Category: Show Biz

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ONLINE EDDIE KAMAE SONGBOOK DUE

Eddie Kamae’s legendary music, part of the fabric of Hawaiian culture and life, will live anew with the publication of “The Eddie Kamae Songbook: A Musical Journey.” An online compilation of 34 of Kamae’s beloved tunes will debut May 1 and will be free to the public utilizing a QR code.

Myrna Kamae, Eddie’s widow, through their Hawaiian Legacy Foundation, will unveil the songbook in a May Day (May 1) event from noon to 6 p.m. at the Royal Grove of the Royal Hawaiian Center. The publication will surely emerge as a valuable document of Kamae’s artistry. A career keiki o ka aina, Kamae led the Sounds of Hawaii group and was consistently a luminous but low-key pioneer in the renaissance of Hawaiian music. He was a prolific composer, musician and a rare film-maker. preserving the voice and the traditions of numerous integral and talented Hawaiians, till his death at age 89 on Jan. 7, 2017.

Years in the making, the songbook will evolve into a significant resource for current and future musicians of Hawaii and the world and provide lucid and enlightenment for the casual music fan.

“Eddie realized the importance of documenting the wealth of traditional knowledge shared by his many kumu,” said Myrna Kamae, who continues to be executive director of the Hawaiian Legacy Foundation. “His life work was committed to building an archive of the stories and music of Hawai‘i. This songbook ensures that songs shared with Eddie, and those he composed, can be played and sung by families, children, students, musicians, and lovers of Hawaiian music. We are so excited to share this gift!”

Myrna Kamae

Partners in the songbook launch include the University of Hawaiʻi–West Oʻahu and ʻUluʻulu: The Henry Kuʻualoha Giugni Moving Image Archive .

Assembled and written with children and families in mind, each tune is presented as a pū‘olo (bundle) that contains sheet music, lyrics and translations, audio and video recordings of Kamae and fellow musicians, with enlightening details of the story behind the song, a bibliography, and archival print resources from the Kamae archives. It looms as s a resourceful curriculum across disciplines in schools and at homes and a valuable foundation for the music, stories and aloha to live on.

Besides a catalog of musical compositions, Kamae has a portfolio of 10 documentary films focusing on savvy elders he respected and wanted to perpetuate their legacies on video.

Attendees must abide by the Royal Hawaiian Center’s parking promotion, which includes three hours of free parking after spending $10.  The launch of the book is a highlight of the RHC’s May Day celebration and will feature music –kanikapila style — by Paul Kim, Analu Aina, Mike Kaawa, Ocean Kaowili and the Grandsons of Hawai‘i, Waipuna, Waimānalo Sunset Band, among others.

Panelists will include Chancellor Maenette Benham, University of Hawaii West O‘ahu; the Hui Hana songbook team of Myrna Kamae, Kapena Shim and Lilinoe Andrews, and a few special guests.

The launch will be livestreamed – a link will be forthcoming – and family, friends and guests will assemble to witness or participate in a program featuring the music of Kamae and the Sons of Hawaii, complete with hula and a panel presentation.

Details: www.hawaiianlegacyfoundation.org …

And that’s Show Biz. …

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WHAT’S THE BUZZ? ‘SUPERSTAR’ SOARS

Though 50 years old, “Jesus Christ Superstar” still has relevance along with a dose of splendor,  without showing its old age.

Diamond Head Theatre’s revival, which opened Friday and continues through April 24, is a mix of the modern and  the traditional, embracing  the “rock opera” facet of theatrical genres, wholly sung as in an opera, not recited or spoken.

The show has a checkered history but has roots tied to a Honolulu singer-guitarist from Roosevelt High School, Yvonne Elliman, who became a global star first as the Mary Magdalene character on a concept album, then as the female centerpiece in the retelling of events leading to the crucifixion of Jesus Christ, initially in the breakout movie and then in the subsequent Broadway production. Till today, Elliman generally is the best known among the early “Superstar” performing circle.

