimbo” not yet connecting with ticket-buyers.

The Broadway League, which provides the numbers, revealed the leaders:

1—“The Lion King,” with $2.349 million.

2—“Hamilton,” with $1.957 million.

3—“Sweeney Todd, the Demon Barber on Fleet Street,” $1.935 million.

4—“Funny Girl, $1.609 million.

5—“MJ, the Michael Jackson Musical,” $1.587 million.

6—“Aladdin,” $1.532 million.

7—“Harry Potter and the Cursed Child,” $1.392 million. …

Here’s the complete list:

And that’s Show Biz. …

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BROADWAY PRESENTERS SEEK VOTES

Broadway in Hawaii, the group which just concluded its first four-show series of musicals at the Blaisdell Concert Hall, is seeking input on what islanders would like to see in the next slate of shows.

The Concert Hall will shut down in July, for a long-overdue renovation, but the producers of these events are polling ticket-buyers about possible choices next year, or in two years.

Inside the playbill at the “Cats” show, there is a page dubbed “What show do you want to see?,” along with a QR code to vote.

There’s no guarantee any of the show choices will be picked, but let your voice be heard.

This ad in the “Cats” playbill seeks viewer choices.

Personally, I think if we could have a four-season agenda, I’d pick these:

  • “Les Miserables,” the most popular of all Broadway titles that have been staged here. I can already hear the people sing! Bring it home, again.
  • “Ain’t Too Proud,” a musical bio of The Temptations. Saw this a couple of years ago, and the soundtrack is chock-full of Temps triumphs like “My Girl,” “Just My Imagination,” and “I Can’t Get Next to You.” The vocals are grand, the choreography sensational. The Temptations are Motown’s longest-running act topping such label mates as Michael Jackson, Diana Ross and the Supremes, and Lionel Richie and the Commodores.
  • “Come From Away,” a sleeper when it first opened in New York, is a gotta-see  musical about the real-life tales and friendship when passengers heading for New York couldn’t land because of the 9/11 tragedy but found comfort and support from the Canadian residents of Gander, Newfoundland.
  • “A Beautiful Noise, the Neil Diamond Musical,” is an audience favorite. Will see this when I visit New York this month, and I can already hear the choruses of “So good, so good, so good” when “Sweet Caroline” is performed. The show had no Tony noms, but diehard Diamond fans are making this one sizzle.

Of the other choices: if you want a current show, “& Juliet” or “Shucked” could fill the bill; they arrived this past season on Broadway.  I’d pass on “Pretty Woman, the Musical,” a disappointing take on the Julia Roberts and Richard Gere film, and isn’t it too soon for a “Wicked” homecoming?  “Kinky Boots” is a howl, no matter how often you see it, but “Beetlejuice”  might work if it had a Halloween run. Enough opinions, already…

Let the ‘Sunshine’ in…   

Pat Sajak and Joe Moore, the duo comprising Neil Simon’s “The Sunshine Boys” comedy at the Hawaii Theatre, completed the first of five performances “and I’m happy to report the audiences seem to love the show, a lot of laughs and applause,” said Moore.

Sajak and Moore have generously donated time and their comedic skills to raise funds for the Hawaii Theatre, and the  final six performances start this Wednesday and run through Sunday. Evening performances are at 7 p.m. with 2 p.m. matinees on Saturday and Sunday. 

The duo, Army buddies from way back when, are the only television “names” I know who have made this a regular “hobby,” rehearsing long-distance. Sajak has been the host of the syndicated (and widely popular) “Wheel of Fortune,” and Moore has been a top-rated news anchor at KHON, the Fox affiliate here.

Tickets are $35 to $75, available  at www.hawaiitheatre.com the box office at 808-528-0506  …

Moore,  the merrier

Bryce Moore, son of Joe Moore, is in “Sunshine,” and calls stage acting a “tricky beast.”

“You get the thrill of being in front of a live audience but also don’t get any ‘second takes.’ It’s straight through, no do-overs.”

This is his first professional theater gig, with only a middle school (Mid-Pacific) credit in a production of “Suessical Jr.,” in which he played the Mayor of Whoville.

He’s watched dad and Sajak before, and dad offered him a role. After viewing the movie adaption of “Sunshine,” he said, “ “there was no way that I was going to say no. I couldn’t, and still can’t think of a higher honor than to share a stage with them.”

Since 2020, he’s also been working in the shadows of dad Joe as a KHON journalist, riding out the pandemic, which shelved “Sunshine” for three years.

His tasks have included “listening to police scanners, answering phone calls from the public and getting everything that aired in our newscasts onto our website.”