DHT cast of “Jesus Christ Superstar.” Photo by Brandon Miyagi

The DHT endeavor, directed and choregraphed  by John Rampage, DHT’s artistic director, has a trio of reliable lead troupers – Aleks Pevec as Jesus, Bailey Barnes as Mary, and Taj Gutierrez as Judas Iscariot – who make the show soar. They are all locals, with Pevec as the only one with Actors Equity Broadway creds, and his vocal prowess in delivery radiates and illuminates; and while only Gutierrez is a fanciful dancer, all three have logged previous local musical credits leading to this production.

Aleks Pevec

The tale, exploring the last seven days of Jesus’ life through the vision of Judas, one of his disciples, in an alternating love-hate/loyalty-betrayal relationship that includes notable conflicting sentiments and a peck-on-the-cheek by Judas to Jesus. Further, Judas sings a smidgin of “I Don’t Know How to Love Him” regarding the crucifixion and complexities of friendship. The mix of Christianity and Judaism prevails, so yes, this one has an empowerful religious dose.

The score, by the eminent Sir Andrew Lloyd Webber (music) and Tim Rice (lyrics), includes several enduring hit songs (“Everything’s Alright” and “I Don’t Know How to Love Him,” both delivered with warmth and expression by Barnes), and “Superstar” (led by Gutierrez and the ensemble). Pevec’s presence and power punctuate “What’s the Buzz,” “Hosanna,” “Gethsemane” and “The Temple,” showing off his pedigree, with able assistance from the ensemble.

Bailey Barnes

Larry Paxton, veteran DHT leading man, appears as the regal Pontius Pilate, the governor, sharing his grandeur through his voice but dons “period” robes.  Costumed in  Karen G. Wolfe’s eye-filling red creation, with one kimono-length left sleeve and a golden vest, perhaps makes a fashion statement as the  wardrobe “moment” in the show.

So you know in advance,  a pair of traditional gender-bending secondary male characters/roles are credibly portrayed by Aiko Schick (King Herod) and Jody Bill (Simon Zealotes).

Larry Paxton

Movement is frequent and varied here; early on, Rampage’s expansive choreography borrows from ballet and hip-hop and more, and he injects an element of vaudeville and Broadway late into the show, during the supposed dream elements of Judas’ Prince-like prancing in fringed sleeves, fronting a trio of “Dreamgirls” in sequined, showy gowns. Score yet another triumph for costumer Wolfe.

Roslyn Catracchia, musical director, makes her seven-member combo sound double its size, handling the pumped-rock tempos and more melodic numbers with equal gusto and flair; the climactic laments, matching the chants and chiming of the ensemble, are properly eerie and discomforting to fit the prevailing mood.

Dawn Oshima’s scaffolding centerpiece on the stage – a versatile decision for functionality and simplicity —  allows two stairways for entrances and exits, and two levels for performances that shape  and move both the crowd and solo moments of the show.

Performances continue Thursdays through Sundays, through April 24. Tickets: $15 to $35, at www.diamondheadtheatre.com  or phone 808-733-0274. …

And that’s Show Biz. …

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KAPONO AND JERRY HIT BULLSEYE

Henry Kapono’s “Artist 2 Artist” series, wherein he invites a notable peer from the Waikiki mainstream to partner with him in chit-chat and vocalizing, scored an unexpected  bullseye with Jerry Santos.

Kapono, onetime collaborator with Cecilio Rodriguez (Cecilio and Kapono, remember?), and Santos, leader of the beloved Olomana group, shared a measure of personal reflection and astounding artistry, in an unforgettable 2:15 concert last night (March 31) at Blue Note Hawaii.

The nightclub, at the Waikiki Outrigger resort, has been attracting sellout houses as the pandemic protocols are diminishing. For a Thursday night, the gathering was an emphatic indicator that islanders and visitors are weary from mask-wearing and nestling at home. When a marquee show anticipating a roster of signature tunes from both acts is the lure, a sellout was inevitable.

Henry Kapono

But this outing was somewhat of a new adventure for both Kapono and Jerry. While each have signature tunes in their respective credits, the evening was a reaffirming evidence that this pair of seasoned singers-composers, who helped shaped the Hawaiian Renaissance of island music from the 60s to the 80s,  needn’t have to rely on the best-of-the-best to earn applause. Risky perhaps, but this was an informative exploration of hidden gems in both C&K’s and Olomana’s history.

Further, Kapono has been test-driving this format of sharing tales and tunes for many months now, and has hit paydirt as he seems a lot more confident, assured, relaxed and conversational with his guests. There’s no script, only camaraderie to set the mood and manner, beginning with an exchange of alma matter digs, Kapono being of Punahou upbringing, Jerry of Kamehameha stock. (On an unrelated comparison, Kapono donned shoes, Jerry was barefooted, for this event For what it’s worth).

Jerry Santos

The agenda began with Kapono, clad in informal black top and grey jeans with a backward-worn baseball cap, making the first pitch – a new tune, “Sweetheart of Mine,” with a pop/country-western demeanor. He segued into a hip new arrangement of “Home in the Islands” (always fund to tweak an oldie and give it new sass) and revealed that he composed the tune late one night while in San Francisco back in the day.

He assumed the role of a troubadour, with one of his staples, “Friends,” telling one and all, “always keep your friends,” and yes, the audience knew this classic musical hand-shaking of sorts. Sing, and they sing-along, too.

Soon thereafter, the evening’s format focused on guest Jerry’s growing up days, and there was a consensus on who inspired them in composing music; an ensuing duet on Kui Lee’s “Days of My Youth” was part of the trek down memory lane. Turned out that both gents adored and admired the prolific Lee, whose compositions put Don Ho on the map.

We also learned that Kapono once played at the New Frontier and Toppe Ada Shoppe

Henry Kapono and Jerry Santos in an Artist 2 Artist outing at Blue Note Hawaii.

in Waikiki, Jerry at Gauguin and Black Angus in Waikiki , when they were not yet part of the glittery galaxy of island stars.

Jerry was asked how he came to create his best-known tune, “E Ku’u Home O Kahaluu,” and it also turned out that he wrote this one in San Francisco while he was homesick for his island home.

Kamuela Kimokeo

The song then was performed, with audience members invited to chime in, with trusty support for Jerry from Kamuela Kimokeo, his longtime partner in gigs outside of the Olomana umbrella. Not only has he learned all of the Olomana repertoire, he is a master of ki ho alu, Hawaiian slack key guitar.

Jerry and Kamuela provided the bulk of the evening’s riches, showcasing titles not commonly dusted off from the Olomana lifespan of the late Robert Beaumont, which included recollections of that song about rainy Hilo and how the sound of rain made it into the recording, along with a bountiful medley of Olomana treasures including “Seabird” and “E Ku‘u Sweet Lei  Poina Ole,” the composition by Emma DeFries, which was a must-perform title during Beaumont’s tenure with Olomana, and for many years after his passing – 40 years ago. Clearly, this also was an homage to the late entertainer.

Indeed, because Jerry has not been so visible during the pandemic, these oldies dusted off for this gig, provided stirring memories from the group’s discography. Jerry seemed to get misty-eyed, too, reviving Henry Mitchell’s anthem for Kahoolawe, when Hawaiian activists were pushing for the island to be returned to the populace here after years of being a military target practice island.

To break up the solemnity of Kahoolawe, Jerry and Kamuela ventured into the double-entendre song “Tewe Tewe, about fishing, with also implications of a sexual nature, depending on how much you understand about this Hawaiian classic.

As the show neared its end, Kapono returned to the stage to render “Teach Your Children Well,” as well as a new composition, “Sailors of Fortune,” a lovely entry advocating the validity of dreams to make things happen, with Jerry doing counterpoint backup vocals.

What the world needs is not only dreamers, but lovers, so “Put a Little Love in Your Heart” was a handy sing-along, too.

And because the audience hollered “hana hou,” Kapono came back to share one more for the road, one of his C&K classics, “Sailing,” written for his dad who was not a sailor.

So, yes, there were little nuggets of information throughout the serenades right down to the final blackout.

Kapono has another Artist 2 Artist show featuring the Makaha Sons, set for April 28. …

And that’s Show Biz. …

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A SLAP ON THE FACE OF OSCAR

Will Smith’s slap on the face of Chris Rock, and his F-bomb comment which ABC censored, reflect the heroes and zeroes of this year’s Oscars.

Unfortunately, that surprise walk-up-and-wallop instance became the hot topic on social media. A slap on the face of Oscar, for sure.