As a multimedia journalist, he is “responsible for being the writer, producer, editor, talent and cameraman while I’m out on my stories. I’m constantly approaching strangers with a camera and recording myself in public, so as far as to feeling pressure of being watched… I guess I’m pretty used to it.” …

And that’s Show Biz. …

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THE NINE LIVES OF THIS ‘CATS’

“CATS,” the Andrew Lloyd Webber hit based on T.S. Eliot’s “Old Possum’s Book on Practical Cats’” winds up a brief week’s run with two more performances today (June 18) at the Neal Blaisdell Center Concert Hall.

It’s the finale of a four-show “Broadway in Hawaii” series that early included “Beautiful, the Carole King Story,””Hamilton,” and “Jersey Boys.”

This touring company boasts a capable ensemble and actually is a delight. Can’t believe how this “Cats” has nine lives of actors who bring sprightly freshness and hidden gems to the plate, as featured soloists and as en mass ensemble.

For me, the nine elements that make this very entertaining include:

1 – Old Deuteronomy, portrayed by Cameron Shutza, brings a powerful tenor voice, and has a commanding presence in the role of the Cats’ senior mentor. His grandness extends to that body in a costume that looks more like a bear than a cat, and he’s the first Deutoronomy that doesn’t remain on stage during intermission. In very early productions, spectators could get on stage and visit, but the pandemic nixed that inter-action perk. Too bad; he’d be a hero to worship.

Old Deutoronomy, rear, awaiting the cat transiting to the Heviside layer.

2 – Gus, the theater cat, full name Asparagus, is hugely likeable. As I’ve personally aged, I can  associate with John Ankier Bow, who has presence and character and he dons show’s best costume, an eye-catcher that looks highly fashionable befitting a theater legend. He looks and says Show Biz.

3 – The resident Grizabella, Tayler Harris, starts slowly and deliberately and becomes the centerpiece of the show’s signature hit, “Memory.” No doubt, she earns the privilege to ascend to the Heaviside Layer, up, up, up, away. In this version, however, she boards a gigantic tire with Deuteronomy, but is shuttled to heaven in a newbie transit.

4 – Magical Mister Mistoffelees, played by Ibn Snell, is the magical cat with the brightest, lit-up costume in multiple hues, and besides a soaring voice, he can twirl and swirl in dance. His magical tricks are new and awesome.

5 —  Mungojerrie and Rumpleteaser are the winsome twosome, enacted by Brian Craig Nelson and Taryn Smithson, respectively, doubling the pleasure of teamwork.

6 –Rum Tum Tugger, the rock ‘n’ roll cat, makes Hank Santos one of the most active, energetic cats with motion and commotion. Happily, his hairy costume has been retained, and he makes good use of his tail.

7 – Who can’t joyously chug along with the railroad cat, Skimbleshanks, depicted by Reagan Davidson? That locomotive scene, with locomotive and choo-choo wheels, is one of the show’s highlights.

8 – Though he’s mostly not seen, but repeatedly heard, Macavity as shaped by Dominique Fortunato, has his wiry coif, and elusive mysteriousness that continues to haunt.

The “Cats” company, in full costumed regalia, is the cat’s meow.

9  — The Jellicle Ball, in Act 1, sets the tone for the evening, with classic choreography which has defined the show for decades. “The Naming of Cats,” by the company, is true poetry-in-motion, and Trevor Nunn’s original direction, and coupled with Gillian Lynn’s original choreography are preserved with updates for future generations who want to see and hear the cat’s meow. …

And that’s Show Biz. …

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‘CATS’

A musical by Andrew Lloyd Webber, based on T. S. Eliott’s “Old Possum’s Book on Practical Cats”

Where: Blaisdell Concert Hall

When: 1:30 and 6:30 p.m. today, closing performance

Tickets: Sold out

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And that’s Show Biz. …

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‘CATS’

A musical by Andrew Lloyd Webber, based on T. S. Eliot’s “Old Possum’s Book on Practical Cats”

Where: Blaisdell Concert Hall

When: 1:30 and 6:30 p.m. today, closing performance

Tickets: Sold out

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TIHATI BRINGS SPLENDOR TO MARRIOTT

With little fanfare, a splendid Polynesian show, “Pa‘ina Waikiki,” was launched June 2 at the Marriott Beach Waikiki Resort and Spa. It has all the fingerprints and finery that distinguish a Tihati Productions endeavor.

The luau show, in a reimagined open-air space beyond the third-floor swimming pool in what used to be the Hawaiian Regent Hotel decades ago, is everything you’d expect from a Tihati experience, meaning pageantry with mele and hula; tales of the Pacific specifically tailored to the Waikiki location of the Marriott; a fashion show of sorts since the costumes are bright, authentic and stylish; and pre-show hands-on arts and cultural lessons in lei-making and tattooing.