And today, the Academy of Motion Picture Arts and Sciences is reviewing the outburst, with Smith filing a sort-of-delayed Instagram apology to Rock.  Point to remember: Both are known to have temper issues; and this is the second time Rock has picked on Jada Pinkett Smith, Will’s wife.

The slap in the face of Oscar: Rock and Smith surprising encounter. –Los Angeles Times photo.

Looking back at last night’s proceedings, it wasn’t the only double-edged moment of the Academy Awards.

High and low, hit and miss, call ‘em what you want. We’re sharing Hero and Zero reflections from watching the telecast :

Hero: Smith demonstrated, physically and literally, the protective spirit of the character he played in his first Best Actor win, Richard Williams, the misguided father of tennis stars Serena and Venus Williams. Smith became the night’s hot button, giving Oscar more life than ever with that slap. Thus, his abusive slap resulted in talkfests aplenty today. When was the last time you reacted to the Oscarcast?

Zero: Smith apparently didn’t hear the “Cut!” call. Last night was real life, not role-playing. Last night was a surprise that shouldn’t have happened. His apology to the Academy was made to voting members, but he snubbed Rock, until today’s lame apology. But Rock has got to button up his attacks — he’s a grenade with the pin pulled out.

Lady Gaga giving Liza Minnelli a helping hand: a risky situation.

Hero:  Liza Minnelli  clearly was the pre-show “surprise guest” the academy touted; with guidance from co-presenter Lady Gaga, they presented the Best Film award to “Coda.” An honorary Oscar surely goes to Gaga, who was denied a nomination, for her good cheer in a risky situation and lovingly guided Minnelli through some shaky moments.

Zero: While it was nice to see  Minnelli, it was an uncomfortable circumstance; her hands were quivering, she had moments of memory gaps, not certain what was happening. And in a wheelchair? A cruel display of a woman’s health issues. Who decided to stage this unstable uncertainty?

Hero: The Best Picture wins for “CODA” and Best Supporting Actor winner Troy Kotsur  awardee were well deserved. Lesson here: Release a film timed to Oscar-voting, when the memories are fresh and current.

Zero: “The Power of the Dog” released its film early enough to generate  advance Oscar buzz, but the momentum was overtaken by “CODA,”  a feel-good movie. From early hero, the film became a zero, despite Jane Campion’s win as Best Director. And shouldn’t the academy finally combine the Best Picture/Best Director categories? Campion won, but her film didn’t? Wazzup?

Hero: Kevin Costner, the actor-director and former Oscar winner. His brief comments, on the role and wisdom of a director, was spot on. He articulated like a true warrior of his multi-craft. He’s not usually on the front tier of movie-making these days, settling into films that are streaming. Maybe a welcome back soon, in the form of a script he likes?

Zero: There is a gap between the academy and its members; we need more Costners in the limelight.

Amy Schumer, one of three Oscar co-hosts: If you hire ’em use ’em.

Hero: The trio of female co-hosts of the show, Amy Schumer, Wanda Sykes and Regina Hall. And Schumer uttered the evening’s best quote: “This year the Academy hired three women to host because it’s cheaper than hiring one man,” she said. “I’m representing unbearable white women who call the cops when you get too loud.”

Zero: The Academy under-utilized the powers of these comedians. If you hire ‘em,  use ‘em, too…

No perfection in predictions

So I missed two categories, from nine predictions, in an earlier column on Oscar picks.

I have yet to see “Coda,” the Best Film winner, since I don’t have an Apple TV+ subscription, so I  felt obliged to select  “The Power of the Dog” which I viewed on Netflix twice, because I dozed off during my first attempt to watch the  film.

I erred on the Best Song category, too, figured the flow-over appeal of “We Don’t Talk About Bruno” (which was splendidly sung and choreographed live in the Oscarcast) might have carry-over votes for “Dos Oruguitas,”  the Disney nominee from “Encanto,” but the winning  “No Time to Die” by Billie Eilish and Finneas O’Connell was my second choice. …

Finally, a bit of good news: Last night’s telecast from the Dolby Theatre drew more viewers than last year’s streamlined version from Union Station. The Oscars nabbed 15.36 million viewers and a 3.2 rating among adults 18 to 49, according to Nielsen. That’s a skosh better than last year’s no-host show, which had 13.73 million and 2.9 in demos. As adjustments are made over the next few hours, the ratings should go skosh up.