If that’s not enough, at the end of the production, visitors can go on stage to acquire quickie lessons in Samoan and Tahitian dancing, with attractive and handsome cast members as teachers. Out-of-towners are willing and wonderful in this concluding camaraderie of performers and patrons.

Because the site is smaller than most Tihati shows, the evening is a lot more intimate and thus very engaging for the spectators.

Count ‘em, if you will: this is the 12th Tihati show statewide overseen by company president Afatia Thompson and his sister Misty Thompson Tufono, who are the son and daughter, respectively, of legendary Jack and Cha Thompson, who turned over the business to the siblings while still serving as cultural mentors.

This show also is history in the making, marking a next-generation milestone, since children of Afa and Misty (and grandkids of the founders) are prominently and actively engaged in the delivery of the sweet Hawaiian mele and drumbeating exhibition of Samoan, Tahitian and Tonga songs and dances.

Tihati Thompson, 6, is the youngest fire knife dancer.

Afa’s and wife Nicole’s kids featured include hula girl Bella Thompson, notably on a hula about Kuhio Beach, and her brother Matagi Thompson, part of the lineup of male dancers;  at 6, Tihati Thompson – truly a cutie patootie – is the youngest cast member and the resident keiki fire knife dancer with an astonishing skill  and stage presence as he whirls and twirls his kid-size knife with flares on both ends.

Summer will herald more kinfolk. Misty’s daughter Mokihana Tufono will join the dancers when she returns from UCLA; her brother, Maninoa, also has joined the ranks.

Captains for the revue are Wallen Thompson Teo, son of Jack and Cha’s eldest daughter Ruana Thompson Teo, who is male captain; his wife, Lupe Tauiliili Teo, is female captain. Another male line dancer, expected this summer, is Ruana’s other son, Eli Thompson Teo.

The Tihati tradition requires that all performers, in lead roles or in ensembles, must learn the songs and dances for all of the company’s productions, so most troupers bounce from one show to another.

Brandon Mafua is a congenial, conversational emcee.

Brandan Mafua, an eight-year member of the Tihati troupe, is a likeable emcee, who not only is welcoming and congenial, but delivers historical factoids about why a song is embraced here, and the history surrounding the tune or environs; it’s all handily researched material scripted by Misty, company vice president, who clearly has a vault of knowledge blending entertaining motives and simultaneously embracing educational history. And Mafua’s easy-going conversational style is a plus.

Tihati hula sweetie , in pareu

Afa is resident choreographer and director of the spectacle. His moves, backed by a versatile house band, captures the flavors and tempos of the galaxy of Polynesian nations. The Tihati Serenaders, led by  percussionist Alex Galeia‘i, includes guitarists Travis Kaka and Josei  Alfonsi, and bassist Dennis Keohokalole, whose vocal harmonies and heartbeat drumming, exhibit the syncopation of  all the South Seas nations.

Makayla Arakaki is the wahine keiki solo dancer.

Makayla Arakaki is wahine keiki solo dancer, and Mika‘ele Oloa, five-time champion fire knife dancer, is one of the most seasoned of the breed. And he earns the hurrahs and applause with his fire knife dancing and fire-eating style, a stunning finale for the evening.

Mika‘ele Oloa is the adult fire knife dancer — and fire eater.

The spectrum of music entails tunes associated  with some of Hawaii’s alii, like Queen Kapiolani and Prince Kuhio, and links zones where they lived or partied. The show acknowledges a show from the past, Puka Puka Otea, once ensconced at nearby Queen’s Surf, and remembers R. Alex Anderson’s iconic hapa-haole composition, “Lovely Hula Hands,” and also pays homage to Hawaiian surfers, then and now.

Wahine dancers, in traditional ti-leaf skirts.

Tihati costumes continue to project bright, festive, and fun motifs – from ti leaf skirts to grass skirts, from surf wear to area-specific costumes in more colors than a rainbow, from reds to greens, from purple to blue, with detailed accents from head to toe (lei, shell necklaces, lauhala hats, etc.). Well, footwear are not ever utilized here; dancers always perform barefoot, but ankles sometimes display trinkets.

Male dancers, in modern surfing shorts.

Actually, there are two shows – one preview prior to dinner in daylight,  the other the formal revue with appropriate nightlife lighting – so arrive early so you don’t miss anything.

Kudos to Jerry Gibson, veteran hotelier, and a Marriott executive who has been a pioneering supporter of island shows large and small. His valued leadership has provided time and space for many shows, informal and formal, to keep the pulse of Hawaii and Polynesia alive. Where most hotels have abandoned shows – remember when all major Waikiki hotels all had showrooms as a venue for performers and an amenity for visitors? – and perhaps this is a post-pandemic jump start for more newbies to enter the race and pace of keeping Hawaii Hawaiian.

Yes, this is Tihati’s 12th endeavor in Hawaii – but shhhhh.  Two more projects are in the works. If you build it, they will come.

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“Pa‘ina Waikiki”

A Polynesian spectacle and lu’au,  staged by Tihati Productions

Where: Third floor of the Waikiki Beach Marriott Resort & Spa

When: 5:15 to 8 p.m. Sundays, Mondays, Wednesdays and Fridays.

Cost: $110-$170, general seating; $150 to $200, VIP seating. Buffet dinner included.

Reservations: www.painawaikiki.com

And that’s Show Biz …

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‘MOANA’ LANDS A DIRECTOR, KAIL

Hail Kail!

Tony Award-winning director Thomas Kail, pictured below, is best known as the director of Lin-Manuel Miranda’s hit Broadway musicals, “Hamilton” and “Into the Heights,” and he’s been tapped to direct Disney’s live-action film-with-music, “Moana.”

The announcement was made earlier this week by Dwayne Johnson, who voiced the demigod Maui in the animated version of “Moana,” and natch, he’s already set to repeat the role. But Johnson will also be a co-producer for the remake with real folks.

Johnson said in a statement, re-imagining of the animated film and his character, Maui, is “deeply personal” to him and his Polynesian culture.

“Our culture is rooted in pride, emotion, expression, storytelling, music and mana,” he said. ‘Moana’ is a once in a lifetime endeavor for us and I’m honored to go shoulder to shoulder with our director Thomas Kail and our entire team.”

“Our ancestors are watching, and the ocean will always have a pulse,” he added.

Auli‘i Cravalho, who was a high school senior at Kamehameha, is too old now to recreate the “Moana” role she created, but she’ll have a minor role in the newbie, and also with co-producer credits. You might recall, Moana was a different brand of a Disney princess with seafaring/voyaging skills and a mind and manner to navigate her own destiny.

Neither a name, nor an image, of the new Moana has been revealed yet; hope she’s someone from our midst, who looks and talks like a local girl, and can sing her heart out. Folks here would be huhu if a non-resident lands in the throne abandoned by the aforementioned Auli‘i.

The original “Moana” film, circa 2016, featured a soundtrack of melodies composed by Lin-Manuel Miranda, pictured right, Mark Mancina and Opetaia Foa‘i, embracing lyrics in English, Samoan, Tokelauan and Tuvaluan.

I would assume that the prolific Miranda could be challenged to oversee the soundtrack and then provide some of the original songs; the live-action flick demands it. The silence is deafening…he could not just compose, but sing, and even be in the live-action. Stay tuned…

After all,  he introduced music and appeared in earlier Disney projects. In the “Mary Poppins Returns” sequel, he had a had a featured role, and  for the just-released live-action version of  “The Little Mermaid,” he put pen to music.  He’a Disney do-it-all-er.

Kail is known for directing theatrical productions written and starring his Broadway buddy collaborator of “Hamilton” and “In the Heights,” and yep, he seems to be in the room where it happens in Miranda’s musicals. …

Clublicity

The Hilton Hawaiian Village’s Paradise Lounge, in the hotel’s Rainbow Tower, continues to focus on jazz, delivered by locals. For instance, the Bruce Hamada Trio takes the limelight from 7 to 10 p.m. today (June 2), with singer Shari Lynn and pianist Jim Howard returning from 7 to 10 p.m. tomorrow (June 3).  Seats are not plentiful, so arrive early so you can see the acts, not only hear ‘em.  You can order drinks and pupu, and if you do, you get validated parking. …

Gail Mack and Gordon Kim,  longtime musical partners, will perform from 5 to 8 p.m. July 2 and 9 at Mango Street Grill, 130 Mango St. in Wahiawa. The club was formerly known as Dot’s in Wahiawa. Reservations: (808) 627-5451.…

Tito Berinobis also keeps on chugging, bless him. His summer slate: from 6:30 to 9 p.m. Wednesdays, at Champs on Waialae …  from 6:30 to 9:30 p.m. Thursdays, from 8 to 11 p.m. Friday June 9 with Billy Beimes on sax, and from 7 to 11 p.m. June 13, 17 and 24, David Kauahikaua on keyboards and vocals, at the Chart House in Waikiki … and from 6 to 8 p.m. June 4 and 11 and from 7 to 9 p.m. June 30 at Elk’s Club Waikiki.

And that’s Show Biz. …