And that’s Show Biz. …

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ON BROADWAY, IT’S ALL ABOUT THE GROSS

Planning to visit New York (Broadway, specifically) now? Maybe in the weeks/months ahead?

The picture is getting rosier, now that box office gross figures are now being shared for the Broadway community … visitors like us. Nothing succeeds like success.

Two startling points:

  •  “The Music Man,” unofficially known as the Hugh Jackman show, brought in  $3,451,723.68. It needed a bona fide household-known “name” star. And it’s got one of the most luminous stars of screen and stage.
  •  “Hamilton,” which used to be the consistent No. 1 winner before the pandemic, grossed $2,272,219.00. It created stardom for Lin-Manuel Miranda and Leslie Odom Jr. in particular, but it doesn’t need a “name” star.

“The Music Man” is a reboot and would be harder to sell if there weren’t a Jackman as the centrifugal force; in Broadway parlance, a name-above-the-title star. The parallel situation is, if you didn’t have a Bette Midler, you wouldn’t have had a hot “Hello, Dolly!” “Hamilton” created stars, in its early run, and the title is the mega-wattage star, no matter who’s in the show.

Gross figures for the week ending March 20, 2022

Show NameGrossTotalAttn Capacity%CapacitAvg. Paid Admission
ALADDIN$1,201,219.1513,38613,81696.89%$89.74
AMERICAN UTOPIA$977,736.108,8969,05498.25%$109.91
BIRTHDAY CANDLES$148,611.002,1112,18196.79%$70.40
CHICAGO$587,788.326,6878,64077.40%$87.90
COME FROM AWAY$620,294.307,0618,36884.38%$87.85
COMPANY$889,139.997,8338,36893.61%$113.51
DEAR EVAN HANSEN$814,752.256,8707,87287.27%$118.60
HADESTOWN$1,104,678.107,4287,344101.14%$148.72
HAMILTON$2,272,219.0010,66710,592100.71%$213.01
HARRY POTTER AND THE CURSED CHILD$1,704,152.1012,03112,97692.72%$141.65
MJ THE MUSICAL$1,314,240.7010,27011,09692.56%$127.97
MOULIN ROUGE! THE MUSICAL$1,381,323.459,70510,40093.32%$142.33
PARADISE SQUARE$355,401.007,5887,84896.69%$46.84
PLAZA SUITE$1,657,089.807,7927,80099.90%$212.67
SIX$1,284,951.008,2528,248100.05%$155.71
TAKE ME OUT$351,019.034,0454,68086.43%$86.78
THE BOOK OF MORMON$1,080,338.068,4428,52898.99%$127.97
THE LION KING$1,778,641.0013,39913,56898.75%$132.74
THE MUSIC MAN$3,451,723.6812,18512,20099.88%$283.28
THE PHANTOM OF THE OPERA$959,191.0610,01912,84078.03%$95.74
TINA – THE TINA TURNER   MUSICAL$778,221.506,47111,82454.73%$120.26
WICKED$1,944,704.0014,90114,93299.79%$130.51

Another startling point: Broadway may be back, but the New York Times’ Sunday Theater Directory, once a major go-to-resources for out-of-towners,

The NY. Times Theater Directory this past Sunday.

is quite skimpy in advertisers buying listings to snare prospective ticket-buyers eager to learn what’s playing and when. Won’t help you with the overview of what’s open for business.

So: online searches, like Ticketmaster or Telecharge, will be resources to check out what’s playing, with ticket prices and seat choices vying for buyers’ attention. This could be a tedious and time-consuming project to decide what to see and when.

Of course, there is the option of the TKTS discount booth in Times Square, where long-running shows offer discounted tickets for same-day purchases. There is a $6 fee per ticket now; further, there’s a Fast Pass option where, within a week of obtaining the pass, you can access sales and bypass the long lines. Mostly for bargain hunters who haven’t yet seen the likes of “The Lion King,” “Wicked,” “The Phantom of the Opera” or “The Book of Mormon.”

Don’t expect to find discounted seats for “The Music Man” and “Hamilton” here. Full price, for certain. …

And that’s Show Biz….